Screenplays for You - free movie scripts and screenplays

Screenplays, movie scripts and transcripts organized alphabetically:

Made for Each Other (1939)

by Rose Franken and Jo Swerling.
Humorous Situations by Frank Ryan.
Shooting draft.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


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 future -- 
	It's the present that bothers me... 
	Where are we going to put him?

		JOHNNY
	Why can't he stay in our room?

		JANE
	You know he kept you awake last night.

		MRS. MASON
		(with demure over-
		sweetness)
	You should have taken that into 
	consideration, my dear, before you 
	rented this apartment.

		JANE
		(too tired to argue)
	I know. I should have.

		MRS. MASON
	If my own room weren't so small --

		JANE
		(sweetly, forgetting 
		and forgiving what 
		she's been through)
	Oh, I wouldn't think of it, dear.

CLOSE SHOT AT DOOR - LEADING TO ENTRY HALL

Hilda, the current cook, stands listening.

		JOHNNY'S VOICE
	We could keep him in our room days 
	and in the living room nights.

		JANE'S VOICE
	That's too far from the bedroom.

		JOHNNY'S VOICE
	Well, in the dining room, then.

		JANE'S VOICE
	It's too near the kitchen -- but I 
	suppose we'll have to.

Hilda shows that she doesn't relish the idea of the baby 
being near the kitchen. She coughs to attract attention.

		HILDA
	Mrs. --

		JANE'S VOICE
	Yes, Hilda?

		HILDA
		(Swedish accent)
	Could I please see you a minute?

Jane comes into the Shot.

		JANE
	What is it, Hilda?

		HILDA
	Your mother-in-law hired me when you 
	was away -- but she didn't say why 
	you was away --

		JANE
		(tight-lipped)
	You mean you don't approve of my 
	having a baby?

		HILDA
	That's your business. You can have 
	as many babies as you like.

		JANE
		(grimly)
	Thank you. That's big of you.

		HILDA
	But my business is cooking. You get 
	somebody else to wash the diapers.

She turns and starts to exit. Jane calls after her, almost 
tearfully:

		JANE
	You're --
		(with a wail)
	you're fired!

Hilda pays no attention to this parting sally but continues 
her march across the room.

Hear Johnny's Voice as Jane turns back into room:

		JOHNNY'S VOICE
		(talking to baby -- 
		very cheerful, 
		oblivious to all the 
		agony)
	Don't you worry, Johnny --

FOLLOW JANE AS SHE GOES BACK INTO THE LIVING ROOM and sinks 
again into chair, almost exhausted.

CLOSE SHOT - JANE IN CHAIR

Speaks softly, almost to herself:

		JANE
	I wish I could go back to the 
	hospital.

CLOSE SHOT - CRIB

Johnny talking to the baby.

		JOHNNY
	As soon as the lease is up we'll get 
	a house in the country with a room 
	all your own -- and a garden to ride 
	your bicycle in, and --
		(he stops suddenly, 
		open-mouthed, and 
		looks up at Jane and 
		his mother)
	Look! Mother! Jane! Look -- the baby! 
	He's smiling -- he's smiling at me!

Mrs. Mason bends over the crib... Jane runs in to look.

CLOSE UP - BABY

smiling.

BACK TO SCENE

		MRS. MASON
		(straightens and shakes 
		her head 
		condescendingly)
	That's gas!

						FADE OUT:

FADE IN:

INSERT: INVITATION

TENTH REUNION

CLASS OF '28

You'll see all the Old Faces Wednesday Evening, October 5th

HOTEL ASTOR BLUE ROOM

Make Your Reservations Now!!

Over this comes the sound of a clock starting to strike 
twelve.

						DISSOLVE TO:

INT. ENTRY HALL - JANE AND JOHNNY'S APARTMENT - NIGHT

The hall is lighted only by a dim light from the living room. 
The sound of the clock striking continues. The sound of a 
key turning in the lock, the door opens, and Johnny enters. 
He is in dinner clothes, black overcoat, and scarf. He seems 
unusually dejected. He softly closes the door behind him and 
starts on tiptoes toward the bedroom, CAMERA TRUCKING WITH 
HIM. Attracted by the light from the living room, he stops 
in the doorway and looks in at:

INT. LIVING ROOM - CLOSE SHOT - JANE ON DIVAN

(from his angle) Jane, in a warm bathrobe, is curled up 
asleep. On the floor by the divan is an open book, face up. 
A lamp on a nearby table is the only light in the room.

CLOSE SHOT - JOHNNY

He tiptoes into the room, taking off his hat as he crosses 
and sits down on the floor near the divan, looks at Jane a 
moment, moody and licked. Then he notices the open book on 
the floor. He puts his elbows on his knees, cups his chin 
and stares at the open book.

INSERT: BOOK

It is a year book of Johnny's college, open at the page 
bearing Johnny's picture. Over Johnny's picture, the words 
"Class of 1928" and under Johnny's picture:

"Most Likely to Succeed" JOHN HORACE MASON

CLOSE SHOT - DIVAN

Jane stirs and opens her eyes, sees Johnny.

CLOSE UP - JOHNNY

(from Jane's angle) Unaware Jane has awakened, his expression 
still moody and despondent, staring at the book.

CLOSE UP - JANE

From her expression we know that now she understands Johnny's 
mood.

MEDIUM SHOT

Smiling, Jane sits up, puts her arms around Johnny and kisses 
him.

		JANE
	How was it, Johnny?

		JOHNNY
	Oh, swell.

		JANE
	Who was there?

		JOHNNY
	Oh, just the same old crowd, only 
	ten years older.

		JANE
	Who spoke, Johnny?

		JOHNNY
	Ed O'Malley made quite a speech -- 
	all about how he bought that seat on 
	the stock exchange. And then Joe 
	Kendall -- just got back from opening 
	up a London office --

		JANE
	Did you make a speech?

		JOHNNY
	Yeah.

		JANE
	What did you say?

		JOHNNY
	You know -- the things you have to 
	say at a reunion. Nothing much.

		JANE
		(insists)
	What did you say, Johnny?

		JOHNNY
	Well, my speech was pretty short. 
	What would I have to say?
		(bitterly -- Johnny 
		sees book on the 
		floor)
	The man most likely to succeed.

		JANE
	Well, I think you have and I bet 
	your speech was swell.
		(they kiss)
	Did you tell them that funny story 
	you told me yesterday?

		JOHNNY
	No -- no, I didn't think of it. All 
	I could think of was my achievements -- 
	What I've accomplished and how far 
	I've gone. I suppose I should have 
	told them how I used your money -- 
	all of it -- to buy the furniture 
	for this apartment.

		JANE
	Now, that's silly. Your money -- my 
	money -- what's the difference? It 
	wasn't much anyway.

		JOHNNY
	I should have told them how the baby 
	has to sleep in the dining room --

		JANE
	Well, what of it? And it's only 
	temporary -- till we get a new 
	apartment --

		JOHNNY
		(over Jane's dialogue)
	-- because I can't afford to get you 
	a decent place to live --

		JANE
	Stop it! Don't say those things! 
	Sometimes I get so mad at you I can't 
	see straight.

		JOHNNY
	Sometimes I get so mad at myself I 
	can't see at all!

		JANE
	I know what happened -- the dinner 
	disagreed with you. What did you 
	have?

		JOHNNY
	I don't know -- I didn't eat any of 
	it.

		JANE
	Now I know what's wrong -- you're 
	hungry!
		(she rises, grabs his 
		arm and yanks him up)
	C'mon, honey, I'll get you something 
	out of the ice box.
		(she starts to pull 
		him from the living 
		room)

						DISSOLVE TO:

INT. KITCHEN

Johnny and Jane enter. Jane proceeds to the ice box, opens 
it and starts to pry into it, taking things out.

		JANE
	Now let's see. Here's some cheese 
	you like. And a whole cold chicken 
	staring us right in the face. Which?

		JOHNNY
	Chicken.

Jane takes the platter and puts it on the kitchen table.

		JANE
	The trouble with you is you let people 
	step on you! You do all the work in 
	that office... Coffee?

		JOHNNY
	No. Milk.

Jane takes milk from the ice box and sets it on the table.

		JANE
	You've forgotten more about law than 
	Carter'll ever know. How do you expect 
	people to recognize your value if 
	you don't recognize it yourself?... 
	White or rye?

		JOHNNY
	Rye.

She goes to bread box -- rummages in it.

		JANE
	They couldn't get along without you 
	for one minute -- and you know it! 
	Everybody knows it!

She gets bread knife and starts to butter bread.

		JOHNNY
		(eats a leg of chicken)
	Everybody but Doolittle.

		JANE
	He knows it too! But he takes 
	advantage of you. I told you when he 
	promoted Carter over your head that 
	you should have quit -- walk right 
	out on him!

		JOHNNY
	Now, Jane, how could I? What about --

		JANE
	I know -- your mother and I. I wish 
	you'd forget about us.

		JOHNNY
	If I lost my job --

		JANE
	But you wouldn't! They'd never let 
	you go! You're far too valuable! If 
	you left, Doolittle would crawl to 
	you on his hands and knees and beg 
	you to come back.

		JOHNNY
		(wry laugh)
	On his hands and knees! You don't 
	know Doolittle.

		JANE
	I know you! All you've got to do is 
	speak up -- stand right up to 
	Doolittle! Don't ask for your rights -- 
	demand them!

He reaches for her hand and looks at the simple wedding band 
on one finger.

		JOHNNY
	Remember the day in Boston when I 
	got you this ring -- I promised to 
	get you a better one later?

		JANE
	I don't want a better one later.

		JOHNNY
	You liked the platinum one with the 
	diamonds.

		JANE
	That can wait.

		JOHNNY
	And the mink coat can wait too, I 
	suppose. Probably in about three 
	hundred years I can afford to buy 
	you one.

		JANE
	What are you -- a man or a mouse?

		JOHNNY
	A mouse!

Jane grabs the kitchen knife and waves it in front of Johnny 
as she talks:

		JANE
	John Mason, you know what's the matter 
	with you? You're too modest. You 
	don't appreciate yourself... I do 
	want that platinum ring! And I want 
	a fur coat -- not the mink -- but a 
	fur coat! And I want a honeymoon on 
	the Normandie! And I want an apartment 
	that's big enough for your mother 
	and the baby -- so the baby wouldn't 
	have to sleep in the dining room! 
	You can get them for me! You can get 
	everything I want -- everything that's 
	coming to me! But first you've got 
	to get what's coming to you!

		JOHNNY
	If I only knew how to go about it --

		JANE
	It's easy.

		JOHNNY
	You think it's easy.

		JANE
	You just walk right into the office 
	and you say --

		JOHNNY
	Jane, you don't walk into Judge 
	Doolittle's office. He sends for 
	you.

		JANE
	Well, this time you walk in. You go 
	right up to him and you say: "Judge 
	Doolittle, there's something I've 
	got to say to you right now."

		JOHNNY
	You can't talk to him like that 
	though.

		JANE
	Have you ever tried?

		JOHNNY
	Now Jane, you don't understand. If I 
	barged in there like that he'd -- 
	he'd --

		JANE
	He'd say -- "What is it Mason? Sit 
	down."

		JOHNNY
	He never asked me to sit down in his 
	life.

		JANE
	Well then stand up. But don't let 
	him interrupt you. Speak your piece.

		JOHNNY
	Yeah -- well now that -- speak your 
	piece. It's easy to do here in the 
	kitchen. You get downtown...

