20f1cc76a6b149b417e0d9943c7f2caac3a04875
movie
http://www.imsdb.com/scripts/Mr-Deeds-Goes-to-Town.html
MR DEEDS GOES
. THE END
 During the Great Depression, Longfellow Deeds (Gary Cooper), the co-owner of a tallow works, part-time greeting card poet, and tuba-playing inhabitant of the (fictional) hamlet of Mandrake Falls, Vermont, inherits 20 million dollars from his late uncle, Martin Semple. Semple's scheming attorney, John Cedar (Douglass Dumbrille), locates Deeds and takes him to New York City. Cedar gives his cynical troubleshooter, ex-newspaperman Cornelius Cobb (Lionel Stander), the task of keeping reporters away from Deeds. Cobb is outfoxed, however, by star reporter Louise "Babe" Bennett (Jean Arthur), who appeals to Deeds' romantic fantasy of rescuing a damsel in distress by masquerading as a poor worker named Mary Dawson. She pretends to faint from exhaustion after "walking all day to find a job" and worms her way into his confidence. Bennett proceeds to write a series of enormously popular articles mocking Longfellow's hick ways and odd behavior, giving him the nickname "Cinderella Man".
Cedar tries to get Deeds' power of attorney in order to keep his own financial misdeeds secret. Deeds, however, proves to be a shrewd judge of character, easily fending off Cedar and other greedy opportunists. He wins Cobb's wholehearted respect and eventually Babe's love. She quits her job in shame, but before she can tell Deeds the truth about herself, Cobb finds it out and tells Deeds. He had been in love with her, and is left heartbroken. In disgust, he decides to return to Mandrake Falls.
Before he leaves, a dispossessed farmer (John Wray) stomps into his mansion and threatens him with a gun. He expresses his scorn for the seemingly heartless, ultra-rich man, who will not lift a finger to help the multitudes of desperate poor. After the intruder comes to his senses, Deeds realizes what he can do with his troublesome fortune. He decides to provide fully equipped 10-acre farms free to thousands of homeless families if they will work the land for three years.
Alarmed at the prospect of losing control of the fortune, Cedar joins forces with Deeds' only other relative (and the man's grasping, domineering wife) in seeking to have Deeds declared mentally incompetent. Along with Babe's betrayal, this finally breaks Deeds' spirit and he sinks into a deep depression. A sanity hearing is scheduled to determine who should control the Deeds' fortune.
During the hearing. Cedar calls an expert who diagnoses manic depression based on Babe's articles and Deeds' current behavior; he gets Deeds' Mandrake Falls tenants, eccentric elderly sisters Jane and Amy Faulkner (Margaret Seddon and Margaret McWade), to testify that Deeds is "pixilated". Deeds is too depressed to defend himself and the situation looks bleak when Babe finally speaks up passionately on his behalf, castigating herself for what she did to him. When he realizes that she truly loves him, he begins speaking, systematically punching holes in Cedar's caseâwhen he asks the Faulkners who else is pixilated, they reply, "Why everyone, but us"âbefore actually punching Cedar in the face. In the end the judge declares him to be "the sanest man who ever walked into this courtroom."
During the Great Depression , Longfellow Deeds ( Gary Cooper ) , the co-owner of a tallow works , part-time greeting card poet , and tuba-playing inhabitant of the ( fictional ) hamlet of Mandrake Falls , Vermont , inherits 20 million dollars from his late uncle , Martin Semple . Semple s scheming attorney , John Cedar ( Douglass Dumbrille ) , locates Deeds and takes him to New York City . Cedar gives his cynical troubleshooter , ex-newspaperman Cornelius Cobb ( Lionel Stander ) , the task of keeping reporters away from Deeds . Cobb is outfoxed , however , by star reporter Louise Babe Bennett ( Jean Arthur ) , who appeals to Deeds ' romantic fantasy of rescuing a damsel in distress by masquerading as a poor worker named Mary Dawson . She pretends to faint from exhaustion after walking all day to find a job and worms her way into his confidence . Bennett proceeds to write a series of enormously popular articles mocking Longfellow s hick ways and odd behavior , giving him the nickname Cinderella Man . Cedar tries to get Deeds ' power of attorney in order to keep his own financial misdeeds secret . Deeds , however , proves to be a shrewd judge of character , easily fending off Cedar and other greedy opportunists . He wins Cobb s wholehearted respect and eventually Babe s love . She quits her job in shame , but before she can tell Deeds the truth about herself , Cobb finds it out and tells Deeds . He had been in love with her , and is left heartbroken . In disgust , he decides to return to Mandrake Falls . Before he leaves , a dispossessed farmer ( John Wray ) stomps into his mansion and threatens him with a gun . He expresses his scorn for the seemingly heartless , ultra-rich man , who will not lift a finger to help the multitudes of desperate poor . After the intruder comes to his senses , Deeds realizes what he can do with his troublesome fortune . He decides to provide fully equipped 10-acre farms free to thousands of homeless families if they will work the land for three years . Alarmed at the prospect of losing control of the fortune , Cedar joins forces with Deeds ' only other relative ( and the man s grasping , domineering wife ) in seeking to have Deeds declared mentally incompetent . Along with Babe s betrayal , this finally breaks Deeds ' spirit and he sinks into a deep depression . A sanity hearing is scheduled to determine who should control the Deeds ' fortune . During the hearing . Cedar calls an expert who diagnoses manic depression based on Babe s articles and Deeds ' current behavior ; he gets Deeds ' Mandrake Falls tenants , eccentric elderly sisters Jane and Amy Faulkner ( Margaret Seddon and Margaret McWade ) , to testify that Deeds is pixilated . Deeds is too depressed to defend himself and the situation looks bleak when Babe finally speaks up passionately on his behalf , castigating herself for what she did to him . When he realizes that she truly loves him , he begins speaking , systematically punching holes in Cedar s caseâwhen he asks the Faulkners who else is pixilated , they reply , Why everyone , but us âbefore actually punching Cedar in the face . In the end the judge declares him to be the sanest man who ever walked into this courtroom .
http://en.wikipedia.org/wiki/Mr._Deeds_Goes_to_Town
Mr. Deeds Goes to Town
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<b>                                     
</b><b>                                 MR DEEDS GOES TO TOWN
</b><b>                                     
</b>                         Written by Robert previous hit Riskin
<b>                                      
</b>                     based on a story by Clarence Budington Kelland


<b>                                      
</b><b>                         FADE IN
</b><b>                                     
</b><b>                         EXTERIOR - MONTAGE
</b><b>                                     
</b>                         1. Quick shots of a car speeding around 
                         curves in a mountainous region. The 
                         car jumps a bridge, hurtles into space, 
                         crashes in a fireball. Followed by newsboys 
                         hawking special editions, people on 
                         streetcorners buying and reading newspapers 
                         with a succession of banner headlines:
<b> 
</b><b>                                                              
</b><b>                         "MARTIN W. SEMPLE, FINANCIER, DIES IN 
</b><b>                         ITALY,"
</b><b>                                      
</b><b>                         "CIVIC LEADER KILLED IN AUTO ACCIDENT,"
</b><b> 
</b><b>                                                              
</b><b>                         "DISCLOSURE OF BANKER'S WILL AWAITED" 
</b>                         and finally "SEMPLE HEIR AS YET UNKNOWN"
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INTERIOR - EDITOR'S OFFICE, DAILY MAIL
</b><b> 
</b><b>                                                              
</b><b>                         2. CLOSE SHOT
</b><b>                                     
</b>                         of Mac, the editor, at his desk, barking 
                         into the telephone.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         Say listen, Corny, who do you think 
                         you're talking to? If the Semple attorneys 
                         don't know who the heir is, who does?
<b> 
</b><b>                                                              
</b>                         (listens)
<b>                                     
</b>                         Aw, come on Corny, I've done you a lot 
                         of favors. What do you say - who's getting 
                         the Semple dough?
<b>                                      
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         INTERIOR - CEDAR'S PRIVATE OFFICE
</b><b>                                     
</b><b>                         3. CLOSE SHOT
</b><b>                                     
</b>                         Of Cornelius Cobb - a hardened ex-newspaperman, 
                         customarily impatient, grouchy and nervous 
                         - victim of the New York tempo. His 
                         friends call him "Corny."
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (on the phone)
<b>                                     
</b>                         You're asking the wrong guy, Mac. I'm 
                         only a press agent.
<b>                                      
</b><b>                         THE CAMERA PULLS BACK GRADUALLY TO REVEAL 
</b>                         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.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Newspaperman?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (covering mouthpiece - confidentially)
<b> 
</b><b>                                                              
</b>                         Wants to know who the heir is.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (firmly)
<b>                                     
</b>                         Hang up.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (returning to the phone)
<b>                                     
</b>                         Sorry, Mac, I can't. Yeah, Mac. Sure, 
                         but I ain't the attorney
<b>                                      
</b><b>                         ? 336 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (more firmly)
<b>                                     
</b>                         Hang up.
<b>                                     
</b><b>                         THE CAMERA PULLS BACK FURTHER TO REVEAL 
</b>                         another attorney at one end of the desk, 
                         reviewing a pile of papers.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (continuing)
<b>                                     
</b>                         Mr. Cedar is, and I haven't seen him 
                         in two days.
<b>                                      
</b>                         (hangs up the phone)
<b>                                     
</b>                         Listen, Cedar, we've got to do something 
                         about the newspapers.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (barely glancing up)
<b>                                     
</b>                         I'm not interested in the newspapers.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         But it's a great story. Somewhere in 
                         this country a guy is walking into twenty 
                         million bucks.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (resignedly)
<b>                                     
</b>                         It's okay with me as long as my weekly 
                         stipend keeps coming in.
<b>                                      
</b><b>                         THE CAMERA PULLS BACK TO A FULL SHOT 
</b>                         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.
<b>                                      
</b><b>                         ANDERSON
</b><b>                                     
</b>                         We located him, Mr. Cedar! We found 
                         out where he is.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Good!
<b>                                     
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         Yes, John, we got him.
<b>                                     
</b><b>                         ANDERSON
</b><b>                                     
</b>                         Here's the report: Longfellow Deeds, 
                         single, 28, lives in Mandrake Falls, 
                         Vermont.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (glancing at the report)
<b>                                     
</b>                         Thank heaven.
<b>                                     
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         Better wire him right away, John.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         I'll do no such thing. I'm going there 
                         myself. You're going with me too, Anderson 
                         - and you too, Cobb.
<b>                                      
</b><b>                         ? 337 ?
</b><b>                                     
</b>                         He pushes a button on the intercom.
<b> 
</b><b>                                                              
</b><b>                         VOICE
</b><b>                                     
</b>                         Yes?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Make three reservations on the first 
                         train out to Mandrake Falls, Vermont.
<b> 
</b><b>                                                              
</b><b>                         VOICE
</b><b>                                     
</b>                         (skeptically)
<b>                                     
</b>                         Where?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Mandrake Falls.
<b>                                     
</b>                         (begins to spell as scene fades)
<b>                                     
</b><b>                         M-A-N
</b><b>                                     
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         EXT. A STATION
</b><b>                                     
</b><b>                         4. MEDIUM SHOT
</b><b>                                     
</b>                         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."
<b>                                      
</b>                         Over their shoulders. We hear Cobb's 
                         voice as he reads:
<b>                                      
</b><b>                         COBB'S VOICE
</b><b>                                     
</b>                         Welcome to Mandrake Falls -
<b>                                     
</b>                         Where the scenery enthralls -
<b>                                     
</b>                         Where no hardship e'er befalls -
<b>                                     
</b>                         Welcome to Mandrake Falls.
<b>                                     
</b><b>                         5. MEDIUM SHOT
</b><b>                                     
</b>                         Cobb and Cedar exchange glances.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         That's pretty.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Are you sure this is the town he lives 
                         in?
<b>                                      
</b><b>                         ANDERSON
</b><b>                                     
</b>                         Yes sir, Mr. Cedar. This is the town 
                         all right.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Well, I dropped everything at the office 
                         - I hope it's not a wild goose chase.
<b> 
</b><b>                                                              
</b><b>                         ANDERSON
</b><b>                                     
</b>                         No, sir. We checked it thoroughly. He 
                         lives here all right.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Ah! I spy a native. Let's ask him.
<b> 
</b><b>                                                              
</b>                         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-
<b> 
</b><b>                                                              
</b><b>                         ? 338 ?
</b><b>                                     
</b>                         shouldered rail agent with a face of 
                         a million wrinkles - puttering around 
                         some packages.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (as they approach)
<b>                                     
</b>                         Good morning.
<b>                                     
</b><b>                         AGENT
</b><b>                                     
</b>                         (glances up)
<b>                                     
</b>                         Morning, neighbors. Morning.
<b>                                     
</b>                         He picks up a package and disappears 
                         into the building. Cedar and Cobb look 
                         at each other.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         That's an excellent start. At least 
                         we've broken the ice.
<b>                                      
</b>                         The old man returns to his pile of packages.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         I say, my friend, do you know a fellow 
                         by the name of Longfellow Deeds?
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Deeds?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         AGENT
</b><b>                                     
</b>                         Yes, sir. Yes, indeedy. Everyone knows 
                         Deeds.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Yes, I
<b>                                     
</b>                         He again disappears.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Must be a game he's playing.
<b>                                     
</b>                         The old man shows up again.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         We'd like to get in touch with him. 
                         It's very important.
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Who's that?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Deeds! Who do you think I'm talking 
                         about?
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Oh, yes - Deeds. Fine fellow. Very democratic. 
                         You won't have no trouble at all. Talk 
                         to anybody.
<b>                                      
</b>                         Whereupon the old man carries another 
                         package inside. Cobb is properly exasperated 
                         now.
<b>                                      
</b><b>                         ? 339 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         I guess we'd better try somebody else.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         No, we won't! The next time that jumping 
                         jack comes out, I'll straddle him while 
                         you ask him your questions.
<b>                                      
</b>                         The old man emerges from the building 
                         and looks up at them as if he's never 
                         seen them before.
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Morning, neighbors.
<b>                                     
</b><b>                         6. TWO SHOT - COBB AND AGENT (FEATURING 
</b><b>                         COBB)
</b><b>                                      
</b>                         Cobb grabs the old man as he turns to 
                         head back into the building.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Remember us? We're the fellows who were 
                         here a minute ago.
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Oh, yes. Yes, indeedy. I never forget 
                         a face.
<b>                                      
</b>                         He turns again - but Cobb holds him 
                         by the arm and sets him down on a small 
                         packing case.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         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!
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         (releasing his arm)
<b>                                     
</b>                         You don't have to get rough, neighbor. 
                         All you got to do is ask.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Then please pretend, for just one fleeting 
                         moment, that I'm asking. Where does 
                         he reside?
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Who?
<b>                                     
</b>                         Cobb turns away in disgust. Anderson 
                         steps forward.
<b>                                      
</b><b>                         7. CLOSE SHOT - THE THREE
</b><b>                                     
</b><b>                         ANDERSON
</b><b>                                     
</b>                         Longfellow Deeds - where does he live?
<b> 
</b><b>                                                              
</b><b>                         AGENT
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         (as he exits scene)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         He leaves Cobb and Cedar staring after 
                         him killingly.
<b>                                      
</b><b>                         ? 340 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. LONGFELLOW'S LIVING ROOM
</b><b>                                     
</b><b>                         8. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         Oh, will you come in please, gentlemen?
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Is Mr. Deeds in?
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         No - he's over to the park arranging 
                         for the bazaar, so's to raise money 
                         for the fire engine.
<b>                                      
</b>                         (to old man)
<b>                                     
</b>                         Mal, you shoulda knowed he was in the 
                         park.
<b>                                      
</b><b>                         AGENT
</b><b>                                     
</b>                         Knew it all the time. But these men 
                         said they wanted to see the house.
<b> 
</b><b>                                                              
</b>                         (mumbling as he exits)
<b>                                     
</b>                         Can't read their minds if they don't 
                         say what they want.
<b>                                      
</b><b>                         9. GROUP SHOT
</b><b>                                     
</b>                         Cobb glares after him exasperatedly. 
                         Mrs. Meredith turns to Cobb and Cedar.
<b> 
</b><b>                                                              
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         Come in, please. Come in. Can I get 
                         you a cup of tea?
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         No, thanks.
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         Sit down. Sure I couldn't get you a 
                         glass of lemonade or something?
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         That's very kind of you. Are you related 
                         to him?
<b>                                      
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         No, I'm his housekeeper.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Well, we'd like to find out something 
                         about him. What does he do for a living?
<b> 
</b><b>                                                              
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         10. CLOSE SHOT - THE THREE
</b><b>                                     
</b>                         Featuring Cobb.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (skeptically)
<b>                                     
</b>                         He writes poetry?
<b>                                     
</b><b>                         ? 341 ?
</b><b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         She reaches over to a desk and picks 
                         one up.
<b>                                      
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         Here's one - he got $25 for this one.
<b> 
</b><b>                                                              
</b><b>                         11. CLOSEUP - MRS. MEREDITH
</b><b>                                     
</b>                         As she reads - with feeling:
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         "When you've nowhere to turn - and you're 
                         filled with doubt -
<b>                                      
</b>                         Don't stand in midstream, hesitating,
<b> 
</b><b>                                                              
</b>                         For you know that your mother's heart 
                         cries out -
<b>                                      
</b>                         'I'm waiting, my boy, I'm waiting.'"
<b> 
</b><b>                                                              
</b>                         (she looks up)
<b>                                     
</b>                         Isn't that beautiful?
<b>                                     
</b><b>                         12. CLOSEUP - COBB
</b><b>                                     
</b>                         His eyes open unbelievingly.
<b>                                     
</b><b>                         MRS. MEREDITH'S VOICE
</b><b>                                     
</b>                         Isn't it a lovely sentiment?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (flatly)
<b>                                     
</b>                         Yeah.
<b>                                     
</b>                         A dog enters, racing toward the door, 
                         scratching at it and whining.
<b>                                      
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         (as she heads toward the door)
<b>                                     
</b>                         Here he is now.
<b>                                     
</b>                         She opens the door and goes out, with 
                         the dog racing ahead.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (to Cedar - sotto voce)
<b>                                     
</b>                         I suggest you break it to him gently. 
                         He's liable to keel over from the shock.
<b> 
</b><b>                                                              
</b>                         Mrs. Meredith re-appears. We hear her 
                         voice as she comes through the doorway.
<b> 
</b><b>                                                              
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         They've been waiting a long while.
<b> 
</b><b>                                                              
</b>                         Longfellow Deeds trails behind her.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Who are they?
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         I don't know.
<b>                                     
</b><b>                         ? 342 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (standing - formally)
<b>                                     
</b>                         Mr. Longfellow Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         How do you do.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (shaking hands)
<b>                                     
</b>                         How do you do.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (extending card)
<b>                                     
</b>                         I'm John Cedar - of the New York firm 
                         of Cedar, Cedar, Cedar and Budington.
<b> 
</b><b>                                                              
</b><b>                         13. CLOSE SHOT - GROUP
</b><b>                                     
</b>                         Featuring Cobb. He watches Longfellow 
                         who is glancing at the card.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (reads to himself)
<b>                                     
</b>                         Cedar, Cedar, Cedar and Budington.
<b> 
</b><b>                                                              
</b>                         (looks up; smiles)
<b>                                     
</b>                         Budington must feel like an awful stranger, 
                         hmm?
<b>                                      
</b>                         Cobb's eyes pop at the nifty.[1]
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Mr. Cornelius Cobb and Mr. Anderson.
<b> 
</b><b>                                                              
</b>                         They exchange greetings. Longfellow 
                         gestures to chairs.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You gentlemen make yourselves comfortable.
<b> 
</b><b>                                                              
</b><b>                         COBB AND ANDERSON
</b><b>                                     
</b>                         Thanks.
<b>                                     
</b><b>                         14. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow crosses to his tuba near 
                         a chair. He takes a mouthpiece out of 
                         his pocket.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         New mouthpiece. Been waiting two weeks 
                         for this. Kids keep swiping them all 
                         the time. They use 'em for bean shooters.
<b> 
</b><b>                                                              
</b>                         (he blows a note)
<b>                                     
</b>                         What can I do for you gentlemen?
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         You gentlemen going to stay for lunch?
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         (right to the point; ignoring her)
<b> 
</b><b>                                                              
</b>                         I'd like to ask you a few questions.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         All right.
<b>                                     
</b>                         Longfellow looks at them strangely and 
                         sits down beside his tuba.
<b>                                      
</b><b>                         ? 343 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Mr. Deeds, are you the son of Dr. Joseph 
                         and Mary Deeds?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Are your parents living?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Why, no.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Mr. Deeds, does the name of Martin W. 
                         Semple mean anything to you?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Not much. He's an uncle of mine, I think. 
                         I never saw him, but my mother's name 
                         was Semple, you know.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Well, he passed on. He was killed in 
                         a motor accident in Italy.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He was? Gee, that's too bad. If there's 
                         anything I can do to
<b>                                      
</b>                         While he speaks, he has been adjusting 
                         the tuba between his legs and now sucks 
                         on the mouthpiece, preparatory to playing.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         15. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         16. GROUP SHOT
</b><b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         How about lunch? Are the gentlemen going 
                         to stay - or not?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Of course they're going to stay.
<b>                                     
</b>                         (to the gentlemen)
<b>                                     
</b>                         She's got some fresh orange layer cake. 
                         You know, with the thick stuff on the 
                         top?
<b>                                      
</b>                         (to Mrs. Meredith)
<b>                                     
</b>                         Sure, they don't want to go to the hotel.
<b> 
</b><b>                                                              
</b>                         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.
<b>                                      
</b><b>                         ? 344 ?
</b><b>                                     
</b><b>                         17. CLOSER SHOT - THE THREE
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (over the noise of the tuba)
<b>                                     
</b>                         Perhaps you didn't hear what I said, 
                         Mr. Deeds! The whole Semple fortune 
                         goes to you! $20,000,000!
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, yes, I heard you all right. $20,000,000. 
                         That's quite a lot, isn't it?
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Oh, it'll do in a pinch.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (impressed)
<b>                                     
</b>                         Yes, indeed. I wonder why he left me 
                         all that money? I don't need it.
<b>                                      
</b>                         He resumes his 'Oom-pahs.'
<b>                                     
</b><b>                         18. CLOSE SHOT - CEDAR AND COBB
</b><b>                                     
</b>                         Staring, unbelievingly.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. AN ALCOVE
</b><b>                                     
</b><b>                         19. FULL SHOT
</b><b>                                     
</b>                         The three men sit around a table, having 
                         lunch. By Longfellow's side is, as expected, 
                         the tuba.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Mr. Cobb here is an ex-newspaperman 
                         associated with your uncle for many 
                         years - as a sort of buffer.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Buffer?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Yeah. A glorified doormat.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         During Cedar's speech, Longfellow seems 
                         to have been lost in his own thoughts.
<b> 
</b><b>                                                              
</b><b>                         20. CLOSE SHOT - LONGFELLOW AND COBB
</b><b> 
</b><b>                                                              
</b>                         Favoring Longfellow.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Cedar, Cedar, Cedar and Budington. Funny, 
                         I can't think of a rhyme for Budington.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         Why should you?
<b>                                     
</b><b>                         ? 345 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, whenever I run across a funny 
                         name, I always like to poke around for 
                         a rhyme. Don't you?
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Nah.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I've got one for Cobb
<b>                                     
</b><b>                         21. CLOSE SHOT - THE GROUP
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         "There once was a man named Cobb,
<b>                                     
</b>                         Who kept Semple away from the mob.
<b> 
</b><b>                                                              
</b>                         Came the turn of the tide
<b>                                     
</b>                         And Semple - he died -
<b>                                     
</b>                         And now poor Cobb's out of a job!"
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         Sounds like a two weeks' notice to me.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Huh?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         I've gotten the 'sackaroo' in many ways 
                         - but never in rhyme.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, I don't mean that. I'm sure I'm 
                         going to need your help.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Oh, that's different if it's just poetry.
<b> 
</b><b>                                                              
</b><b>                         22. WIDER ANGLE
</b><b>                                     
</b>                         As Mrs. Meredith enters with coffee 
                         which she pours.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Are you a married man, Mr. Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Who - me? No.
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         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
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Don't pay any attention to her.
<b>                                     
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         He's got a lot of foolish notions - 
                         about saving a lady in distress.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Now you keep out of this!
<b>                                     
</b><b>                         ? 346 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (diplomatically)
<b>                                     
</b>                         Saving a lady in distress, eh? Well, 
                         I suppose we all have dreams like that 
                         when we are young.
<b>                                      
</b>                         (rising)
<b>                                     
</b>                         Incidentally, we'd better get started. 
                         You'll have to pack.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What for?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         You're going to New York with us.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         When?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         This afternoon - at four o'clock.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I don't think we've got any suitcases.
<b> 
</b><b>                                                              
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         Well, we could borrow a couple from 
                         Mrs. Simpson. You know, she went to 
                         Niagara Falls last year.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         (all business)
<b>                                     
</b>                         I can understand that.
<b>                                     
</b>                         (rises to go)
<b>                                     
</b>                         We'll take a walk around town, meet 
                         you at the train at four o'clock.
<b> 
</b><b>                                                              
</b>                         (shakes his hand)
<b>                                     
</b>                         Congratulations, Mr. Deeds. You're one 
                         of the richest men in the country. We'll 
                         see you later.
<b>                                      
</b>                         (to Mrs. Meredith)
<b>                                     
</b>                         Goodbye and thank you.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         See you later, kid.
<b>                                     
</b><b>                         ANDERSON'S VOICE
</b><b>                                     
</b>                         (as he too exits)
<b>                                     
</b>                         Good day, sir.
<b>                                     
</b>                         They exit.
<b>                                     
</b><b>                         23. TWO SHOT - LONGFELLOW AND MRS. MEREDITH
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Hear what he said? You know how much 
                         twenty million is?
<b>                                      
</b><b>                         MRS. MEREDITH
</b><b>                                     
</b>                         I don't care how much it is. You sit 
                         right there and eat your lunch. You 
                         haven't touched a thing.
<b>                                      
</b><b>                         ? 347 ?
</b><b>                                     
</b>                         Longfellow nibbles at some food, staring 
                         into space thoughtfully.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. STATION
</b><b>                                     
</b><b>                         24. LONG SHOT
</b><b>                                     
</b>                         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:
<b>                                      
</b><b>                         FAREWELL
</b><b>                                     
</b><b>                         LONGFELLOW DEEDS
</b><b>                                     
</b><b>                         THE PRIDE OF MANDRAKE FALLS
</b><b>                                     
</b><b>                         25. MEDIUM SHOT - CEDAR AND ANDERSON
</b><b> 
</b><b>                                                              
</b>                         They peer anxiously around, looking 
                         for someone, when Cobb dashes in.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (breathlessly)
<b>                                     
</b>                         I can't find him.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         You can't?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         I looked everywhere. I even went to 
                         his house. It's locked up.
<b>                                      
</b><b>                         ANDERSON
</b><b>                                     
</b>                         He probably had a change of heart.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         He wasn't very anxious to come in the 
                         first place.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (looking on)
<b>                                     
</b>                         Here comes the train.
<b>                                     
</b>                         Cedar glances off.
<b>                                     
</b><b>                         26. LONG SHOT (STOCK)
</b><b>                                     
</b>                         Of train approaching.
<b>                                     
</b><b>                         27. CLOSE SHOT - CEDAR AND COBB
</b><b>                                     
</b>                         The band has already begun and is now 
                         in the midst of "For He's A Jolly Good 
                         Fellow."
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Look!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         What?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         That tuba player!
<b>                                     
</b><b>                         ? 348 ?
</b><b>                                     
</b><b>                         28. MEDIUM SHOT - THE BAND
</b><b>                                     
</b>                         With Longfellow, in his customary position, 
                         blowing on his tuba.
