"MADE FOR EACH OTHER" Screenplay by Rose Franken and Jo Swerling Humorous Situations by Frank Ryan SHOOTING DRAFT LONG SHOT - NEW YORK - NORMANDIE IN F.G. FADE IN: Superimposed title comes in which reads: Greater New York has a population of 7,434,346, among the least important of whom is...... DISSOLVE TO: INSERT: TELEPHONE BOOK - MANHATTAN TELEPHONE DIRECTORY Hand runs down telephone book page and stops at: John H. Mason - Atty. 258 Broadway DISSOLVE TO: EXT. OFFICE BUILDING - NEW YORK - MORNING LONG SHOT - SHOOTING DOWN Pedestrian and vehicle traffic crowd the street in front of the office building. CAMERA CENTERS on one figure in the crowd, Johnny, who walks slowly along the sidewalk gazing steadily at something he carries in his hands. CAMERA MOVES DOWN AND SHOOTS OVER JOHNNY'S SHOULDER at what he is gazing at. It is a large photograph of Jane. CAMERA MOVES BACK TO A MEDIUM SHOT as Johnny continues on his way, still absorbed in the picture. A vicious bump from a passer-by yanks Johnny back from dream realms to the work-a-day world. JOHNNY (murmuring an apology) Sorry! The passer-by has disappeared into the crowd. Johnny is about to go on, suddenly realizes he is in front of his office building, quickly puts the photograph in his brief case and enters the building. INT. ARCADE - CLOSE (MOVING) SHOT - JOHNNY He starts down the Arcade toward the elevators. A middle- aged man greets him in passing. MAN 'Morning, Mr. Mason. JOHNNY (cheerily) Good morning! A young lady is next to throw him a greeting. YOUNG LADY Hello, Johnny. JOHNNY Lovely morning! A third greeting comes from a young man about his own age. YOUNG MAN Hi, Johnny! JOHNNY Beautiful morning! By now he has reached an open elevator which is filling with people. The door of the elevator next to it opens and starts to discharge its passengers. A starter is stationed between the two elevators. A definite reaction from the starter as he sees Johnny. Johnny is about to enter the first elevator, then, seeing that the second one is empty, starts toward it. He finds his way barred by the starter who warmly grips his hand. STARTER 'Morning, Mr. Mason. JOHNNY Harry, it's a marvelous morning! The starter has one hand behind his back. He is violently gesturing a signal to the operator of the second elevator. STARTER Have a good trip? JOHNNY Sensational! STARTER Great city, Boston! JOHNNY Terrific! CLOSE UP - OPERATOR OF SECOND ELEVATOR He gets the pantomimed signal of the starter, bangs the door shut, and his elevator starts upward. CLOSE SHOT - FEATURING JOHNNY AND STARTER The starter is shoving Johnny back to the first elevator. Johnny manages to hand starter a cigar as he enters the elevator. The elevator is now full, and the operator waits for the signal to start. The starter looks toward the dial of the second elevator. CLOSE UP - DIAL The second elevator is approaching the tenth floor and continuing up. CLOSE SHOT - FIRST ELEVATOR The starter gives the signal. The door closes, the elevator starts up. DISSOLVE TO: INT. CORRIDOR TWENTIETH FLOOR - CLOSE SHOT - AT ELEVATOR The door opens, and several passengers emerge, including Johnny. INT. OUTER OFFICE - DOOLITTLE SUITE All the personnel of the law firm -- clerks, stenographers, telephone girl -- are lined up watching the door. CLOSE SHOT - THE OFFICE BOY He stands against the wall clutching a string which runs upward from his hand. CAMERA PANS to take in the entrance door. We see the knob turn. CLOSE UP - FLASH - THE OFFICE BOY He yanks the string. CLOSE SHOT - ENTRANCE DOOR It has opened; and as Johnny enters, a contraption arranged over the door opens; and Johnny is showered with rice and old shoes. There are whoops and shrieks from off scene. One voice starts singing: "Happy Bridegroom, yoo-hoo" to tune of "Happy Birthday" and others join in. FULL SHOT Johnny looking on bewilderedly while the office personnel sings. EMPLOYEES (singing) Happy Bridegroom, yoo-hoo! Happy Bridegroom, yoo-hoo! Happy Bridegroom, Happy Bridegroom, Happy Bridegroom, yoo-hoo! The song ends with laughter and ad lib chatter as Johnny's office mates surround him, pumping his hand, whacking his back, congratulating or razzing him, according to their mood. CLOSE SHOT - GROUP AROUND JOHNNY AD LIB A business trip. Huh?... Where's the little woman, Johnny -- why didn't you bring her along?... Is she one of the Lodges or one of the Cabots?... What's she got that I haven't got?... You'd better be careful with your expense account -- no extras now!... That's what you get for going out of town!... You old bluebeard, you!... I'm going to sue you for breach of promise!... Today our Johnny is a man!... STENOGRAPHER Johnny, what's she like? JOHNNY Now wait a minute! I can't describe her -- nobody could. But it just so happens I've got a picture of her. He opens up his brief case and produces the photograph previously established. It is snatched out of his hand by one of the clerks who rushes out of the scene with it. The others rush after him. A chorus of whistles, screams and other extravagant reactions. CLOSE UP - JOHNNY Excited and thrilled at the sensation caused by the mere photograph of his bride, but trying not to show it. Carter comes into Shot, carrying a batch of legal papers. He is the type who has had but one love affair in all his life -- himself. CARTER Well, well, well! JOHNNY Hello, Carter. CARTER So you combined pleasure with business! Wait till Judge Doolittle hears about this, my boy! JOHNNY Hears about what? CARTER About your getting married on his time -- and without his consent -- (significantly) Or his daughter's. JOHNNY Well, what's she got to do about it? CARTER (smirking) Well, now, my boy -- the favorite topic of conversation around these parts has been that you and Miss Doolittle -- JOHNNY Aw, Malarkey! Office talk, Carter. Isn't a word of truth in it! CARTER Judge Doolittle may not think so. JOHNNY (fiercely) Is that so? Well, if he doesn't like it, he can lump it. Before he can finish, the rest of the staff come into the scene, following the clerk holding the photograph. AD LIB (as clerk returns photograph) You never asked me for my picture, Johnny. When's the next train leave for Boston?... Aren't I as pretty as that?... Johnny, has she got a sister?... No wonder we couldn't compete... I want one of them too!... I wish the boss'd send me out of town!... Never knew you had it in you, Johnny!... MEDIUM SHOT - THE GROUP Suddenly there is a melting away of the group around Johnny as the clerks start for their cubicles and the stenos return to their desks and make a great show of being busy. CLOSE UP - JOHNNY He is suddenly alone -- the photograph of his new bride clutched in his hand. DOOLITTLE'S VOICE Mason! Johnny turns, registers consternation. JOHNNY Oh, good morning, Judge Doolittle! CLOSE SHOT - AT DOOR Judge Doolittle has entered and stands, frowning, in the midst of rice and old shoes. He's a formidable old codger who has terrified many a witness. Doolittle is somewhat deaf and wears an acousticon arrangement to facilitate his hearing. He has a habit of speaking in a very low voice, while all his employees have been trained to raise their voices in talking to him. Throughout the entire scene between Doolittle and Johnny, Doolittle will speak in a low voice and Johnny will speak loudly, almost shouting at times. JUDGE DOOLITTLE What's all this mess? CAMERA PANS him up to Johnny. Johnny takes off his hat. JOHNNY Ah -- Well, it seems everybody around here found out that I -- er -- I -- while I was in Boston -- JUDGE DOOLITTLE What were you doing in Boston? JOHNNY Why, you sent me sir. Don't you remember you sent me up there to get a deposition on the Higgins versus Higgins case! JUDGE DOOLITTLE Did you get it? JOHNNY Yes, sir. JUDGE DOOLITTLE Well, what's all this? What's all this horseplay about? JOHNNY Well, while I was in Boston, after I got the deposition I had a few hours to spare and so I -- just a few hours -- and I -- JUDGE DOOLITTLE Go on! Go on! JOHNNY (gulps) I got married! JUDGE DOOLITTLE (sharply) You WHAT? JOHNNY (shouts) I got married. JUDGE DOOLITTLE (as if he hadn't heard right) You got married? JOHNNY Yes, sir. I got married. JUDGE DOOLITTLE Come into my office! JOHNNY Yes, sir. CAMERA PANS with him as he strides toward his office, followed