		JANE
	Well, downtown or uptown, what 
	difference does it make? You're not 
	asking a favor of him. You're 
	demanding your rights. He'll listen. 
	Make him listen.

		JOHNNY
	All right -- okay -- all right -- 
	what'll I say?

Jane has been gathering up the foodstuffs. She shoves what's 
left of the chicken into the ice box, turns out the light 
and they start out of the kitchen.

		JANE
	You'll say --

INT. DINING ROOM

Jane and Johnny enter and start through to entry hall.

		JANE
		(continuing)
	"Judge Doolittle, I've been working 
	for you now for five years and I've 
	given you everything that's in me -- 
	every ounce."

They stop at the crib, look down at the sleeping baby. During 
the rest of the scene Jane changes the baby's diaper as they 
talk. Johnny is still chewing on the leg of chicken.

		JOHNNY
	Well, all right -- what'll he say?

		JANE
	There's no doubt about it, Mason. 
	I've never questioned your ability 
	or your loyalty --

		JOHNNY
	And I'll say --

		JANE
	Judge Doolittle -- what're you going 
	to do about it?

		JOHNNY
	I hate to think what he'll say!

		JANE
	He'll say: Mason, what do you expect 
	me to do? And you'll say: The right 
	thing, Judge Doolittle... I want 
	more money and I want to be taken 
	into the firm! And he'll say:

		JOHNNY
	He'll say plenty!

		JANE
	No matter what he'll say -- you'll 
	say:

Jane has finished changing the baby. With a last fond look, 
she turns and starts into the bedroom, Johnny following.

INT. BEDROOM

Jane and Johnny enter. Jane still talking.

		JANE
		(speaking as if she 
		were addressing Judge 
		Doolittle in person)
	Judge Doolittle, I either get a raise 
	and a junior partnership or else --
		(Johnny waits 
		breathlessly)
	Or else you can accept my resignation, 
	effective immediately.

		JOHNNY
		(with grim 
		determination)
	Effective immediately. That's all 
	right, Jane. That's a good idea. I'm 
	going through with it -- one of these 
	days.

		JANE
	One of these days is tomorrow.

		JOHNNY
		(aghast)
	Tomorrow?

		JANE
	Tomorrow morning at ten o'clock.

		JOHNNY
	Well -- if you think I should!

		JANE
		(vehement)
	There's no time like the present.

		JOHNNY
		(gulps)
	Let's start at the beginning, Jane. 
	I'll walk into his office and I'll 
	say --

		JANE
	Judge Doolittle, there's something 
	I've got to say to you right now!

		JOHNNY
		(waving his shoe at 
		his reflection in 
		the mirror)
	Judge Doolittle, there's something 
	I've got to say to you right now!

		JANE
	Either I get a raise and a junior 
	partnership --

		JOHNNY
	Either I get a raise and a junior 
	partnership --

		JANE
	Or you can accept my resignation --

		JOHNNY
	Or you can accept my resignation --
		(without Jane's cue)
	Effective immediately.

		JANE
		(tenderly and proud)
	Effective immediately!

		JOHNNY
	Not bad.

						DISSOLVE TO:

INT. BEDROOM - CLOSE SHOT

An alarm clock on the night table next to Johnny's bed. It 
registers shortly before three a.m. CAMERA PANS over to Jane. 
She is asleep. She wakes suddenly and looks over toward 
Johnny's pillow, sees that it's empty, then attracted by a 
sound, looks toward window.

CLOSE SHOT - AT WINDOW

Silhouetted in the moonlight is a figure in pajamas. It is 
Johnny, gesticulating fiercely, rehearsing in a sibilant 
whisper.

		JOHNNY
	I've been working in this office for 
	the last five years and there's 
	something I want to tell you right 
	now -- Either I get a raise and a 
	junior partnership -- Or else...

CLOSE UP - JANE

		JANE
		(repeats, tenderly)
	Or else --
		(she smiles and closes 
		her eyes)

						FADE OUT:

FADE IN:

INT. JOHNNY'S PRIVATE OFFICE - NEXT DAY

OPEN on CLOSE SHOT pieces of scratch paper littering Johnny's 
glass-topped desk, covered with scribbled designs and 
"doodlings." A hand comes into Shot and draws four large 
exclamation points on one of the pieces of paper.

(Under the glass top are many snapshots of Jane and the baby 
in various poses.)

CAMERA DRAWS BACK, and we reveal that it is Johnny who has 
been sitting at his desk scribbling. He throws his pencil 
down and rises; starts to pace up and down the room nervously. 
He mumbles to himself, rehearsing the speech he is going to 
make to Judge Doolittle:

		JOHNNY
		(pacing)
	...a raise and a junior partnership -- 
	or else...

The fusty old bookkeeper pokes his head in the door and Johnny 
looks up, embarrassed.

		BOOKKEEPER
		(motioning)
	Judge Doolittle is in.

		JOHNNY
	Okay!

The bookkeeper exits. Johnny starts on another quick mumbled 
rehearsal, pacing again.

		JOHNNY
		(mumbling, then)
	-- Or else you can accept my 
	resignation -- effective immediately.

		CARTER
		(appearing in doorway)
	What is it, a jury case?

Johnny whirls, guiltily and embarrassed.

		JOHNNY
	Now, never mind. I'm thinking.

		CARTER
		(holds out papers to 
		Johnny)
	Here are the papers in City against 
	Consolidated.

Johnny takes the papers without answering.

		CARTER
	I want you to drop over to 
	Consolidated and see their 
	accountants.

		JOHNNY
	Okay.

Carter goes down the corridor, just missing a collision with 
the office boy who pops his head in at Johnny's door.

		OFFICE BOY
		(to Johnny)
	Pssst!
		(imitates Doolittle 
		by flipping back his 
		coat and motions 
		back toward 
		Doolittle's office 
		with his thumb)
	He just got in.

		JOHNNY
	Okay -- okay.

As he pops out again, Johnny looks haggard and gulps. He 
stands motionless a moment, then in frantic hurry starts to 
straighten his tie. He lays the papers on his desk, walks 
quickly to the door, and puts his hand on the knob.

						DISSOLVE TO:

INT. CORRIDOR OUTSIDE DOOLITTLE'S DOOR

Johnny stands there, gets a grip on himself and knocks 
timidly. Of course there is no response. Doolittle couldn't 
possibly have heard the knock. He knocks again, just as 
softly, and hearing no answer, turns and is about to go back 
to his office when Doolittle's voice comes through the door.

		DOOLITTLE'S VOICE
		(bellows)
	Come in!

INT. DOOLITTLE'S OFFICE - CLOSE SHOT - AT DESK

Doolittle is frowning over some papers in his hand. Johnny 
stalks into the Shot, blurts out his rehearsed speech.

		JOHNNY
	Judge Doolittle, there's something 
	I've got to say to you right now --

Doolittle is intent on the Income Tax statement. Johnny coughs 
gently.

		JOHNNY
	Judge Doolittle --
		(Doolittle looks up)
	I've been working in this office --

		JUDGE DOOLITTLE
	Oh, it's you!
		(grimly)
	You're just the one I wanted to see.
		(indicates a chair by 
		his side)
	Sit down.

Johnny, surprised at the unexpected invitation, sits on the 
edge of the chair and waits. Doolittle leans back in his 
swivel chair, adjusts his glasses and rocks slowly, fixing a 
basilisk gaze on Johnny.

		JUDGE DOOLITTLE
	Mason --

		JOHNNY
	Yes, sir?

		JUDGE DOOLITTLE
	You've been doing mighty good work 
	lately.

Johnny smiles. The old man is actually going to make it easy 
for him!

		JOHNNY
	Thank you, Judge.

		JUDGE DOOLITTLE
	You've been capable, dependable and 
	loyal -- right from the start!

Johnny is so tickled he actually crosses his legs.

		JOHNNY
		(his chest comes out 
		a little)
	That's mighty nice of you, Judge!

		JUDGE DOOLITTLE
	But, Mason -- these are extraordinary 
	times -- For all of us!

Johnny uncrosses his legs.

		JUDGE DOOLITTLE
	Some of our biggest clients are 
	affected. They all complain they're 
	practically working for the 
	Government.

Johnny is rigid in his chair again.

		JUDGE DOOLITTLE
	Most of them claim it'll be all they 
	can do to stay in business till the 
	next election. So they're cutting 
	expenses right and left -- and we're 
	the first to feel it. Naturally we 
	have to do something about it.

		JOHNNY
		(with sinking heart)
	Naturally.

		JUDGE DOOLITTLE
		(flips open his coat)
	What?

		JOHNNY
		(repeats, louder)
	Naturally!

		JUDGE DOOLITTLE
	I don't want to cut down the personnel 
	of my staff if I can possibly help 
	it. -- Wouldn't be constructive. So 
	the only way out -- as I can see it -- 
	is to tighten our belts. I'm asking 
	everyone to take a twenty-five percent 
	cut. I'm starting by taking a 
	substantial cut in my own personal 
	drawing account. It's a sacrifice, 
	but it hits all of us. These are 
	days of sacrifice!

		JOHNNY
	I know, Judge, but I --

		JUDGE DOOLITTLE
	These are times when we all have to 
	put our shoulders to the wheel -- if 
	we're to survive!

		JOHNNY
	Yes, sir, our shoulders to the wheel -- 
	Only I --

		JUDGE DOOLITTLE
	I'm glad you understand, Mason -- I 
	appreciate your cooperation.

		JOHNNY
		(miserably)
	Thank you, sir.

Doolittle's phone rings.

		JUDGE DOOLITTLE
		(reaches for phone)
	Hello --
		(glances up at Johnny)
	Excuse me, Mason.

Johnny rises and starts out. We hear Doolittle continuing 
into telephone:

		JUDGE DOOLITTLE
	Hello, Commissioner. -- You know 
	that little piece of property on 
	Park Avenue? Well -- if the price is 
	right --

INT. PASSAGEWAY OUTSIDE DOOLITTLE'S OFFICE CLOSE SHOT - AT 
DOOR

Johnny comes out, his face a mask of doom as he starts back 
to his office.

						FADE OUT:

FADE IN: (SAME NIGHT)

INT. ENTRY HALL - CLOSE SHOT AT DOOR

Johnny enters. We can see at once that our hero has sought 
comfort and slight consolation in the grape. He has had a 
few drinks and his courage has obviously been falsely 
bolstered by the liquor. He is slightly tight but in no sense 
drunk. He glares defiantly ahead, then slams the door 
violently shut.

INT. MRS. MASON'S BEDROOM - CLOSE SHOT AT BED

The slamming of the door awakes Mrs. Mason and she sits 
quickly up as if she were goosed.

TRUCKING SHOT - JOHNNY

Making as much noise as possible, Johnny goes into the living 
room, turns on the switch which lights the central lighting 
fixture, and goes from lamp to lamp turning them all on. 
Then he stomps into the dining room, still making as much 
noise as possible, turns on all the dining room lights, and 
stomps on out to the kitchen.

CLOSE SHOT - AT CRIB IN DINING ROOM

The baby wakes up and lets out a yelp.

INT. JANE'S BEDROOM

Jane hears the baby cry and gets out of bed, exiting toward 
dining room.

INT. KITCHEN

Johnny opens the ice box, brings out a bottle of milk and 
starts pouring it into a glass. The bottle falls to the floor 
with a crash. The door opens a crack and Lily sticks her 
head out.

		LILY
	Did you want something, Mister Mason?