<b>                                      
</b><b>                         CONTINUATION SCENE 27
</b><b>                                     
</b>                         Cedar and Cobb stare, wide-eyed, as 
                         the song is finished.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Well, now I've seen everything.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. STATION
</b><b>                                     
</b><b>                         29. LONG SHOT
</b><b>                                     
</b>                         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."
<b> 
</b><b>                                                              
</b><b>                         30. CLOSE SHOT
</b><b>                                     
</b>                         Over Longfellow and Cobb's shoulders. 
                         As the train begins pulling out. Longfellow 
                         smiles wanly and waves.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Goodbye, Mrs. Meredith! Goodbye, Jim! 
                         Bye, Buddy! Goodbye, everybody!
<b>                                      
</b>                         (a pause)
<b>                                     
</b>                         Gosh, I've got a lot of friends.
<b>                                     
</b>                         Cobb looks up into Longfellow's face 
                         - affected by the scene.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. TRAIN DRAWING ROOM
</b><b>                                     
</b><b>                         31. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (opening a snifter - generously)
<b>                                     
</b>                         Have a drink?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (distractedly)
<b>                                     
</b>                         No, thanks.
<b>                                     
</b>                         Cobb and Cedar exchange a look.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Will you have a cigar?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         No, thank you.
<b>                                     
</b>                         Cedar sits down.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (breaking the silence)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         ? 349 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, I wasn't worried about that.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         No?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I was wondering where they're going 
                         to get another tuba player for the band.
<b> 
</b><b>                                                              
</b>                         Cobb has just finished taking a drink 
                         and can't help but nearly spit it out.
<b> 
</b><b>                                                              
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         FADE IN
</b><b>                                     
</b><b>                         32. LONG SHOT (STOCK)
</b><b>                                     
</b>                         The 20th Century crossing the Harlem 
                         River.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         33. ANOTHER STOCK SHOT
</b><b>                                     
</b>                         Of the 20th Century going under the 
                         street level on Park Avenue.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         34. CLOSE SHOT OF OFFICE DOOR
</b><b>                                     
</b>                         Upon which we read: "CEDAR, CEDAR & 
<b>                         BUDINGTON - ENTRANCE." CAMERA PULLS 
</b>                         BACK to take in Cedar, who opens the 
                         door and walks through.
<b>                                      
</b><b>                         INT. GENERAL OFFICE
</b><b>                                     
</b><b>                         35. CLOSE TRUCKING SHOT
</b><b>                                     
</b>                         With Cedar as he strides across the 
                         room - in business-like fashion. He 
                         comes to a door marked "PRIVATE OFFICES." 
                         He pushes this door opens and disappears.
<b> 
</b><b>                                                              
</b><b>                         MAN'S VOICE
</b><b>                                     
</b>                         (as Cedar passes by)
<b>                                     
</b>                         Hello, John. Where have you been?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (as he walks briskly)
<b>                                     
</b>                         I've been fishing.
<b>                                     
</b>                         In the background is typical office 
                         hub-bub.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (to a secretary as he passes)
<b>                                     
</b>                         Good morning, Celia.
<b>                                     
</b><b>                         SECRETARY
</b><b>                                     
</b>                         Good morning, Mr. Cedar.
<b>                                     
</b>                         A chorus of "Good Morning, Mr. Cedar!" 
                         issues from the clerks. A secretary 
                         looks up.
<b>                                      
</b><b>                         INT. PRIVATE OFFICES
</b><b>                                     
</b><b>                         36. CLOSE TRUCKING SHOT
</b><b>                                     
</b>                         With Cedar - as he passes through the 
                         room - arriving at a door marked "JOHN 
                         CEDAR, PRIVATE." He goes through the 
                         door.
<b>                                      
</b><b>                         ? 350 ?
</b><b>                                     
</b><b>                         INT. CEDAR'S PRIVATE OFFICES - ANTEROOM
</b><b> 
</b><b>                                                              
</b><b>                         37. FULL SHOT
</b><b>                                     
</b>                         Cedar breezes in and speaks to a secretary.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Good morning. Where are they?
<b>                                     
</b><b>                         SECRETARY
</b><b>                                     
</b>                         Waiting for you in the other office.
<b> 
</b><b>                                                              
</b>                         He strides across the room to still 
                         another door marked "PRIVATE" and he 
                         disappears.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. CEDAR'S PRIVATE OFFICE
</b><b>                                     
</b><b>                         38. FULL SHOT
</b><b>                                     
</b>                         A group of associates sit around in 
                         large leather chairs, as Cedar barges 
                         in.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (beaming)
<b>                                     
</b>                         Good morning. Hello, boys.
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         MEN
</b><b>                                     
</b>                         (ad lib)
<b>                                     
</b>                         Hello, John.
<b>                                     
</b>                         What happened?
<b>                                     
</b>                         Well, what's he like?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         We've got nothing to worry about. He's 
                         as naive as a child.
<b>                                      
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         John
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Close that door.
<b>                                     
</b>                         (into dictograph)
<b>                                     
</b>                         Will you get Mrs. Cedar on the phone, 
                         please?
<b>                                      
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         Come on, John. What happened?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (to associates)
<b>                                     
</b>                         The smartest thing I ever did was to 
                         make that trip.
<b>                                      
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         (anxiously)
<b>                                     
</b>                         John, did you get the - uh
<b>                                     
</b><b>                         ? 351 ?
</b><b>                                     
</b><b>                         39. MED. SHOT - GROUP
</b><b>                                     
</b>                         Favoring Cedar.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (interrupting)
<b>                                     
</b>                         No, Budington, I didn't get the Power 
                         of Attorney. But don't worry, I will.
<b> 
</b><b>                                                              
</b>                         (beaming to his brothers)
<b>                                     
</b>                         I asked him last night what he was going 
                         to do with the money, and what do you 
                         suppose he said?
<b>                                      
</b><b>                         THE TWO BROTHERS
</b><b>                                     
</b>                         (gathering around him)
<b>                                     
</b>                         What?
<b>                                     
</b>                         I can't imagine.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         He said he guessed he'd give it away.
<b> 
</b><b>                                                              
</b><b>                         THE TWO BROTHERS
</b><b>                                     
</b>                         (laughing)
<b>                                     
</b>                         Give it away!?
<b>                                     
</b>                         The boy must be a nit-wit!
<b>                                     
</b>                         Budington hasn't enjoyed the joke - 
                         his mind still on their problem.
<b>                                      
</b><b>                         ONE OF THE BROTHERS
</b><b>                                     
</b>                         Well, John, you had the right hunch!
<b> 
</b><b>                                                              
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         John, if you don't mind my saying so 
                         - we can't afford to
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (irascibly)
<b>                                     
</b>                         I know, Budington. We can't afford to 
                         have the books investigated right now. 
                         You must have said that a thousand times 
                         already.
<b>                                      
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         But what if they fall into somebody 
                         else's hands, why - uh
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Well, it hasn't happened yet - has it?
<b> 
</b><b>                                                              
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         (wailing)
<b>                                     
</b>                         But a half million dollars! My goodness, 
                         where are we going to get
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (exploding)
<b>                                     
</b>                         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!
<b>                                      
</b>                         (pause - change of tone)
<b>                                     
</b>                         I'll take it easy. Those books'll never 
                         leave this office.
<b>                                      
</b><b>                         ? 352 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. AN APARTMENT
</b><b>                                     
</b><b>                         40. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         WIFE
</b><b>                                     
</b>                         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?
<b> 
</b><b>                                                              
</b>                         She storms around the room. George merely 
                         twitches his nose but says nothing.
<b> 
</b><b>                                                              
</b><b>                         WIFE
</b><b>                                     
</b>                         (slaps the paper George is reading)
<b> 
</b><b>                                                              
</b>                         I say, what did you get?
<b>                                     
</b><b>                         GEORGE
</b><b>                                     
</b>                         Stop yelling. Can I help it if my uncle 
                         didn't like me?
<b>                                      
</b><b>                         WIFE
</b><b>                                     
</b>                         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!
<b>                                      
</b><b>                         GEORGE
</b><b>                                     
</b>                         Oh, shut up! It's too late now, and 
                         you're a nuisance!
<b>                                      
</b><b>                         WIFE
</b><b>                                     
</b>                         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!
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. EDITOR'S OFFICE, DAILY MAIL
</b><b>                                     
</b><b>                         41. FULL SHOT
</b><b>                                     
</b>                         The editor stands in front of his desk. 
                         Four of five reporters in front of him 
                         - several photographers. In the b.g., 
                         leaning against the wall near the door, 
                         apparently indifferent, is Babe Bennett. 
                         The editor, Mac, is haranguing them.
<b> 
</b><b>                                                              
</b><b>                         MAC
</b><b>                                     
</b>                         (as he blows his nose)
<b>                                     
</b>                         He's news! Every time he blows his nose, 
                         it's news. A corn-fed bohunk like that 
                         falling into the Semple fortune is hot 
                         copy . . . But it's got to be personal. 
                         It's got to have an angle. What does 
                         he think about? How does it feel to 
                         be a millionaire! Is he going to get 
                         married! What does he think of New York! 
                         Is he smart? Is he dumb? . . . A million 
                         angles!
<b>                                      
</b><b>                         42. CLOSE SHOT - BABE
</b><b>                                     
</b>                         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:
<b> 
</b><b>                                                              
</b><b>                         ? 353 ?
</b><b>                                     
</b><b>                         43. MEDIUM SHOT
</b><b>                                     
</b>                         Of them all, as Mac continues:
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         He's been here three days, and what 
                         have you numbskulls brought in! Any 
                         halfwit novice could have done better!
<b> 
</b><b>                                                              
</b><b>                         REPORTER'S VOICE
</b><b>                                     
</b>                         Yeah, we tried too
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Am I talking too loud? Or annoying anybody?
<b> 
</b><b>                                                              
</b><b>                         REPORTER
</b><b>                                     
</b>                         You know Corny Cobb. He's keeping him 
                         under lock and key.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         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!
<b>                                      
</b>                         They scramble to their feet. One of 
                         the reporters mumbles something as he 
                         passes Mac on the way to the door.
<b> 
</b><b>                                                              
</b><b>                         REPORTER
</b><b>                                     
</b>                         (Mumbles.)
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         (alert)
<b>                                     
</b>                         What was that?
<b>                                     
</b><b>                         REPORTER
</b><b>                                     
</b>                         (thinking fast - covering up)
<b>                                     
</b>                         Huh? I said you had dirty plaster.
<b> 
</b><b>                                                              
</b><b>                         44. MED. CLOSE SHOT AT DOOR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         45. MEDIUM SHOT
</b><b>                                     
</b>                         As Mac turns to Babe.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         You too! Thought I could depend on you, 
                         but you're getting as bad as the rest 
                         of them.
<b>                                      
</b>                         He grabs up a handful of papers and 
                         starts out.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (flicking the string)
<b>                                     
</b>                         Look, I can do it!
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         ? 354 ?
</b><b>                                     
</b><b>                         46. CLOSE TWO SHOT
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, he's not getting away with anything.
<b> 
</b><b>                                                              
</b><b>                         MAC
</b><b>                                     
</b>                         (excited)
<b>                                     
</b>                         Listen, Babe - get me some stuff on 
                         this guy, and you can have
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Can I have a month's vacation?
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         With pay!
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         With pay!
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (casually, as she starts away)
<b>                                     
</b>                         Leave four columns open on the front 
                         page tomorrow.
<b>                                      
</b><b>                         47. MEDIUM SHOT
</b><b>                                     
</b>                         As Babe crosses to door.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Now you're talking, Babe. I'll keep 
                         the whole front page open. What are 
                         you going to do?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (at door)
<b>                                     
</b>                         Have lunch.
<b>                                     
</b>                         She exits. Mac's face lights up happily.
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. RESIDENCE
</b><b>                                     
</b><b>                         48. LONG SHOT
</b><b>                                     
</b>                         Of a large, imposing-looking residence.
<b> 
</b><b>                                                              
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         49. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow stands awkwardly between 
                         two tailors - who chalk and pin a suit 
                         on him. After a few seconds of silence:
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         It's the first time I ever had a suit 
                         made on purpose.
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         ? 355 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Besides wanting to be my lawyer, you 
                         also want to handle my investments too?
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Yes. That is to say
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, outside of your regular fee, how 
                         much extra will it cost?
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (too quickly)
<b>                                     
</b>                         Oh - nothing. No extra charge.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That involves a lot of extra work, doesn't 
                         it?
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (generously)
<b>                                     
</b>                         Yes, but that's an added service a firm 
                         like Cedar, Cedar, Cedar and Budington 
                         usually donates.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Budington. Funny, I can't think of a 
                         rhyme for Budington yet.
<b>                                      
</b><b>                         50. WIDER ANGLE
</b><b>                                     
</b>                         As a butler stands in the doorway.
<b> 
</b><b>                                                              
</b><b>                         BUTLER
</b><b>                                     
</b>                         The gentlemen from the opera are still 
                         waiting in the board room, sir. They're 
                         getting a trifle impatient, sir.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         They are? I forgot all about them.
<b> 
</b><b>                                                              
</b>                         (to Cobb)
<b>                                     
</b>                         What do you think they want?
<b>                                     
</b><b>                         ? 356 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Well, your uncle was Chairman of the 
                         Board of Directors. They probably expect 
                         you to carry on.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (rising)
<b>                                     
</b>                         I'll tell those mugs to keep their shirts 
                         on, that you'll be right down.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Thanks
<b>                                     
</b>                         (suddenly)
<b>                                     
</b>                         Oh, did you send that telegram to Jim 
                         Mason?
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Jim Mason? Oh, yeah. Yeah. No, I didn't 
                         send it. I've got it written out, though. 
                         Here it is.
<b>                                      
</b>                         (reaches into his pocket and reads)
<b> 
</b><b>                                                              
</b>                         "Arthur's been with the Tallow Works 
                         too long. STOP. Don't think we should 
                         fire him. Longfellow."
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Fine. Send it right away. I don't want 
                         him to fire Arthur.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Oh, sure. Sure. We don't want to fire 
                         Arthur.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He was the last baby my father delivered, 
                         Arthur was.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         I think you ought to give this matter 
                         some thought, Mr. Deeds.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Huh?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         I mean, about the Power of Attorney.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, yes. Yes, I will.
<b>                                     
</b>                         Cobb has stalled long enough to hear 
                         Longfellow's decision before he goes 
                         out of the room.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         51. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow, Cedar and the two tailors.
<b> 
</b><b>                                                              
</b><b>                         TAILOR
</b><b>                                     
</b>                         That's that.
<b>                                     
</b><b>                         ? 357 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You go to an awful lot of work to keep 
                         a fellow warm, don't you?
<b>                                      
</b><b>                         TAILOR
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b>                         A butler enters again.
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         A Mr. Hallor to see you sir.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (quickly)
<b>                                     
</b>                         Did you say Hallor?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Well, don't let him in.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Why not? Who is he?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         A lawyer representing some woman with 
                         a claim against the estate.
<b>                                      
</b>                         (to butler)
<b>                                     
</b>                         Tell him to see me at my office.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, if he has a claim, we'd better 
                         see him.
<b>                                      
</b>                         (to butler)
<b>                                     
</b>                         Send him in.
<b>                                     
</b>                         The butler disappears.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         He's capable of causing you a lot of 
                         trouble, Mr. Deeds.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         How can he make any trouble for me? 
                         I haven't done anything.
<b>                                      
</b>                         The butler reappears, followed by Hallor. 
                         The minute he appears, Cedar speaks 
                         up belligerently.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         I thought I told you to take up this 
                         matter with me, Hallor.
<b>                                      
</b><b>                         52. MED. CLOSE GROUP SHOT
</b><b>                                     
</b><b>                         HALLOR
</b><b>                                     
</b>                         I'm a little tired of being pushed around 
                         by you, Mr. Cedar - I don't care how 
                         important you are.
<b>                                      
</b>                         (to Longfellow)
<b>                                     
</b>                         Mr. Deeds, I represent Mrs. Semple.
<b> 
</b><b>                                                              
</b><b>                         ? 358 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (eyebrows raised)
<b>                                     
</b>                         Mrs. Semple?
<b>                                     
</b><b>                         HALLOR
</b><b>                                     
</b>                         Yes. Your uncle's common-law wife. She 
                         has a legal claim on the estate.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         We'll let the courts decide what her 
                         legal position is.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         You wouldn't dare go into court with 
                         a case like this - and you know it!
<b> 
</b><b>                                                              
</b>                         He turns to Longfellow, who has listened 
                         to them studyingly.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What kind of wife did you say she was?
<b> 
</b><b>                                                              
</b><b>                         HALLOR
</b><b>                                     
</b>                         Common-law wife. On top of that, there's 
                         a child.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         A child? My uncle's?
<b>                                     
</b><b>                         HALLOR
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's awful. The poor woman should 
                         be taken care of immediately.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         (pleased)
<b>                                     
</b>                         I'm glad to see you're willing to be 
                         reasonable, Mr. Deeds.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         If she was his wife, she should have 
                         all the money. That's only fair. I don't 
                         want a penny of it.
<b>                                      
</b>                         He yanks his trousers off and hands 
                         them to the tailor.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Don't make any rash promises
<b>                                     
</b>                         As the tailors exit, Cobb returns.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         You'd better get right down there. That 
                         opera mob is about to break into the 
                         Mad Song from "Lucia."[2]
<b>                                      
</b><b>                         ? 359 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Hallor)
<b>                                     
</b>                         Oh, I don't want to keep them waiting 
                         any longer. They're important people.
<b> 
</b><b>                                                              
</b>                         (to Cobb)
<b>                                     
</b>                         I wish you'd go along with me, Cobb. 
                         They're all strangers to me.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         Well, what about it, Mr. Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (getting into robe - to Hallor)
<b>                                     
</b>                         You'll excuse me, won't you? I'll be 
                         right back.
<b>                                      
</b>                         He exits with Cobb.
<b>                                     
</b><b>                         INT. CORRIDOR
</b><b>                                     
</b><b>                         53. MED. TRUCKING SHOT
</b><b>                                     
</b>                         As Longfellow and Cobb come out and 
                         start down corridor.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Gee, I'm busy. Did the opera people 
                         always come here for their meetings?
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's funny. Why is that?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (wisely)
<b>                                     
</b>                         Why do mice go where there's cheese?[3]
<b> 
</b><b>                                                              
</b><b>                         INT. BOARD ROOM
</b><b>                                     
</b><b>                         54. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         CHORUS OF VOICES
</b><b>                                     
</b>                         A drop in the bucket for him.
<b>                                     
</b>                         An excellent idea!
<b>                                     
</b>                         Why not? . . .
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         (slyly)
<b>                                     
</b>                         You know, gentlemen, we're really very 
                         fortunate the young man is so sympathetic 
                         toward music.
<b>                                      
</b>                         (winking)
<b>                                     
</b>                         He plays the tuba in the town band.
<b> 
</b><b>                                                              
</b><b>                         MAN
</b><b>                                     
</b>                         (who has been watching at door)
<b>                                     
</b>                         Here he comes.
<b>                                     
</b><b>                         ? 360 ?
</b><b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Good.
<b>                                     
</b>                         There is a shuffle of preparation.
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. DIRECTOR'S ROOM
</b><b>                                     
</b><b>                         55. SAME SCENE
</b><b>                                     
</b>                         With Longfellow and Cobb present. Longfellow 
                         looks around, completely awed.
<b>                                      
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Now, gentlemen, the first order of business 
                         will be the election of a new Chairman 
                         of the Board.
<b>                                      
</b><b>                         A MAN
</b><b>                                     
</b>                         (rising)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         A VOICE
</b><b>                                     
</b>                         Second.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         All those in favor . . .
<b>                                     
</b><b>                         EVERYBODY
</b><b>                                     
</b>                         Aye.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Carried.
<b>                                     
</b>                         (rises)
<b>                                     
</b>                         My congratulations, Mr. Deeds.
<b>                                     
</b><b>                         56. CLOSER SHOT
</b><b>                                     
</b>                         Featuring Longfellow.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (self-consciously)
<b>                                     
</b>                         I'm Chairman?
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         (humoring a child)
<b>                                     
</b>                         Oh Yes, of course - you've just been 
                         elected.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Cobb)
<b>                                     
</b>                         I'm Chairman.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (dryly)
<b>                                     
</b>                         Happy voyage.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Right here, Mr. Deeds.
<b>                                     
</b><b>                         ? 361 ?
</b><b>                                     
</b><b>                         57. WIDER ANGLE
</b><b>                                     
</b>                         As Longfellow is led to the president's 
                         chair. Douglas sits next to him.
<b>                                      
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Now, the next order of business is the 
                         reading of the Secretary's minutes . 
<b>                         . .
</b><b>                                      
</b><b>                         A VOICE
</b><b>                                     
</b>                         Move we dispense with it.
<b>                                     
</b><b>                         ANOTHER VOICE
</b><b>                                     
</b>                         Second.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         All in favor?
<b>                                     
</b><b>                         CHORUS OF VOICES
</b><b>                                     
</b>                         Aye!
<b>                                     
</b>                         Longfellow looks his surprise.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         I think they can be dispensed with. 
                         We're ready now for the reading of the 
                         Treasurer's report.
<b>                                      
</b><b>                         A VOICE
</b><b>                                     
</b>                         Move we dispense with it.
<b>                                     
</b><b>                         ANOTHER VOICE
</b><b>                                     
</b>                         Second.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         All in favor?
<b>                                     
</b><b>                         CHORUS OF VOICES
</b><b>                                     
</b>                         Aye!
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Quite right! Now, gentlemen, the next 
                         business will be
<b>                                      
</b><b>                         58. MED. CLOSE SHOT
</b><b>                                     
</b>                         Featuring Longfellow, as he interrupts:
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Wait a minute. What does the Chairman 
                         do?
<b>                                      
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Why, the Chairman presides at the meetings.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         There is an uncomfortable shuffle. For 
                         a few minutes, no one speaks. From the 
                         rear, a tall man rises.
<b>                                      
</b><b>                         ? 362 ?
</b><b>                                     
</b><b>                         59. CLOSE SHOT
</b><b>                                     
</b>                         Featuring treasurer.
<b>                                     
</b><b>                         TREASURER
</b><b>                                     
</b>                         The treasurer reports a deficit of $180,000 
                         for the current year.
<b>                                      
</b><b>                         60. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         He is stunned.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         A deficit! You mean we've lost that 
                         much?
<b>                                      
</b><b>                         61. WIDER ANGLE
</b><b>                                     
</b>                         To include all at table.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         You see, Mr. Deeds, the opera is not 
                         conducted for profit.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         It isn't? What is it conducted for?
<b> 
</b><b>                                                              
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Why, it's an artistic institution
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         We own an opera house, don't we?
<b>                                     
</b><b>                         A VOICE
</b><b>                                     
</b>                         We do.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         And we give shows?
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         We provide opera.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         But you charge. I mean, you sell tickets?
<b> 
</b><b>                                                              
</b><b>                         VOICE
</b><b>                                     
</b>                         Of course.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         And it doesn't pay?
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         That's impossible. The opera has never 
                         paid.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (conclusively)
<b>                                     
</b>                         Well, then, we must give the wrong kind 
                         of shows.
<b>                                      
</b>                         Cobb smiles. The directors are stumped.
<b> 
</b><b>                                                              
</b><b>                         62. MED. CLOSE SHOT
</b><b>                                     
</b>                         Featuring Douglas and Longfellow.
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         The wrong kind! There isn't any wrong 
                         or right kind. Opera is opera!
<b>                                      
</b><b>                         ? 363 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Well, we were rather expecting it to 
                         come from you.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Me?!
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Naturally.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Excuse me, gentlemen, there's nothing 
                         natural about that .
<b>                                      
</b>                         He is suddenly startled. His ears prick 
                         up.
<b>                                      
</b><b>                         63. SHOT OF DIRECTORS
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         64. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow jumps up.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Hey, a fire engine!
<b>                                     
</b>                         He rushes to the window and peers out. 
                         The others stare unbelievably. The shriek 
                         of the siren finally dies down. Longfellow 
                         turns back.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (admiringly)
<b>                                     
</b>                         Gee, that was a pip![4]
<b>                                     
</b>                         (as he goes back to his seat)
<b>                                     
</b>                         We expect we're going to have one like 
                         that in Mandrake Falls pretty soon  
                         with a siren, too.
<b>                                      
</b>                         There is a pause while he gets seated.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Now, where were we?
<b>                                     
</b><b>                         65. MED. CLOSE SHOT AT TABLE
</b><b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         You see, Mr. Deeds, the opera is not 
                         conducted like any ordinary business.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Why not?
<b>                                     
</b><b>                         DOUGLAS
</b><b>                                     
</b>                         Because it just isn't a business, that's 
                         all!
<b>                                      
</b><b>                         ? 364 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         66. MED. SHOT - DIFFERENT ANGLE
</b><b>                                     
</b>                         He exits, followed by Cobb, whose eyes 
                         shriek his admiration. The directors 
                         watch them leave, flabbergasted. Cobb's 
                         head reappears in doorway.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Gentlemen, you'll find the smelling 
                         salts in the medicine chest.
<b>                                      
</b>                         He disappears. The Board of Directors 
                         stare in dumb stupefaction at the door.
<b> 
</b><b>                                                              
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         67. MED. SHOT
</b><b>                                     
</b>                         As Longfellow enters. Hallor and Cedar 
                         rise.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Sorry to keep you waiting so long. Those 
                         opera people are funny. They wanted 
                         me to put up $180,000.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         What about it, Mr. Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Why, I turned them down, naturally.
<b> 
</b><b>                                                              
</b><b>                         HALLOR
</b><b>                                     
</b>                         No, I mean - about my client.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh - we'll have to do something about 
                         the common wife.
<b>                                      
</b>                         Longfellow's valet, Walter, enters and 
                         holds up a full dress suit.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         Tails tonight, sir?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What - tails?
<b>                                     
</b>                         (turns and sees it)
<b>                                     
</b>                         Why, that's a monkey suit![5] Do you 
                         want people to laugh at me? I never 
                         wore one of those things in my life.
<b> 
</b><b>                                                              
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         ? 365 ?
</b><b>                                     
</b>                         The tailors are leaving.
<b>                                     
</b><b>                         TAILOR
</b><b>                                     
</b>                         (shaking hands with Longfellow)
<b>                                     
</b>                         Goodbye, and thank you sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Goodbye.
<b>                                     
</b>                         (turning to the others)
<b>                                     
</b>                         Wants me to wear a monkey suit.
<b>                                     
</b>                         Cedar and Hallor smile accommodatingly. 
                         Walter hands him a pair of trousers.
<b> 
</b><b>                                                              
</b><b>                         68. CLOSER SHOT OF GROUP
</b><b>                                     
</b>                         As Longfellow starts getting into the 
                         trousers.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         Of course, we don't want to appear greedy, 
                         Mr. Deeds.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Huh?
<b>                                     
</b><b>                         HALLOR
</b><b>                                     
</b>                         I say we don't want to appear greedy.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh. That.
<b>                                     
</b>                         Walter has gotten down on his knees 
                         and holds the ends of the pants.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What do you think you're doing?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Why, I'm assisting you, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Get up from there. I don't want anybody 
                         holding the ends of my pants. Get up 
                         from there!
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         (rising)
<b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to others)
<b>                                     
</b>                         Imagine that - holding the ends of my 
                         pants!
<b>                                      
</b>                         Hallor smiles feebly - his impatience 
                         growing.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         Mrs. Semple is entitled by law to one-third 
                         of the estate.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Walter)
<b>                                     
</b>                         And don't ever get down on your knees 
                         again, understand?
<b>                                      
</b><b>                         ? 366 ?
</b><b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         No, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Hallor)
<b>                                     
</b>                         Excuse me. What did you say?