by Johnny. It somehow resembles a march to the guillotine. LONG SHOT - CLERKS AND STENOGRAPHERS LOOKING AFTER THEM - HEADS POPPING BACK BEHIND DOORS. CLOSE SHOT - AT DOOR OF DOOLITTLE'S PRIVATE OFFICE Doolittle enters with Johnny. CLOSE UP - CARTER at door of his office. He stares towards Doolittle's office with a smirk on his face; dry-washes his hands and exits into his office. INT. JUDGE DOOLITTLE'S PRIVATE OFFICE - MED. SHOT - AT DOOLITTLE'S DESK On the wall behind the desk are two paintings. One of Judge Doolittle in his magisterial robes and the other of Chief Justice Hughes of the United States, in his robes. Doolittle is seated at his desk glaring at Johnny who stands facing him like a prisoner at the bar. Johnny has the brief case in one hand and the framed picture of Jane in the other. JUDGE DOOLITTLE Where's the deposition? Johnny lays Jane's photograph on the desk as he opens the brief case and takes the deposition from it, which he hands, folded, to Doolittle. JOHNNY There you are, sir. As Doolittle opens up the paper to look at it, a letter falls out. INSERT: THE LETTER Inside a large, hand-drawn heart, which covers the page of note paper, is written: To the party of the first part: I love you. (signed) Party of the second part. CLOSE SHOT-AT DESK As Doolittle picks up the letter. JUDGE DOOLITTLE What's this? JOHNNY (very much embarrassed) Oh, that's -- that's just sort of a letter. Doolittle hands it back. Johnny stuffs the letter into his pocket with increasing embarrassment. Doolittle adjusts his glasses and starts to read the deposition. He addresses Johnny without looking up. JUDGE DOOLITTLE So you got married? JOHNNY Yes, sir. Doolittle looks up and glances significantly at a framed picture on his desk. INSERT: FRAMED PICTURE It is a photograph of Doolittle's daughter and upon it is written: "To Father, with love, Eunice." CLOSE SHOT - AT DESK JUDGE DOOLITTLE I imagine this will be a surprise to some people. JOHNNY Yes, sir! (catches himself as he realizes the significance of Doolittle's glance at the picture of his daughter) No, sir! I mean -- well -- I don't know. It all happened rather suddenly. You see, we met on Boston Common the night I arrived, and I'd had a bite at Thompson's Spa -- and then I took a little stroll around the Common and -- and I saw her standing there -- she was just standing there -- she had a cinder in her eye. Doolittle looks up suddenly from reading the deposition. JUDGE DOOLITTLE Where? JOHNNY In her eye. JUDGE DOOLITTLE Whose eye? JOHNNY Jane -- Mrs. Mason -- my wife. JUDGE DOOLITTLE Oh. JOHNNY Of course, she wasn't my wife then -- she's my wife now, though. And I got the cinder out of her eye and -- JUDGE DOOLITTLE And you married her. JOHNNY Yes, sir. JUDGE DOOLITTLE Quick work, wasn't it? JOHNNY Yes, sir. Oh Judge, we knew -- we knew the minute we looked at each other -- we knew -- we knew the minute we looked at each other. JUDGE DOOLITTLE You did! JOHNNY Yes, sir. JUDGE DOOLITTLE Last year there were nearly a half a million divorces in this country. Congratulations, Mason! JOHNNY Thank you very much, sir. An office boy comes in with papers he puts on Doolittle's desk. OFFICE BOY Mr. Hutch would like your opinion on this, sir. (he starts out, and as he passes Johnny, hands him a letter) Oh, this is for you, Mr. Mason... special messenger. It's marked "Rush - Important." (exits) Johnny takes the letter, glances at the envelope, registers delight. Then, aware of Doolittle's eyes fixed on him, he hastily puts the letter in his pocket. JUDGE DOOLITTLE (glancing up from papers office boy brought in) Rush? Important? What is it? JOHNNY Oh, it's nothing. JUDGE DOOLITTLE (severely) What is it? JOHNNY Oh -- it's a letter from my wife. JUDGE DOOLITTLE Your wife? What did you do -- leave her in Boston? JOHNNY Oh, no. She's right here, sir. JUDGE DOOLITTLE Here -- in town? JOHNNY Yes, sir. JUDGE DOOLITTLE (the great cross- examiner) If your wife's in town, why did she write you a letter? JOHNNY Well, she likes to write letters, Judge. Yes, it's a sort of little custom we have. She wrote me a letter the first day she met me, right as soon as she got home. She's written to me every day since. Even coming down on the train together she wrote me. You see, when I get a letter from her, it's sort of like a sort of visit, you see. JUDGE DOOLITTLE Hm -- mmm. JOHNNY Judge -- we -- when two people get married, they usually go on a honeymoon. JUDGE DOOLITTLE I didn't. I don't approve of honeymoons -- waste of time! JOHNNY Uh -- huh. Well, you know how women are, and Mrs. Mason and I -- JUDGE DOOLITTLE What about Higgins against Higgins? You're the only one in the office who knows this case and it's on the calendar for next week. JOHNNY If I could get a continuance -- JUDGE DOOLITTLE Opposing counsel wouldn't consent. JOHNNY But I talked to Mr. Hornblow this morning and he agreed to a continuance. JUDGE DOOLITTLE Well, all right -- take a week. JOHNNY A week! Well, Judge, I'm afraid we wouldn't be able to make it in a week. JUDGE DOOLITTLE What? JOHNNY We couldn't make it in a week! JUDGE DOOLITTLE Make what? JOHNNY My wife and I had sort of planned a trip to Europe on the Normandie. JUDGE DOOLITTLE Oh, well -- take two weeks then. FADE OUT: FADE IN: CLOSE UP - BOX OF FLOWERS An envelope is lying on top of a bouquet of dahlias in a large box. A hand comes in, takes the envelope and removes the note inside. CAMERA MOVES UP to CLOSE UP NOTE. It is written on the stationery of the law firm of Doolittle, Messerschmidt, Doolittle and Hutch. The note reads: Dear mother: Had to rush from the train to the office. Will be home for tea this afternoon. Love, Johnny CAMERA PANS DOWN TO: P.S. Bringing with me a lovely girl I met in Boston. DISSOLVE TO: INT. LIVING ROOM - MASON APARTMENT - CLOSE SHOT - AT TEA TABLE CAMERA is on Mrs. Mason, Johnny's mother. JOHNNY'S VOICE And after I got the cinder out of Jane's eye we talked for a little while and then we took a little walk around the Common. MRS. MASON Yes? CAMERA MOVES BACK to take in Johnny and Jane. Jane is sipping her tea with exaggerated casualness. JOHNNY And -- er -- We walked for quite some time. And then we went over to Thompson's Spa for a bite -- MRS. MASON Yes? JOHNNY (stymied) And we had a bite. MRS. MASON Well! Rather an unconventional meeting, wasn't it? There seems nothing else to say. JANE (brightly) These cookies are delicious! MRS. MASON They're made with sour cream. JOHNNY (blurts out suddenly) I'm crazy about Jane! Mrs. Mason starts so violently she spills some tea. MRS. MASON (to Jane) John's so young and impulsive... JOHNNY Oh, now Mother, wait a minute. This is different. MRS. MASON (to Jane) Are you visiting relatives here in New York, my dear? JOHNNY Well, yes and no. We -- Not exactly. JANE I came over with Johnny. MRS. MASON (horrified) From Boston? Together? Last night? JOHNNY Why, yes, Mother, we thought that as long as we were engaged -- MRS. MASON Engaged! JANE Oh, I know how upset you must be, Mrs. Mason. You know so little about me -- and it all happened so suddenly -- MRS. MASON Well I should think it was sudden! What did your family have to say about it? JANE I have no family. MRS. MASON Oh. (there is implied criticism in the syllable) Didn't John say something about your taking a course in journalism? JANE Yes, but I gave it up after I met Johnny. JOHNNY Yes -- I'm sort of a post graduate course. MRS. MASON (her face brightens) Oh -- My dear, if you have a talent for writing -- (she becomes suddenly motherly) Take my advice and develop it while you're young. One needs all one's time and energy for a career. JANE Don't you think marriage is a career in itself? MRS. MASON Oh, indeed! Emphatically! That's why one mustn't rush into it pell-mell. Marriage is a business -- a very serious business. A partnership in the strictest sense of the word. One must prepare for it. There are so many things to learn. Jane looks at Johnny. JOHNNY Well, Jane'll learn all of those -- after we're married. MRS. MASON I hope and pray that that day will not come for many years! JOHNNY Well, Mother -- What do you mean -- do you mean we shouldn't -- MRS. MASON Emphatically not! There's no reason for Jane to develop into a little household drudge. Oh, I hope you understand I