		JOHNNY
	No thank you, Lily.

Lily's head disappears.

INT. DINING ROOM - CLOSE SHOT - AT CRIB

Jane quiets the baby. In a minute Johnny comes out of the 
kitchen, not bothering to turn out the lights after him. His 
hat and coat are still on. His overcoat swings open and we 
see his suit and coat splattered with milk. He looks at Jane 
defiantly.

		JOHNNY
		(belligerent)
	Well?

		JANE
		(still bending over 
		the crib -- very 
		casually)
	Good morning, Johnny.

		JOHNNY
		(explosively)
	Good morning.
		(he exits toward 
		bedroom, Jane 
		following)

MOVING SHOT - JANE AND JOHNNY - EN ROUTE TO BEDROOM

		JANE
	How do you feel?

		JOHNNY
	I feel fine!
		(he flings his hat 
		across the room)

They go into the bedroom.

INT. BEDROOM

As they enter, Johnny takes off both his overcoat and his 
suit coat at the same time and lets them slip to the floor. 
Jane goes to the mirror, casually fixes her hair.

		JANE
	What time is it?

Johnny flings down his vest.

		JOHNNY
		(in a mounting voice -- 
		each hour louder)
	Three o'clock! Four o'clock! Five 
	o'clock! High noon!
		(takes off his tie 
		and throws it down)

		JANE
		(very quietly against 
		his obviously 
		synthetic rage)
	It's just two, isn't it?

		JOHNNY
	If you know the time why do you ask 
	me? What difference does it make 
	what time it is?
		(starts to take off 
		his shirt)
	I feel fine.

He flings his shirt to the floor and exits to bathroom.

INT. BATHROOM

Johnny enters -- bumps into the line of diapers, angrily 
rips down the cord and the diapers fall to the floor.

CLOSE SHOT - JANE IN BEDROOM

Now the sound of running water from the bathroom. Jane looks 
toward the bathroom with lowered lids, shakes her head, 
thinking what to do.

Johnny's pants come flying into the room. Jane thinks a 
moment, then exits toward entry hall.

INT. LIVING ROOM - FULL SHOT

Jane goes to light switch, puts out central chandelier light, 
then goes from lamp to lamp, putting out all the lights Johnny 
lit.

INT. MRS. MASON'S BEDROOM - CLOSE UP - MRS. MASON

Her light is now on. She is sitting up in bed listening with 
an expression of rage on her face. Finally she turns the 
light out viciously and sinks back into bed to sleep.

INT. BATHROOM - CLOSE SHOT - JOHNNY

Now in pajamas at sink. He is filling a glass with mouth 
wash. He starts to gargle -- he gargles very loudly.

INT. JOHNNY & JANE'S BEDROOM - MEDIUM SHOT

Jane enters and starts to pick up Johnny's clothes. Johnny's 
loud gargling comes from the bathroom. Jane neatly folds all 
Johnny's clothes and starts to hang them up in clothes closet 
as Johnny enters and goes directly to bed, pulling blankets 
over him. We do not see Johnny's feet in this scene.

CLOSE SHOT - JANE AT CLOSET

She carefully hangs up Johnny's clothes.

		JANE
	Feel better now?

CLOSE SHOT - AT BED

Johnny curled up under blankets.

		JOHNNY
	I feel fine!

CLOSE UP - JANE AT CLOTHES CLOSET

		JANE
	Are you comfortable?

CLOSE UP - JOHNNY IN BED

		JOHNNY
	Plenty comfortable.

		JANE'S VOICE
	Are you sure you're comfortable?

CLOSE UP - JANE AT CLOSET

She finishes hanging up Johnny's things.

		JOHNNY'S VOICE
	Certainly I'm sure I'm comfortable!

Jane looks down at the figure curled up under the blankets.

		JANE
		(softly -- politely)
	Don't you think you'd be more 
	comfortable if you took off your 
	shoes?

CLOSE SHOT - JOHNNY

Johnny sits upright -- flings the blankets off and stares at 
his feet. He has forgotten to take off his shoes. He swings 
over and sits on the edge of the bed, bending down to take 
off his shoes. His fumbling fingers have trouble with the 
shoe laces. Jane enters.

		JANE
	Can I help you?
		(she gets down on her 
		knees)

		JOHNNY
	I don't need any help! I feel fine!

But he lets her take off his shoes anyway. He suddenly 
explodes into an indignant tirade against nothing in 
particular.

		JOHNNY
		(waving his arms as 
		Jane takes off his 
		shoes)
	What time is it? Am I comfortable? 
	How do I feel? You'd think I committed 
	some sort of crime! You'd think I 
	was on the witness stand! A man comes 
	home looking for a little peace and 
	quiet, and what happens? Blah-blah-
	blah! Why didn't I call you back? 
	Why didn't I come home for supper? A 
	million questions just because a man --

		JANE
		(without looking up, 
		speaks matter-of-
		factly)
	I ran into Judge Doolittle this 
	afternoon -- after you saw him.

There is a silence. She looks up to find Johnny staring at 
her. His face is such a mask of misery she can hardly stand 
it. She rises from her kneeling position, sits on the edge 
of the bed alongside of him, takes him in her arms and hugs 
him tightly.

		JANE
		(almost a sob)
	Oh, Johnny -- you fool! What does it 
	matter if you get a raise or a 
	partnership -- or anything!

		JOHNNY
		(muffled against her 
		bosom)
	Oh, Jane -- I let you down! I'll 
	always let you down! I'm no good!

		JANE
		(a wall of anguish)
	Johnny, don't say that! It was my 
	fault for interfering. I made you do 
	it and I'm terribly sorry... I'll 
	never do it again... never. We don't 
	need anything -- we've got each other 
	and the baby -- our beautiful baby -- 
	You're all I have and all I want --
		(sobbing)
	-- and please -- if you feel bad 
	I'll die!

Johnny's head is lowered. He doesn't answer. A little pause.

		JANE
	Johnny, Johnny, look at me and tell 
	me you don't feel bad!

Another second's pause, then Johnny slowly lifts his head 
with a grimace he thinks is a smile. His eyes are wet. Jane 
sees his expression and starts to cry. He is completely 
ashamed, puts his arms around her, and attempts to comfort 
her.

		JOHNNY
	Jane -- I don't feel bad.

They hold on to each other desperately, both of them crying 
all the more.

		JOHNNY
		(tears rolling down 
		his cheeks)
	Jane -- I don't feel bad.
		(as Jane sobs 
		convulsively)
	I feel fine -- honest I do.

They cling to each other desperately. Jane kisses his tears 
away.

		JANE
		(laughing through her 
		sobs)
	Johnny, the next time you go out and 
	get tight... you'd better take me... 
	along with you... or I'll... I'll 
	get a divorce...

		JOHNNY
		(abortive attempt at 
		laughter)
	You'd better get a good lawyer.

		JANE
		(hysterical laughter)
	I've got a good lawyer.

CLOSE UP - JOHNNY (WITH JANE'S BACK TO CAMERA)

Johnny gives a sedate little burp, as we

						FADE OUT:

FADE IN:

MONTAGE - SHEETS OF PAPER DRIFTING DOWN THE SCREEN

There are bills of all sorts -- installment furniture, market, 
milk, telephone bill with discontinue threat -- the bills 
are stamped: "Over-due" -- "Please pay up" -- "Please remit" --
etc. Included, perhaps is a reminder of a note due from the 
Morris Plan Bank. The falling bills change to falling leaves.

						DISSOLVE TO:

EXT. CENTRAL PARK - CLOSE UP BABY CRAWLING OVER GRASS

Over this comes the high-pitched voice of Lily.

		LILY'S VOICE
	Keep coming -- Come on, keep coming -- 
	Come on now.

CAMERA DRAWS BACK, as we see that the baby is crawling after 
a little toy cat. Lily (Louise Beavers) on her hands and 
knees calling to the baby.

		LILY
	If you want something you gotta go 
	get it.

FULL SHOT (TAKING IN PATH ALONG THE GRASS)

Jane comes into the Shot and pauses as she hears Lily's voice. 
She seems weary and downhearted, but her face lights up as 
she looks off scene. She carries a folded newspaper in her 
hand.

		LILY'S VOICE
	That's it -- come on now! Come on!

Jane starts toward them.

MEDIUM SHOT

The baby reaches the cat and grabs it as Jane comes into the 
Shot. Lily laughs, high-pitched, as she sees Jane, and 
clambers to her feet.

		LILY
		(excitedly)
	Mis' Mason -- you should have seen 
	him travel!

Jane sinks wearily onto the park bench, dropping her newspaper 
beside her.

CLOSE SHOT - AT BENCH

Lily's smile changes to a look of concern as she looks at 
Jane.

		LILY
	Is you tired?

		JANE
	I've been all over town. My head's 
	splitting.

Lily comes up behind her.

		LILY
	Lean back, and let Lily rub the back 
	of your neck.

Jane's head goes back against the capacious bosom of Lily 
standing behind the bench. Lily starts to rub Jane's neck 
with strong capable fingers. With a sigh of content Jane 
closes her eyes.

		LILY
	Been visitin' 'round, Mis' Mason?

		JANE
	Uh-huh.

		LILY
		(casually)
	Does Mr. Mason knows you's lookin' 
	for a job?

		JANE
		(opens her eyes)
	Who says I'm looking for a job?

She looks back at Lily, sees that Lily is looking at something 
and follows her gaze.

CLOSE SHOT - FOLDED NEWSPAPER ON BENCH

Opened to the "Situations Wanted" ads.

BACK TO SCENE

Jane realizes how Lily knows.

		JANE
	Lily, it isn't nice to go prying 
	into other people's business.

		LILY
	'Scuse me, Mis' Mason.

		JANE
		(closes her eyes again -- 
		after a pause)
	Lily, you must be the fifteenth woman 
	I've had working for me since I've 
	been married, and you're too good to 
	be true. You're worth your weight in 
	gold.

		LILY
		(grins)
	That's a lot of gold.

		JANE
		(almost breaking)
	You're the best woman I've ever had 
	in the house -- just simply perfect -- 
	and that's why it just breaks my 
	heart to have to tell you --

		LILY
	Never you mind, honey. I knows I'm a 
	luxury.

A moment's silence while Lily rubs Jane's neck.

		JANE
	I'd never let you go -- never -- 
	only I --

		LILY
	Shucks, honey, you ain't gettin' rid 
	of me -- you're just gittin' me off 
	the budget. Is the head better?

		JANE
	Much better...
		(with a wail)
	I'll make such a mess of things 
	without you.

		LILY
	No you won't -- you'll step right in 
	and do the job. And it's a pretty 
	good job, too -- a whole lot better'n 
	you can get on the outside. Takin' 
	care of a nice young man an' a sweet 
	lil' baby an' a old lady that's jes' 
	a little persnickety -- that's 'cause 
	she's gittin' along an' don't have 
	nothin' to do.

		JANE
	I wish it were as simple as that.

		LILY
		(reaches down and 
		takes Jane's hand)
	Lily's a lot older than you are, 
	honey. She's done a lot o' livin' 
	an' she's learned one thing: Never 
	let the seeds stop you from enjoyin' 
	de watermelon!

		JANE
		(rather wistfully and 
		with slight bitterness)
	That's all right if you've got 
	watermelon.

		LILY
		(reproachfully)
	Don't say dat, Mis' Mason. You got 
	your watermelon. But you're chokin' 
	up on all dem li'l seeds. All I say 
	is "Spit 'em out! Spit 'em out, before 
	they spoils your taste for the melon!