<b>                                     
</b><b>                         HALLOR
</b><b>                                     
</b>                         Mrs. Semple is entitled to one-third 
                         of the estate.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         One-third? That's about $7,000,000 isn't 
                         it?
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         (quietly)
<b>                                     
</b>                         Well, we didn't expect that much. I'm 
                         sure I can get her to settle quietly 
                         for one million.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         If there's any talk of settlement, Hallor, 
                         take it up with me at the office.
<b> 
</b><b>                                                              
</b><b>                         HALLOR
</b><b>                                     
</b>                         I'll do no such thing
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's right. Don't you go to his office. 
                         There's only one place you're going, 
                         and that's out the door.
<b>                                      
</b>                         Hallor looks up, surprised.
<b>                                     
</b><b>                         HALLOR
</b><b>                                     
</b>                         You're making a mistake, Mr. Deeds.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         Now wait a minute, buddy
<b>                                     
</b><b>                         69. MED. SHOT
</b><b>                                     
</b>                         Longfellow crosses to bell cord and 
                         pulls it.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         HALLOR
</b><b>                                     
</b>                         No use in getting tough. That'll get 
                         you nowhere, Mr. Deeds.
<b>                                      
</b>                         (strongly)
<b>                                     
</b>                         You know, we've got letters.
<b>                                     
</b><b>                         ? 367 ?
</b><b>                                     
</b>                         As a butler enters, Longfellow turns 
                         to him.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Will you show Mr. Hallor to the front 
                         door?
<b>                                      
</b><b>                         BUTLER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         70. CLOSE SHOT AT DOOR
</b><b>                                     
</b>                         As Hallor gets to it. Longfellow grabs 
                         him by the shirt front and half lifts 
                         him off the floor.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         He shoves Hallor violently and he stumbles 
                         out of scene. Cobb enters to Longfellow, 
                         his hand extended.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         I can't hold out on you any longer. 
                         Lamb bites wolf.
<b>                                      
</b>                         (shakes his head)
<b>                                     
</b>                         Beautiful.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Only common sense.
<b>                                     
</b><b>                         71. MED. SHOT
</b><b>                                     
</b>                         Cedar has been most uncomfortable through 
                         the scene, but now suavely assumes an 
                         admiring attitude.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (a forced smile)
<b>                                     
</b>                         I can't hold out any longer either, 
                         Mr. Deeds.
<b>                                      
</b>                         (holds out his hand)
<b>                                     
</b>                         Being an attorney for you will be a 
                         very simple affair.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Yes, of course, if you wish. But you 
                         must be prepared. This sort of thing 
                         will be daily routine.
<b>                                      
</b>                         (picks up his hat)
<b>                                     
</b>                         If it becomes annoying, you let me know. 
                         Goodbye, Mr. Deeds. Goodbye, sir.
<b> 
</b><b>                                                              
</b>                         Longfellow shakes his hand. Cedar exits. 
                         Longfellow stares after him disgustedly, 
                         wiping his hands with his handkerchief.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Even his hands are oily.
<b>                                     
</b>                         Walter has entered and holds up a coat 
                         for Longfellow.
<b>                                      
</b><b>                         ? 368 ?
</b><b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Well, how about tonight? What would 
                         you like in the way of entertainment?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Entertainment?
<b>                                     
</b><b>                         72. CLOSE TWO SHOT
</b><b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What're you talking about?
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Women! Ever heard of 'em?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Name your poison and I'll supply it.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Some other time, Cobb. Some other time.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         Okay, you're the boss.
<b>                                     
</b>                         (as he goes)
<b>                                     
</b>                         When your blood begins to boil, yell 
                         out. I'll be seeing you!
<b>                                      
</b><b>                         73. MED. SHOT
</b><b>                                     
</b>                         As Cobb exits. Longfellow turns to Walter, 
                         the valet.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He talks about women as if they were 
                         cattle.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         Every man to his taste, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Tell me, Walter, are all those stories 
                         I hear about my uncle true?
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         Well, sir, he sometimes had as many 
                         as twenty in the house at the same time.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Twenty! What did he do with them?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         That was something I was never able 
                         to find out, sir.
<b>                                      
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         ? 369 ?
</b><b>                                     
</b><b>                         EXT. CORRIDOR
</b><b>                                     
</b><b>                         74. MED. SHOT
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         He starts for the door. When he gets 
                         there he finds his way barred by two 
                         husky-looking mugs. He looks up surprised.
<b> 
</b><b>                                                              
</b><b>                         FIRST BODYGUARD
</b><b>                                     
</b>                         Hey, you going out?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Why yes. Isn't that all right?
<b>                                     
</b><b>                         2ND BODYGUARD
</b><b>                                     
</b>                         No. Don't ever want to go out without 
                         telling us.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Who are you?
<b>                                     
</b><b>                         BODYGUARDS
</b><b>                                     
</b>                         We're your bodyguards.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, yeah.
<b>                                     
</b><b>                         2ND BODYGUARD
</b><b>                                     
</b>                         Yeah, Mr. Cobb said stick to your tail 
                         no matter what.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's very nice of Mr. Cobb - but I 
                         don't want anybody sticking to my tail 
                         no matter what.
<b>                                      
</b><b>                         FIRST BODYGUARD
</b><b>                                     
</b>                         Sorry, mister. Orders is orders.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Is that so?
<b>                                     
</b><b>                         2ND BODYGUARD
</b><b>                                     
</b>                         Yes, sir. We gotta get you up in the 
                         morning - and we gotta put you to bed 
                         at night.
<b>                                      
</b><b>                         FIRST BODYGUARD
</b><b>                                     
</b>                         Only it's all right. No matter what 
                         we see - we don't see nuttin', see?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (smiling)
<b>                                     
</b>                         That's going to be fun.
<b>                                     
</b><b>                         2ND BODYGUARD
</b><b>                                     
</b>                         Some people like it.
<b>                                     
</b>                         Longfellow glances around the room thoughtfully, 
                         then continues:
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Uh, will you do something for me before 
                         we go out?
<b>                                      
</b><b>                         ? 370 ?
</b><b>                                     
</b><b>                         FIRST BODYGUARD
</b><b>                                     
</b>                         Sure!
<b>                                     
</b>                         The first bodyguard eagerly takes out 
                         a pistol. The second bodyguard slaps 
                         it away.
<b>                                      
</b><b>                         2ND BODYGUARD
</b><b>                                     
</b>                         (to first bodyguard)
<b>                                     
</b>                         Put that away, slug!
<b>                                     
</b>                         (to Longfellow)
<b>                                     
</b>                         At your service!
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I got a trunk in that room. Will you 
                         get it out for me?
<b>                                      
</b><b>                         2ND BODYGUARD
</b><b>                                     
</b>                         Certainly.
<b>                                     
</b><b>                         FIRST BODYGUARD
</b><b>                                     
</b>                         With pleasure.
<b>                                     
</b>                         The two bodyguards accommodatingly enter 
                         a closet. The moment they are gone, 
                         Longfellow closes the door calmly and 
                         turns the key.
<b>                                      
</b><b>                         BODYGUARDS
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Hey, hey! We're your bodyguards. You 
                         can't do this!
<b>                                      
</b>                         Longfellow whistles as he exits.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. FRONT OF HOUSE
</b><b>                                     
</b><b>                         75. MED. CLOSE SHOT
</b><b>                                     
</b>                         Longfellow comes out, glances over the 
                         horizon. The air is filled with a slight 
                         drizzle and he sighs happily.
<b>                                      
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         INT. TAXI CAB
</b><b>                                     
</b><b>                         76. CLOSE SHOT
</b><b>                                     
</b>                         Babe and two photographers, Bob and 
                         Frank, are huddled conspiratorially 
                         in the back seat of a taxi cab.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (pointing)
<b>                                     
</b>                         There he is. Yep, that's him.
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         That's who?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Get the cameras ready and follow me.
<b> 
</b><b>                                                              
</b><b>                         FRANK
</b><b>                                     
</b>                         What are you going to do?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Never mind. Follow me and grab whatever 
                         you can get.
<b>                                      
</b><b>                         ? 371 ?
</b><b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         I suppose it's going to be the same 
                         old thing.
<b>                                      
</b><b>                         FRANK
</b><b>                                     
</b>                         I tell you that dame's nuts.
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         Right.
<b>                                     
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         EXT. FRONT OF HOUSE
</b><b>                                     
</b><b>                         77. MED. CLOSE SHOT
</b><b>                                     
</b>                         Longfellow is exiting front gate.
<b>                                     
</b><b>                         78. MED. SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         79. MED. CLOSE SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         80. CLOSE SHOT - LONGFELLOW AND BABE 
</b><b>                         - LOW ANGLE
</b><b>                                      
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You fainted.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (feebly)
<b>                                     
</b>                         Oh, did I? I'm sorry . . .
<b>                                     
</b>                         She struggles to get to her feet.
<b>                                     
</b><b>                         81. WIDER ANGLE
</b><b>                                     
</b>                         Longfellow tries to assist her.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Can I help you?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         No, thank you. I'll be all right.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Look, this is my house. I'd like to
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, no, really - I'll be all right.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What happened?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Well, I guess I walked too much. I've 
                         been looking for a job all day. I found 
                         one, too. I start tomorrow.
<b>                                      
</b><b>                         ? 372 ?
</b><b>                                     
</b>                         (backing away)
<b>                                     
</b>                         You've been awfully kind. Thank you 
                         very much.
<b>                                      
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         82. CLOSE TWO SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (looking around)
<b>                                     
</b>                         Hey, taxi!
<b>                                     
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         INT. TAXI CAB
</b><b>                                     
</b><b>                         83. CLOSE SHOT
</b><b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         (to driver)
<b>                                     
</b>                         Hey, stupe! Follow that cab they just 
                         got into, will you? Hurry up! Step on 
                         it!
<b>                                      
</b><b>                         FRANK
</b><b>                                     
</b>                         Come on, come on!
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         Hurry up!
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INSERT: AN ELECTRIC SIGN:
</b><b>                                     
</b><b>                         "TULLIO'S  EAT WITH THE LITERATI"
</b><b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. TULLIO'S
</b><b>                                     
</b><b>                         84. MED. CLOSE SHOT
</b><b>                                     
</b>                         A corner table, surrounded by ferns, 
                         at which Longfellow and Babe sit. She's 
                         still eating.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Feel better now?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Mmm, it tastes so good. Mr. Deeds, I 
                         don't know how I can ever thank you.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Tell me more about yourself.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         (hanging her head)
<b>                                     
</b>                         Oh, I'm really just a nobody.
<b>                                     
</b>                         Longfellow spots a strolling violinist. 
                         He furtively beckons the fellow over. 
                         The musician leans into them with romantic 
                         strains.
<b>                                      
</b><b>                         ? 373 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (as the musician finishes and strolls 
                         away)
<b>                                      
</b>                         Oh, that was so lovely. Thank you.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You were a lady in distress, weren't 
                         you?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (looks up)
<b>                                     
</b>                         What?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh - uh - nothing.
<b>                                     
</b><b>                         85. WIDER ANGLE
</b><b>                                     
</b>                         As a waiter enters the scene and begins 
                         removing dishes.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Waiter! Has anybody come in yet?
<b>                                     
</b><b>                         WAITER
</b><b>                                     
</b>                         Huh? On, no. Nobody important.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Be sure and point 'em out to me, won't 
                         you?
<b>                                      
</b><b>                         WAITER
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I'm a writer myself, you know.
<b>                                     
</b>                         The waiter throws Longfellow a sidelong 
                         glance of complete boredom.
<b>                                      
</b><b>                         WAITER
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I write poetry.
<b>                                     
</b><b>                         WAITER
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b>                         He exits.
<b>                                     
</b><b>                         86. CLOSE TWO SHOT - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         No. That is, I didn't
<b>                                     
</b>                         (pause - while he looks at her)
<b>                                     
</b>                         Until I met you. I like talking to you, 
                         though
<b>                                      
</b>                         (moodily)
<b>                                     
</b>                         Imagine my finding you right on my doorstep.
<b> 
</b><b>                                                              
</b><b>                         ? 374 ?
</b><b>                                     
</b><b>                         87. WIDER ANGLE
</b><b>                                     
</b>                         The waiter enters again.
<b>                                     
</b><b>                         WAITER
</b><b>                                     
</b>                         Brookfield just came in.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, the poet? Where?
<b>                                     
</b><b>                         WAITER
</b><b>                                     
</b>                         Over at that big round table. The one 
                         that looks like a poodle.
<b>                                      
</b>                         Longfellow stares off scene - his eyes 
                         full of worship.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Babe)
<b>                                     
</b>                         Look - there's Brookfield, the poet.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (looks also)
<b>                                     
</b>                         Really?
<b>                                     
</b><b>                         88. MED. SHOT
</b><b>                                     
</b>                         From their angle, to show people at 
                         a table, engaged in conversation.
<b> 
</b><b>                                                              
</b><b>                         89. MED. CLOSE SHOT
</b><b>                                     
</b>                         At Longfellow's table. He stares off 
                         at them, awed. Babe watches his face.
<b> 
</b><b>                                                              
</b><b>                         90. MED. SHOT - AUTHOR'S TABLE
</b><b>                                     
</b>                         A group of five men, drinking - as the 
                         waiter enters.
<b>                                      
</b><b>                         WAITER
</b><b>                                     
</b>                         (confidentially - indicating Longfellow)
<b> 
</b><b>                                                              
</b>                         Pardon. Longfellow Deeds, who just inherited 
                         the Semple fortune, wants to meet you.
<b> 
</b><b>                                                              
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         Oh, yes. I read about him. He writes 
                         poetry on postcards.
<b>                                      
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Let's invite him over. Might get a couple 
                         of laughs. Getting rather dull around 
                         here.
<b>                                      
</b><b>                         MORROW
</b><b>                                     
</b>                         It's always dull here.
<b>                                     
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         (rising)
<b>                                     
</b>                         I'll get him.
<b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Good.
<b>                                     
</b><b>                         ? 375 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         91. MED. SHOT - ROUND TABLE
</b><b>                                     
</b>                         At which they are all seated now. Babe 
                         sits next to Longfellow, who is the 
                         center of attraction. Brookfield is 
                         just finishing introductions.
<b>                                      
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         Henaberry, Mr. Morrow, Bill - this is 
                         Mr. Deeds and his fiancée from Mandrake 
                         Falls.
<b>                                      
</b><b>                         THE GROUP
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         How do!
<b>                                     
</b>                         Hello!
<b>                                     
</b>                         Nice to meet you!
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Nice of you to ask us to come and sit 
                         with you. Back home we never get a chance 
                         to meet famous people.
<b>                                      
</b><b>                         BILL
</b><b>                                     
</b>                         (calling waiter)
<b>                                     
</b>                         Waiter! A little service here.
<b>                                     
</b><b>                         THE GROUP
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Yes!
<b>                                     
</b>                         Mr. Deeds is a distinguished poet.
<b> 
</b><b>                                                              
</b>                         A drink for Mr. Deeds!
<b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         He's a poet. Have a drink.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         No - I don't want it, thank you.
<b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Why, you must drink! All poets drink!
<b> 
</b><b>                                                              
</b><b>                         92. MED. CLOSE SHOT - THE GROUP
</b><b>                                     
</b><b>                         BILL
</b><b>                                     
</b>                         Tell us, Mr. Deeds. How do you go about 
                         writing your poems? We craftsmen are 
                         very interested in one another's methods.
<b> 
</b><b>                                                              
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Yes. Do you have to wait for an inspiration, 
                         or do you just dash it off?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (self-consciously)
<b>                                     
</b>                         Well, I don't know. I
<b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Mr. Morrow, over there, for instance, 
                         just dashes them off.
<b>                                      
</b><b>                         ? 376 ?
</b><b>                                     
</b><b>                         MORROW
</b><b>                                     
</b>                         Yes. That's what my publishers have 
                         been complaining about.
<b>                                      
</b>                         They all laugh superficially.
<b>                                     
</b><b>                         93. CLOSE SHOT GROUP - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b>                         Babe glances up at Longfellow, to see 
                         if he's aware that he is being laughed 
                         at. But he apparently isn't.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (laughing feebly)
<b>                                     
</b>                         Your readers don't complain, Mr. Morrow.
<b> 
</b><b>                                                              
</b><b>                         MORROW'S VOICE
</b><b>                                     
</b>                         Oh, thanks. Thanks.
<b>                                     
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         How about you, Mr. Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         Amazing! Why, that's true genius!
<b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Yes. Have you any peculiar characteristics 
                         when you are creating?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, I play the tuba.
<b>                                     
</b>                         They all laugh.
<b>                                     
</b><b>                         MORROW
</b><b>                                     
</b>                         I've been playing the harmonica for 
                         forty years - didn't do me a bit of 
                         good.
<b>                                      
</b><b>                         94. CLOSE SHOT - GROUP
</b><b>                                     
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         You wouldn't have one in your pocket, 
                         would you, Mr. Deeds?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (smiling)
<b>                                     
</b>                         What? A tuba?
<b>                                     
</b>                         They all laugh.
<b>                                     
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         No, a postcard - with one of your poems 
                         on it.
<b>                                      
</b>                         Longfellow is beginning to sense he 
                         is being kidded.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (his face sober)
<b>                                     
</b>                         No.
<b>                                     
</b><b>                         ? 377 ?
</b><b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         You mean to tell me you don't carry 
                         a pocketful around with you?
<b>                                      
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         Too bad! I was hoping you'd autograph 
                         one for me.
<b>                                      
</b><b>                         HENABERRY
</b><b>                                     
</b>                         I was too.
<b>                                     
</b><b>                         BILL
</b><b>                                     
</b>                         Quite right.
<b>                                     
</b><b>                         95. MED. GROUP SHOT
</b><b>                                     
</b>                         As they keep on. Longfellow has his 
                         eyes levelled on each speaker in turn, 
                         obviously cognizant of their ill-concealed 
                         jibes.
<b>                                      
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Wait a minute, boys. Perhaps Mr. Deeds 
                         would recite one for us.
<b>                                      
</b><b>                         THE OTHER'S VOICES
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Yes!
<b>                                     
</b><b>                         BROOKFIELD
</b><b>                                     
</b>                         That's a very good idea. Nothing like 
                         a poet reciting his own stuff.
<b>                                      
</b><b>                         ONE OF THE OTHERS
</b><b>                                     
</b>                         How about a Mother's Day poem, Mr. Deeds?
<b> 
</b><b>                                                              
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Exactly! Give us one that wrings the 
                         great American heart.
<b>                                      
</b><b>                         THE GROUP
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Yes.
<b>                                     
</b>                         Babe has been watching Longfellow, interested. 
                         Now, when their voices die down - and 
                         they wait expectantly - he speaks quietly.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (deeply hurt)
<b>                                     
</b>                         I guess I get the idea. I guess I know 
                         why I was invited here. To make fun 
                         of me.
<b>                                      
</b><b>                         96. MED. SHOT - GROUP
</b><b>                                     
</b><b>                         SEVERAL VOICES
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Oh, come now.
<b>                                     
</b>                         I wouldn't say that.
<b>                                     
</b><b>                         HENABERRY
</b><b>                                     
</b>                         Look, he's temperamental.
<b>                                     
</b><b>                         ? 378 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (levelling off at him)
<b>                                     
</b>                         Yeah, what if I am? What about it?
<b> 
</b><b>                                                              
</b>                         Henaberry's face sobers.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (simply)
<b>                                     
</b>                         It's easy to make fun of somebody if 
                         you don't care how much you hurt 'em.
<b> 
</b><b>                                                              
</b>                         (to Brookfield)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         97. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         As he rises, continuing:
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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 . . .
<b>                                      
</b><b>                         98. MED. SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         99. CLOSE TRUCKING SHOT
</b><b>                                     
</b>                         With Longfellow and Babe as they take 
                         several steps. Then he abruptly stops.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (turning to them)
<b>                                     
</b>                         There's just one thing more. If it weren't 
                         for Miss Dawson being here with me, 
                         I'd probably bump your heads together.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (quickly)
<b>                                     
</b>                         Oh, I don't mind.
<b>                                     
</b>                         Longfellow stares at her for a moment.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Then I guess maybe I will.
<b>                                     
</b>                         He starts back toward the table.
<b>                                     
</b><b>                         100. MED. SHOT AT TABLE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         ? 379 ?
</b><b>                                     
</b><b>                         WAITER
</b><b>                                     
</b>                         (calling out)
<b>                                     
</b>                         Manager!
<b>                                     
</b>                         Morrow, who never budged from his chair, 
                         and who has watched Longfellow with 
                         great admiration, now rises to catch 
                         up to him.
<b>                                      
</b><b>                         MORROW
</b><b>                                     
</b>                         (an outcry)
<b>                                     
</b>                         Eureka!
<b>                                     
</b><b>                         INT. FOYER OF TULLIO'S
</b><b>                                     
</b><b>                         101. MED. SHOT
</b><b>                                     
</b>                         As Morrow catches up to Longfellow and 
                         Babe, who are on their way out. The 
                         waiter is shooing people away.
<b>                                      
</b><b>                         WAITER
</b><b>                                     
</b>                         Step aside, step aside!
<b>                                     
</b>                         Morrow barges forward. Longfellow and 
                         Babe turn.
<b>                                      
</b><b>                         MORROW
</b><b>                                     
</b>                         (obviously groggy with drink)
<b>                                     
</b>                         Say fellow, you neglected me - and I 
                         feel very put out.
<b>                                      
</b>                         (points to his chin)
<b>                                     
</b>                         Look, sock it right there, will you? 
                         Lay one right on the button,[6] but 
                         sock it hard.
<b>                                      
</b><b>                         102. CLOSE SHOT - THE THREE
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's all right. I got it off my chest.
<b> 
</b><b>                                                              
</b><b>                         MORROW
</b><b>                                     
</b>                         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!
<b> 
</b><b>                                                              
</b>                         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.
<b>                                      
</b><b>                         MORROW
</b><b>                                     
</b>                         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!
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Thanks, but Miss Dawson and I are going 
                         out to see the sights.
<b>                                      
</b><b>                         MORROW
</b><b>                                     
</b>                         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
<b>                                      
</b>                         (Longfellow catches him before he falls 
                         backward in his enthusiasm)
<b>                                      
</b>                         thanks - and I'll show you sights that 
                         you've never seen before.
<b>                                      
</b><b>                         ? 380 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I'd kind of like to see Grant's Tomb 
                         - and the Statue of Liberty.
<b>                                      
</b><b>                         103. CLOSE SHOT - GROUP
</b><b>                                     
</b>                         Favoring Morrow.
<b>                                     
</b><b>                         MORROW
</b><b>                                     
</b>                         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?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (puzzled)
<b>                                     
</b>                         Binge?
<b>                                     
</b><b>                         MORROW
</b><b>                                     
</b>                         Yes. I mean the real McCoy. Listen, 
                         you play saloon with me, and I'll introduce 
                         you to every wit, every nit-wit, and 
                         every half-wit in New York. We'll go 
                         on a twister that'll make Omar the soused 
                         philosopher of Persia[7] look like an 
                         anemic on a goat's milk diet.
<b>                                      
</b>                         Longfellow saves him - once again - 
                         from crashing over.
<b>                                      
</b><b>                         104. CLOSE SHOT - GROUP
</b><b>                                     
</b>                         Featuring Longfellow.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (vaguely)
<b>                                     
</b>                         That ought to be fun.
<b>                                     
</b><b>                         MORROW
</b><b>                                     
</b>                         Fun? Say, listen, I'll take you on a 
                         bender that will live in your memory 
                         as a thing of beauty and joy forever.
<b> 
</b><b>                                                              
</b>                         (to someone off)
<b>                                     
</b>                         Boy! Boy! My headpiece!
<b>                                     
</b>                         He exits from the scene. CAMERA FOLLOWING 
<b>                         HIM.
</b><b>                                      
</b><b>                         MORROW
</b><b>                                     
</b>                         (to the world in general)
<b>                                     
</b>                         Oh, Tempora! Oh, Moeraes! Oh, Bacchus![8]
<b> 
</b><b>                                                              
</b>                         He bumps into a woman, who glares at 
                         him.
<b>                                      
</b><b>                         WOMAN
</b><b>                                     
</b>                         Oh, you're drunk.
<b>                                     
</b><b>                         MORROW
</b><b>                                     
</b>                         (unmindful)
<b>                                     
</b>                         Oh, you're right.
<b>                                     
</b><b>                         105. CLOSEUP - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Babe)
<b>                                     
</b>                         I guess if we go with him, we'll see 
                         things, huh?
<b>                                      
</b><b>                         ? 381 ?
</b><b>                                     
</b>                         She looks up at his face, amazed at 
                         his innocence.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Yes, I guess we will.
<b>                                     
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         INT. MAC'S OFFICE
</b><b>                                     
</b><b>                         106. MED. SHOT
</b><b>                                     
</b>                         Mac is reading the story, eyes sparkling. 
                         Babe is sprawled in a chair, doing tricks 
                         with a coin.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         (reads)
<b>                                     
</b>                         "'I play the tuba to help me think.' 
                         This is one of the many startling statements 
                         made by Longfellow Deeds - New York's 
                         new Cinderella Man - who went out last 
                         night to prove that his uncle, the late 
                         M.W. Semple - from whom he inherited 
                         $20,000,000 - was a rank amateur in 
                         the art of 'standing the town on its 
                         cauliflower ear' . . . "[9]
<b>                                      
</b>                         He looks up.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Cinderella Man! That's sensational, 
                         Babe! Sensational!
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         It took some high-powered acting, believe 
                         me.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         Did it?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I was the world's sweetest ingenue.
<b> 
</b><b>                                                              
</b><b>                         MAC
</b><b>                                     
</b>                         Is he really that big a sap?
<b>                                     
</b><b>                         107. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Favoring Babe.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         He's the original. There are no carbon 
                         copies of that one.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         If we could sell tickets, we'd make 
                         a fortune.
<b>                                      
</b>                         She covers the coin with palm of other 
                         hand, and the coin disappears. But Mac 
                         is too excited to pay any attention.
<b> 
</b><b>                                                              
</b><b>                         MAC
</b><b>                                     
</b>                         How'd you get the picture?
<b>                                     
</b><b>                         ? 382 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Had the boys follow us.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Marvelous!
<b>                                     
</b>                         (reads again)
<b>                                     
</b>                         "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.'"
<b>                                      
</b>                         (laughs)
<b>                                     
</b>                         Beautiful! What happened after that?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         I don't know. I had to duck to get the 
                         story out. He was so far along he never 
                         even missed me.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         When're you going to see him again?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Tonight, maybe.
<b>                                     
</b>                         (looks at her watch)
<b>                                     
</b>                         I'll phone him at noon.
<b>                                     
</b>                         (explaining)
<b>                                     
</b>                         Oh, my lunch hour. I'm a stenographer, 
                         you know. Mary Dawson.
<b>                                      
</b><b>                         108. MED. SHOT - THE TWO
</b><b>                                     
</b>                         Favoring Mac.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         (laughing)
<b>                                     
</b>                         You're a genius, Babe - a genius!
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I even moved into Mabel Dawson's apartment 
                         - in case old snoopy Cobb might start 
                         looking around.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         (all excited)
<b>                                     
</b>                         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.
<b>                                      
</b>                         (starts for her)
<b>                                     
</b>                         Babe, I could kiss you!
<b>                                     
</b><b>                         109. WIDER ANGLE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (sidestepping)
<b>                                     
</b>                         Oh, no. No. Our deal was for a month's 
                         vacation - with pay.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         Sure.
<b>                                     
</b><b>                         ? 383 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         With pay!
<b>                                     
</b>                         She is out the door.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         (yelling after her)
<b>                                     
</b>                         You'll get it, Babe. You'll get it.
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         110. CLOSE SHOT
</b><b>                                     
</b>                         Walter leans over the bed violently, 
                         shaking Longfellow, who is lost in drunken 
                         sleep.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         Mr. Deeds - Mr. Deeds, sir - you really 
                         must get up. It's late!