have nothing against Jane. In fact, I like her -- I like her very much. JOHNNY Well, I'm glad you do, Mother, because... You remember a little while ago you asked Jane whether she'd come to New York to visit relatives? Jane waits breathlessly. JOHNNY (continuing) Well, as a matter of fact, she has come to New York to visit relatives. She's visiting some right now -- you see -- He can't finish -- looks desperately at Jane. JANE We're married. Mrs. Mason stares at them uncomprehensively for an instant. Her mouth opens and her hands go convulsively to her chest. MRS. MASON Ohhhh -- JOHNNY (pitifully) Now, Mother -- everybody gets married sooner or later -- JANE (a cry of panic) Johnny, get the smelling salts! She rushes over and starts to chafe Mrs. Mason's wrists. Mrs. Mason is gasping for breath like a fish out of water. Johnny hovers over her, agonized and scared. JOHNNY What do they look like? Mother, where are the smelling salts? Mrs. Mason gestures weakly in the direction of the bathroom. Johnny rushes out. Jane vigorously chafes Mrs. Mason's wrists. DISSOLVE TO: INT. MASON LIVING ROOM - CLOSE SHOT - AT DIVAN Mrs. Mason is stretched out on the divan. She looks as if she has just been brought home from the hospital. She speaks in a weary, martyred voice. MRS. MASON Ohhhh... What's done is done. You'll have children of your own, I suppose. CAMERA DRAWS BACK to take in Johnny and Jane sitting in chairs which face the divan. They are haggard and dishevelled. MRS. MASON And you'll love them and devote your life to them, and then they'll grow up and leave you and you'll say to yourself, it's all right, that's the way it is, you've served your purpose. JOHNNY Oh, Mother, don't excite yourself any more. MRS. MASON Oh, I'm all right now. She starts to get up. Johnny and Jane help her to her feet. She takes Jane's hand. MRS. MASON I wish you every possible happiness and joy. (her voice trembles) I think perhaps I'd better go to bed. I'm all right. I'm all right. (she starts to exit, then turns with a sudden grey thought) I'll find a place to live, of course. JOHNNY Some place to live! Well, of course not Mother, you'll stay with us. (Mrs. Mason shakes her head) We're, well, we're going to find a new apartment. (again Mrs. Mason shakes her head) We've talked this over and Jane'll insist. Won't you, darling? JANE (not too convincingly) Why, we couldn't think of anything else. MRS. MASON (shakes her head desolately) Well, we'll see. FULL SHOT - LIVING ROOM Mrs. Mason totters, turns abruptly and exits to her bed-room. Johnny and Jane look after her. TWO SHOT - JOHNNY AND JANE Looking off after Mrs. Mason. JOHNNY Well, you see, I told you it would be all right. JANE (as she goes into his arms) Oh, Johnny, maybe we shouldn't have gotten married. Maybe we shouldn't have gotten married at all. FADE OUT: FADE IN: THE NORMANDIE - STOCK SHOT - DAY Atmosphere of just before sailing. Through the Fade, the sound of a steamer whistle. DISSOLVE TO: EXT. BOAT DECK - MEDIUM SHOT A steward passes through the crowd and comes down the gangplank calling: STEWARD All visitors ashore, please! All visitors ashore, please! EXT. BOAT DECK NORMANDIE - NEAR GANGPLANK - CLOSE SHOT JOHNNY - JANE - MRS. MASON in the midst of a similar group bidding farewell to friends and relatives. All through the scene there is a constant movement of people in the background. Mrs. Mason tightly clutches a paper wrapped bag. A hoarse blast from the steamer and Mrs. Mason goes rigid. MRS. MASON (to Jane) Don't let him eat too many strawberries. JANE I won't. MRS. MASON He gets rashes. And don't forget to make him wear his raincoat in London. JANE I won't. MRS. MASON He had pneumonia once. JOHNNY Oh, Mother, that was twelve years ago. I feel fine now. MRS. MASON (to Jane) And take good care of yourself, too. Mrs. Mason and Jane exchange an embarrassed embrace and a kiss on the cheek. JANE Goodbye, Mrs. Mason. MRS. MASON (choking) Take good care of him. She looks at Johnny an instant as if to fix his image in her mind, then throws her arms around him. Her embrace is much different than the one she gave Jane. She holds onto her son as if she never expected to see him again. Johnny is touched and embarrassed. JOHNNY Goodbye, Mother. Aw now, Mother -- it's only two weeks, you know. MRS. MASON (in a strangled voice) I know -- Goodbye. She finally lets him go. JOHNNY Goodbye. She gives them what she thinks is a smile, but it's really a tense twisting of her lips. She starts to go, then she remembers something. MRS. MASON Oh. She hands the box she is carrying to Johnny. JOHNNY What's this? MRS. MASON The heating pad. You forgot to pack it. She makes a feeble effort to wave to them and exits. Johnny looks after her, perplexed and wistful. EXT. DOCK - CLOSE (MOVING) SHOT - MRS. MASON With tears streaming down her cheeks, she moves past people waving farewell to those on the boat. She turns once as if she means to wave too -- then turns and plods doggedly ahead. INT. CORRIDOR - MED. SHOT Johnny and Jane come into the corridor glancing at doors. Johnny has the heating pad under his arm. They find their stateroom and go up to the door numbered 504. JOHNNY Here it is. INT. STATEROOM - FULL SHOT Johnny and Jane enter and look around. It's the smallest first class cabin on the boat with a single bed in it. The only other furniture is a tiny desk and a couple of chairs. TWO SHOT - JOHNNY AND JANE Jane tries to conceal her disappointment at the cell-like size of the room, but Johnny gets it. JOHNNY Ah, what do you think of it? JANE (obvious hypocrisy) Well, it's -- it's cozy. JOHNNY It's the only one they had left. I think we can do better after the boat sails. JANE Oh, what for? I love it. It's so intimate. Jane spies a package on the luggage deposited by the desk. JANE What's this? INSERT: PACKAGE It's heavily wrapped in tissue paper. Jane picks it up. CLOSE SHOT - JANE AND JOHNNY JOHNNY (embarrassed) Oh that! -- that's nothing -- He grabs it and keeps it out of her reach. JANE (eagerly) Is it something somebody gave you? Oh, I know it's for me. Let me see it! JOHNNY (still embarrassed) Oh, no -- no, it isn't. JANE (as though he were holding out on her) It is too. Let me see it! JOHNNY But it's just something I forgot to pack. JANE Well, what are you being so mysterious about? Let me see it. JOHNNY It's nothing... She takes the package and Johnny looks away, then watches her out of the corner of his eye, embarrassed. JANE I bet it's a going away present. CLOSE UP - PACKAGE Jane's hands tearing off the wrapping. JANE'S VOICE Oh, Johnny, you shouldn't have done this. Her hand rips off the last piece of tissue revealing a picture of herself. CLOSE TWO SHOT - JANE AND JOHNNY Jane looks at the picture, looks at Johnny, looks back at the picture, enormously pleased. JANE Oh, Johnny, you fool! (throwing her arms around his neck and kissing him) CLOSE UP - JOHNNY - OVER JANE'S SHOULDER JOHNNY (in a weak attempt to laugh it off) Well, gee whizz, I couldn't leave it in the office! He looks away, reacts to something off scene. JOHNNY Jane -- JANE (her head still on his shoulder) What? JOHNNY You know, when I was in school I was taught that two things can't occupy the same place at the same time. JANE What? (she draws back, looks questioningly at Johnny, follows his gaze) Oh. CLOSE UP - TINY BED -- from Jane and Johnny's angle. BACK TO JANE AND JOHNNY They cross over to the bed, stare at it. JANE Well, we'll get the steward to get us a bigger bed. JOHNNY You couldn't get a bigger bed in here though. JANE Oh, I think it's big enough. She stretches out on one side of the bed and looks up at Johnny. JOHNNY Wait till you try to turn around. Is it all right? JANE Sure it is. Johnny lies on the other side of the bed, puts his arm around Jane and they sink back on the pillow. JOHNNY Let's see. That's not so bad. Why there's oceans of room here. A look of blissful content steals over them. CLOSE UP - JOHNNY AND JANE ON BED They are luxuriantly stretched out. JANE (dreamily) Johnny, this is the first time in my life I've ever been away from America. JOHNNY (almost purring) Me, too. JANE Isn't it just beautiful? JOHNNY (the complete sophisticate) Yeh, yeh, I guess so -- (with a far-away look) Jane... JANE (meltingly) What, Johnny? JOHNNY (reminiscently