		JANE
		(thoughtfully)
	Spit 'em out...

						FADE OUT:

FADE IN:

CLOSE UP - HUGE SIGN

The words: "HAPPY NEW YEAR" in blinking neon lights.

						DISSOLVE TO:

INT. LIVING ROOM - MASON APARTMENT - FULL SHOT

(New Year's Eve)

The room presents a sorry contrast to the gay revelry going 
on outside. There is a distinct aura of let-down and 
depression. Sitting in an easy chair is Mrs. Mason a shawl 
over her shoulder, sniffing at a tube of benzedrine and quite 
miserable from a cold. Johnny, in evening clothes, is sprawled 
on a window seat playing with the baby's toy cat, winding it 
up and listening morosely to the music-box tune. The only 
sound, except for what drifts in from the celebration in the 
street, is the tune from the music-box. Jane's wrap and 
Johnny's overcoat are draped over a chair.

CLOSE UP - MRS. MASON

She opens her mouth, fights it a moment, then sneezes 
violently.

MEDIUM SHOT - GROUP

		JOHNNY
		(morosely)
	Bless you.

Another sneeze from Mrs. Mason.

		JANE
		(mournfully)
	Bless you.
		(she turns to Johnny)
	Are you sure Carter has our telephone 
	number?

		JOHNNY
	If he hasn't he certainly has a 
	telephone book.

		JANE
	Then why do you suppose he hasn't at 
	least called up?

		MRS. MASON
		(sniffing)
	Perhaps he forgot all about it.

		JOHNNY
	Mother, a man doesn't invite you to 
	a New Year's Eve party and then just 
	forget about it.

		JANE
	Maybe we ought to go join him at the 
	party.

		JOHNNY
		(a little exasperated)
	Jane, I told you I don't know where 
	the party is. He said he'd call for 
	us here in his car at nine o'clock 
	sharp.

		JANE
	Well, it's almost eleven now.

		MRS. MASON
	Isn't the party also to announce his 
	engagement to Eunice Doolittle?

		JOHNNY
	Something like that.

		MRS. MASON
	Well, perhaps he thought it might be 
	a little awkward to have you and 
	Jane at his engagement party.

		JOHNNY
		(sharply)
	Now, Mother! How could it be awkward?

		JANE
	Awkward or not awkward -- are we 
	going to sit here all night waiting 
	for him? Let's call him up!

Johnny drops the cat to the floor, rises and exits to outer 
hall.

		MRS. MASON
		(almost as if she's 
		talking to herself)
	All the same it might be awkward.

		JANE
	Why should it be awkward?

Before Mrs. Mason has a chance to go into detail, there is 
the sound of a little sneeze from the direction of the dining 
room. Jane quickly starts in that direction.

INT. HALL

Johnny viciously dialing his number. Jane passing in b.g. on 
way to dining room.

INT. DINING ROOM - CLOSE SHOT AT CRIB

Jane comes into Shot just as the baby sneezes again.

CLOSE UP - BABY IN CRIB

-- sneezing. He has a runny nose.

CLOSE SHOT - JANE

She kisses the baby on the cheek, then puts her hand over 
his forehead, and straightens up, CAMERA PANNING WITH HER. 
She looks off toward Mrs. Mason in the next room, presses 
her lips together and shakes her head disgustedly. Johnny's 
voice drifts in from off scene as he calls Carter's house.

INT. LIVING ROOM

First Johnny enters from the hall, then Jane enters from the 
dining room.

		JOHNNY
	They say at Carter's house he left 
	two hours ago. We'd better forget 
	it.

		JANE
	The baby definitely has the sniffles.

		MRS. MASON
		(talking through her 
		head cold)
	All babies have sniffles this time 
	of the year.

		JOHNNY
	He caught his cold from you, Mother.

		MRS. MASON
	That's simply ridiculous! Matter of 
	fact, I caught my cold from the baby. 
	He's had sniffles all day. When I 
	took his temperature --

		JOHNNY
	That's when he caught your cold.

		MRS. MASON
	He certainly didn't! He had no 
	temperature.

		JANE
		(trying to pour oil 
		on the troubled waters)
	It's all right, Johnny -- it's just 
	the sniffles!

		MRS. MASON
	I suppose I ought to stay in my room 
	all day!

		JANE
		(placatingly)
	Now, Mother, that's silly. You don't 
	have to do anything of the kind!

		MRS. MASON
	Heaven knows I try to earn my room 
	and board by being as helpful as I 
	can!

		JANE
	Oh, Mother, please -- it's New Year's 
	Eve!

		MRS. MASON
	It's just like any other day as far 
	as I'm concerned.
		(with rising self-
		pity)
	You're both perfectly willing to 
	leave me all alone to wait for the 
	New Year, when perhaps it's the last 
	New Year I'll ever see.

		JOHNNY
		(holding onto his 
		temper)
	Mother -- why do you keep saying 
	things like that?

There is a ring at the doorbell.

		JANE
	It's Carter!

Johnny exits to outer hall.

INT. OUTER HALL - FULL SHOT

Johnny comes up to the door with Jane behind him. He opens 
the door. Lily, all togged up in New Year's Eve finery and 
with traces of confetti on her clothes, comes in with a large 
basket in her hand.

		LILY
		(grinning hugely)
	Evenin', Mister Mason!

		JOHNNY
	Hello, Lily.

		JANE
	Happy New Year, Lily.

		LILY
	Happy New Year, Mis' Mason. I want 
	to leave this with you.

Lily hands Jane the basket. Jane lifts the paper and she and 
Johnny look into the basket.

		JANE
		(looks up -- gratefully)
	Lily, you sweet old thing!

		LILY
	It's nothin' at all. I had the day 
	off so I cooked up the chicken and 
	the place where I work gimme de wine.

CLOSE UP - MRS. MASON IN THE LIVING ROOM

She is looking out disapprovingly toward the hall.

GROUP SHOT IN HALL

		LILY
	Happy New Year to you all!

		JOHNNY
	Happy New Year to you!
		(he starts back into 
		the living room)

		JANE
	Happy New Year, Lily. Have a good 
	time.

		LILY
	All right -- goodbye.

Lily exits. Jane closes door and starts back toward living 
room.

INT. LIVING ROOM - MEDIUM SHOT

-- as Johnny enters.

		JOHNNY
		(lugubriously)
	That solves everything -- now we 
	won't have to go out! We'll stay 
	right here and celebrate.

Jane now comes in carrying the basket.

		JANE
		(sets the basket on 
		the arm of Mrs. 
		Mason's chair)
	We'll open up the wine now and at 
	midnight we'll have a grand feast on 
	Lily's chicken!
		(pleadingly)
	Come on -- it's New Year's Eve -- 
	let's have fun!

		MRS. MASON
	You know I get indigestion if I eat 
	just before I go to bed.
		(sighs, looks over at 
		chicken)
	Maybe there'll be some left over for 
	me tomorrow. I never did approve of 
	Lily -- she's much too forward -- 
	but I do miss her cooking!

		JANE
		(hurt)
	That doesn't say much for mine.

		MRS. MASON
	Oh, you'll learn, my dear. It takes 
	time of course.

CLOSE SHOT - JANE

She grits her teeth and mutters.

		JANE
	I won't say anything.
		(she reaches for a 
		book, opens it in 
		the middle)

BACK TO SCENE

		MRS. MASON
	Times are different now. When I was 
	married, every well brought up girl 
	knew something about cooking.

Jane suddenly explodes, slams down the book in her hand.

		MRS. MASON
		(turning)
	Why, Jane -- what is it?

		JANE
	I can't cook!... I can't keep 
	house!... I don't know how to bring 
	up a baby!...

		JOHNNY
	Now Jane, please --
		(he starts toward the 
		two women)

		MRS. MASON
	I'm sure I don't know what you're 
	talking about!

		JANE
		(tense with rage)
	Oh yes you do! You've resented me 
	from the first moment you saw me! 
	You resented me because you wanted 
	Johnny to marry Eunice Doolittle!

		MRS. MASON
		(injured)
	My dear, I never said anything like 
	that!

		JANE
	You've hinted it often enough!

		MRS. MASON
		(indignant)
	I've done nothing of the sort! But 
	they were engaged.

		JOHNNY
	Mother, I never was engaged to Eunice 
	Doolittle.

		MRS. MASON
	Not what you'd call engaged, perhaps --

		JOHNNY
	And even if I were, you shouldn't 
	keep mentioning it to Jane all the 
	time.

		MRS. MASON
	I can't understand why she's so touchy 
	about it.

		JANE
	Touchy! That's why you hate me!

		JOHNNY
		(agonized)
	Jane -- will you please --

		MRS. MASON
		(tosses her head)
	No -- let her go on. She can say 
	anything she likes -- I know my place 
	here. I'm only a guest -- an unwelcome 
	guest.

		JOHNNY
		(tortured)
	For crying out loud! What's the matter 
	with you two?

		JANE
		(shouts)
	Nothing's the matter with me!

		MRS. MASON
		(violently)
	It's her house!

		JOHNNY
		(placatingly)
	Please, Mother --

		JANE
	It's not my house!

		JOHNNY
	Now, Jane -- please --

		MRS. MASON
	I do the best I can to help!

		JOHNNY
	Now, listen.

		JANE
	I'm the stranger around here! 
	Everything I say is wrong! Everything 
	I do is wrong!

		JOHNNY
	Jane -- will you --

		MRS. MASON
	Just because I happened to mention 
	that John and Eunice Doolittle --

		JOHNNY
		(thunderously)
	Now stop it! BOTH of you!

Mrs. Mason gives him a startled look, utters an anguished 
sob, and exits rapidly, slamming the door violently behind 
her.

TWO SHOT - JOHNNY AND JANE

		JOHNNY
		(turning miserably to 
		Jane)
	There! You see what you made me say 
	to Mother!

		JANE
		(hotly)
	You said it to me too! Don't I count?

		JOHNNY
		(at his wits end)
	Of course you count, darling -- only 
	Mother's an old lady -- she won't be 
	with us for very long. Why can't you 
	get along with her?

		JANE
		(hysterical)
	Why can't she get along with me? 
	Because she hates me! You don't know 
	how it is -- you're at the office 
	all day. Between taking care of the 
	baby and the house and cooking and 
	listening to her criticize everything 
	I do -- I can't stand it any more!

CAMERA PANS with her to bedroom door.

		JANE
	You can only spit out so many seeds!

She exits into her bedroom, with a terrific slam of the door.

INT. LIVING ROOM - CLOSE SHOT - JOHNNY

He stands a moment, defeated and miserable -- then the flame 
of revolt registers in his face. He looks down at the floor 
and sees the baby's white cat where he had previously dropped 
it. He kicks the cat viciously across the room. CAMERA PANS 
with him to the chair where his hat and overcoat are. He 
picks them up, goes to the front door and slams out.

CAMERA HOLDS a minute on the empty room, then:

CLOSE SHOT AT DOOR TO JANE'S BEDROOM

Jane comes out, looks around for Johnny, CAMERA PANNING with 
her, then calls out in alarm:

		JANE
	Johnny! Johnny!

She looks toward the chair in hall where her wrap and Johnny's 
overcoat had been. Jane's wrap is there but Johnny's overcoat 
is gone. She quickly grabs her wrap and flies to the outer 
door, calling as she opens it and runs out:

		JANE
	JOHNNY!