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (without budging - without opening his 
                         eyes)
<b>                                      
</b>                         You're Walter, aren't you?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I just wanted to make sure.
<b>                                     
</b><b>                         111. CLOSE SHOT - WALTER
</b><b>                                     
</b>                         He smiles.
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         If you'll permit me to say so, sir, 
                         you were out on quite a bender last 
                         night, sir.
<b>                                      
</b><b>                         112. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Bender? You're wrong, Walter. We started 
                         out to a binge but we never got to it.
<b> 
</b><b>                                                              
</b><b>                         113. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Walter offers him a drink on a tray.
<b> 
</b><b>                                                              
</b><b>                         WALTER
</b><b>                                     
</b>                         (humoring him)
<b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What's that?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         A Prairie Oyster, sir.[10]
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (slow to comprehend anything)
<b>                                     
</b>                         Prairie? Oysters?
<b>                                     
</b><b>                         ? 384 ?
</b><b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir. It makes the head feel smaller.
<b> 
</b><b>                                                              
</b>                         Longfellow takes it and downs it in 
                         one swig.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (his face finally reacting)
<b>                                     
</b>                         Oh. Oh!
<b>                                     
</b>                         (remembering)
<b>                                     
</b>                         Has Miss Dawson called yet?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Miss Dawson, sir? No, sir. No Miss Dawson 
                         has called, sir.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         She was a lady in distress. She wouldn't 
                         let me help her. Got a lot of pride. 
                         I like that.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         Oh, I do too, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I'd better call her up and apologize. 
                         I don't remember taking her home last 
                         night.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         I'd venture to say, sir, you don't remember 
                         much of anything that happened last 
                         night, sir.
<b>                                      
</b><b>                         114. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Favoring Longfellow.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What do you mean? I remember everything! 
                         Hand me my pants - I wrote her phone 
                         number on a piece of paper.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         You have no pants, sir.
<b>                                     
</b>                         Longfellow looks up slowly. Walter goes 
                         on:
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         You came home last night - without them.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (after a double take)
<b>                                     
</b>                         I did what!
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         As a matter of fact, you came home without 
                         any clothes. You were in your - uh - 
                         shorts. Yes, sir.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, don't be silly, Walter. I couldn't 
                         walk around in the streets without any 
                         clothes. I'd be arrested.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         That's what the two policemén said, 
                         sir.
<b>                                      
</b><b>                         ? 385 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What two policemen?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         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!"
<b> 
</b><b>                                                              
</b>                         Longfellow watches his face, fascinated. 
                         Slowly it is all coming back to him.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         115. REVERSE ANGLE
</b><b>                                     
</b>                         Favoring Walter.
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir. By the way, did you
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (pointing)
<b>                                     
</b>                         Please!
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         But how'll I put on the slipper, sir?
<b> 
</b><b>                                                              
</b>                         Longfellow's expression begs no disagreement. 
                         Walter stands, fumbling with the shoes 
                         from a stooped posture.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         (continuing)
<b>                                     
</b>                         Yes, sir. I beg pardon, sir, but did 
                         you ever find what you were looking 
                         for, sir?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Looking for?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         You kept searching me last night, sir. 
                         Going through my pockets. You said you 
                         were looking for a rhyme for Budington.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (flatly)
<b>                                     
</b>                         Better bring me some coffee, Walter.
<b> 
</b><b>                                                              
</b><b>                         WALTER
</b><b>                                     
</b>                         Very good, sir.
<b>                                     
</b>                         (remembering)
<b>                                     
</b>                         Oh, I beg pardon. A telegram came for 
                         you, sir.
<b>                                      
</b>                         (he hands the telegram to Longfellow)
<b> 
</b><b>                                                              
</b>                         I'll get you some black coffee, sir.
<b> 
</b><b>                                                              
</b><b>                         ? 386 ?
</b><b>                                     
</b><b>                         116. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (wildly)
<b>                                     
</b>                         Did you see all this stuff in the papers?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (holding out telegram)
<b>                                     
</b>                         Arthur wants to quit!
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Arthur! Who's Arthur?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He's the shipping clerk at the Tallow 
                         Works. Wants a $2 raise - or he'll quit.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (he goes crazy)
<b>                                     
</b>                         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?
<b>                                      
</b>                         He flings the paper on the bed. Longfellow 
                         glances at it, and his face clouds.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (while Longfellow reads)
<b>                                     
</b>                         And what'd you do to those bodyguards? 
                         They quit this morning. Said you locked 
                         them up.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, they insisted on following me.
<b> 
</b><b>                                                              
</b><b>                         117. TWO SHOT
</b><b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (wildly)
<b>                                     
</b>                         What do you think bodyguards are for?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (glances up)
<b>                                     
</b>                         What do they mean by this - "Cinderella 
                         Man!"
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Are those stories true?
<b>                                     
</b><b>                         118. CLOSE SHOT - LONGFELLOW AND COBB
</b><b> 
</b><b>                                                              
</b>                         Longfellow has his eyes glued on the 
                         paper.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I don't remember. "Cinderella Man!" 
                         What do they mean by that?
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         They'd call you anything if you gave 
                         them half a chance. They've got you 
                         down as a sap.
<b>                                      
</b><b>                         ? 387 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (calmly)
<b>                                     
</b>                         I think I'll go down and punch this 
                         editor on the nose.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (quickly)
<b>                                     
</b>                         No, you don't! Get this clear: Socking 
                         people is no solution for anything.
<b> 
</b><b>                                                              
</b><b>                         119. TWO SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Sometimes it's the only solution.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Not editors. Take my word for it. Not 
                         editors!
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         If they're going to poke fun at me, 
                         I'm going to
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (bends over, earnestly)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (referring to paper)
<b>                                     
</b>                         But what about this "Cinderella Man"?
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes, I guess I'll have to.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (mopping his brow)
<b>                                     
</b>                         Thank you.
<b>                                     
</b>                         (as he goes)
<b>                                     
</b>                         If you feel the building rock, it'll 
                         be me blasting into this editor.
<b>                                      
</b><b>                         120. MED. SHOT
</b><b>                                     
</b>                         He exits. During the scene Walter has 
                         entered with a tray, which he has adjusted 
                         on Longfellow's knee.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Cobb's right. I mustn't talk to anybody.
<b> 
</b><b>                                                              
</b><b>                         BUTLER
</b><b>                                     
</b>                         (entering)
<b>                                     
</b>                         Miss Dawson on the phone, sir.
<b>                                     
</b><b>                         ? 388 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (alertly)
<b>                                     
</b>                         Who? Miss Dawson?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         As the butler scurries around for the 
                         phone,
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. TOP OF FIFTH AVENUE BUS - NIGHT 
</b><b>                         - (PROCESS)
</b><b>                                      
</b><b>                         121. CLOSE SHOT - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b>                         Longfellow looks around, absorbed. Babe 
                         watches him.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         It's awfully nice of you to show me 
                         around like this.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         I enjoy it.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         The Aquarium was swell. If I lived in 
                         New York, I'd go there every day. I'll 
                         bet you do.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Well, I'd like to - but I have a job 
                         to think of.
<b>                                      
</b><b>                         EXT. STREET
</b><b>                                     
</b><b>                         122. MED. CLOSE SHOT - A TAXI
</b><b>                                     
</b>                         Directly behind the bus. A man's head 
                         is stuck out of taxi window. We recognize 
                         it as one of the photographers, Bob.
<b> 
</b><b>                                                              
</b><b>                         BOB
</b><b>                                     
</b>                         (to driver)
<b>                                     
</b>                         Hey, flap-ears![11] You better keep 
                         following that bus!
<b>                                      
</b><b>                         DRIVER'S VOICE
</b><b>                                     
</b>                         Keep your shirt on!
<b>                                     
</b><b>                         INT. THE TAXI - PROCESS
</b><b>                                     
</b><b>                         123. CLOSE SHOT - BOB AND FRANK
</b><b>                                     
</b>                         Two photographers, with their equipment. 
                         They keep their eyes glued on the bus 
                         in front. They return to their seats.
<b> 
</b><b>                                                              
</b><b>                         BOB
</b><b>                                     
</b>                         It don't look as though we're gonna 
                         get any pictures tonight.
<b>                                      
</b><b>                         FRANK
</b><b>                                     
</b>                         Babe ought to get him drunk again.
<b> 
</b><b>                                                              
</b><b>                         ? 389 ?
</b><b>                                     
</b><b>                         EXT. TOP OF BUS
</b><b>                                     
</b><b>                         124. CLOSE SHOT - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Got any news
<b>                                     
</b>                         (catches herself)
<b>                                     
</b>                         I mean, has anything exciting been happening 
                         lately?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Sure. I met you.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (laughs)
<b>                                     
</b>                         Oh. What's happening about the opera?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, that - well, we had another meeting. 
                         I told them I'd go on being Chairman 
                         if
<b>                                      
</b>                         (explaining)
<b>                                     
</b>                         I'm Chairman, you know.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yes, I know.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I told 'em I'd play along with them 
                         if they lowered their prices - and cut 
                         down expenses - and broadcast.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         What did they say?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Gosh, you look pretty tonight.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         What did they say?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Huh? Oh. They said I was crazy. Said 
                         I wanted to run it like a grocery store.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         What are they going to do?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (leans over close to her)
<b>                                     
</b>                         Do you always wear your hair like that?
<b> 
</b><b>                                                              
</b><b>                         125. WIDER SHOT
</b><b>                                     
</b>                         At this point, two girls pass by, chattering. 
                         One girl has a paper open.
<b>                                      
</b><b>                         FIRST GIRL
</b><b>                                     
</b>                         Isn't it a scream - "Cinderella Man!" 
                         The dope!
<b>                                      
</b><b>                         2ND GIRL
</b><b>                                     
</b>                         I'd like to get my hooks into that guy.
<b> 
</b><b>                                                              
</b><b>                         ? 390 ?
</b><b>                                     
</b><b>                         FIRST GIRL
</b><b>                                     
</b>                         Don't worry. Somebody's probably taking 
                         him for plenty.
<b>                                      
</b>                         They are gone. Longfellow glares after 
                         them. Babe is afraid to look up.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (quietly)
<b>                                     
</b>                         If they were men, I'd knock their heads 
                         together.
<b>                                      
</b>                         Babe is silent. Longfellow watches her 
                         for a moment.
<b>                                      
</b><b>                         126. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Favoring Longfellow.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Have you seen the papers?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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
<b>                                      
</b><b>                         127. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         She looks up, startled.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         "Cinderella Man!" I guess pretty soon 
                         everybody will be calling me "Cinderella 
                         Man."
<b>                                      
</b>                         Babe has had an uncomfortable time of 
                         it - and quickly changes the subject.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Would you like to walk the rest of the 
                         way? It's so nice out.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yeah, let's.
<b>                                     
</b>                         She jumps up from her seat, and Longfellow 
                         follows.
<b>                                      
</b><b>                         INT. THE TAXI
</b><b>                                     
</b><b>                         128. MED. CLOSE SHOT
</b><b>                                     
</b>                         Favoring the taxi driver.
<b>                                     
</b><b>                         DRIVER
</b><b>                                     
</b>                         Hey, wise guys. He's getting off.
<b>                                     
</b>                         This sets off a mad scramble.
<b>                                     
</b><b>                         BOB AND FRANK
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Hey, come on!
<b>                                     
</b><b>                         ? 391 ?
</b><b>                                     
</b>                         Pull over to the curb!
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. RIVERSIDE DRIVE - GRANT'S TOMB
</b><b> 
</b><b>                                                              
</b><b>                         129. MED. CLOSE SHOT - LONGFELLOW AND 
</b><b>                         BABE
</b><b>                                      
</b>                         He stands across the street from Grant's 
                         Tomb, looking solemn. His eyes moist. 
                         She is unaware of his emotion.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Come on, don't you want to see it?
<b> 
</b><b>                                                              
</b><b>                         INT. THE TAXI
</b><b>                                     
</b><b>                         130. MED. SHOT - BOB AND FRANK
</b><b>                                     
</b><b>                         FRANK
</b><b>                                     
</b>                         Feast your eyes. Grant's Tomb!
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         Is that it?
<b>                                     
</b>                         (to driver)
<b>                                     
</b>                         Hey, beetle-puss! The Tomb!
<b>                                     
</b><b>                         131. MED. CLOSE SHOT - LONGFELLOW AND 
</b><b>                         BABE
</b><b>                                      
</b>                         As they approach the monument.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         There you are. Grant's Tomb. I hope 
                         you're not disappointed.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (throatily)
<b>                                     
</b>                         It's wonderful.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         To most people, it's an awful letdown.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (in awe)
<b>                                     
</b>                         Huh?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I say, to most people it's a washout.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That depends on what they see.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (looks up at him)
<b>                                     
</b>                         Now, what do you see?
<b>                                     
</b><b>                         132. CLOSEUP - LONGFELLOW
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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
<b>                                      
</b>                         (dreamily)
<b>                                     
</b>                         Things like that can only happen in 
                         a country like America.
<b>                                      
</b><b>                         ? 392 ?
</b><b>                                     
</b><b>                         133. CLOSEUP - BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (overcome - he almost chokes on his 
                         final words)
<b>                                      
</b>                         Excuse me!
<b>                                     
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         INT. PRIVATE OFFICES
</b><b>                                     
</b><b>                         134. MED. CLOSE SHOT
</b><b>                                     
</b>                         A switchboard operator fielding calls.
<b> 
</b><b>                                                              
</b><b>                         SWITCHBOARD OPERATOR
</b><b>                                     
</b>                         Sorry, Mr. Hopper. Mr. Cedar won't answer 
                         his phone. Sorry.
<b>                                      
</b><b>                         OFFICE CLERK
</b><b>                                     
</b>                         (passing by)
<b>                                     
</b>                         Say, what's going on in the boss's office?
<b> 
</b><b>                                                              
</b><b>                         SWITCHBOARD OPERATOR
</b><b>                                     
</b>                         Search me. The three 'Cs' and little 
                         'B' have been in there for over an hour.
<b> 
</b><b>                                                              
</b><b>                         INT. CEDAR'S PRIVATE OFFICE
</b><b>                                     
</b><b>                         135. FULL SHOT
</b><b>                                     
</b>                         Cedar paces the floor. His brothers 
                         look worried. Budington is enthroned 
                         at Cedar's desk.
<b>                                      
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         I don't want to be critical, John, but 
                         here it is
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (pouncing on him)
<b>                                     
</b>                         Yes, I know. A week's gone by and we 
                         haven't got the Power of Attorney yet!
<b> 
</b><b>                                                              
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         Yes, but you said
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (walking way from him)
<b>                                     
</b>                         I don't care what I said. I can't strangle 
                         him, can I!
<b>                                      
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         It's ridiculous for us to have to worry 
                         about a boy like that.
<b>                                      
</b>                         (crosses to desk)
<b>                                     
</b>                         Look at these articles about him! "Cinderella 
                         Man!" Why, he's carrying on like an 
                         idiot.
<b>                                      
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         Exactly what I was saying to my wife 
                         when this
<b>                                      
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         Who cares what you were saying to your 
                         wife?
<b>                                      
</b><b>                         ? 393 ?
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         136. CLOSE SHOT AT DESK
</b><b>                                     
</b>                         As secretary's voice comes over dictograph:
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Yes?
<b>                                     
</b><b>                         SECRETARY'S VOICE
</b><b>                                     
</b>                         Mr. and Mrs. Semple are still waiting.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         (irritated)
<b>                                     
</b>                         I can't help it. Let them wait!
<b>                                     
</b>                         He snaps the dictograph off.
<b>                                     
</b><b>                         137. MED. SHOT GROUP
</b><b>                                     
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         Those people have been in to see me 
                         every day this week.
<b>                                      
</b><b>                         2ND BROTHER
</b><b>                                     
</b>                         Who are they ?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (dismissing it)
<b>                                     
</b>                         Relatives of old man Semple.
<b>                                     
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         They keep insisting they should have 
                         some nuisance value.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Nuisance value?
<b>                                     
</b><b>                         FIRST BROTHER
</b><b>                                     
</b>                         They say if it hadn't been for Deeds, 
                         they'd have gotten all the money.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         (suddenly)
<b>                                     
</b>                         Nuisance value.
<b>                                     
</b>                         (thinks a minutes - crosses to door)
<b> 
</b><b>                                                              
</b>                         Maybe they have! Maybe they have! Maybe 
                         they have!
<b>                                      
</b>                         (opens door)
<b>                                     
</b>                         Mr. and Mrs. Semple, please. How do 
                         you do?
<b>                                      
</b>                         The others all stand around - as the 
                         Semples enter.
<b>                                      
</b><b>                         MRS. SEMPLE
</b><b>                                     
</b>                         We've been trying to
<b>                                     
</b><b>                         138. MED. CLOSE SHOT - CEDAR AND THE 
</b><b>                         SEMPLES
</b><b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (smoothly cutting her off)
<b>                                     
</b>                         I'm so sorry to have kept you waiting. 
                         How are you, sir? I don't know what 
                         my secretary could
<b>                                      
</b><b>                         ? 394 ?
</b><b>                                     
</b>                         have been thinking to keep you waiting 
                         this long.
<b>                                      
</b>                         (to one of his brothers)
<b>                                     
</b>                         Will you bring the chairs? Quickly. 
                         Will you have a cigar, Mr. Semple?
<b> 
</b><b>                                                              
</b><b>                         MR. SEMPLE
</b><b>                                     
</b>                         Thanks.
<b>                                     
</b>                         Semple takes the cigar - rather flabbergasted 
                         at all the sudden attention showered 
                         upon him.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. ROOF OF TALL BUILDING - NIGHT
</b><b> 
</b><b>                                                              
</b><b>                         139. MED. SHOT - LONGFELLOW AND BABE
</b><b> 
</b><b>                                                              
</b>                         From over their shoulders, looking down 
                         on the lights and teeming activity of 
                         Times Square.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         There's Times Square.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You can almost spit on it, can't you?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Why don't you try?
<b>                                     
</b>                         He does try. The wind blows it back 
                         on him. She laughs, takes out a handkerchief 
                         and wipes it off his coat.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (as she wipes)
<b>                                     
</b>                         Oh! It's breezy up here.
<b>                                     
</b>                         He doesn't say anything right away.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         You're worried about those articles 
                         they're writing about you, aren't you?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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?
<b>                                      
</b>                         A guilty look spreads over Babe's face.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, they just do it to sell the newspapers, 
                         you know.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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?
<b>                                      
</b>                         An awkward pause.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Shall we go?
<b>                                     
</b><b>                         ? 395 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. CENTRAL PARK - NIGHT
</b><b>                                     
</b><b>                         140. MED. TRUCKING SHOT
</b><b>                                     
</b>                         As Babe and Longfellow walk.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (spotting a park bench)
<b>                                     
</b>                         Here's a nice place.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yeah. Anyway, there aren't any photographers 
                         around.
<b>                                      
</b><b>                         EXT. PARK - BEHIND SOME BUSHES
</b><b>                                     
</b><b>                         141. MEDIUM SHOT
</b><b>                                     
</b>                         Bob and Frank, sneaking around in the 
                         bushes.
<b>                                      
</b><b>                         142. CLOSE SHOT - LONGFELLOW AND BABE
</b><b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         You know, you said something to me when 
                         you first met me that I've thought about 
                         a great deal.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What's that?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         You said I was a lady in distress.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, that
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         What did you mean by that?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Nothing
<b>                                     
</b>                         There is a pause.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Have you got a - are you - uh - engaged 
                         or anything?
<b>                                      
</b><b>                         143. CLOSEUP - BABE
</b><b>                                     
</b>                         The corners of her mouth go up in sympathetic 
                         amusement.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         No. Are you?
<b>                                     
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         No.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         You don't go out with girls very much, 
                         do you?
<b>                                      
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         I haven't.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Why not?
<b>                                     
</b><b>                         ? 396 ?
</b><b>                                     
</b><b>                         144. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Favoring Longfellow.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, I don't know.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         You must have met a lot of swell society 
                         girls since you've been here. Don't 
                         you like them?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I haven't met anybody here that I like, 
                         particularly. They all seem to have 
                         the St. Vitus Dance.[12]
<b>                                      
</b>                         (awkwardly)
<b>                                     
</b>                         Except you, of course.
<b>                                     
</b>                         (a pause)
<b>                                     
</b>                         People here are funny. They work so 
                         hard at living - they forget how to 
                         live
<b>                                      
</b>                         (thoughtfully; leans back)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         145. REVERSE ANGLE
</b><b>                                     
</b>                         Favoring Babe. She stares at him curiously.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I'd rather have Mandrake Falls.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I'm from a small town too, you know.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (interested)
<b>                                     
</b>                         Really?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Probably as small as Mandrake Falls.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (finding a kindred soul)
<b>                                     
</b>                         Gosh! What do you know about that!
<b> 
</b><b>                                                              
</b>                         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.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         146. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Longfellow watches her face intently.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         I've often thought about going back.
<b> 
</b><b>                                                              
</b><b>                         ? 397 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You have?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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."
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He sounds like a person worth while 
                         knowing.
<b>                                      
</b>                         There is a pause while Longfellow watches 
                         her, and she is lost in thought.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (continuing)
<b>                                     
</b>                         He played in the town band, too.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He did? I play the tuba
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yeah, I know.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What did he play?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         The drums. He taught me to play some.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         He did?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yes. I can do "Swanee River." Would 
                         you like to hear me?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (enthusiastically)
<b>                                     
</b>                         Sure!
<b>                                     
</b><b>                         147. MEDIUM SHOT
</b><b>                                     
</b>                         She picks up a couple of branches. With 
                         the two sticks she drums on the bench 
                         seat - and sings "Swanee River."
<b>                                      
</b>                         When she is finished, though clearly 
                         delighted, he shows her a long face 
                         of mock-disappointment.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, I suppose you could do better.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Sure. I can sing "Humoresque."
<b>                                     
</b><b>                         ? 398 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         "Humoresque"? I'll bet you don't even 
                         know how it goes.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Sure. Look! You sing it over again, 
                         and I'll do "Humoresque" with you.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         It had better be good.
<b>                                     
</b>                         She starts again, and he sings "Humoresque" 
                         in counterpoint to her drumming.
<b>                                      
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         EXT. PARK - BEHIND SOME BUSHES
</b><b>                                     
</b><b>                         148. CLOSE SHOT - BOB AND FRANK
</b><b>                                     
</b>                         They wait with their camera. When they 
                         hear the singing, they look up, and 
                         then at each other in surprise.
<b>                                      
</b><b>                         BOB
</b><b>                                     
</b>                         I wonder if they'd want to make it a 
                         quartet.
<b>                                      
</b><b>                         FRANK
</b><b>                                     
</b>                         Shhh!
<b>                                     
</b><b>                         149. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         150. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (as he runs off)
<b>                                     
</b>                         Fire engine! Fire engine! I want to 
                         see how they do it. Wait for me, will 
                         you?
<b>                                      
</b><b>                         151. CLOSE SHOT - BOB AND FRANK BEHIND 
</b><b>                         BUSHES
</b><b>                                      
</b>                         Frank grabs the camera.
<b>                                     
</b><b>                         FRANK
</b><b>                                     
</b>                         Looks like the evening is not going 
                         to be wasted!
<b>                                      
</b><b>                         152. MEDIUM SHOT
</b><b>                                     
</b>                         They dash by the policeman, who looks 
                         up, startled.
<b>                                      
</b><b>                         153. LONG SHOT
</b><b>                                     
</b>                         As the fire engine slows down - and 
                         people are beginning to gather. We see 
                         Longfellow running toward the truck 
                         and hopping aboard.
<b>                                      
</b><b>                         154. MED. SHOT AT FIRE TRUCK
</b><b>                                     
</b>                         As Longfellow jumps on.
<b>                                     
</b><b>                         ? 399 ?
</b><b>                                     
</b><b>                         FRANK
</b><b>                                     
</b>                         Hello - what do you want?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (short salute)
<b>                                     
</b>                         Captain Deeds - fire volunteer - Mandrake 
                         Falls.
<b>                                      
</b><b>                         FIREMAN
</b><b>                                     
</b>                         (amused)
<b>                                     
</b>                         Hi, Cap! Boys, meet the Captain!
<b>                                     
</b><b>                         155. LONG SHOT - REVERSE ANGLE
</b><b>                                     
</b>                         Bob and Frank running with their cameras 
                         toward Longfellow.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. LIVING ROOM OF MABEL DAWSON'S STUDIO
</b><b> 
</b><b>                                                              
</b><b>                         156. CLOSEUP
</b><b>                                     
</b>                         Of typewriter carriage. It contains 
                         a paper upon which the following is 
                         typed:
<b>                                      
</b><b>                         "CINDERELLA MAN FIRE-EATING DEMON"
</b><b> 
</b><b>                                                              
</b>                         "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"
<b> 
</b><b>                                                              
</b>                         CAMERA PULLS BACK and we find Babe, 
                         staring at the sheet of paper in front 
                         of her. Her eyes have a distant look.
<b> 
</b><b>                                                              
</b><b>                         157. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         (softly)
<b>                                     
</b>                         What's the matter, hon?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (quickly)
<b>                                     
</b>                         Nothing.
<b>                                     
</b>                         Babe is too much absorbed to hear this. 
                         Getting no response, Mabel turns and 
                         studies her for a few seconds.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         What's up, Babe? Something's eating 
                         you.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         No. It's nothing.
<b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         My unfailing instinct tells me something's 
                         gone wrong with the stew.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (murmuring)
<b>                                     
</b>                         Don't be ridiculous.
<b>                                     
</b><b>                         ? 400 ?
</b><b>                                     
</b>                         She again resumes her typing. Mabel 
                         crosses to her and looks over her shoulder.
<b> 
</b><b>                                                              
</b><b>                         MABEL
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (jumping up)
<b>                                     
</b>                         I can't write it, Mabel! I don't know 
                         what's the matter with me.
<b>                                      
</b>                         Babe lights a cigarette. Mabel studies 
                         her.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         (quietly)
<b>                                     
</b>                         Uh-huh. I think I can tell you.
<b>                                     
</b>                         The phone bell rings. Mabel picks it 
                         up.
<b>                                      
</b><b>                         158. CLOSE SHOT AT PHONE
</b><b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         (into phone)
<b>                                     
</b>                         Hello . . .
<b>                                     
</b>                         (listens)
<b>                                     
</b>                         Yes, she's here. Who wants her?
<b>                                     
</b>                         (listens)
<b>                                     
</b>                         Who?
<b>                                     
</b>                         (listens)
<b>                                     
</b>                         Oh, yes. Yes, just a moment.
<b>                                     
</b>                         (her hand over the mouthpiece)
<b>                                     
</b>                         It's him - whatcha-ma-call-him - the 
                         "Cinderella Man." The "Cinderella Man"!
<b> 
</b><b>                                                              
</b>                         Babe grabs the phone.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Hello.
<b>                                     
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         159. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         Who lies dressed in bed, phone in hand.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (into phone)
<b>                                     
</b>                         Couldn't sleep. Kinda wanted to talk 
                         to you. Do you mind?
<b>                                      
</b><b>                         INT. MABEL'S LIVING ROOM
</b><b>                                     
</b><b>                         160. CLOSE SHOT - BABE AT PHONE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (sincerely)
<b>                                     
</b>                         No - not at all. I couldn't sleep either.
<b> 
</b><b>                                                              
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         161. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         At phone.
<b>                                     
</b><b>                         ? 401 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I wanted to thank you again for going 
                         out with me.
<b>                                      
</b>                         (listens)
<b>                                     
</b>                         Huh? Well, I don't know what I'd do 
                         without you. You've made up for all 
                         the fakes that I've met.
<b>                                      
</b><b>                         CONTINUATION SCENE 160
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Well, that's very nice. Thank you.