and tenderly) Do you remember that cinder I took out of your eye in Boston? JANE (positively overflowing with gooey love) I'll never forget it. JOHNNY (self-recriminating) Do you know that I threw it away? I shouldn't have done that. I should have kept that cinder -- put it in a locket or something. If it hadn't been for that cinder, maybe we'd never have met... JANE (horrified at the very idea!) Don't say that, Johnny -- we had to meet. JOHNNY (grudgingly admits) Yeh, yeh, I guess you're right. (but still clinging to his original fearsome idea) But still... if it hadn't been for that cinder -- JANE Oh, Johnny -- isn't it just beautiful? A hoarse blast from the steamer whistle. She edges a bit closer to him and they turn to look at each other. JANE (with infinite tenderness) Bon voyage, darling. JOHNNY (same manner) Bon voyage. They kiss. CARTER'S VOICE Where is stateroom 504? STEWARD First room to your left, sir. There is a knock on the door. Johnny and Jane exchange a startled glance. JOHNNY Come in. MEDIUM SHOT Johnny and Jane get off the bed. The door opens and Carter enters. We get a feeling he has come on a mission which he finds exceedingly pleasant. JOHNNY Well, hello, Carter. Nice of you to come down. CARTER Judge Doolittle sent me. JOHNNY He did? Jane comes into the scene. Johnny introduces her to Carter. JOHNNY (to Carter) Carter, this is Miss -- Mrs. -- This is my wife. Darling, this is Mr. Carter from the office. JANE How do you do? CARTER Happy to know you. (to Johnny) It's a good thing I got here in time. You've got just ten minutes. JOHNNY Ten minutes for what? CARTER (hugely enjoys the moment) To get off the boat. Jane reacts to this. Johnny turns to her. JOHNNY To get off the -- What're you talking about? CARTER Higgins against Higgins. JOHNNY (a note of doom in his voice) What about Higgins against Higgins? CARTER Higgins against Higgins goes on the calendar for next week. JOHNNY Oh, no, no. That's where you're mistaken. I got a continuance for a whole month. CARTER You think you did. JOHNNY I did! Why didn't you ask Hornblow about it? He gave me his word of honor. CARTER (shrugs) Well, you know Hornblow. JANE (frantically) Johnny, they can't do this to you! JOHNNY No, they can't do this to me! JANE What does Doolittle think he is -- a puppet? JOHNNY What does he think I am -- a puppet or something? JANE Some kind of a pawn he can push around any way he likes? JOHNNY Yes -- push all over the place? CARTER (to Johnny) Is that what you want me to tell Doolittle? JANE (shouts) Yes! Flustered, Johnny addresses Carter apologetically. JOHNNY Oh, Carter, wait a minute! Are you sure that Higgins case is going on next week? CARTER Monday morning at nine o'clock. JOHNNY Will you excuse us a minute? -- Jane -- Carter saunters out into the corridor, leaving the door open. Johnny steers Jane to other side of room. JANE I'm glad you said that, Johnny. CLOSE TWO SHOT - JANE AND JOHNNY JOHNNY Yeah -- yeah - Jane, look -- This Higgins versus Higgins is a pretty important case. JANE I don't care if it's the most important case in the world -- it isn't as important as our honeymoon, is it? JOHNNY Oh, no -- of course not, darling. (Jane starts to wipe his mouth with her handkerchief) But what's the matter? JANE You've got lipstick all over your mouth. JOHNNY (continuing) A lawyer is sort of like a doctor or a soldier -- you -- you've got to disregard your own convenience. JANE Convenience! You don't call this a convenience! During this scene Carter can be seen pacing back and forth in the corridor. JOHNNY No, no darling -- now listen, darling, believe me I'd tell Doolittle to jump in the lake -- even at the risk of losing my job, but if I win this case -- I have a chance to get into the firm. And -- And a firm like this -- He stops suddenly as he notes the expression on her face and his jaw hardens. JOHNNY (continues) But it's my honeymoon! And Doolittle knows it's my honeymoon! CAMERA PANS with him as he starts pacing back and forth. In the background Carter paces in the corridor, passing the open door. Johnny looks up at the moment that Carter passes, giving him a significant look. JOHNNY (with inflection dimuendo) There are just some things a man just can't do. There are some things a man just can't do! DISSOLVE TO: LONG SHOT - NORMANDIE LEAVING Crowd on dock waving farewells. Among them, Jane and Johnny. TWO SHOT - REVERSE ANGLE Johnny and Jane are both glum -- Jane's eyes are wet -- as they look out toward the Normandie sailing away. JANE That Carter thought it was funny! He laughed! Oh, I hate that -- that liver-pill! JOHNNY If they ever try pulling anything like this again, I... JANE And I hate that Judge Do-nothing. I -- I wish someone would step on that ear-thing of his. JOHNNY Well, we still have the tickets here... JANE And I hope Higgins beats Higgins! (she breaks) Oh, Johnny -- He puts his arm around her and they stare bleakly out to sea. LONG SHOT - THE NORMANDIE SAILING AWAY FADE OUT: FADE IN: EXT. JOHNNY'S APARTMENT INSERT APARTMENT BELL Under it name plate containing a card with name: MR. AND MRS. JOHN H. MASON and under it the half of another card, with name: MRS. HARRIET MASON A woman's gloved hand comes into Shot and presses button. INT. HALLWAY JOHNNY'S APARTMENT - MEDIUM SHOT Annie, the cook, carrying a mixing spoon and flushed and grumpy from her labors in the kitchen, goes to the door and admits Mrs. Mason. Annie wears a black uniform covered by a large kitchen apron. MRS. MASON (holding forth a paper bag) The alligator pears, Annie. Annie grunts, snatches the paper package. Mrs. Mason has turned to take off her coat. She turns now to hand it to Annie but finds she has gone. JANE'S VOICE (calling from bedroom) Johnny! ANNIE (as she passes bedroom) It's your mother-in-law. JANE'S VOICE Oh, hello, dear! INT. HALL - CLOSE SHOT - AS MRS. MASON REMOVES HER HAT JANE'S VOICE Oh, would you mind fixing the place cards for me? I'm so late. They're right in there on the desk. MRS. MASON Certainly, dear. (she starts into dining room) INT. DINING ROOM Jane's voice is continuing off scene as Mrs. Mason enters, gives the table a critical once-over. It is set for six. JANE'S VOICE That girl took so long to fix my hair, I didn't get out of the place till half past six. It's still sopping wet. Mrs. Mason has picked up the place cards from the desk and crosses to table, sorting them. MRS. MASON (starts to fix place cards) You should have made an earlier appointment. INT. JANE'S BEDROOM - CLOSE SHOT AT DRESSER Jane, fixing up before mirror, reacts to this implied criticism. JANE (grimly) Yes, I should. (she rouges savagely) I thought I'd put Judge Doolittle on my right, of course. INT. DINING ROOM - MEDIUM SHOT Mrs. Mason is placing the cards. MRS. MASON Naturally. INT. BEDROOM - CLOSE SHOT - JANE JANE And Mr. Carter -- I suppose I'll have to have him on my left. INT. DINING ROOM - CLOSE SHOT - MRS. MASON MRS. MASON You seem to think I've never done this before. INT. BEDROOM JANE No, no dear. It's just that I never have. INT. DINING ROOM - MEDIUM SHOT Annie enters from kitchen and goes to sideboard. She opens a drawer to look for nut cracker. MRS. MASON You have the wine glasses on the wrong side, Annie. ANNIE (resentfully) The left side was the right side where I worked before. MRS. MASON (shakes her head) The right side was the water glasses, Annie. Annie exits to kitchen in a huff, giving the swinging door a push that causes it to swing violently. Mrs. Mason takes the floral center-piece off the table and brings it over to the sideboard. Jane enters from bedroom, her hair in a net and wearing a house robe. JANE How do you think the table looks? MRS. MASON Isn't it a little crowded? Jane sees that the center-piece has been removed. JANE Oh, that girl will drive me crazy! She goes to the sideboard, takes the centerpiece and replaces it on the table. JANE The things that pop up at the last minute! I had to borrow some finger bowls from the woman downstairs because we only had four. (she scans the place cards) Oh -- are you at Johnny's right? MRS. MASON I always have been. JANE I thought tonight I'd put Miss Doolittle there. MRS. MASON Oh well, of course, it's your party, my dear. JANE (re-arranges the place cards) Just this once. Do you mind? MRS. MASON