TOP OF STAIRWAY - OVERHEAD SHOT

Shooting down over stairway and over Jane's head. Down a 
flight we see Johnny, going down.

Jane enters quickly, carrying wrap.

		JANE
		(screaming)
	Johnny!

Johnny stops, turns and looks up.

		JOHNNY
		(surly)
	What?

SHOOTING UP STAIRWAY

-- as Jane comes galloping down, talking as she does.

		JANE
	Where are you going?

Johnny turns away as she catches up with him and stops one 
step above him.

		JOHNNY
	Oh, I don't know. Anywhere to get 
	away from that wrangling.

		JANE
	Wait a minute!
		(she runs down the 
		steps and joins him)
	Don't you want me to go with you?

		JOHNNY
	Well -- can't you understand a man 
	wants to be alone once in a while?

		JANE
	I'm sorry, Johnny -- really I am.

		JOHNNY
		(coldly)
	You don't have to apologize.

		JANE
		(hurt at his failure 
		to respond, but really 
		trying to help)
	Would you rather I didn't come with 
	you?

He doesn't answer. Jane continues pleasantly -- with a sad 
little smile.

		JANE
	All right, Johnny. I don't mind. You 
	go along and have a good time.
		(she turns and goes 
		up a step)

		JOHNNY
		(less than half-hearted)
	Oh -- Come on along if you want to.

		JANE
		(she turns)
	You're sure you don't mind?

		JOHNNY
		(without enthusiasm)
	Certainly I don't mind...

Jane advances and takes his arm.

		JANE
		(like a little girl)
	We'll have a wonderful time -- you 
	just wait and see...

						DISSOLVE TO:

INT. CAFE - LONG SHOT

The place is crowded. Gaiety reigns. The tiny dance floor is 
packed with hilarious couples.

CLOSE SHOT AT TABLE - JANE AND JOHNNY

There is an open bottle of wine on the table and before each 
a glass of wine. Before each of them also a plate containing 
a sandwich which has not been touched. Jane and Johnny are 
not looking at each other, but are pretending to be interested 
in the scene about them.

Johnny finally meets Jane's eyes.

		JANE
	Oh, Johnny, what's happened to us?

		JOHNNY
	I don't know. Maybe I pulled a dirty 
	trick on you when I took that cinder 
	out of your eye up in Boston.

		JANE
		(with her heart in 
		her throat)
	What do you mean?

		JOHNNY
	I mean -- maybe the whole thing's 
	been a mistake.

		JANE
		(stunned)
	What -- whole -- thing?

		JOHNNY
	Our marriage.

		JANE
		(a quiet little cry 
		of pain)
	Oh, Johnny.

		JOHNNY
		(words pouring out of 
		him now)
	I've gotten into debt -- I've gotten 
	nowhere at the office and I've made 
	a household drudge out of you, just 
	as Mother said. Jane, it hasn't worked 
	out -- it just hasn't worked out!

		JANE
		(pleading)
	But we've never had any real trouble. 
	Maybe a few silly little things -- 
	things that everybody has to meet 
	when they get married.

		JOHNNY
	Maybe we shouldn't have had the baby --

		JANE
		(this is a real kayo 
		for her)
	Oh, Johnny -- you can't be sorry 
	about the baby?

		JOHNNY
	I'm crazy about him!... And about 
	you too! I'd die for either of you. 
	Jane, everybody that passes this 
	table stops and looks at you. It's 
	because you're young and so beautiful -- 
	your whole life ahead of you --

		JANE
		(pleading)
	Ahead of us --

		JOHNNY
	No -- not when you're dragged down 
	by a guy who just can't make the 
	grade. No, I'm not going to hold you 
	to that kind of a contract.

Jane leans back in her chair. She tries desperately to seem 
matter-of-fact.

		JANE
	Well -- you ought to know all about 
	contracts.
		(she shrugs and fights 
		to keep her voice 
		steady)
	Well, anyway, I suppose this is what 
	you'd call starting the New Year 
	right!

Johnny is too miserable to say anything. Jane tries to make 
her smile breezy and gay. She reaches for her glass of wine.

		JANE
	At least we've finally got something 
	we can celebrate.
		(she lifts her glass 
		and her voice breaks)
	Well -- Happy New Year --

		JOHNNY
	Happy New Year.

He clicks glasses with her. Jane sips the wine and then bends 
her head forward to hide her face from him for an instant. 
He looks helplessly across the table at her and is about to 
say something when she lifts her head. Her eyes are wet but 
she flashes him a dazzling smile.

		JANE
	Want to dance, darling?

They rise and start toward the dance floor.

LONG SHOT

Jane and Johnny threading their way through the crowd toward 
dance floor.

CLOSE (MOVING) SHOT - JOHNNY AND JANE DANCING

They dance silently. A thunderous roll of drums comes into 
the Shot and all the dancers stop to turn toward the 
musicians.

CLOSE SHOT - ORCHESTRA STAND

The trap drummer plays a rolling of drums to usher in the 
New Year.

FULL SHOT - CAFE

A crescendo of sounds -- whistles and other noise-making 
devices from the outside blend with the increasing shouts, 
yells of HAPPY NEW YEAR within the cafe.

The lights go out -- a whirling crystal ball from the ceiling 
of the cafe starts to turn -- various colored flash-lights 
play against it and cross each other, creating weird lighting 
effects. From above a bunch of colored balloons tumble down. 
Everybody in the near dark starts exchanging New Year's 
kisses.

CLOSE SHOT - JOHNNY AND JANE IN THE CROWD

They look off at all the other revelers exchanging kisses. 
Johnny and Jane seem to be the only ones who aren't kissing. 
They look at each other embarrassed, and Jane, as always, 
takes the initiative, looks into his eyes and then kisses 
him tenderly. Johnny starts to put his arms around her, but 
doesn't. The orchestra off scene strikes up "Auld Lang Syne." 
The people sing. Johnny and Jane, holding hands, start to 
sing with frantic efforts at a gaiety that they try to wring 
from their leaden hearts.

After the first four lines, Jane can no longer control her 
emotions, and she turns and starts away to keep from bursting 
into tears. The singing continues.

		JANE
	I think I'll go phone the house and 
	wish the baby a Happy New Year.

Johnny takes a step to follow her.

		JOHNNY
	Jane -- I'll --

But Jane has disappeared in the crowd.

CLOSE (MOVING) SHOT - IN FRONT OF JANE

(her face in Camera)

"Auld Lang Syne" still continuing.

Jane fights her way quickly through the crowd, tears streaming 
from her eyes. A hundred balloons come from the ceiling -- 
bibulous gents stretch arms out to stop her, but she proceeds, 
fighting her way up toward a telephone booth.

People call to her as she presses through, but Jane pays no 
attention. One woman, seeing the tears in Jane's eyes, calls:

		WOMAN
	Crying Jag!

A happy drunk brushes past her:

		DRUNK
	Happy New Year, Blondie!

A man calls from a table as she passes:

		MAN
	Hey Sister -- Wait a minute ---

		ANOTHER MAN
	Hurry back, Honey!

One of the balloons floats in front of Jane's face. A man's 
hand with a cigar comes in, and pops the balloon.

Serpentine and long paper whistles unfold in front of her 
face.

MED. SHOT JOHNNY AND JANE'S TABLE

Johnny edges his way past people and sits down at the table, 
leaden-hearted and miserable. At an adjoining table a party 
is in progress, singing and chattering and having a 
particularly good noisy time. A blonde at this table, looks 
over and sees Johnny. She moves her chair an inch backward, 
tilts it, so her face is nearly in Johnny's.

		BLONDE
	Hey, Lonely Heart -- what's the 
	matter?

Johnny makes a feeble attempt to call back in a croaking 
voice.

		JOHNNY
	Happy New Year!

The Blonde maneuvers herself a little nearer, crooks her arm 
through Johnny's.

		BLONDE
	All alone? C'mon over and join our 
	party.

		JOHNNY
		(desolately)
	Happy New Year!

		BLONDE
	Why're you so mad -- don't you feel 
	good?

		JOHNNY
	I feel fine.

		BLONDE
	C'mon, han'some, we got champagne!
		(she starts pulling 
		at Johnny's arm, and 
		turns to her 
		companions)
	Look what I found! A poor little 
	lamb lost in the storm -- alone and 
	neglected.

A chorus of hilarious greetings from the people at the table, 
with invitations to join them and have a drink. Johnny is 
resisting the efforts to make him take a seat at their table 
when Jane rushes up, wild-eyed, panicky.

CLOSE SHOT

-- as Jane grabs hold of Johnny.

		JANE
		(hysterically)
	Johnny! Come quick! The baby!

Johnny rises, alarmed.

		JANE
	Something's the matter with the baby!

They rush out frantic, and we

						DISSOLVE TO:

EXT. APARTMENT HOUSE - NIGHT

OPEN ON CLOSE UP THE WORD:

"AMBULANCE"

CAMERA PULLS BACK, and we see now that printed above the 
word AMBULANCE is printed also

"ST. FRANCIS' HOSPITAL"

The ambulance is lined up at the curb. Out of the sounds of 
the New Year's Eve revelry back of this comes the starting 
of an ambulance siren. CAMERA PULLS BACK FARTHER as the 
ambulance pulls away from the curb and with the noise of the 
siren increasing, starts away.

At the same time the ambulance starts away we see a taxi 
pull in to take the place of the departing ambulance. As it 
comes to a stop with a grinding of brakes, from it emerges 
Johnny and Jane. Fear-stricken, they look after the departing 
ambulance, then rush over to Doctor Healy and Mrs. Mason who 
stand at the curb. Doctor Healy carries his satchel.

CLOSE SHOT - THE GROUP: JOHNNY, JANE, MRS. MASON AND THE 
DOCTOR

		JANE
		(to Mrs. Mason 
		frantically, looking 
		back from the 
		ambulance)
	Mother! The baby! Was that --?

		JOHNNY
		(to the doctor)
	Doctor Healy, what is it?

Jane's face is agonized. Doctor Healy hesitates, looks from 
her to Johnny, hating what he has to tell them:

		DOCTOR HEALY
		(gently -- 
		sympathetically)
	Pneumonia!

		JANE
		(a moan of anguish)
	Oh...

Over the stricken face of Jane and Johnny we hear sounds of 
laughter and yelling and cries of "Happy New Year."

						FADE OUT:

FADE IN:

EXT. HOSPITAL - A DARK MURKY DAY - RAIN CLOSE UP - PLAQUE

-- with the words: ST. FRANCIS' HOSPITAL.

						DISSOLVE TO:

INT. CORRIDOR - CLOSE SHOT - LETTERING ON DOOR:

CAMERA PULLS BACK, and we see Johnny pacing up and down in 
front of the door. He too wears his evening clothes of the 
night before. The door opens and Doctor Healy comes out. 
Johnny comes quickly up to him.

		JOHNNY
		(his voice trembling)
	Doctor Healy --

		DOCTOR HEALY
	Come into the office a minute.

He takes Johnny's arm and leads him into an office adjoining 
the laboratory.

INT. LABORATORY OFFICE - MED. SHOT

Doctor Healy enters with Johnny.

		DOCTOR HEALY
	Sit down, my boy.

He indicates a chair by the desk. Johnny sits down. Doctor 
Healy goes to the desk but doesn't sit.

TWO SHOT - JOHNNY AND DOCTOR HEALY

		DOCTOR HEALY
	You'd better get your wife.