<b> 
</b><b>                                                              
</b><b>                         CONTINUATION SCENE 161
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You know what I've been doing since 
                         I got home? Been working on a poem.
<b> 
</b><b>                                                              
</b>                         (listens)
<b>                                     
</b>                         It's about you.
<b>                                     
</b>                         (listens)
<b>                                     
</b>                         Sometimes it's kinda hard for me to 
                         say things - so I write 'em.
<b>                                      
</b><b>                         CONTINUATION SCENE 160
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (touched)
<b>                                     
</b>                         I'd like to read it some time.
<b>                                     
</b>                         She listens for a moment, apparently 
                         moved by his sweetness.
<b>                                      
</b><b>                         CONTINUATION SCENE 161
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Maybe I'll have it finished next time 
                         I see you.
<b>                                      
</b>                         (listens)
<b>                                     
</b>                         Will I see you soon?
<b>                                     
</b>                         (listens)
<b>                                     
</b>                         Gosh, that's swell, Mary.
<b>                                     
</b>                         (listens)
<b>                                     
</b>                         Good night.
<b>                                     
</b>                         He hangs up, and lies back - enthralled.
<b> 
</b><b>                                                              
</b><b>                         CONTINUATION SCENE 160
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Good night.
<b>                                     
</b><b>                         INT. APT. LIVING ROOM
</b><b>                                     
</b><b>                         162. MED. CLOSE SHOT - AT PHONE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         163. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         (knowingly)
<b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         ? 402 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I'm crucifying him.
<b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         People have been crucified before.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Why? Why do we have to do it?
<b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         You started out to be a successful newspaper 
                         woman, didn't you?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Yeah, then what?
<b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         (shrugging)
<b>                                     
</b>                         Search me. Ask the Gypsies.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         MABEL
</b><b>                                     
</b>                         The guy's balmy.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Is he? Yeah, I thought so, too. I tried 
                         to laugh, but I couldn't. It stuck in 
                         my throat.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         Aw, cut it out, will you? You'll get 
                         me thinking about Charlie again.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         He's got goodness, Mabel. Do you know 
                         what that is?
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         Huh?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         No - of course you don't. We've forgotten. 
                         We're too busy being smart-alecks.
<b> 
</b><b>                                                              
</b>                         (sits at her typewriter)
<b>                                     
</b>                         Too busy in a crazy competition for 
                         nothing.
<b>                                      
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         FADE IN
</b><b>                                     
</b><b>                         SERIES OF INSERTS:
</b><b>                                     
</b>                         "Cinderella Man Fire-Eating Demon
<b> 
</b><b>                                                              
</b>                         Punches Photographer."
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b>                         "Cinderella Man to Reform Opera
<b>                                     
</b><b>                         ? 403 ?
</b><b>                                     
</b>                         Must be put on paying basis - or else 
                         - says post-card poet."
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b>                         "Madame Pomponi, Famous Opera Singer,
<b> 
</b><b>                                                              
</b>                         To Launch Deeds on Social Career"
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         164. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow is in bed in his pajamas, 
                         playing the tuba. Walter enters.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         I beg pardon, sir. I beg pardon, sir.
<b> 
</b><b>                                                              
</b>                         Longfellow stops, looking daggers at 
                         him.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         Madame Pomponi is on the telephone, 
                         sir.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Who?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Madame Pomponi. She says everything 
                         is all set for the reception.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What do you mean by coming in here when 
                         I'm playing?
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         But she's on the telephone
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Get out.
<b>                                     
</b>                         (pointing)
<b>                                     
</b>                         The evil finger's on you. Get out!
<b> 
</b><b>                                                              
</b>                         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.
<b>                                      
</b><b>                         INT. GRAND STAIRCASE
</b><b>                                     
</b><b>                         165. WIDE ANGLE
</b><b>                                     
</b>                         Showing Walter at the bottom of the 
                         stairs and Longfellow at the top.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Stop!
<b>                                     
</b>                         Walter halts. Longfellow gives a shout 
                         from the top of the stairs. There is 
                         a discernible echo.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Hey, did you hear that?
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         What, sir?
<b>                                     
</b><b>                         ? 404 ?
</b><b>                                     
</b>                         Longfellow gives another shout. There 
                         is another echo. He tries it again - 
                         louder. Another echo. It is all very 
                         satisfactory.
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         (pleased)
<b>                                     
</b>                         Why, that's an echo, sir!
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You try it.
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         (timidly)
<b>                                     
</b>                         Me, sir?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (an order)
<b>                                     
</b>                         Yeah.
<b>                                     
</b>                         Walter gives a bird-like hoot. There 
                         is an echo.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (firmly)
<b>                                     
</b>                         Louder.
<b>                                     
</b>                         Walter gives a louder hoot. And louder. 
                         Each time, an echo.
<b>                                      
</b>                         A butler in a bathrobe emerges to see 
                         what all the hullabaloo is about. Longfellow 
                         spots him.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to butler)
<b>                                     
</b>                         You try it.
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Me, sir?
<b>                                     
</b>                         But the butler clearly relishes the 
                         opportunity. He gives a little high-pitched 
                         squeak.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Louder!
<b>                                     
</b>                         The butler tries it again - much better. 
                         Another man-servant has emerged. Longfellow 
                         points to him.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You try it!
<b>                                     
</b>                         The man-servant tries it - very raspy, 
                         another tone altogether.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (waving like a conductor)
<b>                                     
</b>                         All together!
<b>                                     
</b>                         A symphony of hoots, shrieks, barks 
                         and echoes.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Again!
<b>                                     
</b>                         The household staff do it again.
<b>                                     
</b><b>                         ? 405 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (surveying the scene - then, dramatically)
<b> 
</b><b>                                                              
</b>                         Let that be a lesson to you.
<b>                                     
</b>                         With that, Longfellow spins on his heel 
                         and returns to his bedroom.
<b>                                      
</b>                         There is a pause. The butler takes command 
                         of the other two.
<b>                                      
</b><b>                         BUTLER
</b><b>                                     
</b>                         (gesturing imperiously)
<b>                                     
</b>                         Go back to your room, both of you!
<b> 
</b><b>                                                              
</b>                         Walter and the man-servant hasten to 
                         exit.
<b>                                      
</b>                         The butler waits until nobody is looking, 
                         then gives one, final hoot. He murmurs 
                         to himself with satisfaction as he exits.
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. LONGFELLOW'S HOME - NIGHT
</b><b>                                     
</b><b>                         166. LONG SHOT
</b><b>                                     
</b>                         Limousines arriving - from which guests 
                         emerge - in full evening dress.
<b>                                      
</b><b>                         INT. DRAWING ROOM - NIGHT
</b><b>                                     
</b><b>                         167. MED. SHOT AT DOOR
</b><b>                                     
</b>                         Madame Pomponi greets a group of guests. 
                         Ad-lib chatter is heard. From inside 
                         music emanates.
<b>                                      
</b><b>                         AD-LIB CHATTER
</b><b>                                     
</b>                         Oh, hello darling.
<b>                                     
</b>                         So good of you to come.
<b>                                     
</b>                         Sweet of you to ask me.
<b>                                     
</b>                         Where is he?
<b>                                     
</b>                         I'm just dying to see the "Cinderella 
                         Man."
<b>                                      
</b>                         CAMERA MOVES SWIFTLY among groups of 
                         people picking out vignettes of conversation. 
                         Longfellow is the hot topic.
<b>                                      
</b>                         A husband and a wife whispering:
<b>                                     
</b><b>                         A HUSBAND
</b><b>                                     
</b>                         Shh! - he may hear you.
<b>                                     
</b><b>                         A WIFE
</b><b>                                     
</b>                         Even if he heard you, he wouldn't understand.
<b> 
</b><b>                                                              
</b>                         A man and a woman gossiping:
<b>                                     
</b><b>                         A MAN
</b><b>                                     
</b>                         I hear he still believes in Santa Claus.
<b> 
</b><b>                                                              
</b><b>                         A WOMAN
</b><b>                                     
</b>                         Will he be Santa Claus? That's what 
                         I want to know.
<b>                                      
</b>                         Another man holding forth to two elegantly-dressed 
                         women:
<b>                                      
</b><b>                         ANOTHER MAN
</b><b>                                     
</b>                         Have you all got your slippers ready 
                         for the "Cinderella Man"?
<b>                                      
</b><b>                         ? 406 ?
</b><b>                                     
</b><b>                         WOMEN
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Yes, I have.
<b>                                     
</b>                         Everybody laughs.
<b>                                     
</b><b>                         FIRST WOMAN
</b><b>                                     
</b>                         With $20,000,000, he doesn't have to 
                         have looks!
<b>                                      
</b><b>                         2ND WOMAN
</b><b>                                     
</b>                         He won't have it long with that Pomponi 
                         woman hanging around him.
<b>                                      
</b>                         Two women in evening dress twittering 
                         like birds:
<b>                                      
</b><b>                         FIRST WOMAN
</b><b>                                     
</b>                         (to other woman)
<b>                                     
</b>                         My dear, I hear he can't think unless 
                         he plays his tuba!
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. MABEL'S BEDROOM
</b><b>                                     
</b><b>                         168. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         (breaking the silence)
<b>                                     
</b>                         You're a fool, Babe.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I just couldn't stand seeing him again.
<b> 
</b><b>                                                              
</b><b>                         MABEL
</b><b>                                     
</b>                         Running away is no solution.
<b>                                     
</b><b>                         169. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Babe is unresponsive.
<b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         (after a pause)
<b>                                     
</b>                         What'll I tell him if he calls up?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Tell him I had to leave suddenly. I 
                         got a job in China - some place.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         You're acting like a school girl.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (suddenly - tensely)
<b>                                     
</b>                         What else can I do? Keeping this up 
                         is no good. He's bound to find out sometime.
<b> 
</b><b>                                                              
</b>                         (softly)
<b>                                     
</b>                         At least I can save him that .
<b>                                     
</b>                         They are suddenly startled by the boisterous 
                         entrance of Bob and Frank, whose voices 
                         are heard as they barge in.
<b>                                      
</b><b>                         ? 407 ?
</b><b>                                     
</b><b>                         170. MEDIUM SHOT
</b><b>                                     
</b>                         Babe, not wishing to explain to them, 
                         hides her bag - and follows Mabel to 
                         greet them in the living room.
<b>                                      
</b><b>                         INT. LIVING ROOM
</b><b>                                     
</b><b>                         171. MED. FULL SHOT
</b><b>                                     
</b>                         The boys cross to a table and drop their 
                         cameras.
<b>                                      
</b><b>                         BOB AND FRANK
</b><b>                                     
</b>                         Say, where is everybody? Come on, Babe 
                         - the artillery's ready.
<b>                                      
</b>                         Mabel enters. Babe stands in doorway.
<b> 
</b><b>                                                              
</b><b>                         MABEL
</b><b>                                     
</b>                         (by way of greeting)
<b>                                     
</b>                         It's those two sore spots again.
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         You shoulda been down to the office 
                         today, Babe.
<b>                                      
</b><b>                         FRANK
</b><b>                                     
</b>                         Yeah. Mac threw Cobb out again.
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         Boy, was he burning.
<b>                                     
</b><b>                         FRANK
</b><b>                                     
</b>                         (reaching for a bottle)
<b>                                     
</b>                         Just one little drink - and then we're 
                         ready to shoot.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         (grabbing it away)
<b>                                     
</b>                         Just a minute. No, you don't.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         We're not going out tonight.
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         Thought you had a date with him.
<b>                                     
</b><b>                         172. CLOSE SHOT - BABE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         It's off. He's having a party at his 
                         house.
<b>                                      
</b><b>                         173. MED. CLOSE SHOT
</b><b>                                     
</b>                         Frank, Bob and Mabel.
<b>                                     
</b><b>                         FRANK
</b><b>                                     
</b>                         Say, what's the matter with her now 
<b>                         !
</b><b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         You wouldn't know if I drew you a diagram. 
                         Now, run along and peddle your little 
                         tin-types.
<b>                                      
</b><b>                         BOB
</b><b>                                     
</b>                         What is this? Throwing us out of here's 
                         getting to be a regular habit.
<b>                                      
</b>                         There is a knock on the door. They all 
                         look up.
<b>                                      
</b><b>                         ? 408 ?
</b><b>                                     
</b><b>                         174. CLOSE SHOT AT DOOR
</b><b>                                     
</b>                         As Mabel opens the door slightly. We 
                         see Longfellow. Mabel's eyes open in 
                         surprise.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Is Mary Dawson here? I'm Longfellow 
                         Deeds.
<b>                                      
</b><b>                         175. CLOSE SHOT - BOB AND FRANK
</b><b>                                     
</b>                         They stand - stupefied.
<b>                                     
</b><b>                         176. CLOSE SHOT - MABEL
</b><b>                                     
</b>                         She waves her hand back of her, for 
                         them to hide.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         (loud - for the boys)
<b>                                     
</b>                         Oh! Oh, yes, of course. Longfellow Deeds. 
                         Come in. Step in, please.
<b>                                      
</b><b>                         177. CLOSE SHOT - BOB AND FRANK
</b><b>                                     
</b>                         They duck behind the sofa, CAMERA PANNING 
<b>                         WITH THEM.
</b><b>                                      
</b><b>                         178. FULL SHOT
</b><b>                                     
</b>                         Longfellow enters. Mabel closes the 
                         door behind him, watching him speculatively. 
                         Longfellow turns to Mabel.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You're Mabel - her sister - aren't you?
<b> 
</b><b>                                                              
</b><b>                         MABEL
</b><b>                                     
</b>                         (flustered)
<b>                                     
</b>                         Huh? Oh, yes - yes, of course. Her sister. 
                         Yes, I've been her sister for a long 
                         time.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Is she home?
<b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         Yeah. What?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Is Mary home?
<b>                                     
</b>                         They look at each other stupidly - smiling 
                         feebly.
<b>                                      
</b><b>                         179. CLOSE SHOT ON TABLE
</b><b>                                     
</b>                         Featuring the camera. A hand comes in 
                         from behind the sofa and yanks the camera 
                         out of sight.
<b>                                      
</b><b>                         180. MEDIUM SHOT
</b><b>                                     
</b>                         Mabel and Longfellow still standing, 
                         looking at each other.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         Oh, Mary? Yes, of course. Well, I don't 
                         know whether she's home or not. I'll 
                         see.
<b>                                      
</b>                         As she turns, Babe appears in doorway.
<b> 
</b><b>                                                              
</b><b>                         MABEL
</b><b>                                     
</b>                         Why there she is! Of course she's home.
<b> 
</b><b>                                                              
</b>                         (feebly)
<b>                                     
</b>                         Stupid of me . . .
<b>                                     
</b><b>                         ? 409 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Hello.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Hello, Mary. I waited in the park for 
                         you over an hour. I thought maybe you'd 
                         forgotten.
<b>                                      
</b><b>                         181. MED. CLOSE SHOT - LONGFELLOW AND 
</b><b>                         BABE
</b><b>                                      
</b>                         Mabel in b.g.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I didn't think you could come with the 
                         party and everything.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, I wouldn't let them stop me from 
                         seeing you. So I threw them out!
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         You threw them out!
<b>                                     
</b><b>                         182. CLOSER SHOT
</b><b>                                     
</b><b>                         MABEL
</b><b>                                     
</b>                         You mean
<b>                                     
</b>                         (gesturing with hands)
<b>                                     
</b>                         by the neck or something?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Sure. They got on my nerves, so I threw 
                         'em out.
<b>                                      
</b>                         Mabel raises her eyebrows.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I guess that'll be in the papers tomorrow. 
                         It will give 'em something else to laugh 
                         at.
<b>                                      
</b><b>                         183. CLOSEUP - BABE
</b><b>                                     
</b>                         Her face clouds - miserably.
<b>                                     
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         (lightly)
<b>                                     
</b>                         I don't mind though. I had a lot of 
                         fun doing it.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (quickly)
<b>                                     
</b>                         Would you like to go for a walk?
<b>                                     
</b><b>                         184. MED. CLOSE SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes, if it isn't too late.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (going to bedroom)
<b>                                     
</b>                         I'll get my hat.
<b>                                     
</b>                         She disappears, leaving Mabel and Longfellow 
                         again staring at each other, self-consciously. 
                         Mabel smiles, ill-at-ease.
<b>                                      
</b><b>                         ? 410 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Nice day out - er, nice night - wasn't 
                         it? - isn't it?
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         (tremulously)
<b>                                     
</b>                         Yes, lovely. We've had a lot of nice 
                         weather lately.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (after a pause)
<b>                                     
</b>                         It would be a nice night to go for a 
                         walk, don't you think?
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         Oh yes, I think it'd be a swell night 
                         to go for a walk. A nice long one.
<b> 
</b><b>                                                              
</b><b>                         185. CLOSE SHOT - BEHIND SOFA
</b><b>                                     
</b>                         Bob and Frank, holding their breaths.
<b> 
</b><b>                                                              
</b><b>                         186. MEDIUM SHOT
</b><b>                                     
</b>                         Babe comes out of bedroom.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Ready?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Gosh, she looks better every time I 
                         see her.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (vaguely)
<b>                                     
</b>                         Thank you.
<b>                                     
</b>                         She crosses to the door.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Mabel)
<b>                                     
</b>                         Goodnight. Don't worry. I won't keep 
                         her out late.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         Thank you so much. Good night.
<b>                                     
</b>                         They exit. Mabel sighs relievedly. The 
                         boys jump from their crouching positions.
<b> 
</b><b>                                                              
</b><b>                         FRANK
</b><b>                                     
</b>                         (wobbling forward)
<b>                                     
</b>                         Ow! My foot's asleep!
<b>                                     
</b><b>                         BOB
</b><b>                                     
</b>                         (grabbing camera)
<b>                                     
</b>                         Come on - let's go!
<b>                                     
</b>                         Frank grabs his camera and both bolt 
                         toward the door. Mabel gets there one 
                         step ahead of them, and blocks their 
                         path.
<b>                                      
</b><b>                         MABEL
</b><b>                                     
</b>                         No, you don't. Just a minute. No more 
                         photographs.
<b>                                      
</b><b>                         ? 411 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. FRONT OF BABE'S HOME
</b><b>                                     
</b><b>                         187. CLOSE TRUCKING SHOT
</b><b>                                     
</b>                         As they walk slowly down the front steps.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         The reason why I wanted to take a walk, 
                         Mary, is 'cause I wanted to talk to 
                         you.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Let's just walk, okay?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         All right.
<b>                                     
</b><b>                         188. CLOSE TRUCKING SHOT
</b><b>                                     
</b>                         As they walk along a foggy street, on 
                         their faces.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Mary, I'm going home.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Are you? When?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         In a day or so, I think.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         I don't blame you.
<b>                                     
</b><b>                         189. CLOSE TWO SHOT
</b><b>                                     
</b>                         Continuing on them, as they slowly walk 
                         around the block.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         There is a long pause. Both lost in 
                         their own thoughts.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Do you mind if I talk to you, Mary? 
                         You don't have to pay any attention 
                         to me.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         No, I don't mind.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         All my life, I've wanted somebody to 
                         talk to. Back in Mandrake Falls, I always 
                         used to talk to a girl.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         A girl?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh, an imaginary one. I used to hike 
                         a lot through the woods and I'd always 
                         take this girl
<b>                                      
</b><b>                         ? 412 ?
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         (smiling)
<b>                                     
</b>                         She was beautiful.
<b>                                     
</b>                         (then moodily)
<b>                                     
</b>                         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.
<b>                                      
</b>                         They have arrived back at the front 
                         steps of Babe's home.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, here we are again.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yes, here we are again.
<b>                                     
</b>                         (after a pause)
<b>                                     
</b>                         Good night.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (then, quickly - his voice faltering)
<b> 
</b><b>                                                              
</b>                         Mary - I - excuse me
<b>                                     
</b><b>                         190. CLOSE TWO SHOT
</b><b>                                     
</b>                         Favoring Babe. She cuts him off, her 
                         voice shaking.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         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!
<b>                                      
</b><b>                         191. WIDER ANGLE
</b><b>                                     
</b>                         She runs up the steps.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Mary
<b>                                     
</b>                         She stops and turns. He walks up close 
                         to her.
<b>                                      
</b><b>                         192. CLOSER SHOT - THE TWO
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         You know the poem I told you about? 
                         It's finished.
<b>                                      
</b>                         His hand goes to his breast pocket - 
                         and then slowly is withdrawn - without 
                         bringing out the poem.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Would you like to read it? It's to you.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (scarcely audible)
<b>                                     
</b>                         Yes, of course.
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         ? 413 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (a little frightened)
<b>                                     
</b>                         You don't have to say anything, Mary. 
                         You can tell me tomorrow what you think.
<b> 
</b><b>                                                              
</b>                         She looks into his eyes, but does not 
                         respond. Then she holds the paper up 
                         and begins reading. Longfellow watches 
                         her anxiously.
<b>                                      
</b><b>                         193. CLOSEUP - BABE
</b><b>                                     
</b>                         Reading softly:
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         "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."
<b>                                      
</b>                         The last words come with difficulty. 
                         Babe's eyes are slowly welling up.
<b> 
</b><b>                                                              
</b><b>                         194. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Babe continues reading:
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         "My dream has been answered, but my 
                         life's just as bleak,
<b>                                      
</b>                         I'm handcuffed and speechless in your 
                         presence divine -
<b>                                      
</b>                         For my heart longs to cry out, if it 
                         only would speak,
<b>                                      
</b>                         'I love you, my angel - be mine, be 
                         mine.' "
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, darling!
<b>                                     
</b>                         Longfellow's arms encircle her and for 
                         a few moments they remain in an emotional 
                         embrace.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (huskily)
<b>                                     
</b>                         You don't have to say anything now. 
                         I'll wait till tomorrow - till I hear 
                         from you.
<b>                                      
</b><b>                         195. CLOSEUP - BABE
</b><b>                                     
</b>                         Her eyes are beset with fears. She loves 
                         him - but knows how hopeless it all 
                         is. She slowly starts freeing herself 
                         from his embrace.
<b>                                      
</b><b>                         196. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         As Babe, weeping softly, frees herself 
                         from his embrace.
<b>                                      
</b>                         Longfellow gives a yelp of joy and leaps 
                         down the steps. He trips over a garbage 
                         pail and bumps into passersby, making 
                         a racket as he zigzags down the street 
                         and out of scene.
<b>                                      
</b><b>                         ? 414 ?
</b><b>                                     
</b><b>                         A VOICE
</b><b>                                     
</b>                         (shouting)
<b>                                     
</b>                         Hey, what's the big idea?
<b>                                     
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         FADE IN
</b><b>                                     
</b><b>                         INT. NEWSPAPER OFFICE - DAY
</b><b>                                     
</b><b>                         197. CLOSE SHOT - MAC
</b><b>                                     
</b>                         Behind his desk.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Stop it, Babe! Stop it! What do you 
                         mean, you're quitting! You might as 
                         well tell me I'm quitting.
<b>                                      
</b>                         As he speaks, CAMERA DRAWS BACK to reveal 
                         Babe near a window, peering out moodily. 
                         Mac crosses over to her side.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         What's bothering you, huh?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (after a pause)
<b>                                     
</b>                         Last night he proposed to me.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Proposed to you! You mean he asked you 
                         to marry him?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         (alert)
<b>                                     
</b>                         Why, Babe - that's terrific!
<b>                                     
</b>                         (sees it in print)
<b>                                     
</b>                         "Cinderella Man Woos Mystery Girl! Who 
                         is the Mysterious Girl That"
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Print one line of that, and I'll blow 
                         your place up!
<b>                                      
</b><b>                         198. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         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?
<b>                                      
</b>                         (intrigued)
<b>                                     
</b>                         What a twist! You set out to nail him 
                         - and he
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (bitterly)
<b>                                     
</b>                         Yeah. Funny twist, isn't it?
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         (suddenly)
<b>                                     
</b>                         Say, you haven't gone and fallen for 
                         that mug, have you?
<b>                                      
</b><b>                         ? 415 ?
</b><b>                                     
</b>                         Babe's silence is eloquent.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Well, I'll be
<b>                                     
</b>                         He places an arm tenderly around her 
                         shoulder.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         That's tough, Babe.
<b>                                     
</b>                         Babe smiles wryly.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         (interested)
<b>                                     
</b>                         What're you going to do?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (walking away)
<b>                                     
</b>                         I'm going to tell him the truth.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Tell him you're Babe Bennett? Tell him 
                         you've been making a stooge out of him?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         I'm having lunch with him today. He 
                         expects an answer. It's going to be 
                         pretty.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         You're crazy! You can't do that!
<b>                                     
</b><b>                         199. MED. CLOSE SHOT - THE TWO
</b><b>                                     
</b>                         Over their shoulders, from behind, as 
                         Mac comforts her.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         He'll probably kick me right down the 
                         stairs. I only hope he does.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         I'll put you on another job. You need 
                         never see him again, eh?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         That's the rub.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Oh, as bad as that, huh?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (far-away)
<b>                                     
</b>                         Telling him is the long shot - I'm going 
                         to take it.
<b>                                      
</b>                         He watches her sympathetically. Babe 
                         sighs resignedly.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (looking around)
<b>                                     
</b>                         Well, it was fun while it lasted, Mac. 
                         I'll clean out my desk.
<b>                                      
</b>                         She leaves him. Mac is deeply moved 
                         by her problem.
<b>                                      
</b><b>                         ? 416 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. GRAND STAIRCASE
</b><b>                                     
</b><b>                         200. WIDE SHOT
</b><b>                                     
</b>                         As Longfellow, in a buoyant mood, emerges 
                         from his room and slides down the bannister 
                         of the grand staircase.
<b>                                      
</b><b>                         INT. INTIMATE DINING ROOM
</b><b>                                     
</b><b>                         201. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         How's it going? Okay?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Yes, quite all right. Thank you, sir.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (picking up a salt shaker and examining 
                         it)
<b>                                      
</b>                         Gold, eh?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         (as he continues his puttering)
<b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Fourteen carat?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Is that the best you've got?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Oh, yes sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (seizing on another detail)
<b>                                     
</b>                         Those flowers are too high. Won't be 
                         able to see her.
<b>                                      
</b>                         (lifts a bowl of flowers off)
<b>                                     
</b>                         Get a smaller bowl, will you?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         (repeating his command as he hands the 
                         bowl to the other butler)
<b>                                      
</b>                         A smaller bowl of flowers.
<b>                                     
</b><b>                         2ND BUTLER
</b><b>                                     
</b>                         (exiting with flowers)
<b>                                     
</b>                         Yes, sir. A smaller bowl of flowers.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to butler)
<b>                                     
</b>                         Did you get that stuff I was telling 
                         you about?
<b>                                      
</b><b>                         BUTLER
</b><b>                                     
</b>                         Stuff, sir?
<b>                                     
</b><b>                         ? 417 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That goo. That stuff that tastes like 
                         soap.
<b>                                      
</b><b>                         BUTLER
</b><b>                                     
</b>                         Oh, yes, sir. Here it is, sir. The pate 
                         de fois gras, sir.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yeah, that's fine. Have a lot of it 
                         because she likes it.
<b>                                      
</b><b>                         BUTLER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b>                         The other butler returns with a small 
                         bowl of flowers which he places in the 
                         center of the table.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Now you got the idea. Fine.
<b>                                     
</b>                         He sits in one of the chairs and leans 
                         forward in an imaginary conversation 
                         with Babe - his lips move but we hear 
                         nothing.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (motions to butler)
<b>                                     
</b>                         Sit over there, will you?
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         Me sir?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes.
<b>                                     
</b>                         The butler sits.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Yes. You're too tall. Slink lower, will 
                         you?
<b>                                      
</b>                         The butler does it.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         More. Now forward.
<b>                                     
</b>                         They are practically nose to nose over 
                         the flowers.