Certainly not. (reminiscently) You know, I thought at one time that John and Eunice Doolittle -- JANE (turns sharply) Yes? MRS. MASON But there was nothing in it... But a lovely girl! JANE (abruptly) Would you be a dear and see if Annie has the appetizers fixed? MRS. MASON Of course, dear. (she exits to kitchen) CLOSE UP - JANE She picks up Eunice's place card and looks at it thoughtfully. INT. KITCHEN Annie is busy at the stove. She isn't accustomed to dinner for six and is in a violent temper. MRS. MASON I think you have too many on the plate, Annie. And shouldn't they be garnished? Where's the silver tray -- the one I gave them? ANNIE I don't know how many hands they expect you to have in this place! There's just so much a body can do! I'm only human. Annie places tray before Mrs. Mason. MRS. MASON I'll fix the canapes for you, Annie, since you seem to have so much to do. (tastes salad dressing) A little too much vinegar in your salad dressing, Annie, I'm afraid. ANNIE I'm only human. MRS. MASON (looks toward stove) Oh, your potatoes aren't going to burn, are they? I'm afraid you put them on too early. Annie slams down mixing spoon and starts savagely out of the kitchen. INT. BEDROOM - CLOSE SHOT - AT DRESSER Jane is continuing with her dressing. The grim face of Annie suddenly appears in the mirror. ANNIE I'm leavin'. JANE (turns, horrified) You're WHAT? ANNIE Right now. You can stand just so much. I'm only human. JANE But you can't do that! What's the matter? ANNIE I can't please everybody. JANE (understanding reference to mother- in-law and depressed -- then frantic) Oh... But, Annie -- my guests will be here any minute! INT. KITCHEN - MRS. MASON AT STOVE She takes the top off the soup kettle, tastes it, adds a little salt -- looks at the potatoes, adds a large hunk of butter -- opens oven, looks at roast, turns down gas jet. In short, she completely edits Annie's dinner. INT. BEDROOM - TWO SHOT - JANE AND ANNIE ANNIE Well, I'll see you through dinner, but I'm leaving at nine o'clock sharp to catch the nine-thirty fairy boat to Staten Island -- an' nobody's goin' to stop me! (she exits) INT. DINING ROOM - MEDIUM SHOT ANNIE (enters from bedroom, muttering under her breath) I'm only human. Mrs. Mason leaves kitchen as Annie enters it. MRS. MASON Watch the potatoes, Annie! Annie hits the door a smack and it swings violently behind her as she enters kitchen. Jane enters from living room and proceeds toward Mrs. Mason. TWO SHOT - JANE AND MRS. MASON JANE (gently tactful) Dear, Annie has so much to do -- the extra guests and everything -- Don't you think we'd better humor her tonight -- sort of leave her alone... MRS. MASON (crucified) You asked me to see about the canapes -- JANE I know -- but it's a great deal for one person to do. And too many of us telling her what to do only upsets her. MRS. MASON (at same time) Well -- I was only trying to help. A whistle from the living room interrupts them. JANE There's Johnny! INT. LIVING ROOM - CLOSE SHOT - JOHNNY He steps up to greet his wife and his mother, holding something concealed under his coat. JANE I bet you forgot the wine! Triumphantly he produces the bottle from under his coat and hands it to Jane. JOHNNY Old Granite Puss's favorite brand! (kisses Jane on lips and takes off his overcoat) I called up Doolittle's club and found out -- Pretty nice, huh? (throws overcoat on hall bench and kisses his mother on forehead -- reaches over and takes bottle from Jane -- looks at it) It's Burgundy and it sparkles! (hands it to his mother) Tell Annie to chill it, Mother. They'll be here any minute! (to Jane) You'd better get dressed! (starts to take off coat and vest as he crosses to bedroom door, followed by Jane) INT. BEDROOM - MED. SHOT Johnny rushes in, flings his coat on the bed, and is ripping at his tie as he starts into the bathroom. JOHNNY'S VOICE How's everything going? JANE Everything's lovely! An ultimatum from Annie and this one's final! She goes to the bed to pick up Johnny's coat -- his pants come flying out and drape themselves over her. The sound of running water. JANE She's through tonight. CLOSE SHOT - AT BATHROOM DOOR Johnny pops his head out -- quickly without even looking at himself, giving himself about a seven-stroke electric shave. JOHNNY (thunderstruck) Tonight! INT. BEDROOM - MED. SHOT JANE It's all right. She'll see us through dinner. JOHNNY'S VOICE (from bathroom) I don't see why you have so much trouble with servants. Down at the office we get all the help we want. Jane closes her eyes and grits her teeth. JANE I'd like to change places with you for just one day. The noise of the electric razor stops. Jane is taking Johnny's suit to closet. She hangs it up and comes out with different suit. JOHNNY'S VOICE Jane, for Pete's sake, what did you do with the witch hazel? JANE I didn't have it. Look on the third shelf back of the eye wash. JOHNNY'S VOICE (grumbling) Always putting things behind things... JANE (putting Johnny's suit on the bed) That was a brilliant idea of yours, asking Eunice Doolittle at the last minute! She gets her dress from closet. JOHNNY'S VOICE She and the judge are like corned beef and cabbage. They're always together. (he comes out in his underwear) JANE (takes off her robe) And that impossible twirp, Carter -- I suppose you had to ask him, too! Johnny gets a shirt from dresser and starts putting it on. JOHNNY Eunice had some sort of date with Carter. What could I do? (mumbles to himself) I not only do all that guy's work, for him, but feed him as well. (reaches for his pants and starts getting into them -- one leg first) It's all going to be different when my name goes up on that door. Jane, getting into her dress, comes over to him. Johnny has one leg in his pants. JANE Oh, Johnny -- do you really think so? JOHNNY It's practically up there now. What's for dinner tonight? JANE Roast beef. JOHNNY Roast beef! Doolittle's delight. JANE You know, I tried to have Annie make Yorkshire pudding -- but she never heard of it. JOHNNY Oh, that's all right. Between roast beef and Higgins against Higgins how can we lose? Yes, sir, that's going to be all right -- my name up there on the door. He starts to button his shirt. Jane assists him. JOHNNY (as he buttons top button) Doolittle -- JANE (buttons second button) Messerschmidt -- JOHNNY (buttons third button) Doolittle -- JANE (buttons fourth button) Hutch -- JOHNNY (buttons last button) and Mason! JANE Oh, Johnny! JOHNNY Well, didn't I win my motion for a new trial in Higgins against Higgins? I had a memo from Doolittle today. JANE Oh, you did. What did he say? JOHNNY He said he couldn't have handled it better himself. And when he eats from your table tonight, he'll eat out of my hand. And will I tell Carter! JANE And will we hop the Normandie! JOHNNY And will we go places! JANE And will we do things! (looks at Johnny) Darling, I don't like that tie. Wear the blue one. JOHNNY (starts to take off tie) Holy Mackerel. JANE Johnny, does your name have to be last? JOHNNY Well, for the time being anyway. You know what it means to a man to get into a firm like that? JANE (squirming with her dress) You know what it means to a firm to get a man like you in it? (turns her back to him) Here, hook me up. He comes behind her to hook her. JOHNNY Pretty nice neck you've got there. (kisses her on the back of the neck) JANE As nice as Eunice Doolittle's? JOHNNY What do I know about Eunice Doolittle's neck? I never even noticed she had one. (quickly changes the subject which is a slightly dangerous one -- looks at his wrist watch) Hey, do you know what time it is? Get dressed, will you? JANE I am dressed. JOHNNY (gets into his coat) Come on then! (starts out the door) Old Granite Puss will be here any minute. DOOLITTLE'S VOICE Good evening. Johnny reacts, turns and starts toward his guests. CLOSE SHOT - GROUP IN LIVING ROOM Judge Doolittle standing in a group including Mrs. Mason, Carter, and Eunice, the judge's daughter. Johnny and Jane come into the scene. JOHNNY (fearfully) Good evening, Judge. I've got great news for you tonight, Judge. We're having roast beef. Roast beef for dinner, yeah. INT. DINING ROOM - CLOSE SHOT - ANNIE Her face grim, a large serving platter in her arms. CAMERA DRAWS BACK and we see she is serving