		JOHNNY
	Now, Doctor, if it's bad news I don't 
	want her to know about it. She just 
	couldn't stand it -- but you can 
	tell me, Doctor.

		DOCTOR HEALY
		(speaks with deep 
		regret)
	Your baby has type nine Pneumoccocus 
	with a streptoccocus complication. 
	And I'm sorry to say that the 
	congestion is increasing. Now, there's 
	a serum -- a new one -- it's worked 
	out in some cases. Without it, we 
	don't stand a chance. With it, well, 
	perhaps we have a ghost of a chance. 
	We must get some of that serum as 
	soon as possible. Every hour counts. 
	I don't know whether we can locate 
	any of it in the city or not. I'm 
	going to check up on that right away.

Johnny gets to his feet and grabs the doctor by the arm.

		JOHNNY
		(strangled voice)
	Doctor -- please don't tell my wife --

		DOCTOR HEALY
		(gently)
	I won't.
		(picks up the phone -- 
		speaks into it)
	Give me the City Health Department.

						DISSOLVE TO:

SERIES OF MONTAGE SHOTS:

INT. N.Y. CITY HEALTH DEPT. LABORATORY - RAINY, DARK DAY

The lights are lighted. A young pharmacist in white jacket 
is talking over telephone.

		PHARMACIST
		(into telephone)
	All the type 9 serum has been sent 
	to Salt Lake. Why don't you try Johns 
	Hopkins in Baltimore?

						DISSOLVE TO:

INT. LABORATORY - INDIANAPOLIS

A woman in laboratory smock talking over phone:

		WOMAN
	Sorry -- we shipped all we had for 
	the epidemic in Salt Lake City.

						DISSOLVE TO:

INT. SECTION - SALT LAKE HOSPITAL

Another man over phone:

		MAN
	Yes, the epidemic is under control 
	here in Salt Lake, and we can spare 
	six 20 c.c. vials, but how are you 
	going to get it out of here in this 
	storm?

						DISSOLVE TO:

DISSOLVE IN:

EXT. JUDGE DOOLITTLE'S HOUSE - CLOSE SHOT AT DOOR - MIDNIGHT

Johnny is ringing the doorbell and banging on the knocker at 
the same time.

INT. JUDGE DOOLITTLE'S HOUSE - MEDIUM SHOT - AT DOOR

Simon, the butler, comes to the door and opens it a little 
to peer out at the midnight intruder. There is a blast of 
wind and rain as the door is shoved open and Johnny forces 
his way into the hall. He is rain-drenched, dishevelled and 
almost hysterical with panic.

		JOHNNY
		(breathless, panting)
	I've got to see Judge Doolittle right 
	away!

		SIMON
	At this hour of the morning?

		JOHNNY
	You'll have to wake him up!

		SIMON
		(frowning at this 
		sacrilege)
	Oh -- I couldn't do that.

		JOHNNY
	You've got to! He knows me -- I work 
	for him. I've got to see him!

		SIMON
	I'm sorry, but Judge Doolittle would 
	never allow me to --

Johnny suddenly shoves the butler violently to one side and 
starts up the stairs on the run.

LONG SHOT - STAIRS

As Johnny runs up toward the sleeping quarters above.

		SIMON
		(alarmed and indignant)
	Say, there!... Wait! Wait!... You 
	mustn't do that!... Where're you 
	going?

Simon starts up after Johnny.

INT. JUDGE DOOLITTLE'S BEDROOM (SHOOTING PAST BED IN 
FOREGROUND) - FULL SHOT

The room is dark. Judge Doolittle is asleep in the four-poster 
bed.

Through the partly open transom we see the light go on in 
the hall and hear the commotion made by Johnny who is trying 
to locate Judge Doolittle's room. He has opened a door and 
we hear him slam it closed.

		SIMON'S VOICE
	You mustn't do this!... This is 
	outrageous!

The door in background is flung open and Johnny appears. The 
light from the hallway helps him find the hall switch in the 
room and he pushes it. The room lights up. Johnny starts 
toward the bed. The figure of the frightened butler appears 
in the open doorway in the b.g.

CLOSE SHOT AT BED

The judge is a heavy sleeper and the turning on of the lights 
hasn't awakened him. Johnny comes into Shot. In the background 
Simon waits, open-mouthed.

		JOHNNY
	Judge Doolittle --

Doolittle stirs but doesn't waken. Johnny repeats, louder.

		JOHNNY
	Judge Doolittle!

He bends down and shakes the sleeping man.

		JOHNNY
	Come on -- wake up! WAKE UP!

CLOSE SHOT - JUDGE DOOLITTLE

He awakes and peers owlishly upward, squinting through one 
eye.

		JOHNNY'S VOICE
	Judge, I'm sorry to wake you like 
	this --

CLOSE SHOT - AT BED

Doolittle throws the blanket off and is revealed in pajamas. 
He swings over and sits on the edge of the bed, reaches for 
his glasses on the night table, puts them on and glares up 
at Johnny, anger creeping through his drowsiness.

		JUDGE DOOLITTLE
	What... what is this?

		JOHNNY
	I've got to talk to you right now --

		JUDGE DOOLITTLE
	Are you drunk?

		JOHNNY
	My kid's in the hospital -- he's got 
	pneumonia --

Doolittle cups his hand to his ear, trying to hear; looks 
around for his acousticon.

		JUDGE DOOLITTLE
		(not hearing)
	You must be drunk waking me up in 
	the middle of the night like this -- 
	it's outrageous! Never heard of such 
	a thing!

Johnny realizes Doolittle isn't hearing him. He looks around, 
spots the judge's acousticon on the night table and reaches 
for it.

		JUDGE DOOLITTLE
	Mason, if this is your way of 
	celebrating the New Year --

Johnny shoves the acousticon into Doolittle's hand.

		JOHNNY
		(harshly)
	Put it on!

Doolittle puts it on, outraged.

		JUDGE DOOLITTLE
		(glaring)
	Now Mason, you listen to me --

		JOHNNY
		(shouts)
	No! -- You listen to me! When you 
	asked me to take a cut I took it -- 
	but I shouldn't have. Because that's 
	the reason the baby has to sleep in 
	the dining room and --

		JUDGE DOOLITTLE
		(beginning to doubt 
		Johnny's sanity)
	What're you talking about?

		JOHNNY
	My baby's in the hospital, dying of 
	pneumonia!

		JUDGE DOOLITTLE
		(motions with 
		acousticon)
	What?

		JOHNNY
		(shouts)
	Dying!... Dying!... Can't you 
	understand that?

		JUDGE DOOLITTLE
	Dying?

		JOHNNY
	Yes, my baby!

		JUDGE DOOLITTLE
		(now comprehending)
	Your baby? Well,
		(his rage melts)
	Why didn't you get in touch with me 
	sooner? I'm terribly sorry.
		(he gets out of bed 
		and puts on his robe)

		JOHNNY
	I don't need sympathy -- I need serum! 
	There isn't any in New York -- and 
	there's none anywhere near here -- 
	and they finally located some in 
	Salt Lake City -- and that's two 
	thousand miles away and every hour 
	counts!
		(he is almost sobbing 
		the words out now)

		JUDGE DOOLITTLE
		(with utmost sympathy)
	Now, Mason -- be calm --

		JOHNNY
	I can't be calm -- I'll never be 
	calm till I get the serum. And the 
	only way to get it here is to fly it --

		JUDGE DOOLITTLE
		(excitedly)
	Certainly!... Fly it!... Of course!

		JOHNNY
	But there's a terrific storm over 
	Utah -- all planes are grounded -- 
	if there's just one thing we could 
	do --

		JUDGE DOOLITTLE
		(grabs hold of Johnny's 
		arms)
	Now, Mason -- get hold of yourself!... 
	I know how you feel, but get hold of 
	yourself! Suppose the planes are 
	grounded -- Why can't you put it on 
	one of the fast trains?

		JOHNNY
	But we can't. I told you hours count -- 
	every minute counts. It'd be too 
	late. We need a plane from Salt Lake 
	and we've got one but the pilot wants 
	five thousand dollars to fly it to 
	New York --
		(his voice breaks)
	And Judge, I didn't have anyone else 
	to turn to --

Doolittle interrupts him with a loud shout.

		JUDGE DOOLITTLE
		(looks off scene)
	SIMON! Well, what're you standing 
	there for?

The butler comes into the scene.

		JUDGE DOOLITTLE
	My check book!... Get me my check 
	book!

CAMERA ANGLE WIDENS as Simon scurries to secretary.

		JUDGE DOOLITTLE
	And get me a pen! Quick! One that 
	will write! And find out where the 
	nearest telegraph office is!

Simon scurries out of the room.

		JUDGE DOOLITTLE
		(he goes to Johnny 
		whose head is buried 
		in his hands -- 
		patting Johnny on 
		the shoulder)
	You should have gotten in touch with 
	me sooner -- but don't you worry 
	about that serum; we'll have it here 
	and in plenty of time too!

As Johnny looks up at Judge Doolittle pitifully and 
gratefully, with Doolittle's hand still on his shoulder, we 
hold a minute, then

						DISSOLVE TO:

EXT. SALT LAKE CITY AIRPORT - (MINIATURE) - NIGHT - BLIZZARD - 
CLOSE SHOT WIND SOCK FROM ELEVATION

The sock flops crazily in the wind. CAMERA MOVES PAST IT AND 
DOWN, revealing a stretch of snowy ground with building of 
airport office below. The circular beacon of the landing 
field is dimly visible through the storm. AS CAMERA MOVES 
DOWN we come over the airport office structure which has 
large lettering covering the roof area. The lettering is 
partially obliterated by wind-swept snow, but as CAMERA MOVES 
CLOSER we can make it out: SALT LAKE CITY.

						DISSOLVE TO:

INT. SALT LAKE CITY AIRPORT - NIGHT MANAGER'S OFFICE - NIGHT - 
BLIZZARD - CLOSE SHOT - HATTON AT PHONE

		HATTON
	Yeah, Mr. Mason -- the serum's here 
	and the money's here too -- and I 
	could certainly use the dough. But 
	the weather's gotten so bad it's 
	impossible to take off --
		(listens a minute)
	What can I do? --

CAMERA MOVES BACK to take in Collins, Conway and a couple of 
others standing by, listening. Hatton turns an eloquent look 
of despair on them as he listens.

		HATTON
	I know how you feel -- I'm married 
	myself and I've got a couple of kids -- 
	but I got to think of them too. My 
	wife won't let me -- she says if I 
	go she won't be here when I get back -- 
	if I get back.
		(he puts his hand 
		over the receiver 
		and remarks to the 
		group around him; 
		plaintively)
	What do you do with a guy like that?

		CONWAY
	Let me talk to him.
		(he takes the phone 
		from Hatton's hands 
		and speaks into it; 
		belligerently)
	Now listen you -- what do you think 
	this is -- a suicide club? You can't 
	expect anybody in his right mind to 
	fly a plane on a night like this -- 
	especially an old crate with whiskers. 
	Why don't you --
		(he listens a moment 
		and we see his 
		truculence gradually 
		melting)
	Sure... That's tough... we'd certainly 
	like to help you -- ain't there no 
	other place you could get some of 
	the stuff? Maybe in a few hours, 
	when the weather clears up --
		(he listens a moment -- 
		his expression 
		changes. He puts his 
		hand over the receiver 
		and turns to the 
		group around him)
		(in an awed voice)
	Gee, the guy's crying --
		(picks up receiver)
	Now wait a minute, buddy... take it 
	easy... Suppose we -- maybe I -- 
	hold the wire!
		(he puts his hand 
		over receiver and 
		turns to the group 
		behind him; helplessly)
	He just won't take No for an answer.
		(hesitates, then speaks 
		to Hatton)
	Jim, could I borrow your plane?