<b>                                      
</b><b>                         BUTLER
</b><b>                                     
</b>                         (seriously)
<b>                                     
</b>                         How is this, sir?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (rising)
<b>                                     
</b>                         Perfect! Perfect!
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         I wish you luck, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Thank you. Now don't touch a thing. 
                         Leave everything as it is.
<b>                                      
</b>                         He hurries toward his bedroom.
<b>                                     
</b><b>                         ? 418 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. BEDROOM
</b><b>                                     
</b><b>                         202. FULL SHOT
</b><b>                                     
</b>                         Longfellow enters.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (yelling)
<b>                                     
</b>                         Walter! Walter! Walter, where are you?
<b> 
</b><b>                                                              
</b>                         Walter enters, panic-stricken.
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir. What is it, sir? Anything 
                         happened3
<b>                                      
</b><b>                         203. MED. CLOSE SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Anything happened? I've got to get dressed! 
                         I can't meet her like this!
<b>                                      
</b><b>                         WALTER
</b><b>                                     
</b>                         But she isn't due for an hour, sir.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         An hour? What's an hour! You know how 
                         time flies, Walter. My tie? Get it.
<b> 
</b><b>                                                              
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir. Very good, sir. Here it is 
                         right here, sir. There, sir.
<b>                                      
</b>                         While putting it on, he sings "Humoresque" 
                         loudly and gaily.
<b>                                      
</b><b>                         204. MEDIUM SHOT
</b><b>                                     
</b>                         At this moment, Cobb bursts in - his 
                         face grim:
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Walter - merrily)
<b>                                     
</b>                         Will you tell the gentleman I'm not 
                         in?
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         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
<b> 
</b><b>                                                              
</b>                         At the mention of the name, Longfellow 
                         turns for the first time.
<b>                                      
</b><b>                         205. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         His face goes livid, as Cobb's voice 
                         continues:
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (between clenched teeth)
<b>                                     
</b>                         What are you talking about?
<b>                                     
</b><b>                         ? 419 ?
</b><b>                                     
</b><b>                         206. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow has started out toward him. 
                         In two long strides, Longfellow has 
                         grabbed Cobb by the shirt-front, ready 
                         to strangle him.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         All right. Go ahead. Sock away, and 
                         then try to laugh this off.
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         207. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         As he looks at the picture.
<b>                                     
</b><b>                         INSERT: PICTURE OF BABE BENNETT
</b><b>                                     
</b>                         Under which is the following:
<b>                                     
</b>                         "Louise (Babe) Bennett - wins Pulitzer 
                         Prize for reportorial job on Macklyn 
                         love triange."
<b>                                      
</b><b>                         BACK TO SCENE
</b><b>                                     
</b>                         Longfellow stares long and unbelievingly 
                         at the picture.
<b>                                      
</b><b>                         208. MED. CLOSE SHOT - COBB AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (adjusting his clothes)
<b>                                     
</b>                         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!
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (an outcry)
<b>                                     
</b>                         Shut up!
<b>                                     
</b>                         Longfellow, stunned, crosses to the 
                         bed - CAMERA PANNING WITH HIM. He slumps 
                         down and continues staring at picture.
<b> 
</b><b>                                                              
</b><b>                         209. MEDIUM SHOT
</b><b>                                     
</b>                         Cobb crosses to phone and picks up receiver.
<b> 
</b><b>                                                              
</b><b>                         CUT TO:
</b><b>                                     
</b><b>                         INT. NEWSPAPER OUTER OFFICE
</b><b>                                     
</b><b>                         210. MED. CLOSE SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         Aw, listen Babe, I can't let you quit 
                         now. You're not going through with this 
                         thing, are you?
<b>                                      
</b><b>                         ? 420 ?
</b><b>                                     
</b>                         Babe shakes her head with finality, 
                         as the phone bell rings.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         (picking up receiver)
<b>                                     
</b>                         I've seen 'em get in a rut like you 
                         before - but they always come back.
<b> 
</b><b>                                                              
</b>                         (into phone)
<b>                                     
</b>                         Hello . . . Yes. Just a minute.
<b>                                     
</b>                         He holds the receiver out to her.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         It's for you. In a couple weeks you'll 
                         get the itch so bad, you'll be working 
                         for nothing.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (into phone)
<b>                                     
</b>                         Hello . . .
<b>                                     
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         211. MEDIUM SHOT
</b><b>                                     
</b>                         Cobb is at the phone.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Babe Bennett? Just a minute.
<b>                                     
</b>                         He listens and hands phone to Longfellow.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (into phone)
<b>                                     
</b>                         Hello, Mary?
<b>                                     
</b><b>                         INT. NEWSPAPER OUTER OFFICE
</b><b>                                     
</b><b>                         212. CLOSE SHOT - BABE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (at phone)
<b>                                     
</b>                         Oh, hello darling.
<b>                                     
</b>                         Her face goes dead as she realizes she 
                         is speaking to Longfellow.
<b>                                      
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         213. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (at phone; strained)
<b>                                     
</b>                         Is it you who's been writing those articles 
                         about me?
<b>                                      
</b><b>                         INT. NEWSPAPER OUTER OFFICE
</b><b>                                     
</b><b>                         214. CLOSE SHOT - BABE
</b><b>                                     
</b>                         At phone.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Why - uh - I was just leaving - I'll 
                         be up there in a minute
<b>                                      
</b>                         (listens)
<b>                                     
</b>                         Look - uh, yes, I did - but I was just 
                         coming up to explain
<b>                                      
</b>                         The words die in her throat. She looks 
                         dully at the receiver.
<b>                                      
</b><b>                         ? 421 ?
</b><b>                                     
</b><b>                         INT. LONGFELLOW'S BEDROOM
</b><b>                                     
</b><b>                         215. CLOSEUP - LONGFELLOW
</b><b>                                     
</b><b>                         BABE'S VOICE
</b><b>                                     
</b>                         (coming over phone)
<b>                                     
</b>                         Oh listen, darling, wait a minute! Please! 
                         Listen
<b>                                      
</b>                         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.
<b> 
</b><b>                                                              
</b>                         Longfellow is silent a long time.
<b>                                     
</b><b>                         216. MEDIUM SHOT
</b><b>                                     
</b>                         As a butler enters.
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         I beg pardon, sir. Shall I serve the 
                         wine with the squab, sir?
<b>                                      
</b>                         Longfellow doesn't hear him.
<b>                                     
</b><b>                         BUTLER
</b><b>                                     
</b>                         (tries again)
<b>                                     
</b>                         I beg pardon, sir.
<b>                                     
</b><b>                         217. CLOSEUP - COBB
</b><b>                                     
</b>                         His face softens.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         If I knew you were going to take it 
                         so hard, I woulda kept my mouth shut. 
                         Sorry.
<b>                                      
</b><b>                         218. MEDIUM SHOT
</b><b>                                     
</b>                         As finally Longfellow speaks, without 
                         turning.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (quietly)
<b>                                     
</b>                         Pack my things, Walter. I'm going home.
<b> 
</b><b>                                                              
</b><b>                         WALTER
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b>                         He immediately busies himself.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. CORRIDOR
</b><b>                                     
</b><b>                         219. WIDE SHOT
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (trying to keep up with Longfellow)
<b> 
</b><b>                                                              
</b>                         You shouldn't be running away like this. 
                         What's going to happen to the Estate?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         They can have the Estate.
<b>                                     
</b><b>                         ? 422 ?
</b><b>                                     
</b>                         As they approach the staircase, a commotion 
                         is heard from stairs. Cobb hurries ahead 
                         to see what is going on.
<b>                                      
</b><b>                         INT. GRAND FOYER
</b><b>                                     
</b><b>                         220. MEDIUM SHOT
</b><b>                                     
</b>                         Two butlers are struggling with a wild-eyed 
                         man of middle age. They shout in unison.
<b> 
</b><b>                                                              
</b><b>                         BUTLERS
</b><b>                                     
</b>                         (simultaneously)
<b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         You can't come up here!
<b>                                     
</b>                         Let me go! I wanna see him!
<b>                                     
</b>                         He's not home, I tell you!
<b>                                     
</b>                         I wanna see that guy!
<b>                                     
</b>                         We'll send for the police!
<b>                                     
</b>                         Let me go!
<b>                                     
</b>                         They continue to struggle as Cobb reaches 
                         them.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         What's going on here?
<b>                                     
</b>                         The man yanks himself free.
<b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         There he is! I just wanted to get a 
                         look at him.
<b>                                      
</b>                         He sees Longfellow over Cobb's shoulder.
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         There you are! I just wanted to see 
                         what kind of a man you were!
<b>                                      
</b>                         He struggles to thrust Cobb aside.
<b> 
</b><b>                                                              
</b><b>                         221. FULL SHOT
</b><b>                                     
</b>                         Favoring Longfellow, who has reached 
                         the bottom of the staircase and watches 
                         the man warily.
<b>                                      
</b><b>                         FARMER
</b><b>                                     
</b>                         (wildly)
<b>                                     
</b>                         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?
<b>                                      
</b>                         Cobb forcibly restrains the man.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Come on! Take him out of here!
<b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         Let me go!
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (an order)
<b>                                     
</b>                         Let him alone.
<b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         Let me alone!
<b>                                     
</b>                         (threateningly)
<b>                                     
</b>                         If you know what's good for you - you'll 
                         let me get this off my chest!
<b>                                      
</b><b>                         ? 423 ?
</b><b>                                     
</b>                         (to Longfellow)
<b>                                     
</b>                         How did you feel feeding doughnuts to 
                         a horse? Get a kick out of it, huh? 
                         Got a big laugh?
<b>                                      
</b>                         (sarcastically)
<b>                                     
</b>                         Did you ever think of feeding doughnuts 
                         to human beings! No!
<b>                                      
</b>                         Longfellow stares at him.
<b>                                     
</b><b>                         WALTER
</b><b>                                     
</b>                         (quietly)
<b>                                     
</b>                         Shall I call the police, sir?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         No!
<b>                                     
</b>                         (to man)
<b>                                     
</b>                         What do you want!!
<b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         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!
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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!
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         Sure - everybody's a moocher to you. 
                         A mongrel dog eating out of a garbage 
                         pail is a moocher to you!
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         (starting to push him towards the door)
<b> 
</b><b>                                                              
</b>                         This won't do you any good
<b>                                     
</b>                         The man shoves him away, suddenly whips 
                         out a gun and levels it at him.
<b>                                      
</b><b>                         FARMER
</b><b>                                     
</b>                         Stay where you are, young feller. Get 
                         over there.
<b>                                      
</b>                         Cobb backs away and the man points the 
                         gun at Longfellow, who remains staring 
                         at him, immobilely.
<b>                                      
</b><b>                         FARMER
</b><b>                                     
</b>                         (tensely)
<b>                                     
</b>                         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!
<b>                                      
</b>                         (voice rises)
<b>                                     
</b>                         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
<b>                                      
</b><b>                         ? 424 ?
</b><b>                                     
</b>                         (his voice wavers)
<b>                                     
</b>                         standing in the bread lines
<b>                                     
</b>                         (huskily)
<b>                                     
</b>                         not knowing where their next meal was 
                         coming from! Not able to feed their 
                         wife and kids.
<b>                                      
</b>                         (voice breaks)
<b>                                     
</b>                         Not able to
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         (scarcely audible)
<b>                                     
</b>                         Oh!
<b>                                     
</b><b>                         222. MED. SHOT - THE GROUP
</b><b>                                     
</b>                         The man slumps into a chair and the 
                         gun drops to the floor. Cobb bends quickly 
                         and picks it up. Longfellow never moves.
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         (dead voice - staring into space)
<b>                                     
</b>                         I'm glad I didn't hurt nobody. Excuse 
                         me.
<b>                                      
</b>                         He turns his head slowly and peers at 
                         them with non-seeing eyes, then suddenly 
                         he hides his face in his hands and sobs.
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         (muffled)
<b>                                     
</b>                         Crazy. You get all kinds of crazy ideas.
<b> 
</b><b>                                                              
</b>                         Longfellow watches him pityingly.
<b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         Sorry. I didn't know what I was doing.
<b> 
</b><b>                                                              
</b>                         The rest of it seems to come out of 
                         him effortfully - his voice breaking.
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         Losing your farm after twenty years' 
                         work - seeing your kids go hungry - 
                         a game little wife saying "Everything's 
                         going to be all right."
<b>                                      
</b>                         (stridently)
<b>                                     
</b>                         Standing there in the bread lines. It 
                         killed me to take a handout.
<b>                                      
</b>                         (pathetically)
<b>                                     
</b>                         I ain't used to it.
<b>                                     
</b>                         (resigned)
<b>                                     
</b>                         Go ahead and do what you want with me, 
                         mister.
<b>                                      
</b>                         (scarcely audible)
<b>                                     
</b>                         I guess I'm at the end of my rope.
<b> 
</b><b>                                                              
</b>                         He sobs openly. While he was speaking, 
                         Longfellow was peering into the man's 
                         face intently. As the man finishes
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. INTIMATE DINING ROOM
</b><b>                                     
</b><b>                         223. CLOSE SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         ? 425 ?
</b><b>                                     
</b><b>                         MAN
</b><b>                                     
</b>                         (tentatively)
<b>                                     
</b>                         Can I take some of this home with me?
<b> 
</b><b>                                                              
</b>                         Longfellow nods.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INSERT: NEWSPAPER HEADLINES
</b><b>                                     
</b><b>                         "LONGFELLOW DEEDS TO GIVE FORTUNE AWAY 
</b>                         Huge farming district to be divided 
                         into ten acre farms - fully equipped 
                         - at a cost of eighteen million dollars."
<b> 
</b><b>                                                              
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         INSERT: SECOND NEWSPAPER HEADLINE
</b><b>                                     
</b><b>                         "DEEDS' PLAN STARTLES FINANCIAL WORLD"
</b><b> 
</b><b>                                                              
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         INSERT: THIRD NEWSPAPER HEADLINE
</b><b>                                     
</b><b>                         "STAFF OF WORKERS INVESTIGATE APPLICANTS"
</b><b> 
</b><b>                                                              
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         INSERT: FOURTH NEWSPAPER HEADLINE
</b><b>                                     
</b><b>                         "THOUSANDS OF UNEMPLOYED STORM DEEDS 
</b><b>                         HOME FOR FARM DONATIONS"
</b><b>                                      
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         EXT. LONGFELLOW DEEDS' HOME
</b><b>                                     
</b><b>                         224. LONG SHOT
</b><b>                                     
</b>                         A mob of shouting men and women clamor 
                         at the gates, being jostled around by 
                         the police.
<b>                                      
</b><b>                         INT. LONGFELLOW'S DRAWING ROOM
</b><b>                                     
</b><b>                         225. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         VOICE
</b><b>                                     
</b>                         Go on. Step lively.
<b>                                     
</b><b>                         226. MED. SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (as the camera moves in on him)
<b>                                     
</b>                         Are you married?
<b>                                     
</b><b>                         APPLICANT
</b><b>                                     
</b>                         Yes, sir.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Any children?
<b>                                     
</b><b>                         ? 426 ?
</b><b>                                     
</b><b>                         APPLICANT
</b><b>                                     
</b>                         No, no children.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         All right, Mr. Dodsworth. I think you'll 
                         qualify.
<b>                                      
</b>                         (he hands him a form)
<b>                                     
</b>                         Take this to that desk over there for 
                         further instructions.
<b>                                      
</b><b>                         APPLICANT
</b><b>                                     
</b>                         (gratefully - exiting)
<b>                                     
</b>                         Thank you very much.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Next, please.
<b>                                     
</b>                         A man steps forward and stands in front 
                         of his desk.
<b>                                      
</b><b>                         227. MED. CLOSE SHOT AT DESK
</b><b>                                     
</b>                         Longfellow, clerk and applicant.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to clerk)
<b>                                     
</b>                         How many does that make?
<b>                                     
</b><b>                         CLERK
</b><b>                                     
</b>                         You've okayed 819.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (wearily)
<b>                                     
</b>                         Is that all?
<b>                                     
</b><b>                         CLERK
</b><b>                                     
</b>                         That's all.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         It's going awfully slow. We need 1100 
                         more.
<b>                                      
</b>                         (phone rings)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         He hangs up.
<b>                                     
</b><b>                         228. WIDER ANGLE
</b><b>                                     
</b>                         As the farmer in previous sequence approaches.
<b> 
</b><b>                                                              
</b><b>                         FARMER
</b><b>                                     
</b>                         Here's the order for the plows. We got 
                         a good price on them.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's fine. Thanks. I'll look 'em over 
                         later.
<b>                                      
</b><b>                         FARMER
</b><b>                                     
</b>                         Oh, Mr. Deeds
<b>                                     
</b>                         Longfellow looks up. Farmer goes on:
<b> 
</b><b>                                                              
</b><b>                         ? 427 ?
</b><b>                                     
</b><b>                         FARMER
</b><b>                                     
</b>                         my wife wanted me to tell you she
<b> 
</b><b>                                                              
</b>                         (hesitates)
<b>                                     
</b>                         she prays for you every night.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (embarrassed)
<b>                                     
</b>                         Well, thanks, I - uh
<b>                                     
</b>                         (to applicant in front of him)
<b>                                     
</b>                         How do you do? What is your name?
<b>                                     
</b><b>                         RANKIN
</b><b>                                     
</b>                         George Rankin, sir.
<b>                                     
</b>                         While Longfellow writes
<b>                                     
</b><b>                         229. CLOSE SHOT AT A DESK
</b><b>                                     
</b>                         Cobb is on the phone.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (into phone)
<b>                                     
</b>                         No! No! We're not buying any bulls. 
                         What's that?
<b>                                      
</b>                         Listen, fellow, bull's what I've been 
                         selling all my life!
<b>                                      
</b>                         He slams down the receiver.
<b>                                     
</b><b>                         INT. CEDAR'S OFFICE
</b><b>                                     
</b><b>                         230. MEDIUM SHOT
</b><b>                                     
</b>                         Cedar behind his desk. In front of him 
                         is Henry Semple and his nagging wife. 
                         Cedar shoves a paper in front of Semple.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         WIFE
</b><b>                                     
</b>                         See! I told you something could be done. 
                         I knew it all the time. Sign it, dear.
<b> 
</b><b>                                                              
</b><b>                         SEMPLE
</b><b>                                     
</b>                         (hesitating)
<b>                                     
</b>                         We may get into trouble.
<b>                                     
</b><b>                         WIFE
</b><b>                                     
</b>                         Oh, don't be so squeamish.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         There are millions involved. After all, 
                         you have your legal rights. You're his 
                         only living relatives.
<b>                                      
</b><b>                         231. CLOSE SHOT AT DESK
</b><b>                                     
</b>                         As Semple picks up the paper.
<b>                                     
</b><b>                         SEMPLE
</b><b>                                     
</b>                         What's it say?
<b>                                     
</b><b>                         WIFE
</b><b>                                     
</b>                         That's your agreement with Mr. Cedar, 
                         if we win.
<b>                                      
</b><b>                         ? 428 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         WIFE
</b><b>                                     
</b>                         Sign it!
<b>                                     
</b><b>                         SEMPLE
</b><b>                                     
</b>                         Oh, all right.
<b>                                     
</b>                         With the perturbed expression still 
                         on his face, Semple reaches over to 
                         sign the document. Simultaneously, Cedar 
                         flicks a button on his dictagraph.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         (into dictagraph)
<b>                                     
</b>                         Charlie, we're off! Papers all set?
<b> 
</b><b>                                                              
</b><b>                         VOICE
</b><b>                                     
</b>                         All set.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Okay, then. Go to it.
<b>                                     
</b>                         (afterthought)
<b>                                     
</b>                         And, Charlie
<b>                                     
</b><b>                         VOICE
</b><b>                                     
</b>                         Yeah?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Find out who wrote those newspaper articles 
                         and subpoena them right away.
<b>                                      
</b><b>                         VOICE
</b><b>                                     
</b>                         Okay.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. LONGFELLOW'S DRAWING ROOM
</b><b>                                     
</b><b>                         232. MEDIUM SHOT
</b><b>                                     
</b>                         A large, raw-boned Swede stands before 
                         Longfellow.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         What is your name?
<b>                                     
</b><b>                         SVENSON
</b><b>                                     
</b>                         Christian Svenson.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Farmer?
<b>                                     
</b><b>                         SVENSON
</b><b>                                     
</b>                         Yes, ma'am.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Where is your farm?
<b>                                     
</b><b>                         SVENSON
</b><b>                                     
</b>                         South Dakota north.
<b>                                     
</b><b>                         ? 429 ?
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         South Dakota - north?
<b>                                     
</b><b>                         SVENSON
</b><b>                                     
</b>                         South Dakota - but on the top.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh. Oh!
<b>                                     
</b><b>                         233. WIDER ANGLE
</b><b>                                     
</b>                         Cobb enters, very businesslike.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         What about your knocking off for lunch?
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Come on, come on. What are you trying 
                         to do, kid? Keel over? You haven't been 
                         out of this house in two weeks.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (tired)
<b>                                     
</b>                         Well, maybe I will have a sandwich.
<b> 
</b><b>                                                              
</b>                         (to Swede)
<b>                                     
</b>                         Do you mind waiting a few minutes?
<b> 
</b><b>                                                              
</b><b>                         SVENSON
</b><b>                                     
</b>                         (undoing paper package)
<b>                                     
</b>                         Oh, sure, sure. If you like to have 
                         a sandwich, I can give you one, please.
<b> 
</b><b>                                                              
</b>                         He brings out two huge sandwiches, and 
                         hands one to Longfellow.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (smiling)
<b>                                     
</b>                         Thanks. Thank you. Never mind, Cobb.
<b> 
</b><b>                                                              
</b>                         He takes it, and he and the Swede silently 
                         eat. Longfellow looks up.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Good.
<b>                                     
</b>                         The Swede smiles. Longfellow nibbles 
                         his sandwich, then glances around the 
                         room. His gaze rests on:
<b>                                      
</b><b>                         234. LONG SHOT
</b><b>                                     
</b>                         Of the long line of applicants waiting 
                         for an audience.
<b>                                      
</b><b>                         235. MEDIUM SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (calls to Cobb)
<b>                                     
</b>                         Cobb! Get lunch for the rest of them.
<b> 
</b><b>                                                              
</b><b>                         ? 430 ?
</b><b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (entering)
<b>                                     
</b>                         What? There must be 2000 of them out 
                         there.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, that doesn't make 'em any less 
                         hungry.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Okay, Santa Claus. 2000 lunches.
<b>                                     
</b>                         He exits. Longfellow glances over at 
                         the line, smiling.
<b>                                      
</b><b>                         236. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         GROUP
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Go on, say something. Say something!
<b> 
</b><b>                                                              
</b><b>                         237. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         He looks up inquiringly.
<b>                                     
</b><b>                         238. MED. CLOSE SHOT - MEN IN LINE
</b><b> 
</b><b>                                                              
</b>                         The man finally is resigned, and stands 
                         shifting, ill-at-ease, his head hanging 
                         bashfully.
<b>                                      
</b><b>                         MAN
</b><b>                                     
</b>                         Mr. Deeds, the boys here wanted me to 
                         say a little something. They just wanted 
                         me to say that
<b>                                      
</b>                         (clears his throat)
<b>                                     
</b>                         Well, they wanted me to say that
<b>                                     
</b>                         (quickly gets it out)
<b>                                     
</b>                         We think you're swell - and that's no 
                         baloney.
<b>                                      
</b><b>                         MAN'S VOICE
</b><b>                                     
</b>                         Say something more!
<b>                                     
</b><b>                         239. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         He smiles self-consciously.
<b>                                     
</b><b>                         240. MED. CLOSE SHOT OF MEN
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         MAN
</b><b>                                     
</b>                         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
<b> 
</b><b>                                                              
</b>                         It's as far as he gets - as the three 
                         strangers break their way through the 
                         line and approach Longfellow's desk.
<b> 
</b><b>                                                              
</b><b>                         ONE OF THE SHERIFFS
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Break it up.
<b>                                     
</b><b>                         241. MED. SHOT AT DESK
</b><b>                                     
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         (pointing to Longfellow)
<b>                                     
</b>                         That's him.
<b>                                     
</b><b>                         ? 431 ?
</b><b>                                     
</b><b>                         2ND DEPUTY SHERIFF
</b><b>                                     
</b>                         Are you Longfellow Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (looks up)
<b>                                     
</b>                         Yes?
<b>                                     
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         Sheriff's office.
<b>                                     
</b>                         (shows paper)
<b>                                     
</b>                         We've got a warrant to take you into 
                         custody.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (without moving)
<b>                                     
</b>                         A what?
<b>                                     
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         A warrant for your arrest. You'll have 
                         to come along with us.
<b>                                      
</b>                         Cobb enters.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         What's up? What do you mugs want?
<b>                                     
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         I don't know nothing, buddy. All I know 
                         is the Sheriff gives me an insanity 
                         warrant to execute.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Insanity! Who's says he's insane?
<b>                                     
</b>                         They all turn to Charlie, who comes 
                         forward.
<b>                                      
</b><b>                         CHARLIE
</b><b>                                     
</b>                         The complainant is a relative of the 
                         late Martin Semple. The charges are 
                         that Mr. Deeds is insane and incapable 
                         of handling the Estate.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Oh, somebody got panic-stricken about 
                         his giving his dough away, eh?
<b>                                      
</b>                         (to sheriff)
<b>                                     
</b>                         Where do you think you're going to take 
                         him?
<b>                                      
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         To the County Hospital.
<b>                                     
</b><b>                         CHARLIE
</b><b>                                     
</b>                         Of course, that's only temporary. A 
                         hearing will follow immediately.
<b>                                      
</b><b>                         242. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         As he speaks quietly.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         That's fine. Just because I want to 
                         give this money to people who need it, 
                         they think I'm crazy.
<b>                                      
</b>                         (cynically)
<b>                                     
</b>                         That's marvelous. That makes everything 
                         complete.
<b>                                      
</b><b>                         ? 432 ?
</b><b>                                     
</b><b>                         243. WIDER ANGLE
</b><b>                                     
</b>                         To include group.
<b>                                     
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         Let's get going!
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Wait a minute! Not so fast. We're going 
                         to get a lawyer. I'll call Cedar.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (thoroughly disillusioned)
<b>                                     
</b>                         No, don't bother.
<b>                                     
</b><b>                         CHARLIE
</b><b>                                     
</b>                         As a matter of fact, I'm from Mr. Cedar's 
                         office. He represents the complainant.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         Oh.
<b>                                     
</b>                         Longfellow glances up at him and smiles 
                         bitterly.
<b>                                      
</b><b>                         FIRST DEPUTY SHERIFF
</b><b>                                     
</b>                         Well, let's go. We're wasting a lot 
                         of time.
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (calmly rising)
<b>                                     
</b>                         All right, I'll go. But get your hands 
                         off me!
<b>                                      
</b><b>                         244. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow starts to walk forward, accompanied 
                         by Cobb - and the two deputies and Charlie 
                         fall in behind them.
<b>                                      
</b><b>                         THE SHERIFFS
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Make way! Make way!
<b>                                     
</b><b>                         245. CLOSE SHOTS OF CLERKS
</b><b>                                     
</b>                         To be intercut with above scene. They 
                         stare, petrified, and mumble to each 
                         other.
<b>                                      
</b><b>                         246. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         247. CLOSEUP OF THE FARMER
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         FADE IN
</b><b>                                     
</b>                         INSERT: SIGN reading: "COUNTY HOSPITAL"
<b> 
</b><b>                                                              
</b><b>                         ? 433 ?
</b><b>                                     
</b><b>                         DISSOLVE THRU TO:
</b><b>                                     
</b><b>                         INT. CORRIDOR OF HOSPITAL
</b><b>                                     
</b><b>                         248. MEDIUM SHOT
</b><b>                                     
</b>                         A guard sits at a desk near a door, 
                         talking on the telephone.