Doolittle, squeezing up against him so that he is in a very awkward position. An appalling silence hangs over the table. From the condition of the various plates, we can see it is Annie's second time around. Doolittle manages to spear a slice. He puts it on his plate and is about to reach for another when he finds that Annie has moved on to Jane. A little bewildered, Doolittle places the serving fork and spoon on the edge of the platter. He has to reach across Jane to do this. CLOSE UP - EUNICE With one prong of her fork she spears the very end of a stalk of asparagus and pops it into her mouth -- with an expressive look at Carter, as if to say: whatever made me come here tonight? CLOSE UP - CARTER He shrugs, sticks his tongue against his cheek, looks ceilingward and makes cabalistic marks on the tablecloth with the end of his knife. CLOSE UP - MRS. MASON She ignores her food and beats with her finger tips on the edge of the table. She seems to be nursing some secret grievance and stewing about it. CLOSE UP - JOHNNY He saws away at a piece of meat that is making a bum out of his knife. He gives up and leans forward with a gesture of his hand as if he is about to make a desperate effort to renew the conversation -- but the effort is abortive. He finds he has nothing to say. CLOSE SHOT - JANE AND DOOLITTLE She turns to Doolittle. JANE (rather loudly, in deference to Doolittle's deafness) Would you care for some more wine, Judge Doolittle? JUDGE DOOLITTLE Yes. Thank you. JANE (to Annie, at other end of table) Annie -- more wine for Judge Doolittle. ANNIE (loudly) There ain't any more. Doolittle decides to start on his salad. He can't find a salad fork. With a crucified expression, he uses his meat fork. Annie starts toward the kitchen. JANE (sharply) A salad fork for Judge Doolittle, Annie! ANNIE (as she exits into kitchen) I put one there. The swinging door closes behind her. JANE (desperately tries to change the subject) Funniest thing happened to me the other day, Judge Doolittle -- I ran across the year book of my husband's class at college, and in the class prophecy he was picked out as the one most likely to succeed. JUDGE DOOLITTLE What's that? JANE (louder) The other day I ran across the year book of my husband's class at college, and in the class prophecy -- JUDGE DOOLITTLE Oh, yes, yes -- yes. JANE Higgins against Higgins was quite an important case, wasn't it, Judge Doolittle? JUDGE DOOLITTLE We like to think all our cases are important. The little client of today may be the big client of tomorrow. CLOSE UP - CARTER CARTER Oh, you're so right, Judge. CLOSE SHOT - DOOLITTLE AND JANE JUDGE DOOLITTLE For instance, we got a client the other day... FULL SHOT Annie has been serving the dessert. She sets a plate of almost liquid ice cream before the Judge. He stares at it. JANE Oh dear -- (at the breaking point, but trying desperately to control herself) What happened to your ice cream, Annie? Annie continues serving the ice cream. ANNIE I told you to have the ice box fixed. She puts a piece of paper alongside Jane's plate. Jane looks at the note. INSERT - THE NOTE It reads: "I've got to leave. I want my pay. $12.00." FULL SHOT - THE TABLE Annie is standing near Jane. Jane hands her the note and whispers to her. JANE (whispering to Annie) Annie, give this note to Mr. Mason. Annie departs with note. CLOSE UP - JANE She looks across the table and tries to mouth the import of Annie's message to Johnny. CLOSE UP - JOHNNY He mouths back inquiries. He can't make out what Jane is trying to convey. CLOSE UP - CARTER Looking from Jane to Johnny, wondering what's going on. MEDIUM SHOT Jane gives up and turns to Doolittle. JANE Is it true, Judge Doolittle, something new is going to happen in the firm this week? Johnny by this time has gotten the significance of the note. He rises and starts out. JOHNNY (to Doolittle) Excuse me. JUDGE DOOLITTLE What? JOHNNY Excuse me, please? Johnny exits. Doolittle continues. JUDGE DOOLITTLE Oh yes -- we're going to have a blood transfusion... I'm only speaking metaphorically of course. What I mean is we're getting some new blood into the firm -- appointing a junior partner. JANE Oh! She looks frantically toward the kitchen. INT. KITCHEN JOHNNY You couldn't stay and serve the coffee, could you Annie? ANNIE No! JOHNNY Here's seven dollars -- and I'll send you -- ANNIE (adamant -- in a loud voice) I want my twelve dollars now! JOHNNY (whispering and trying to shush her) All right, Annie -- all right. I'll get it for you. I'll get it -- maybe. Turns to go out. MED SHOT - DINING ROOM JUDGE DOOLITTLE That's how to keep an old firm young. I've been doing this every five years and it's quite a job to pick the right man. Johnny comes out of the kitchen. Doolittle frowns at the interruption. JANE Johnny -- JOHNNY (as he passes the table) Excuse me -- (he proceeds to the living room) MRS. MASON (answering Doolittle) I shouldn't think so. Surely it's a question of merit -- INT. BEDROOM - CLOSE SHOT - JOHNNY He rummages through Jane's bureau drawer -- stockings and handkerchiefs falling out, etc... finds her purse, takes out a small roll of bills, closes the purse, restores it to its place. FULL SHOT - DINING ROOM JUDGE DOOLITTLE As a rule I always trust my own judgment, but when it comes to picking men -- Johnny enters from the living room. JANE Johnny -- JOHNNY Excuse me -- He exits again into the kitchen. Doolittle is more annoyed than ever at the continuous interruptions. JUDGE DOOLITTLE (continues) ...I think there's nothing like a woman's intuition. CARTER Oh, you're so right, Judge. JUDGE DOOLITTLE Of course, Eunice doesn't know much about law -- but she's traveled all over the world and she does know people. Five years ago it was at her suggestion that I took Mr. Hutch into the firm. It worked out so well... Johnny enters from the kitchen and takes his place at the table. JOHNNY I beg your pardon -- I'm very sorry... JUDGE DOOLITTLE (continues his speech) ...that this year I have again consulted my daughter. And now a new name moves up on the door of our offices. (Johnny and Jane listen eagerly) Beginning next Monday, the name of the firm will be -- Doolittle -- QUICK CLOSE UPS - GROUP AT TABLE Waiting expectantly for Doolittle to announce the new firm member. DOOLITTLE'S VOICE Messerschmidt -- Doolittle -- Hutch -- and Carter. CLOSE UP - JANE She reacts in keen disappointment. She looks across the table at Johnny. CLOSE UP - JOHNNY Trying to rise to the occasion, he stands... JOHNNY Well, Carter -- Congratulations! It's wonderful. I always knew you had it in you... I'd like to propose a toast to the new partner -- only -- we -- seem to have run out of -- wine. There isn't any more wine. His voice cracks on the last word and he sinks to his chair. BIG CLOSE UP - JANE She looks at Johnny trying to smile -- the tears running down her face. FADE OUT: FADE IN: (AUTUMN) INT. ANTEROOM DOCTOR'S SUITE - CLOSE SHOT - DOOR Upon which is written: DR. LANGHAM CAMERA DRAWS BACK as the door opens and Jane comes out -- excited, starry-eyed, almost cross-eyed with the import of news she has just received from the doctor. CAMERA PANS with her and she goes to a desk at which is seated a nurse, busily engaged with filing cards. JANE (tremulously) May I have some paper and an envelope, please? NURSE Certainly. She hands Jane a sheet of office stationery and an envelope. JANE Thank you. CAMERA PANS Jane over to a little writing desk. She sits down, reaches for the pen and draws a large heart in the center of the sheet. In her excitement she begins to hum "Columbia, The Gem of the Ocean" as she starts to write a note within the heart. NURSE Would you like a stamp? JANE No thank you. CLOSE SHOT - JANE AT WRITING DESK Humming and writing. She looks up. JANE Could I have a safety pin, please? NURSE'S VOICE Surely. She comes into the Shot and puts a safety pin on the desk. JANE Thank you. Nurse exits. Jane fixes the safety pin on the note she has just written, folds the note, encloses it in the envelope and writes furiously on envelope. She seals the letter and rises. CAMERA PANS with her as she starts to exit. The nurse, amused, turns to watch her leave. As Jane disappears through the door -- DISSOLVE TO: INT. COURTROOM - CLOSE UP - JOHNNY CAMERA PANNING with him as he