		HATTON
	Are you nuts?

		CONWAY
	You know how it is -- you've got 
	kids of your own. Suppose you was in 
	his place --

		HATTON
	I can't let you have my plane. I've 
	got no insurance on it -- I couldn't 
	get any --

		CONWAY
		(in phone)
	Hold it a minute -- keep your shirt 
	on --
		(to Hatton)
	I'll give you half the money if you'll 
	loan me the crate.

		HATTON
	Suppose you crack it up --

		CONWAY
	Then you can keep the whole five -- 
	I won't need it.

		HATTON
	I think you're crazy. But, all right -- 
	if you want to.

		CONWAY
		(speaking into phone)
	Okay, buddy -- relax.

						DISSOLVE TO:

INT. AIRPORT OFFICE - SALT LAKE CITY - DAWN - BLIZZARD

Standing at the frost covered window, Hatton, Collins and a 
couple of others.

		COLLINS
	Do you think he'll ever get off the 
	ground with all that gas?

		HATTON
	Well, I did -- going to Honolulu --

Hatton rubs off some of the frost to clear a space on the 
pane and they peer through at the field. Through the blizzard, 
with the beacon lights circling the field, we dimly make out 
Conway's plane. It taxies across the field and takes off in 
the storm.

The men listen to the dying sound of the plane's motors. 
Hatton shrugs and turns to Collins.

		HATTON
	I can't say I like that kind of money -- 
	but it looks like I'll be in five 
	grand before morning.

						DISSOLVE TO:

INT. CATHOLIC HOSPITAL - CORRIDOR - CLOSE SHOT - AT DOOR TO 
BABY'S ROOM

The corridor is quite dark, except for such light as may 
come in from laboratory or perhaps one open door somewhere 
in corridor. Doctor Healy comes out of the baby's room, sees 
Jane coming toward him as he closes the door. He glances 
down hall and sees in the b.g. the dim figure of a man 
wheeling something toward the baby's room. He turns quickly 
to Jane, maneuvering so she cannot see what is coming down 
the corridor.

Jane looks imploringly at the doctor's face.

		DR. HEALY
	He's all right -- he's holding his 
	own nicely.

		JANE
	May I go in and see him?

		DR. HEALY
	I don't think you'd better -- not 
	just now.

		JANE
		(getting panicky)
	Why, doctor? Why don't you want me 
	to see him?

		DR. HEALY
	Now, don't worry -- it's just that --

		JANE
		(with tinge of hysteria)
	Then why don't you want me to see 
	him?

She starts to brush past the doctor forcibly, when she stops, 
seeing that the man with the wheelbarrow who has come up 
behind the doctor has opened the door of the baby's room. As 
he does, a light from the baby's room reveals the cylinder 
of oxygen which he has been wheeling.

CLOSE SHOT - CYLINDER

The light from the room falling on the cylinder in such a 
manner as to bring out vividly the word "OXYGEN" printed on 
it.

TWO SHOT - DOCTOR HEALY AND JANE

The shock of seeing the oxygen is the trigger that unloosens 
the pent-up emotion in Jane.

		JANE
		(hysterically)
	You're lying to me, Doctor! The baby's 
	worse; that's why you ordered the 
	oxygen.

She reaches for the door-knob and the doctor stops her, 
grabbing hold of her. Mrs. Mason comes into the scene from 
the waiting room. The doctor and Mrs. Mason try to soothe 
Jane and her hysteria mounts. The doctor takes hold of one 
of Jane's arms and Mrs. Mason the other.

		MRS. MASON
	Jane, dear -- Jane -- please...

		DR. HEALY
	The oxygen's only to help him till 
	the serum gets here.

		JANE
		(hysterically)
	You're lying to me!

CAMERA TRUCKS with them as they lead her forcibly away from 
the baby's room toward the waiting room.

		DR. HEALY
	I want you to lie down and rest -- 
	I'll give you something to make you 
	sleep. Will you do that for me?

		JANE
		(hysterically)
	Oh, Doctor Healy -- I couldn't! Please 
	don't make me!

They stop at the entrance of the waiting room. Jane takes 
hold of herself and with a powerful effort, controls her 
hysteria.

		JANE
	I'm sorry, Doctor -- I'm all right 
	now.
		(pleadingly)
	When can I see him?

		DR. HEALY
	In a little while.

He exits back to baby's room; CAMERA PANS with Jane as she 
goes to the window seat, sinks to the floor and looks out at 
the beating rain of the night. Mrs. Mason comes into the 
Shot and looks pityingly down at the wretched, forlorn figure.

		JANE
		(after a second or 
		two)
	If my baby dies, I want to die, too.

		MRS. MASON
		(sympathetically)
	I know, dear, I know... But you 
	mustn't feel that way. You mustn't 
	let John know you feel that way... 
	He loves the baby too...
		(there is a very slight 
		choke in her throat)
	Almost as much as he loves you.

		JANE
	Poor Johnny... He'll be so lonely if 
	the baby --

She can't bring herself to say, "dies."

		MRS. MASON
		(simply)
	He'll have you, Jane... And you'll 
	have him...
		(Jane makes no comment. 
		Mrs. Mason continues)
	And you can't be lonely... either of 
	you... as long as you have each 
	other...
		(she looks away)
	Do you know when you're really lonely? 
	It's when you have no one to share 
	things with... not even a loss...
		(she can't go further 
		in her revelation)

		JANE
		(turns slowly -- seeing 
		her mother-in-law 
		for the first time)
	Oh, Mother -- you're lonely... aren't 
	you?

Mrs. Mason turns away. There is a silence. Jane goes to her 
sympathetically, almost forgetting her own grief for a moment.

		MRS. MASON
	I wasn't -- always -- a bitter old 
	woman... I wasn't always a pest and 
	a nuisance...
		(she breaks)
	...not when I had someone to share 
	things with.

Jane takes her into her arms, and now Jane comforts her, 
whose front breaks, and who sobs against Jane.

		MRS. MASON
		(muffled)
	And now the baby... Oh, my baby's 
	baby...

		JANE
		(the tears rolling 
		down her cheeks)
	Oh, Mother, Mother...

And on a tableau of Jane devotedly and heart-brokenly 
comforting her old mother-in-law, whose head is on Jane's 
shoulder, Jane's arm around her, we

						FADE OUT:

FADE IN:

LONG SHOT PLANE - BLIZZARD - DAWN

The plane is making its way over a vista of snow-capped 
mountain peaks.

MEDIUM SHOT - PLANE

The storm seems to be increasing in violence causing the 
ship to roll from side to side.

INT. COCKPIT OF PLANE - CLOSE SHOT CONWAY - SILENT

He is worried, reaches for the radio transmitter and yells 
into the mouthpiece. His voice cannot be heard over the roar 
of the motor and the howling wind.

Conway shakes his head, getting over that he gets no response. 
His radio is evidently out of commission. He takes off the 
head-set -- glances at the instrument board.

INT. COCKPIT OF PLANE - INSTRUMENT BOARD - CLOSE UP 
ALTIMETER

Needle registers 13,500 feet.

BACK TO CLOSE UP CONWAY

He looks at serum package, takes off his glove and feels the 
package to make sure it hasn't frozen.

INSERT - SERUM PACKAGE

It is marked "RUSH - AVOID FREEZING." Conway's hand feels 
the package.

CLOSE UP - CONWAY

Satisfied that the serum is okay he starts to write on a pad 
that is strapped to his leg between knee and thigh.

INSERT: RADIO LOG

Conway writes:

"6:40 A. M. Radio dead. Fighting for altitude. Terrific down 
draft. Forc--"

A sudden lurch of the plane snaps the lead in the pencil.

CLOSE UP - CONWAY

As he grabs the quivering joystick -- fights vainly to control 
the plane.

MEDIUM SHOT - PLANE

Starts to lose altitude.

INSERT: ALTIMETER

Needle going down.

LONG SHOT - PLANE IN LONG DOWN DRAFT

A thrilling shot of the plane going down.

CLOSE UP - CONWAY

Fighting joystick. He looks over side of plane.

POINT OF VIEW SHOT

Diving at rugged snow covered cliffs, the ground appearing 
to come closer and closer.

CLOSE UP - CONWAY

Struggling to control the plane. The snow and mist getting 
heavier.

MEDIUM SHOT - PLANE

The wheels touch the ground and for an instant it looks as 
if all were over. With a roar of the motor the plane zooms 
up.

LONG SHOT - PLANE

It fails to gain altitude and continues down and down until 
it is completely lost in the swirling snow and mist. Hold on 
snow-filled screen a moment.

						DISSOLVE TO:

MONTAGE SEQUENCE

INT. AIR FIELD RADIO STATION - DENVER - STORMY DAY CLOSE 
SHOT OPERATOR

Rain is beating against the window behind him. He is talking 
into his instrument.

		OPERATOR
	Denver calling Commercial NC 24. 
	Come in, Conway.

		(ANXIOUSLY)
	Come in!
		(waits -- no answer 
		comes -- he speaks 
		again with increasing 
		anxiety)
	Can't you read me, Conway? Can't you 
	read me? Come in, Conway.
		(still no answer; 
		turns dial; shakes 
		his head in despair -- 
		in dead, hopeless 
		voice)
	Denver calling Newark. Do you read 
	me, Newark?

							WIPE TO:

INT. NEWARK AIRPORT - RADIOROOM - EARLY MORNING CLOSE SHOT 
CHIEF RADIO OPERATOR

-- at his instrument board.

CAMERA DRAWS BACK to reveal behind the Newark chief operator, 
the chief of operators at Newark airport (Superintendent); 
the assistant radio operator, Judge Doolittle and Johnny. 
The two latter are listening with suppressed excitement.

		DENVER OPERATOR'S VOICE
		(coming from instrument)
	Still can't contact Conway. Storm 
	increasing over the Rockies. Denver.

CLOSE UP - JOHNNY

He registers apprehension as he listens.

CLOSE UP - NEWARK SUPERINTENDENT

Worried, he unfolds his arms.

		NEWARK SUPERINTENDENT
		(quietly, in flat 
		voice, controlling 
		his fears)
	Send out an emergency to all stations. 
	Stand by to contact Conway.

							WIPE TO:

NORTH PLATTE RADIO STATION - CLOSE UP - OPERATOR

		NORTH PLATTE OPERATOR
	North Platte, Nebraska calling Conway -- 
	Commercial NC 24. Do you read me?

							WIPE TO:

OMAHA RADIO STATION - CLOSE UP - OPERATOR

		OMAHA OPERATOR
	Conway NC 24. This is Omaha. Do you 
	read me, Conway?

							WIPE TO:

CHICAGO RADIO STATION - CLOSE UP - OPERATOR

		CHICAGO OPERATOR
	Chicago calling Commercial NC 24... 
	Conway can you read me? Can't you 
	answer, Conway?

							WIPE TO:

INT. RANGER STATION - DAY

One ranger is in uniform and is at the telephone. Another is 
gazing out a window in b.g., against which snow is striking. 
The latter is peering through binoculars. A pair of dripping 
skiis stand against the walls beside the man at the phone.