<b>                                      
</b><b>                         GUARD
</b><b>                                     
</b>                         (on phone)
<b>                                     
</b>                         Yes, most everybody in town has been 
                         here to see him. Yes, sir. I won't. 
                         Goodbye
<b>                                      
</b>                         Babe rounds the corner quickly, heading 
                         for the door. The guard hurriedly hangs 
                         up and stands to block her.
<b>                                      
</b><b>                         GUARD
</b><b>                                     
</b>                         Sorry, lady
<b>                                     
</b>                         (recognizes her)
<b>                                     
</b>                         Oh, it's you again.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, please! I've got to see him.
<b>                                     
</b><b>                         GUARD
</b><b>                                     
</b>                         Now listen, sister, for the fourteenth 
                         and last time he don't want to see nobody.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (pleading)
<b>                                     
</b>                         Will you just give him my name?
<b>                                     
</b><b>                         GUARD
</b><b>                                     
</b>                         (confidentially)
<b>                                     
</b>                         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!
<b>                                      
</b>                         Babe winces under the blow.
<b>                                     
</b><b>                         INT. HOSPITAL ROOM
</b><b>                                     
</b><b>                         249. MEDIUM SHOT
</b><b>                                     
</b>                         Longfellow is seated by the far wall, 
                         peering moodily out the window. Cobb 
                         paces about. Suddenly, he wheels on 
                         Longfellow.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         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!
<b>                                      
</b>                         Longfellow pays no attention to him.
<b> 
</b><b>                                                              
</b><b>                         250. MED. CLOSE SHOT
</b><b>                                     
</b>                         As Cobb continues.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (raises his voice)
<b>                                     
</b>                         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!
<b>                                      
</b><b>                         ? 434 ?
</b><b>                                     
</b>                         Longfellow is still unresponsive. Cobb 
                         thinks a moment, watching him studiously; 
                         then pleading tenderly:
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         Longfellow is still unresponsive.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         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!
<b>                                      
</b>                         Longfellow disregards him and Cobb sighs, 
                         resignedly.
<b>                                      
</b><b>                         INT. CORRIDOR OUTSIDE DOOR
</b><b>                                     
</b><b>                         251. MED. CLOSE SHOT
</b><b>                                     
</b>                         The guard is reading his paper. Babe 
                         is still waiting, pacing.
<b>                                      
</b><b>                         GUARD
</b><b>                                     
</b>                         Go on, sit down, won't you?
<b>                                     
</b><b>                         252. MED. CLOSE SHOT AT DOOR
</b><b>                                     
</b>                         As Cobb comes out. The guard gets up 
                         to check the door is locked.
<b>                                      
</b><b>                         GUARD
</b><b>                                     
</b>                         So long, Mr. Cobb.
<b>                                     
</b>                         Cobb, in a troubled frame of mind, doesn't 
                         respond and starts down corridor - CAMERA 
                         TRUCKS WITH HIM. Babe catches up with 
                         him.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Corny!
<b>                                     
</b>                         Cobb doesn't stop. Babe grabs his arm:
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Corny!
<b>                                     
</b>                         Cobb stops.
<b>                                     
</b><b>                         253. CLOSE TWO SHOT
</b><b>                                     
</b>                         Cobb glares at Babe belligerently.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         I've got to see him! I've got to talk 
                         to him!
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Haven't you done enough damage already?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (ignoring his attack)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         ? 435 ?
</b><b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         (coldly)
<b>                                     
</b>                         You're wasting your time. He doesn't 
                         want any lawyers. He's sunk so low, 
                         he doesn't want help from anybody.
<b> 
</b><b>                                                              
</b>                         (bitterly)
<b>                                     
</b>                         You can take a bow for that.
<b>                                     
</b>                         (huskily)
<b>                                     
</b>                         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!
<b>                                      
</b>                         He exits abruptly, leaving Babe staring 
                         despairingly at his disappearing back, 
                         his brutal diatribe ringing harshly 
                         in her ears.
<b>                                      
</b><b>                         FADE OUT:
</b><b>                                     
</b><b>                         FADE IN
</b><b>                                     
</b><b>                         INSERT: NEWSPAPER HEADLINES
</b><b>                                     
</b><b>                         "DEEDS SANITY HEARING TODAY!
</b><b>                                     
</b>                         Semple Heir Charged With Incompetency! 
                         'Should Be Confined To An Institution,' 
                         Declares Cedar.
<b>                                      
</b>                         "Longfellow Deeds Refuses Counsel; Remains 
                         Incommunicado."
<b>                                      
</b>                         "Farmers Aroused At Efforts to Balk 
                         Their Benefactor."
<b>                                      
</b>                         "Police Surround Courthouse In Anticipation 
                         Of Outbreak."
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         EXT. COURTHOUSE
</b><b>                                     
</b><b>                         254. LONG SHOT
</b><b>                                     
</b>                         Of an unruly mob - being jostled by 
                         the police.
<b>                                      
</b><b>                         INT. CORRIDOR OF COURTHOUSE
</b><b>                                     
</b><b>                         255. LONG SHOT
</b><b>                                     
</b>                         The corridor is jammed with curious 
                         public endeavoring to gain entrance. 
                         Perspiring police fight to keep them 
                         back.
<b>                                      
</b><b>                         INT. COURTROOM
</b><b>                                     
</b><b>                         256. FULL SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         257. MED. SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b>                         Among the spectators Babe sits beside 
                         Mac. She stares, expression-less. Mac 
                         glances at her sympathetically.
<b>                                      
</b><b>                         258. MED. SHOT
</b><b>                                     
</b>                         Featuring the farmer who broke into 
                         Longfellow's house. Near him is the 
                         Swede we saw - and others.
<b>                                      
</b><b>                         ? 436 ?
</b><b>                                     
</b><b>                         259. SHOT INSIDE RAILING
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         260. SHOT AT LONG TABLE
</b><b>                                     
</b>                         At which sit a dozen newspaper reporters.
<b> 
</b><b>                                                              
</b><b>                         261. MED. CLOSE SHOT
</b><b>                                     
</b>                         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
<b>                                      
</b><b>                         262. MED. FULL SHOT - COURTROOM
</b><b>                                     
</b>                         Necks crane for a glimpse. Whispered 
                         conversations take place.
<b>                                      
</b><b>                         263. CLOSE SHOT - HENRY SEMPLE
</b><b>                                     
</b>                         He looks guilty, nose twitching more 
                         violently than ever.
<b>                                      
</b><b>                         SEMPLE
</b><b>                                     
</b>                         (to Cedar)
<b>                                     
</b>                         Here he is!
<b>                                     
</b><b>                         264. CLOSE SHOT - BABE AND MAC
</b><b>                                     
</b>                         Babe sits up, her eyes riveted on Longfellow. 
                         Impulsively she starts to rise, but 
                         Mac puts a restraining hand on her.
<b> 
</b><b>                                                              
</b><b>                         265. MED. CLOSE SHOT
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (full of excitement)
<b>                                     
</b>                         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?
<b>                                      
</b>                         He gets no response from Longfellow.
<b> 
</b><b>                                                              
</b>                         There is a stir in the courtroom.
<b>                                     
</b><b>                         266. MED. LONG SHOT
</b><b>                                     
</b>                         The bailiff calls out as the Judge proceeds 
                         to his bench.
<b>                                      
</b><b>                         BAILIFF
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         267. MED. CLOSE SHOT
</b><b>                                     
</b>                         To include Judge and Longfellow.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         The court wishes to warn those present 
                         that it will tolerate no disturbances.
<b> 
</b><b>                                                              
</b>                         (to Longfellow)
<b>                                     
</b>                         Regarding the sanity hearing of Longfellow 
                         Deeds, are you represented by counsel, 
                         Mr. Deeds?
<b>                                      
</b><b>                         ? 437 ?
</b><b>                                     
</b>                         Almost imperceptibly, Longfellow shakes 
                         his head no. The Judge looks troubled. 
                         There is a stir in the courtroom.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         Getting no response from Longfellow, 
                         the Judge shrugs his shoulders.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. COURTROOM
</b><b>                                     
</b><b>                         268. MEDIUM SHOT
</b><b>                                     
</b>                         Cedar is on his feet.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (addressing the court)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         269. PANNING SHOT OF SPECTATORS
</b><b>                                     
</b><b>                         CEDAR'S VOICE
</b><b>                                     
</b>                         I have before me a series of articles 
                         written by a newspaper woman who was 
                         an eye-witness to his conduct ever since 
                         he came to New York.
<b>                                      
</b>                         CAMERA STOPS on Babe and Mac. Cedar's 
                         voice goes on:
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         270. MED. SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         ? 438 ?
</b><b>                                     
</b>                         There is laughter in the courtroom - 
                         which quickly subsides when the Judge 
                         pounds his gavel.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         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."
<b>                                      
</b><b>                         271. CLOSEUP - LONGFELLOW
</b><b>                                     
</b><b>                         CEDAR'S VOICE
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         Longfellow's interest is only slightly 
                         aroused. He lifts his eyes in a casual 
                         glance around him.
<b>                                      
</b><b>                         272. MED. CLOSE SHOT
</b><b>                                     
</b>                         Featuring Cedar.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         273. CLOSE SHOT - THE JUDGE
</b><b>                                     
</b>                         As Cedar continues talking, CAMERA PULLS 
                         BACK to WIDER SHOT.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         274. MED. PANNING SHOT
</b><b>                                     
</b>                         Of farmers, the Swede and others.
<b>                                     
</b><b>                         CEDAR'S VOICE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         ? 439 ?
</b><b>                                     
</b><b>                         275. CLOSE SHOT AT FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b>                         Featuring Cedar.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (suddenly)
<b>                                     
</b>                         Your Honor, at this time, we would like 
                         to call our first witness: Miss Louise 
                         - Babe - Bennett.
<b>                                      
</b><b>                         276. FULL SHOT
</b><b>                                     
</b>                         There is a mild stir, and all wait expectantly 
                         for Babe to appear.
<b>                                      
</b><b>                         CLERK
</b><b>                                     
</b>                         Miss Bennett, please.
<b>                                     
</b>                         Babe, eyes on Longfellow, slowly walks 
                         to the stand.
<b>                                      
</b><b>                         277. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         He has his face averted and doesn't 
                         look at her.
<b>                                      
</b><b>                         278. MEDIUM SHOT
</b><b>                                     
</b>                         Babe continues to rivet her eyes on 
                         Longfellow, as she is sworn in.
<b>                                      
</b><b>                         CLERK
</b><b>                                     
</b>                         Raise your right hand, please.
<b>                                     
</b>                         She does so.
<b>                                     
</b><b>                         CLERK
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         I do.
<b>                                     
</b><b>                         CLERK
</b><b>                                     
</b>                         State your right name, please.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Louise Bennett.
<b>                                     
</b><b>                         CLERK
</b><b>                                     
</b>                         Take the stand.
<b>                                     
</b><b>                         279. MED. CLOSE SHOT AT WITNESS STAND
</b><b> 
</b><b>                                                              
</b>                         As Cedar steps up to question Babe. 
                         Judge in f.g.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Miss Bennett, are you employed by the 
                         Morning Mail?
<b>                                      
</b>                         There is no answer. Babe continues to 
                         stare off at Longfellow, hoping he will 
                         look up. Cedar speaks to her again:
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         I must ask you to direct your attention 
                         to me.
<b>                                      
</b>                         But Babe's attention remains focused 
                         on Longfellow.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (appealing to Judge)
<b>                                     
</b>                         Your Honor, this is ridiculous!
<b>                                     
</b><b>                         ? 440 ?
</b><b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Please answer the questions.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (wildly)
<b>                                     
</b>                         The whole hearing's ridiculous! That 
                         man's no more insane than you are.
<b> 
</b><b>                                                              
</b>                         The suddenness of her outbreak is startling. 
                         The Judge pounds his gavel.
<b>                                      
</b><b>                         280. WIDER ANGLE - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b>                         The Judge pounding his gavel.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Miss Bennett please!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         This is outrageous!
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (rising to stand)
<b>                                     
</b>                         It's obviously a frameup! They're trying 
                         to railroad this man for the money they 
                         can get out of him!
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Your Honor!
<b>                                     
</b>                         The Judge pounds his gavel throughout 
                         her speech.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         (highly)
<b>                                     
</b>                         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.
<b>                                      
</b>                         Cedar beams victoriously.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Thank you, Your Honor. Are you employed 
                         by the Morning Mail?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (sharply)
<b>                                     
</b>                         No!
<b>                                     
</b>                         Cedar's eyes widen in surprise. There 
                         is a light stir.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         (threateningly)
<b>                                     
</b>                         You are under oath, Miss Bennett. I 
                         ask you again - are you employed by 
                         the Morning Mail?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (irritably)
<b>                                     
</b>                         No! I resigned last week!
<b>                                     
</b><b>                         281. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         As Cedar proceeds without interruption.
<b> 
</b><b>                                                              
</b><b>                         ? 441 ?
</b><b>                                     
</b><b>                         CEDAR'S VOICE
</b><b>                                     
</b>                         Well, prior to that time - were you 
                         employed by the Morning Mail?
<b>                                      
</b><b>                         BABE'S VOICE
</b><b>                                     
</b>                         (laconically)
<b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         282. CLOSE SHOT AT WITNESS STAND - BABE 
</b><b>                         AND CEDAR
</b><b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Were you given an assignment to follow 
                         the activities of Longfellow Deeds?
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         Yes.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Did you subsequently write a series 
                         of articles about him?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Yes!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (holding them up)
<b>                                     
</b>                         Are these the articles?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yes!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Were you present when all these things 
                         took place?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Yes!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Are they true!
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b><b>                         NO!!
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         But they did take place?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         They're colored! Just to make him look 
                         silly!
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         And you saw them happen?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         Yes, but I
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (preemptorily)
<b>                                     
</b>                         That's all, Miss Bennett.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (half shrieking)
<b>                                     
</b>                         It isn't all! I'd like to explain
<b> 
</b><b>                                                              
</b><b>                         ? 442 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (brusquely)
<b>                                     
</b>                         That's all, Miss Bennett. That's all.
<b> 
</b><b>                                                              
</b><b>                         283. MEDIUM SHOT
</b><b>                                     
</b>                         A bailiff takes Babe by the arm.
<b>                                     
</b><b>                         BAILIFF
</b><b>                                     
</b>                         Come on, miss - come on!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (simultaneously, to Judge)
<b>                                     
</b>                         Your Honor, I'd like to submit these 
                         articles as evidence.
<b>                                      
</b>                         Babe struggles away from the bailiff.
<b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (frantically)
<b>                                     
</b>                         Let go of me!
<b>                                     
</b>                         (steps up to Judge; wildly)
<b>                                     
</b>                         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!
<b>                                      
</b>                         Throughout her tirade, the Judge has 
                         been angrily pounding his gavel.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Miss Bennett, please!
<b>                                     
</b><b>                         284. CLOSER SHOT
</b><b>                                     
</b>                         Featuring Babe and Judge.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         (leans back)
<b>                                     
</b>                         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.
<b>                                      
</b>                         (dismissing her)
<b>                                     
</b>                         Until then, you'd better go back to 
                         your seat and calm down.
<b>                                      
</b><b>                         BAILIFF
</b><b>                                     
</b>                         This way, miss.
<b>                                     
</b><b>                         285. WIDER ANGLE
</b><b>                                     
</b>                         As Babe is led away, there is another 
                         courtroom stir.
<b>                                      
</b><b>                         BAILIFF'S VOICE
</b><b>                                     
</b>                         Order in the court!
<b>                                     
</b><b>                         ? 443 ?
</b><b>                                     
</b>                         When Babe is out of sight, the Judge 
                         turns to Longfellow.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Mr. Deeds, have you anything to say 
                         in defense of these articles?
<b>                                      
</b><b>                         286. CLOSE SHOT - LONGFELLOW AND COBB
</b><b> 
</b><b>                                                              
</b>                         Longfellow shakes his head. Cobb glances 
                         to him helplessly.
<b>                                      
</b><b>                         287. CLOSE SHOT - JUDGE
</b><b>                                     
</b>                         He shrugs.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Mr. Deeds?
<b>                                     
</b>                         (again no reply)
<b>                                     
</b>                         Mark these Exhibit A for the plaintiff.
<b> 
</b><b>                                                              
</b><b>                         CLERK
</b><b>                                     
</b>                         Yes, Your Honor.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         288. CLOSE SHOT - BABE
</b><b>                                     
</b>                         As she sits down beside Mac - who places 
                         an affectionate arm around her shoulders.
<b> 
</b><b>                                                              
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         289. MED. SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b>                         Two old ladies are being led to the 
                         witness stand. Their eyelids flutter 
                         excitedly as they go.
<b>                                      
</b><b>                         290. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         He looks up, sees the old ladies and 
                         smiles at them friendily.
<b>                                      
</b><b>                         291. MED. CLOSE SHOT AT JUDGE'S BENCH
</b><b> 
</b><b>                                                              
</b>                         Against the drone of the clerk, who 
                         swears witnesses in:
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         (impatiently)
<b>                                     
</b>                         Yes! Yes! Let's get on with it.
<b>                                     
</b>                         Cedar turns to them.
<b>                                     
</b><b>                         292. MED. CLOSE SHOT AT WITNESS STAND
</b><b> 
</b><b>                                                              
</b>                         As Cedar addresses one of the old ladies.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         What is your name, please?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         Jane Falkner. This is my sister, Amy.
<b> 
</b><b>                                                              
</b><b>                         AMY
</b><b>                                     
</b>                         (agreeing)
<b>                                     
</b>                         Yes - Amy.
<b>                                     
</b><b>                         ? 444 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         I'll direct my questions to you, Miss 
                         Jane. You can answer for both. Do you 
                         know the defendant, Mr. Longfellow Deeds?
<b> 
</b><b>                                                              
</b>                         The two old ladies look at each other, 
                         then in the direction in which Cedar 
                         points.
<b>                                      
</b><b>                         JANE
</b><b>                                     
</b>                         Oh yes, yes - of course we know him.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         (a little nervously)
<b>                                     
</b>                         How long have you known him?
<b>                                     
</b>                         Jane turns to her sister, and they whisper 
                         to each other.
<b>                                      
</b><b>                         JANE
</b><b>                                     
</b>                         (turns to Cedar)
<b>                                     
</b>                         Since he was born.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Yes. Elsie Taggart was the midwife.
<b> 
</b><b>                                                              
</b><b>                         JANE
</b><b>                                     
</b>                         He was a seven-months baby.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Thank you, that's fine. Do you see him 
                         very often?
<b>                                      
</b>                         The two old ladies have their whispered 
                         conference again.
<b>                                      
</b><b>                         JANE
</b><b>                                     
</b>                         Most every day.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Sometimes twice.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         (irascibly)
<b>                                     
</b>                         Must we have the echo?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Suppose you just answer, Miss Jane. 
                         Now, will you tell the Court what everybody 
                         at home thinks of Longfellow Deeds?
<b> 
</b><b>                                                              
</b>                         The two old ladies consult each other 
                         once more.
<b>                                      
</b><b>                         JANE
</b><b>                                     
</b>                         They think he's pixilated.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Oh yes, pixilated.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         (leaning forward)
<b>                                     
</b>                         He's what?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (concerned)
<b>                                     
</b>                         What was that you said he was?
<b>                                     
</b><b>                         ? 445 ?
</b><b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         Pixilated.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (patiently)
<b>                                     
</b>                         Now, that's a rather strange word to 
                         use, Miss Jane. Can you tell the court 
                         exactly what it means?
<b>                                      
</b>                         While the two ladies go into a huddle:
<b> 
</b><b>                                                              
</b><b>                         293. CLOSE SHOT - PSYCHIATRISTS
</b><b>                                     
</b>                         As one of them speaks up.
<b>                                     
</b><b>                         PSYCHIATRIST
</b><b>                                     
</b>                         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.'
<b>                                      
</b><b>                         294. MEDIUM SHOT
</b><b>                                     
</b>                         The Judge nods his understanding. The 
                         Falkner sisters nod in pleasant agreement. 
                         Cedar sighs victoriously.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Is that correct?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Now tell me, why does everyone think 
                         he's - uh - pixilated? Does he do peculiar 
                         things?
<b>                                      
</b><b>                         295. MED. SHOT TOWARD WITNESS STAND
</b><b> 
</b><b>                                                              
</b><b>                         JANE
</b><b>                                     
</b>                         (after conferring with Amy)
<b>                                     
</b>                         He walks in the rain, without his hat, 
                         and talks to himself.
<b>                                      
</b><b>                         AMY
</b><b>                                     
</b>                         Sometimes he whistles.
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         And sings.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Anything else?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         Recently he gave Chuck Dillon a thumping.
<b> 
</b><b>                                                              
</b><b>                         AMY
</b><b>                                     
</b>                         Blacked his eye.
<b>                                     
</b><b>                         ? 446 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         And why?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         For no reason, I guess. He always does 
                         it. We always run into the house when 
                         we see him coming.
<b>                                      
</b><b>                         AMY
</b><b>                                     
</b>                         Never can tell what he's going to do.
<b> 
</b><b>                                                              
</b><b>                         JANE
</b><b>                                     
</b>                         He sure is pixilated.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Oh, yes - he's pixilated all right.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Thank you, ladies. That's all.
<b>                                     
</b>                         Cedar beams. The old ladies leave to 
                         resume their seats.
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         296. CLOSE SHOT IN WITNESS STAND
</b><b>                                     
</b>                         A policeman in uniform.
<b>                                     
</b><b>                         POLICEMAN
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         297. CLOSE SHOT IN WITNESS STAND
</b><b>                                     
</b>                         The waiter at "Tullio's."
<b>                                     
</b><b>                         WAITER
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         298. CLOSE SHOT IN WITNESS STAND
</b><b>                                     
</b>                         Mme. Pomponi.
<b>                                     
</b><b>                         MME. POMPONI
</b><b>                                     
</b>                         (expostulating)
<b>                                     
</b>                         He threw us out bodily! But bodily!
<b> 
</b><b>                                                              
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         299. MED. CLOSE SHOT IN WITNESS STAND
</b><b> 
</b><b>                                                              
</b>                         Of one of the bodyguards on witness 
                         stand.
<b>                                      
</b><b>                         BODYGUARD
</b><b>                                     
</b>                         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!"
<b>                                      
</b><b>                         ? 447 ?
</b><b>                                     
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         300. CLOSE SHOT IN WITNESS STAND
</b><b>                                     
</b>                         A Cockney cabman.
<b>                                     
</b><b>                         CABMAN
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b><b>                         301. WIDE SHOT[13]
</b><b>                                     
</b>                         Of one of the photographers (Bob) and 
                         enlarged photographs of Longfellow's 
                         antics.
<b>                                      
</b><b>                         BAILIFF'S VOICE
</b><b>                                     
</b>                         Come to order.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Your Honor, I wish to call your attention 
                         to these exhibits. Mr. Davis, do you 
                         recognize these reproductions?
<b>                                      
</b><b>                         BOB
</b><b>                                     
</b>                         Sure, they're good enlargements. Where'd 
                         you have them made?
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Did you make the originals of them?
<b> 
</b><b>                                                              
</b><b>                         BOB
</b><b>                                     
</b>                         Sure. I took the originals. Taking pictures 
                         is my business. I photograph a lot of 
                         nuts.
<b>                                      
</b><b>                         WIPE OFF TO:
</b><b>                                     
</b>                         As Cedar speaks.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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?
<b>                                      
</b>                         While he is still speaking,
<b>                                     
</b><b>                         VOICE OF BAILIFF
</b><b>                                     
</b>                         Dr. Von Holler!
<b>                                     
</b><b>                         ? 448 ?
</b><b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         302. WIDER ANGLE
</b><b>                                     
</b>                         As the clerk finishes swearing Dr. Von 
                         Holler in.
<b>                                      
</b><b>                         CLERK
</b><b>                                     
</b>                         Do you solemnly swear the testimony 
                         you are about to give in the cause now 
                         pending before this court shall be the 
                         truth, the whole truth and nothing but 
                         the truth, so help you God? State your 
                         right name, please.
<b>                                      
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         (a slight Austrian accent)
<b>                                     
</b>                         Emil Von Holler.
<b>                                     
</b><b>                         CLERK
</b><b>                                     
</b>                         Take the stand.
<b>                                     
</b><b>                         303. MED. CLOSE SHOT AT WITNESS STAND
</b><b> 
</b><b>                                                              
</b>                         On Von Holler and Cedar.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Now Dr. Von Holler, will you kindly 
                         tell the court what your opinion is 
                         on this case?
<b>                                      
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         This is purely a case of manic depression. 
                         In cases of this kind, patients sometimes 
                         go on for years before being detected.
<b> 
</b><b>                                                              
</b>                         He turns to one of the psychiatrists, 
                         sitting with the Judge.
<b>                                      
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         You remember, Dr. Fosdick, in my last 
                         book there are some very fine examples.
<b> 
</b><b>                                                              
</b><b>                         DR. FOSDICK
</b><b>                                     
</b>                         (nodding)
<b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         Especially, the one of the young nobleman, 
                         you remember?
<b>                                      
</b><b>                         DR. FOSDICK
</b><b>                                     
</b>                         Oh, yes. Yes, of course Dr. Von Holler. 
                         Very interesting.
<b>                                      
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         It reminds me very much of this one. 
                         Nicht wahr?
<b>                                      
</b><b>                         DR. FOSDICK
</b><b>                                     
</b>                         Ja.
<b>                                     
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         It takes so long to detect them
<b>                                     
</b>                         (to Judge)
<b>                                     
</b>                         because their mood changes so often 
                         and so quickly. Now, Your Honor, may 
                         I show you? May I use the chart?
<b>                                      
</b><b>                         ? 449 ?
</b><b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         By all means.
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         (indicating chart)
<b>                                     
</b>                         Below here, they are extremely depressed, 
                         melancholy, impossible to live with, 
                         and often become violent.
<b>                                      
</b>                         (running a line up)
<b>                                     
</b>                         From this mood the manic depressive 
                         might gradually change until they reach 
                         this state.
<b>                                      
</b>                         (he reaches the center line)
<b>                                     
</b>                         Here is lucidity. Here they are perfectly 
                         normal. As normal as you or I
<b>                                      
</b>                         (smiling)
<b>                                     
</b>                         assuming, of course, that we are normal.
<b> 
</b><b>                                                              
</b>                         (he starts up with chalk)
<b>                                     
</b>                         Then, the mood changes again until
<b> 
</b><b>                                                              
</b>                         (chalk reaches top)
<b>                                     
</b>                         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?
<b> 
</b><b>                                                              
</b>                         (quickly, as it comes to him)
<b>                                     
</b>                         they would give you the shirt off their 
                         backs!
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         Dr. Von Holler, how would you say that 
                         applied to Mr. Deeds's case?
<b>                                      
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         The symptoms are obvious.
<b>                                     
</b>                         (points to top line)
<b>                                     
</b>                         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.
<b>                                      
</b>                         (chalk goes down)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         304. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         As Von Holler's voice continues:
<b>                                     
</b><b>                         VON HOLLER'S VOICE
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         305. MED. SHOT FRONT OF COURTROOM
</b><b>                                     
</b>                         Von Holler still continues:
<b>                                     
</b><b>                         VON HOLLER
</b><b>                                     
</b>                         Oh, the man is verrukt. Your Honor, 
                         this is decidedly a case of a manic 
                         depressive.
<b>                                      
</b><b>                         ? 450 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Thank you, Dr. Von Holler.
<b>                                     
</b>                         Dr. Von Holler returns to his seat.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Your Honor, we rest.
<b>                                     
</b><b>                         306. FULL SHOT - COURTROOM
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         307. CLOSE SHOT - COBB AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b>                         Longfellow is slumped in his seat, head 
                         down.