paces before the jury box. We meet a new and startlingly different Johnny. He may be a worm to Doolittle -- a schnook to Jane -- and Little Lord Fauntleroy to his mother, but here he is in his element -- the flaming advocate, concluding his eloquent summation to the jury in a burst of forensic fireworks. JOHNNY And I tell you, gentlemen of the jury, the defendant Higgins, with unbrotherly venom and motivated solely by a desire maliciously and hatefully to interfere with his brother's rights and privileges -- CLOSE SHOT - THE JURORS The foreman is consulting a time table. JOHNNY'S VOICE -- deliberately and improperly diverted the waters of the stream -- INSERT: TIME TABLE Featuring schedule of trains to Long Island. The foreman's finger is running down a list of trains. Now the train after the four o'clock is circled. MED SHOT - COURTROOM - INCLUDING JUDGE, JOHNNY, CLERK, JURY, ETC. JOHNNY (fervently) Well, gentlemen, I leave the determination of these matters in your hands, confident that your verdict will bring justice to my client, the plaintiff in this action. Johnny wipes his brow and subsides. CLOSE UP - JUDGE He comes to with a start from something very closely approximating a nap and shakes his head to clear his drowsy wits. JUDGE Gentlemen of the jury -- MED. SHOT - JURORS The foreman's face puckered with anxiety as he looks at time table. JUDGE'S VOICE You will now retire to arrive at a verdict. The jury starts to file out of the jury box. CLOSE SHOT - JOHNNY Seated at counsel table making notes. A bailiff comes over and whispers in his ear. Johnny's face lights up and he turns and looks toward the other end of courtroom. He rises and waves joyously -- then starts eagerly out of Shot. CLOSE SHOT Last row of seats in courtroom. Jane is seated there. Johnny comes into scene and she moves over one seat to make room for him. He drops into the seat alongside and puts his arm around her waist. JANE I came in just as you started your summation, Johnny -- it was wonderful! JOHNNY You should have been here when I cross-examined Higgins. JANE Your Higgins? JOHNNY No -- the other one. MAN (passing through scene) You skinned him alive. JOHNNY I tore him apart! I really cut him up -- JANE Johnny -- She hands him an envelope. He grins at her and looks at it. INSERT: THE ENVELOPE On Dr. Langham's stationery and marked: JOHNNY RUSH! URGENT! VITAL! TWO SHOT - JOHNNY AND JANE Johnny opens the letter and reads it. Jane is watching Johnny with bated breath. Johnny's eyes open wide as he reads the letter and begins to gather its import. INSERT: THE LETTER Instead of one heart-shaped enclosure, there are two joined together by the safety pin. Within the large heart is written: "The party of the second part wishes to announce to the party of the first part that we're going to be in the market for a lot of these for the -- Here a curved arrow points to the safety pin. Within the small heart is written: Party of the third part." TWO SHOT - JOHNNY AND JANE Johnny looks up at Jane. He is speechless with surprise and joy. He tries to say something but his bobbing Adam's apple prevents speech. JOHNNY (suddenly shouting) Jane! He takes her into his arms. Three men come into the shot. FIRST MAN Congratulations, Mason! SECOND MAN Good work! THIRD MAN You did a swell job! FADE OUT: FADE IN: (LATE SPRING) EXT. HOSPITAL - CLOSE SHOT - A TABLET It reads: MANHATTAN MATERNITY HOSPITAL DISSOLVE TO: INT. PRIVATE ROOM IN HOSPITAL - CLOSE SHOT - JOHNNY Asleep in bed. He has taken a room next to Jane's in the hospital. A blinking Neon sign from outside window is flashing in his face. CAMERA MOVES BACK as he moves restlessly and suddenly awakes with nightmarish movements. Stupefied with sleep, he fumbles with clock on bedside table. INSERT: CLOCK It indicates a few minutes to four o'clock. HOSPITAL ROOM - MEDIUM SHOT Johnny leaps out of bed, still more asleep than awake, takes another look at the clock, then quickly comes to life. He blunders into his bathrobe and slippers, putting on the former as he exits room. INT. HOSPITAL CORRIDOR - CLOSE SHOT - AT DOOR As Johnny, still half asleep, comes into the hall. CAMERA PANS with him to adjoining room. Johnny listens, hears nothing -- he knocks softly on door, gets no answer, hesitates and then softly opens the door. Looks into the room. MEDIUM SHOT - THE ROOM It is brightly lit. CAMERA MOVES UP to the bed. It is empty but not made up. CLOSE UP - JOHNNY He takes in the significance of the empty bed and registers accordingly. INT. HOSPITAL CORRIDOR - LONG SHOT Johnny streaks away from his wife's room and runs down the corridor. As he reaches end of corridor; DISSOLVE TO: INT. ANTEROOM - OBSTETRICIAN SECTION - CLOSE SHOT AT DOOR It opens and Johnny, wild-eyed, pops in. A nurse walks into the scene and bars his further progress. JOHNNY Is it -- happening? NURSE It's happening. JOHNNY Why didn't they wake me? I want to be with her -- I've got a right to be with my wife, haven't I? NURSE (a little impatiently) All right. Wait a minute. You can't go in there until you put this on. He waits, tremblingly -- looking toward the opposite door. The nurse comes back with surgical gown and mask. She helps him with the garment and mask. He keeps looking toward the opposite door. CLOSE SHOT - OPPOSITE DOOR The door swings open for a moment as another nurse comes out of the delivery room. A quick glimpse of the activity inside before the door swings shut. INT. DELIVERY ROOM - MED. SHOT - SHOOTING TOWARD DOOR TO ANTEROOM Johnny enters, walks toward operating table. CLOSE SHOT - JANE (TAKING IN ONLY HER FACE) AS JOHNNY COMES UP - ANAESTHETIST IN BACKGROUND Jane sees Johnny and is just barely able to smile, makes a weak effort to say, "Hello." CLOSE UP - JOHNNY His lips move under the mask with answering greeting. CLOSE SHOT - ANAESTHETIST -- as he prepares ether mask. CLOSE SHOT - MASK COMING OVER JANE'S FACE 127 CLOSE SHOT - JOHNNY He has picked up Jane's hand and we get the reaction of the ether on her from the manner in which her hand droops out of his. MEDIUM SHOT across Johnny's back as he steps away from table -- beyond can be seen doctor and anaesthetist's activity - but Johnny's body covers view of Jane. CLOSE UP - JOHNNY He reacts to activity. CLOSE FLASHES OF VARIOUS DETAILS OF DELIVERY: Nurses -- Doctor -- Assistants -- Busy expert hands handing such instruments as may be permissible to doctor, etc. Over these Shots -- low and indistinguishable -- come the various voices of Doctor, Nurses and other appropriate sounds. There are, however, no sounds of pain as Jane is under half ether. CLOSE UP - JOHNNY Reacts to activity. CLOSE SHOT - JOHNNY'S EYES In the eyes is double printed the activity in the delivery room. CLOSEUPS OF ANAESTHETIST WITH BAG - OBSTETRICIAN AND ASSISTANTS - SHOWING THEIR EXERTIONS - INTERCUT WITH JOHNNY'S AGONIZED FACE WATCHING LONG SHOT - DELIVERY ROOM Johnny in foreground blocking out Jane's body. We get a glimpse of the doctor and nurse as obstetrician holds the newborn baby. CLOSE UP - OBSTETRICIAN as he holds the baby up by the feet. The obstetrician is slapping the baby's feet. It emits a tiny squeak. OBSTETRICIAN Come on -- you can do better than that. (slaps the baby's feet again) CLOSE UP - JOHNNY watching -- his eyes almost popping out of his head. Into the Shot comes the querulous wail of the newborn babe. OBSTETRICIAN'S VOICE Atta boy! LONG SHOT - FROM JOHNNY'S POINT OF VIEW Activity around operating table. It starts to go out of focus. CLOSE UP - JOHNNY He slips to the floor in a dead faint. FADE OUT: FADE IN: INT. HOSPITAL - CASHIER'S WINDOW - CLOSE UP A hospital bill with itemized account of hospital expenses made out to John H. Mason. Cashier's hand comes into Shot and stamps a paid rubber stamp form on bill. CASHIER'S VOICE Now he's all yours, Mr. Mason. CAMERA DRAWS BACK as we see Johnny standing in front of cashier's cage. Cashier hands Johnny the bill. JOHNNY (as he looks at bill) All mine. CASHIER Come in again some time. JOHNNY Thank you -- I will. (he starts to go, then realizing the import of her remark, stops for a moment, embarrassed) I mean I -- yeah. (he exits precipitously) FADE OUT: FADE IN: LONG SHOT - CORNER - 5TH AVENUE As the traffic sign goes to "Stop" for 5th Avenue traffic. A 5th Avenue bus, a carriage, a taxi and a truck pull up and stop. In f.g., is a mounted policeman directing traffic. CLOSE UP - TRAFFIC SIGNAL Light turns to "Go" for 5th Avenue. LONG SHOT - FIFTH AVENUE CORNER (as before) Traffic stands immovable -- cars behind start honking -- people on bus, coachman, truck driver, etc., still looking down into taxi. Irate cop gallops over towards taxi. CLOSE SHOT Across roof of taxi as cop rides into scene. COP (bawling at driver) Hey! What do you think you're doing holding up traffic? He suddenly looks down and his expression changes to a broad grin. COP Oh... What is it, boy or girl? INT. TAXI - CLOSE SHOT - JANE AND JOHNNY Jane is holding the baby. Johnny grins proudly. Jane indicates Johnny's expression. JANE What do you think? CLOSE SHOT - COP The cop smiles, understanding. The horns start furiously honking and blowing again. Cop turns and starts furiously after the impatient honkers. COP Hey, cut that out! Do you want to wake that baby! All right -- get going. Traffic starts to move. INT. TAXI - JOHNNY AND JANE Johnny curiously embarrassed; Jane proud. The baby alone is indifferent. JANE Johnny? JOHNNY Uh huh -- JANE (softly) Like him? JOHNNY (sheepish grin -- trying very hard to conceal his memotion) Sort of. JANE Don't you think he's... he's just beautiful? JOHNNY (dodging the question) He... he looks old, don't you think? JANE Old? What do you mean, old? JOHNNY I mean... he looks as though he were six months old -- or a year -- at least. JANE Oh, Johnny, you're silly... but don't you think he's just beautiful? JOHNNY (dodging) I hope he grows up to look like you. JANE How can he? He has all your features. JOHNNY I don't see how you can tell that by looking at that face. CLOSE UP - BABY Who looks like no one on earth. JANE'S VOICE Just look at the way his eyes crinkle... Just the way yours do when you're happy. BACK TO SCENE JOHNNY He doesn't look happy. He looks kind of bored. JANE Well, you'd be bored too, if you'd been through what he has... But don't you think he's just beautiful? Johnny has put out his hand. The baby has gripped his finger. INSERT: Baby's finger gripping Johnny's JOHNNY'S VOICE Boy, what a grip! BACK TO SCENE JANE (tenderly) But don't you think he's just beautiful! FADE OUT: FADE IN: INT. APARTMENT BATHROOM - NEXT MORNING (LATE SPRING) OPEN on CLOSE SHOT BABY in portable canvas babies' bath set up in bathroom. Jane's hands are sponging the baby. JOHNNY'S VOICE Well, fella, how do you like your first bath? CAMERA DRAWS BACK to reveal Jane, in house gown giving the baby its first bath at home. Johnny, in shirt sleeves, is sitting on the edge of the tub, fascinated. Mrs. Mason stands alongside watching and coaching. The advent of the baby has materially changed the appearance of the bathroom. A clothesline is rigged across the room and on it hang three diapers held by clothespins. A baby's scale sets on the closed seat of the toilet, or on a clothes hamper or etc. Jane handles the baby very gingerly. MRS. MASON Be sure you soap his head thoroughly. It prevents cradle-cap. JANE (still pleasantly) Yes, Mother. I know. MRS. MASON (more baby talk to baby) Ittie Johnny doesn't want nasty old cradle-cap, does oo? JOHNNY Look at those shoulders! Can I do something Jane? (pleadingly) Please! He reaches for baby as Jane lifts him out of the water. This movement makes Jane almost let it slip through her hands and she exclaims in fright: JANE (panicky) Now look what you've done! I almost dropped him! Do move over, Johnny -- please! Her back to CAMERA, she holds the baby in her arms as she pulls over the canvas top of the tub and lays the baby on it. MRS. MASON If you'd let me show you how -- JANE (not quite so pleasantly) I know how. They showed me at the hospital. (she is now drying the baby, her back still to CAMERA) MRS. MASON You don't rub the baby dry. You just pat him. JANE (beginning to wear thin) I am patting him. MRS. MASON He looks red. Maybe the water was too hot. JANE (pleasantly) No, Mother. It was just right. I tested it. MRS. MASON (to baby in baby talk) Was its 'ittle water too hot for ittie Johnny? JANE (she turns to Johnny) Johnny, will you hand me his shirt? Johnny reaches for the wrong garment. JANE Not that one! This one. She gets the shirt, starts to put it on. JOHNNY (admiringly) Look at the chest on him! (eagerly) Can't I help? Neither woman pays any attention to him. MRS. MASON Be careful of his little head, my dear. JANE (still pleasantly) I will, Mother. Johnny, you'd better go in the kitchen and warm his milk. PAN WITH JOHNNY as he starts out of the room. He almost collides with the clothesline and has to stoop in order to get by it; almost knocks over the scales as he exits. MRS. MASON (calling to Johnny) Not too hot, John! CLOSE SHOT - JANE The baby is now all dressed for the night, and Jane has him safely cradled in her arms. JANE (fervently) Hallelujah! (with great sigh of relief) He's bathed! DISSOLVE TO: INT. LIVING ROOM - AT CRIB Mrs. Mason stands over the crib. Jane is wearily stretched out in a chair near the crib, her arms and legs stretched in fatigue, her eyes closed: the mother just back from the hospital. The baby is crying lustily. They look harassed. MRS. MASON A touch of colic. JANE (without opening her eyes -- wearily) No, Mother, he's just hungry. MRS. MASON (with maddening tolerance of her daughter-in-law's stupidity) I'm sorry, my dear, but it's colic... He's been crying for five minutes. Jane closes her eyes and controls herself with effort. JANE (sitting up a little, calling impatiently) Johnny! Where's that bottle! Johnny comes in from kitchen, triumphantly carrying the baby's bottle. JOHNNY (goes toward the crib) Here, fella -- the feed bag! CLOSE SHOT - JOHNNY AT CRIB The baby still squawling -- Johnny trying to put the bottle into its hands. CLOSE SHOT - BABY Baby's hands fighting off bottle, as he continues to bawl. CLOSE SHOT-JOHNNY Jane comes into scene. She yanks the bottle from Johnny. JANE They don't eat with their hands, you dope! She rolls up her sleeve and tests the temperature of the milk by spilling a few drops on her forearm, looking at Johnny in a superior manner and shaking her head. She lowers the bottle toward the crib. CLOSE UP - BABY As Jane forces the bottle into its mouth. His squawling ceases instantly and he sucks the nipple with vehement appreciation. MEDIUM SHOT Again Jane goes to chair and sinks down wearily. The doorbell rings. Johnny exits to answer it. Jane looks at the contented baby, then speaks to Mrs. Mason: JANE (lies back in her chair, closes her eyes) You see Mother, he was hungry. MRS. MASON If he were fed on time he wouldn't cry. JANE (Her eyes still closed, her hands tighten on the arm of the chair) As soon as we're organized... MRS. MASON (interrupting) Too bad he has to be fed on a bottle. JANE (sighs -- grimly) I haven't heard the baby complain yet. MRS. MASON John never saw a bottle till he was six months old. CLOSE UP - JANE Controlling herself, speaks as inaudibly as possible -- practically to herself: JANE (as she speaks she clenches her hands on the arms of the chair) I won't say anything. I won't say anything. I won't say anything... MRS. MASON'S VOICE What's that, my dear? BACK TO SCENE Johnny comes in -- carrying a flat, small package already half unwrapped. JOHNNY What do you think? It's a present from old Granite Puss... He sits down beside Jane, starts unwrapping the package. JANE I'll bet it's a summons. JOHNNY No -- it's a bank book. INSERT: Johnny's hands finishing opening package. It contains a bank book showing that an account has been opened in the name of John H. Mason, Jr, with an opening deposit of $10.00 -- and accompanying it is Judge Doolittle's business card. Johnny's hand turns the card over. On it is handwritten: "A penny earned is a penny saved." CLOSE SHOT - GROUP JOHNNY He's deposited Ten Dollars. (he hands Jane the open bank book.) Mrs. Mason glances over Jane's shoulder. JOHNNY Say -- that's a lot of money for the little guy. JANE I hope it doesn't plunge Doolittle into bankruptcy. JOHNNY After that hospital bill he's got more cash in the bank than I have. MRS. MASON (very superior) I think it's very considerate of Judge Doolittle to think about the baby's future. JANE I'm not worried about his fut