<b>                                      
</b><b>                         COBB
</b><b>                                     
</b>                         Come on, what're you going to do? Let 
                         them get away with it? They got you 
                         cooked.
<b>                                      
</b>                         Longfellow does not budge.
<b>                                     
</b>                         There is an expectant stir in the courtroom 
                         among the spectators and rows of reporters.
<b> 
</b><b>                                                              
</b><b>                         308. MED. CLOSE SHOT - THE JUDGE AND 
</b><b>                         HIS EXHIBITS
</b><b>                                      
</b>                         Judge comes out of his huddle and glances 
                         at Longfellow.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         (leaning forward)
<b>                                     
</b>                         Mr. Deeds, before the court arrives 
                         at a decision, isn't there anything 
                         you wish to say?
<b>                                      
</b><b>                         309. CLOSE SHOT - LONGFELLOW AND COBB
</b><b> 
</b><b>                                                              
</b>                         Longfellow shakes his head slightly.
<b> 
</b><b>                                                              
</b><b>                         COBB
</b><b>                                     
</b>                         (whispering)
<b>                                     
</b>                         Come on - don't be a sap!
<b>                                     
</b><b>                         CONTINUATION SCENE 308
</b><b>                                     
</b>                         The Judge watches him a few moments, 
                         hesitatingly, and then turns to his 
                         experts.
<b>                                      
</b><b>                         310. MED. SHOT - NEWSPAPER REPORTERS
</b><b> 
</b><b>                                                              
</b><b>                         A REPORTER
</b><b>                                     
</b>                         He's sunk.
<b>                                     
</b><b>                         311. CLOSE SHOT - CEDAR AND HIS CLIENTS, 
</b><b>                         ASSISTANTS ETC.
</b><b>                                      
</b>                         They smirk confidently.
<b>                                     
</b><b>                         312. CLOSE SHOT - BABE AND MAC
</b><b>                                     
</b>                         She stares, panic-stricken.
<b>                                     
</b><b>                         313. MED. SHOT
</b><b>                                     
</b>                         Of the Swede, the farmer, and others. 
                         Their faces show their resentment.
<b> 
</b><b>                                                              
</b><b>                         314. MED. SHOT FRONT OF COURTROOM
</b><b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         (to the two experts)
<b>                                     
</b>                         You both concur?
<b>                                     
</b><b>                         ? 451 ?
</b><b>                                     
</b><b>                         EXPERTS
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Oh, positively.
<b>                                     
</b>                         The Judge emerges from his consultation 
                         with his experts and addresses Longfellow.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         (shrugs)
<b>                                     
</b>                         Perhaps in a little while
<b>                                     
</b>                         Suddenly the air is rent with the shrill 
                         voice of Babe.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         No! No! No! Wait a minute!
<b>                                     
</b>                         All are startled and look up. Babe runs 
                         right to the Judge.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         You can't do it! You've got to make 
                         him talk.
<b>                                      
</b><b>                         CEDAR'S VOICE
</b><b>                                     
</b>                         Your Honor, I object!
<b>                                     
</b>                         She turns directly to Longfellow - leaning 
                         over close to him.
<b>                                      
</b><b>                         315. CLOSE SHOT - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b><b>                         BABE
</b><b>                                     
</b>                         (pleading softly)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         JUDGE'S VOICE
</b><b>                                     
</b>                         Miss Bennett, please!
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (frantically)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         316. WIDER ANGLE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         He must be made to defend himself before 
                         you arrive at a decision.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Very well. Take the stand.
<b>                                     
</b>                         Babe goes up to the witness stand and 
                         sits down.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         Oh, thank you!
<b>                                     
</b><b>                         ? 452 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (shouting)
<b>                                     
</b>                         Your Honor, what she is saying has no 
                         bearing on the case. I object.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Let her speak.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         317. CLOSE SHOT - BABE
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         318. CLOSEUP - BABE
</b><b>                                     
</b>                         As she continues.
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         He can thank me for it! I handed the 
                         gang a grand laugh. This is a fitting 
                         climax to my sense of humor.
<b>                                      
</b><b>                         319. WIDER ANGLE
</b><b>                                     
</b>                         As Cedar protests.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         But Your Honor - this is preposterous!
<b> 
</b><b>                                                              
</b>                         The Judge waves him down with a dismissing 
                         gesture of his hand.
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         320. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         As Babe's voice continues:
<b>                                     
</b><b>                         BABE'S VOICE
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         321. MED. SHOT
</b><b>                                     
</b>                         Cedar jumps up.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Your Honor, this is absurd. The woman's 
                         obviously in love with him.
<b>                                      
</b><b>                         ? 453 ?
</b><b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         What's that got to do with it?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (shouting)
<b>                                     
</b>                         Well, you are in love with him, aren't 
                         you?
<b>                                      
</b><b>                         BABE
</b><b>                                     
</b>                         (shouting back)
<b>                                     
</b>                         What's that got to do with it?
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (louder)
<b>                                     
</b>                         You are , aren't you?
<b>                                     
</b><b>                         BABE
</b><b>                                     
</b>                         (just as loud)
<b>                                     
</b>                         Yes!!!
<b>                                     
</b><b>                         322. CLOSEUP - LONGFELLOW
</b><b>                                     
</b>                         To be intercut during her speech. At 
                         first he merely glances up at her speculatively. 
                         Finally, he begins to show some interest.
<b> 
</b><b>                                                              
</b><b>                         323. MED. SHOT FRONT OF COURTROOM
</b><b>                                     
</b>                         Cedar turns to the Judge.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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
<b>                                      
</b>                         In the middle of his speech, Mac - the 
                         editor - appears at his elbow.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         If you have anything to say, you will 
                         take the stand.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         I've already said it, Your Honor. I 
                         just thought I'd like to get my two 
                         cents in.
<b>                                      
</b>                         As he starts to go, CAMERA PANNING WITH 
                         HIM, he passes Longfellow. He nudges 
                         him.
<b>                                      
</b><b>                         MAC
</b><b>                                     
</b>                         Don't be a sucker, pal. Stand up and 
                         speak your piece.
<b>                                      
</b>                         He disappears to his seat.
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         Your Honor, I've got a couple of cents 
                         I'd like to put in
<b>                                      
</b><b>                         ? 454 ?
</b><b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Sit down!
<b>                                     
</b><b>                         COBB
</b><b>                                     
</b>                         I've been with this man ever since he 
                         came to New York
<b>                                      
</b><b>                         324. MED. SHOT
</b><b>                                     
</b>                         Shooting toward the Judge. He pounds 
                         his gavel, interrupting Cobb.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Sit down! There will be no further interruptions.
<b> 
</b><b>                                                              
</b>                         Almost simultaneously with the Judge's 
                         speech, the farmer, somewhere in the 
                         audience, rises to his feet.
<b>                                      
</b><b>                         FARMER
</b><b>                                     
</b>                         How about us, Mr. Deeds!
<b>                                     
</b><b>                         325. MED. SHOT
</b><b>                                     
</b>                         Shooting toward audience. As the farmer 
                         finishes, a dozen others are on their 
                         feet.
<b>                                      
</b><b>                         CROWD
</b><b>                                     
</b>                         (ad-lib)
<b>                                     
</b>                         Yes! What about us, Mr. Deeds!
<b>                                     
</b>                         You're not going to leave us out in 
                         the cold!
<b>                                      
</b>                         They're trying to frame you, Mr. Deeds!
<b> 
</b><b>                                                              
</b>                         The turmoil is general, with bailiffs 
                         running to quiet them. The Judge pounding 
                         his gavel, incensed.
<b>                                      
</b><b>                         BAILIFF'S VOICE
</b><b>                                     
</b>                         Order! Order!
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         (when quiet reigns)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Your Honor
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         (surprised)
<b>                                     
</b>                         Yes?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         I'd like to get in my two cents' worth.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         Take the stand!
<b>                                     
</b>                         There is a general stir of excitement 
                         - and whispering.
<b>                                      
</b><b>                         326. CLOSE SHOT - BABE
</b><b>                                     
</b>                         Her eyes sparkle happily.
<b>                                     
</b><b>                         ? 455 ?
</b><b>                                     
</b><b>                         327. CLOSE SHOT - CEDAR AND CLIENTS
</b><b> 
</b><b>                                                              
</b>                         The clients look up at Cedar, concerned. 
                         Cedar comforts them with a confident 
                         grimace.
<b>                                      
</b><b>                         328. MED. SHOT
</b><b>                                     
</b>                         To include Longfellow, Judge, and others 
                         around them. Longfellow hesitates.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Well, I don't know where to begin. There's 
                         been so many things said about me that 
<b>                         I
</b><b>                                      
</b><b>                         329. CLOSE SHOT AT WITNESS STAND
</b><b>                                     
</b>                         Longfellow continues:
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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 . . .
<b>                                      
</b><b>                         330. WIDER ANGLE
</b><b>                                     
</b>                         Front of courtroom.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         A what?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         An O-filler. You fill in all the spaces 
                         in the O's, with your pencil.
<b>                                      
</b>                         (points to desk)
<b>                                     
</b>                         I was watching you.
<b>                                     
</b>                         The Judge looks down at a paper in front 
                         of him.
<b>                                      
</b><b>                         INSERT: OF A PRINTED DOCUMENT
</b><b>                                     
</b>                         Of some sort. All the O's and P's and 
                         R's have the white spaces pencilled 
                         in.
<b>                                      
</b><b>                         331. CLOSEUP - JUDGE
</b><b>                                     
</b>                         As he looks up from the document. He 
                         is a trifle self-conscious. Laughter 
                         comes from the courtroom.
<b>                                      
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Doodlers?
<b>                                     
</b><b>                         ? 456 ?
</b><b>                                     
</b><b>                         332. MED. SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (to Dr. Von Holler)
<b>                                     
</b>                         Thank you.
<b>                                     
</b>                         (returning to the stand)
<b>                                     
</b>                         This is a piece of paper he was scribbling 
                         on.
<b>                                      
</b>                         (scrutinizes it)
<b>                                     
</b>                         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.
<b>                                      
</b>                         (hands it to him)
<b>                                     
</b>                         You look at it, Judge.
<b>                                     
</b>                         The Judge, with a serious mien, takes 
                         the paper.
<b>                                      
</b><b>                         INSERT: OF PAPER
</b><b>                                     
</b>                         It is a doodle face.
<b>                                     
</b><b>                         BACK TO SCENE:
</b><b>                                     
</b>                         Dr. Von Holler is somewhat uncomfortable.
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Exhibit A - for the defense.
<b>                                     
</b>                         (after a pause)
<b>                                     
</b>                         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
<b>                                      
</b>                         (demonstrates)
<b>                                     
</b>                         ear-pullers - some are nail-biters
<b> 
</b><b>                                                              
</b>                         (pointing)
<b>                                     
</b>                         That Mr. Semple over there is a nose-twitcher.
<b> 
</b><b>                                                              
</b><b>                         333. CLOSE SHOT - SEMPLE AND HIS WIFE
</b><b> 
</b><b>                                                              
</b>                         He looks up, startled, his nose twitching 
                         more violently than ever. The courtroom 
                         rocks with laughter.
<b>                                      
</b>                         His wife, in her nervousness, pulls 
                         at her fingers.
<b>                                      
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         And the lady next to him is a knuckle-cracker.
<b> 
</b><b>                                                              
</b>                         Mrs. Semple quickly drops her hands 
                         in her lap, as the courtroom again fills 
                         with laughter.
<b>                                      
</b><b>                         ? 457 ?
</b><b>                                     
</b><b>                         334. CLOSE SHOT - COBB
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         335. MED. CLOSE SHOT - NEWSPAPER REPORTERS
</b><b> 
</b><b>                                                              
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         336. MED. CLOSE SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         So you see, everybody does silly things 
                         to help them think.
<b>                                      
</b>                         (in conclusion)
<b>                                     
</b>                         Well, I play the tuba.
<b>                                     
</b><b>                         337. CLOSE SHOT - MAC
</b><b>                                     
</b>                         As he bursts forth.
<b>                                     
</b><b>                         MAC
</b><b>                                     
</b>                         Nice work, toots!
<b>                                     
</b>                         The crowd echoes him with shouts and 
                         laughter.
<b>                                      
</b><b>                         338. CLOSE SHOT - JUDGE
</b><b>                                     
</b>                         He glares off scene at Mac, reprimandingly.
<b> 
</b><b>                                                              
</b><b>                         339. CLOSE SHOT - BABE
</b><b>                                     
</b>                         She is amused at the embarassment Longfellow 
                         has caused them all.
<b>                                      
</b><b>                         340. CLOSE SHOT - CEDAR AND HIS CLIENTS
</b><b> 
</b><b>                                                              
</b>                         They squirm uncomfortably.
<b>                                     
</b><b>                         341. MED. CLOSE SHOT AT WITNESS STAND
</b><b> 
</b><b>                                                              
</b>                         Longfellow in chair - Judge at bench, 
                         b.g.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Mr. Deeds, do you recall forcibly ejecting 
                         people from your home?
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         342. MED. SHOT OF COURTROOM
</b><b>                                     
</b>                         Featuring Longfellow. Cedar, who cannot 
                         stand it any longer, jumps to his feet.
<b> 
</b><b>                                                              
</b><b>                         ? 458 ?
</b><b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         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!
<b>                                      
</b><b>                         JUDGE'S VOICE
</b><b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         The Judge clears his throat in embarrassment. 
                         Several women giggle. The Judge sternly 
                         pounds his gavel.
<b>                                      
</b><b>                         343. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         344. MED. SHOT OF COURTROOM
</b><b>                                     
</b>                         All eyes have turned to Cedar.
<b>                                     
</b><b>                         345. CLOSE SHOT - CEDAR
</b><b>                                     
</b>                         His eyes are beginning to blaze angrily.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         Your Honor, I object.
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         346. MEDIUM SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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?
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Not at all.
<b>                                     
</b>                         Longfellow turns. Everybody stretches 
                         to get a better look at them.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Jane, who owns the house you live in?
<b> 
</b><b>                                                              
</b><b>                         ? 459 ?
</b><b>                                     
</b><b>                         347. CLOSE SHOT - THE SISTERS
</b><b>                                     
</b>                         The girls consult with each other.
<b> 
</b><b>                                                              
</b><b>                         JANE
</b><b>                                     
</b>                         Why, you own it, Longfellow.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Yes, you own it.
<b>                                     
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         Do you pay any rent?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         (after conferring with Amy)
<b>                                     
</b>                         No, we don't pay any rent.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Good heavens, no! We never pay rent.
<b> 
</b><b>                                                              
</b><b>                         348. WIDER ANGLE
</b><b>                                     
</b>                         As Longfellow continues questioning:
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Are you happy there?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         Oh, yes.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Yes, indeed.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Now, Jane, a little while ago you said 
                         I was pixilated. Do you still think 
                         so?
<b>                                      
</b><b>                         JANE
</b><b>                                     
</b>                         (after the usual conference)
<b>                                     
</b>                         Why, you've always been pixilated, Longfellow.
<b> 
</b><b>                                                              
</b><b>                         AMY
</b><b>                                     
</b>                         Always.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (smiling)
<b>                                     
</b>                         That's fine. I guess maybe I am.
<b>                                     
</b>                         (seriously)
<b>                                     
</b>                         Now tell me something, Jane. Who else 
                         in Mandrake Falls is pixilated?
<b>                                      
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         JANE
</b><b>                                     
</b>                         Why, everybody in Mandrake Falls in 
                         pixilated - except us.
<b>                                      
</b><b>                         AMY
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         349. MED. SHOT OF SPECTATORS
</b><b>                                     
</b>                         There is an outburst of laughter which 
                         the Judge quickly quells with his gavel.
<b> 
</b><b>                                                              
</b><b>                         ? 460 ?
</b><b>                                     
</b><b>                         350. MED. SHOT - DIFFERENT ANGLE
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Now, just one more question. Do you 
                         see the Judge here? He's a nice man, 
                         isn't he?
<b>                                      
</b><b>                         JANE & AMY
</b><b>                                     
</b>                         Uh-huh.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Do you think he's pixilated?
<b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         (quickly)
<b>                                     
</b>                         Oh, yes.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         Yes, indeedy.
<b>                                     
</b>                         There is more laughter. More pounding 
                         of the judiciary gavel.
<b>                                      
</b><b>                         351. CLOSE SHOT - CEDAR
</b><b>                                     
</b>                         He feels his case slowly crumbling.
<b> 
</b><b>                                                              
</b><b>                         352. CLOSE SHOT - BABE
</b><b>                                     
</b>                         She can scarcely conceal her elation.
<b> 
</b><b>                                                              
</b><b>                         353. MED. SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Oh yes, I was getting to that, Your 
                         Honor.
<b>                                      
</b>                         CAMERA MOVES TO CLOSER SHOT, featuring 
                         Longfellow and Judge, as former continues:
<b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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
<b>                                      
</b>                         (points to chart)
<b>                                     
</b>                         those bottom waves, 'cause you wanted 
                         to drop something that was burning your 
                         fingers.
<b>                                      
</b><b>                         354. MEDIUM SHOT
</b><b>                                     
</b>                         Cedar springs to his feet.
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         (shouting)
<b>                                     
</b>                         If this man is permitted to carry out 
                         his plan, repercussions will be felt 
                         that will rock the foundations of our 
                         entire governmental system!
<b>                                      
</b><b>                         ? 461 ?
</b><b>                                     
</b>                         The Judge has pounded him into silence.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         Please, Mr. Cedar!
<b>                                     
</b>                         (to Longfellow)
<b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         355. MED. CLOSE SHOT AT WITNESS STAND
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         356. MED. CLOSE SHOT
</b><b>                                     
</b>                         Farmers in audience, as Longfellow's 
                         voice continues:
<b>                                      
</b><b>                         LONGFELLOW'S VOICE
</b><b>                                     
</b>                         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
<b> 
</b><b>                                                              
</b><b>                         357. FULL SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         358. MEDIUM SHOT
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (making his point)
<b>                                     
</b>                         That's all I'm trying to do with this 
                         money. Help the fellows who can't make 
                         the hill on high.
<b>                                      
</b><b>                         359. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (hotly)
<b>                                     
</b>                         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?
<b> 
</b><b>                                                              
</b>                         (rising; sarcastically)
<b>                                     
</b>                         If you don't mind, Your Honor, I'll 
                         ride on those top waves for a minute.
<b> 
</b><b>                                                              
</b>                         (calls out)
<b>                                     
</b>                         Hey, all you fellows out there! All 
                         those who applied for a farm, stand 
                         up!
<b>                                      
</b><b>                         360. REVERSE ANGLE
</b><b>                                     
</b>                         Showing most of the audience struggling 
                         to their feet.
<b>                                      
</b><b>                         ? 462 ?
</b><b>                                     
</b><b>                         361. MED. CLOSE SHOT - WITNESS CHAIR
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         See all those fellows? They're the ones 
                         I'm trying to help. They need it!
<b> 
</b><b>                                                              
</b>                         (pointing)
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b>                         (to farmers etc. in courtroom)
<b>                                     
</b>                         All right, fellows. Thank you. Sit down.
<b> 
</b><b>                                                              
</b><b>                         362. MEDIUM SHOT - FRONT OF COURTROOM
</b><b> 
</b><b>                                                              
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         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.
<b>                                      
</b>                         (vehemently)
<b>                                     
</b>                         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.
<b>                                      
</b><b>                         363. CLOSE SHOT - CEDAR
</b><b>                                     
</b>                         He jumps to his feet, highly incensed.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         It's a lie!
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Mr. Cedar!
<b>                                     
</b><b>                         CEDAR
</b><b>                                     
</b>                         Mr. Deeds is drawing on his warped imagination!
<b> 
</b><b>                                                              
</b><b>                         364. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         As he listens to Cedar, watching him 
                         antagonistically.
<b>                                      
</b><b>                         CEDAR'S VOICE
</b><b>                                     
</b>                         I've never heard anything so colossally 
                         stupid in my life!
<b>                                      
</b>                         Longfellow's eyes narrow resentfully.
<b> 
</b><b>                                                              
</b><b>                         365. WIDER ANGLE
</b><b>                                     
</b>                         To include Longfellow, Cedar and Judge.
<b> 
</b><b>                                                              
</b><b>                         CEDAR
</b><b>                                     
</b>                         It's an insult to our intelligence to 
                         sit here and listen to his childish 
                         ravings.
<b>                                      
</b><b>                         ? 463 ?
</b><b>                                     
</b>                         Throughout his speech the Judge has 
                         been pounding his gavel. Longfellow 
                         has his eyes levelled off on Cedar.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         (when quiet reigns)
<b>                                     
</b>                         You will please permit Mr. Deeds to 
                         finish.
<b>                                      
</b><b>                         CEDAR
</b><b>                                     
</b>                         But Your Honor
<b>                                     
</b><b>                         JUDGE
</b><b>                                     
</b>                         Mr. Cedar!
<b>                                     
</b>                         Cedar, grumblingly, remains standing. 
                         Judge asks Longfellow:
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         Anything else, Mr. Deeds?
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         (eyes still on Cedar)
<b>                                     
</b>                         No.
<b>                                     
</b>                         (changes his mind; turns to Judge)
<b> 
</b><b>                                                              
</b>                         Yes. There's just one more thing I'd 
                         like to get off my chest before I finish.
<b> 
</b><b>                                                              
</b><b>                         JUDGE
</b><b>                                     
</b>                         Proceed.
<b>                                     
</b><b>                         LONGFELLOW
</b><b>                                     
</b>                         Thank you, Your Honor.
<b>                                     
</b>                         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.
<b> 
</b><b>                                                              
</b><b>                         BAILIFF'S VOICE
</b><b>                                     
</b>                         Order! Order! Order in the court!
<b>                                     
</b><b>                         366. FULL SHOT OF COURTROOM
</b><b>                                     
</b>                         The Judge pounds his gavel. There are 
                         cries of approval from the spectators. 
                         In the midst of the commotion
<b>                                      
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         INT. COURTROOM
</b><b>                                     
</b><b>                         367. MED. PANNING SHOT
</b><b>                                     
</b>                         Showing spectators, waiting breathlessly 
                         for a decision. All eyes are on the 
                         Judge.
<b>                                      
</b><b>                         368. CLOSE SHOT AT BENCH
</b><b>                                     
</b>                         The Judge holds a whispered conversation 
                         with his experts.
<b>                                      
</b><b>                         369. CLOSE SHOT - BABE
</b><b>                                     
</b>                         She is apprehensive.
<b>                                     
</b><b>                         370. CLOSE SHOT - LONGFELLOW
</b><b>                                     
</b>                         He glances furtively at Babe, off scene.
<b> 
</b><b>                                                              
</b><b>                         371. MED. SHOT OF FARMERS
</b><b>                                     
</b>                         Leaning forward. Their entire future 
                         hangs in the balance.
<b>                                      
</b><b>                         372. MED. CLOSE SHOT AT BENCH
</b><b>                                     
</b>                         The Judge comes out of the huddle; his 
                         face is very stern.
<b>                                      
</b><b>                         ? 464 ?
</b><b>                                     
</b><b>                         BAILIFF'S VOICE
</b><b>                                     
</b>                         Remain seated and come to order. The 
                         Court is again in session.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         373. QUICK FLASHES
</b><b>                                     
</b>                         Of Babe - Cobb - Longfellow - Mac - 
                         the farmers.
<b>                                      
</b><b>                         374. INSERT: CLOSE SHOT - JUDGE
</b><b>                                     
</b>                         The Judge's preface augurs ill.
<b>                                     
</b><b>                         375. CLOSEUP - CEDAR
</b><b>                                     
</b>                         His mouth curls up in a contented grimace.
<b> 
</b><b>                                                              
</b><b>                         376. FULL SHOT - COURTROOM
</b><b>                                     
</b>                         All eyes are upon the Judge, who clears 
                         his throat.
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         (serious mien)
<b>                                     
</b>                         Mr. Deeds, there has been a great deal 
                         of damaging testimony against you. Your 
                         behavior, to say the least, has been 
                         most strange.
<b>                                      
</b>                         An audible gasp is heard from audience. 
                         Judge goes on:
<b>                                      
</b><b>                         JUDGE
</b><b>                                     
</b>                         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!
<b>                                      
</b>                         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.
<b>                                      
</b><b>                         377. CLOSE SHOT - CEDAR AND GROUP
</b><b>                                     
</b>                         They sit, stunned, disappointed. Mrs. 
                         Semple turns to her husband and slaps 
                         him.
<b>                                      
</b><b>                         MRS. SEMPLE
</b><b>                                     
</b>                         You nose-twitcher!
<b>                                     
</b>                         Budington rises to confront Cedar.
<b> 
</b><b>                                                              
</b><b>                         BUDINGTON
</b><b>                                     
</b>                         Oh, I knew it! I knew it! You, you
<b> 
</b><b>                                                              
</b>                         Cedar disgustedly pushes him in the 
                         face, aside.
<b>                                      
</b><b>                         378. CLOSE SHOT - BABE
</b><b>                                     
</b>                         She smiles ecstatically, too excited 
                         to move. Suddenly she rises.
<b>                                      
</b><b>                         379. MEDIUM SHOT
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         380. FULL SHOT - COURTROOM
</b><b>                                     
</b>                         As jubilantly, Longfellow is carried 
                         out on the shoulders of the excited 
                         crowd.
<b>                                      
</b><b>                         ? 465 ?
</b><b>                                     
</b><b>                         381. MEDIUM CLOSE SHOT
</b><b>                                     
</b>                         As Babe frantically tries to reach Longfellow, 
                         but is jostled aside. The parade envelops 
                         her.
<b>                                      
</b><b>                         382. LONG SHOT FROM REAR
</b><b>                                     
</b>                         The shouting mob is heading for the 
                         door at end of courtroom. Everyone crowds 
                         forward.
<b>                                      
</b><b>                         383. CLOSE SHOT IN REAR
</b><b>                                     
</b>                         Babe is left helplessly out.
<b>                                     
</b><b>                         DISSOLVE TO:
</b><b>                                     
</b><b>                         384. FULL SHOT OF COURTROOM
</b><b>                                     
</b>                         Empty - except for the Falkner sisters, 
                         still whispering to each other, and 
                         Babe, sitting helpless and forlorn.
<b> 
</b><b>                                                              
</b><b>                         385. CLOSE SHOT - BABE
</b><b>                                     
</b>                         Her eyes are filled. Dismally she starts 
                         forward. We hear a rising commotion 
                         from the outside, at this moment.
<b> 
</b><b>                                                              
</b><b>                         386. WIDER ANGLE
</b><b>                                     
</b>                         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.
<b>                                      
</b><b>                         387. CLOSE SHOT - JANE & AMY
</b><b>                                     
</b><b>                         JANE
</b><b>                                     
</b>                         He's still pixilated.
<b>                                     
</b><b>                         AMY
</b><b>                                     
</b>                         He sure is.
<b>                                     
</b><b>                         388. CLOSE SHOT - BABE AND LONGFELLOW
</b><b> 
</b><b>                                                              
</b>                         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.
<b>                                      
</b>                         All that is heard is the cheering of 
                         the crowd outside and the Columbia music.
<b> 
</b><b>                                                              
</b><b>                         FADE OUT.
</b><b>                                     
</b><b>                         THE END
</b></pre><br>
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	<td><h1>Mr Deeds Goes to Town</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Clarence Budington Kelland" title="Scripts by Clarence Budington Kelland">Clarence Budington Kelland</a>&nbsp;&nbsp;<a href="/writer.php?w=Robert Riskin" title="Scripts by Robert Riskin">Robert Riskin</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Comedy" title="Comedy Scripts">Comedy</a><br><br><br>
		
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Who is John Cedar?
Who is John Cedar ?
The late Martin Semple's attorney.
The late Martin Semple s attorney .
Martin Semple's attorney.
Martin Semple s attorney .