		RANGER
		(into phone; shakes 
		his head)
	No, we haven't seen or heard a plane 
	all day. Sorry, but there's no use 
	sending searching parties out in 
	this blizzard.

							WIPE TO:

INSERT: NEWSPAPER HEADLINE

Reading: "All Hope Gone For Mercy Plane."

						DISSOLVE TO:

INT. HOSPITAL - BABY'S ROOM - DARK DAY

The rain has stopped, but it is a dark dreary day and the 
lights of the hospital are turned on. A nurse sits by the 
bedside.

OPEN ON CLOSE SHOT OF THE BABY in his small bed covered with 
the oxygen tent. He breathes with great difficulty. CAMERA 
PANS AROUND to show Dr. Healy crossing the room with his 
stethoscope in his hand, making his way to the bed. CAMERA 
FOLLOWS DR. HEALY until he passes in front of Jane, then 
HOLDS ON JANE and we see her looking fixedly at the small 
bed, stark pain in her eyes. Sister Madelaine stands beside 
her.

BIG HEAD CLOSE UP - DOCTOR HEALY - the earphones over his 
ears.

As he listens gravely to the irregular heartbeats of the 
baby; and we hear them faintly on the sound track.

CLOSE SHOT - JANE

Her hand goes to her breast in a mute gesture of agony as 
she watches. In a low voice she gives expression to the one 
thought that has been racking through her head for hours.

		JANE
		(a tired whisper)
	Oh, if there was just something I 
	could do... If there was just 
	something...

Sister Madelaine moves closer, puts her hand gently on Jane's 
shoulder.

		SISTER MADELAINE
		(simply)
	There is... Come with me.

She takes Jane's arm. CAMERA TRUCKS WITH THEM as they leave 
the room and start down the corridor together.

						DISSOLVE TO:

CLOSE SHOT - AT CHAPEL DOORS

Sister Madelaine opens the doors. Jane looks in and sees the 
chapel.

		JANE
		(turns to Sister 
		Madelaine)
	Sister Madelaine, I'm not a Catholic --

		SISTER MADELAINE
		(shakes her head 
		slightly)
	That doesn't matter.

Jane steps into the chapel. Sister Madelaine softly closes 
the chapel doors behind her.

CAMERA TRUCKS IN FRONT of Jane as she walks down toward the 
altar.

CLOSE SHOT - SECTION OF CHAPEL

Taking in the altar -- the lit candles, the figure of Jesus. 
Jane comes into Shot and looks uncertainly about. She studies 
the figure of Jesus a moment in silence. She hesitates, then 
sinks to her knees before the figure and with her head bowed, 
mutters to herself, shaking her head. She lifts her face to 
the figure.

CLOSE SHOT - JANE

Shooting down from above and behind the silhouetted figure 
of Jesus, only Jane's face lighted by the candlelight.

		JANE
		(stumbling to find 
		the right words)
	You know how much he means to Johnny 
	and me... we've only had him such a 
	little while... Oh God, dear, dear 
	God, please... We do want to see him 
	grow up and be a man. Please help 
	our little baby... we love him so... 
	he's so small and helpless... he 
	can't do anything for himself... and 
	we can't seem to do anything... for 
	him...
		(she clasps her hands 
		and speaks imploringly)
	Please -- Please -- Please...

						DISSOLVE TO:

PLANE - LONG SHOT

Starting with shot only of gray fog and clouds and sound of 
roaring plane motor. Then plane emerges from behind clouds 
into scene.

CLOSE UP - CONWAY - SILENT (SHOOTING UP THROUGH COCKPIT)

He is worried -- reaches for a map and with a flash light 
tries to find something he can recognize on the map --

INSERT: MAP

With Conway's flash light shining on it.

BACK TO CONWAY

He is frantic, realizing he is lost. He puts the map and the 
flash light away and looks over side of plane to see if there 
is a hole in the clouds that he might get through -- then 
almost instinctively, nervously reaches for a cigarette.

Suddenly a few drops of oil spatter the windshield of the 
plane. He peers over the side, alarmed, and oil sprays on 
his goggles. As he pushes his goggles back and wipes his 
face,

PLANE - LONG SHOT

With a cloud of smoke pouring out behind. The plane is 
catching fire.

INT. COCKPIT - CONWAY

Frantically pulls out his flash light, prepares to bail out, 
picks up the box of serum and sticks it under his jacket -- 
and jumps.

LONG SHOT - PLANE

Parachute and plane falling. The plane now spurting flame. 
The parachute disappears into the fog.

						DISSOLVE TO:

INT. DOCTOR'S OFFICE IN HOSPITAL - NIGHT - FOG

Doctor Healy, showing the signs of strain and weariness, 
stands in the office drinking from a coffee cup. A uniformed 
nurse stands before him.

		NURSE
	Shall I order another tank of oxygen, 
	Doctor?

		DR. HEALY
		(shrugs in despair)
	If the serum isn't here in a couple 
	of hours...

He turns toward the door as he hears sound of footsteps in 
the corridor.

REVERSE SHOT - SHOOTING THROUGH OPEN DOORWAY (FROM THE 
DOCTOR'S ANGLE)

The defeated figure of Johnny passes the doorway. His coat 
collar is turned up around his ears.

INT. WAITING ROOM - CLOSE SHOT - JANE - FOG

Lying stretched out, with pillows under her head, on the 
window seat. She tosses her head slowly and restlessly. We 
hold on her long enough to allow for Johnny's walk down the 
hall.

INT. WAITING ROOM - LONGER SHOT

Johnny enters. Jane turns, sees him.

		JANE
		(almost listlessly)
	Hello, Johnny.

		JOHNNY
	Hello, Jane.
		(he crosses over and 
		kneels beside her)

JANE - BIG HEAD CLOSE UP

Looking at Johnny.

JOHNNY - BIG CLOSE UP

Looking at Jane.

CLOSE TWO SHOT

Johnny gently strokes her hair. He speaks with a strange, 
new-found serenity.

		JOHNNY
	We'll always be together, Jane -- no 
	matter what happens -- like this, 
	always.

He continues stroking her hair, and we hold on this a moment, 
then.

						SLOWLY DISSOLVE OUT:

EXT. FIELD - CLOSE SHOT - THE PARACHUTE TANGLED UP IN THE 
LOWER BRANCHES OF A TREE - NIGHT - FOG

CAMERA PANS DOWN the tattered chute to the body of Conway, 
limply sprawled out on the wet ground. We hold for a moment. 
CAMERA MOVES UP to a CLOSER SHOT. We hold a moment on his 
motionless figure, then we see the body stir.

CLOSE UP - CONWAY

His face is scratched and filthy. He opens his eyes, lifts 
himself up with a grimace of pain. He stares for a moment at 
his left foot, then starts to disengage the harness of the 
chute. He remembers something and sticks his right hand 
frantically on the inside of his coat. His hand comes out 
with the package of serum. It is safe. He manages a grin 
through his pain and puts it back inside his coat. He looks 
around, tries to get to his feet, and realizes he can't walk. 
His leg is broken. CAMERA TRUCKS WITH HIM as he starts to 
crawl along the muddy field through the fog.

LONG SHOT - CONWAY

Crawling along the field. As his body is lost in the fog, we

						DISSOLVE TO:

LONG SHOT - FARMHOUSE - (FOG)

The farmhouse stands alone. Conway's figure is dimly seen on 
his knees knocking at the door. From o.s., the sound of a 
dog barking.

A light goes on in an upstairs window.

EXT. FARMHOUSE - CLOSE SHOT - AT DOOR - NIGHT - FOG

Conway on his knees before the door, pounding on it with his 
knuckles. From o.s., the sound of the dog barking. The door 
opens and a sleepy, bewildered farmer with an overcoat over 
his full-length underwear in which he has undoubtedly been 
sleeping is seen. Behind him, carrying a kerosene lamp, is 
the farmer's wife with a shabby robe over her nightgown.

		FARMER
	Who are you? What do you want?

		CONWAY
	I'm hurt. Will you help me?

		FARMER'S WIFE
	Mercy sakes alive.

Farmer and his wife go to Conway, half lift him up and drag 
him over the threshold.

INT. FARMHOUSE - MEDIUM SHOT

Farmer and his wife helping Conway into the room. They stare, 
frightened, and bewildered at the strange figure they have 
let in out of the night.

		FARMER
	What is it -- what's happened?

		CONWAY
	Never mind that -- what place is 
	this?

		FARMER
	Liberty Corners.

		CONWAY
	Where's that?

		FARMER
	Thirty-five miles from New York.

Suddenly Conway sways and his eyes close. He falls to the 
floor in a dead faint.

		FARMER'S WIFE
	Well, for mercy sakes alive.

The farmer drops to his knees beside Conway. He turns the 
unconscious form over and looks down into Conway's face.

Suddenly the farmer catches sight of the package of serum 
which is protruding from the open front of Conway's flying 
suit. The farmer pulls the package out and stares at it.

		FARMER
		(reading the label)
	St. Francis Hospital, New York City. 
	Rush.

The significance of the package dawns on him. He rises and 
hurries to the telephone.

The phone is an old fashioned one, used only in rural 
districts. The farmer turns the handle and the bell rings 
the signal for the operator; he then takes down the receiver 
and speaks.

		FARMER
		(into phone)
	Hello -- hello -- operator, I want 
	the St. Francis Hospital, New York 
	City.
		(he glances toward 
		the weird looking 
		body of Conway, turns 
		back to the phone)
	And reverse the charges.

INSERT: SERUM PACKAGE

The wrapping being torn off and the box opened, exposing the 
vials of serum.

						DISSOLVE TO:

HOSPITAL CORRIDOR - INSERT: SIGNAL BOARD

The name: DR. HEALY flashing on and off.

						DISSOLVE TO:

CLOSE UP - NURSE'S HAND

Holding the baby's wrist -- taking his pulse.

						DISSOLVE TO:

CLOSE UP - HYPODERMIC NEEDLE

-- being filled with fluid.

						DISSOLVE TO:

INT. HOSPITAL CORRIDOR - OUTSIDE BABY'S ROOM

The door bursts open and Johnny comes out, turns to look 
back into the baby's room for a moment, then starts off down 
the long corridor at a run.

He reaches the door to the waiting room and throws it open.

INT. HOSPITAL - WAITING ROOM - CLOSE SHOT

Jane is sitting near the window, asleep, worn out with worry 
and strain. She hears Johnny coming in and wakes up with a 
start.

Jane looks at Johnny -- a silent question in her eyes.

		JOHNNY
		(tenderly -- joyfully)
	Happy New Year, darling.

Jane only stares at him, then the significance of the words 
strikes her. She goes into his arms.

		JANE
		(hysterically)
	Happy New Year -- Happy New Year --

Over her hysterical laughter,

						DISSOLVE TO:

INT. CAFE - CLOSE SHOT AT BAR - DAY

Dr. Healy, Judge Doolittle, Ed Conway, the pilot who brought 
the serum. Conway's left leg is stiff and he leans on a cane. 
CAMERA PICKS UP our trio as the three lift their glasses up 
and slug down their drinks, then set the empty glasses down 
on the bar.

		JUDGE DOOLITTLE
		(smacking his lips)
	Well, gentlemen, I guess four's about 
	enough on a business day.

		CONWAY
	That's all very well, Joe -- but 
	isn't it about time you bought one?

		JUDGE DOOLITTLE
		(flips open his coat)
	What's that?

		CONWAY
		(speaks into mouthpiece)
	Conway calling Doolittle...

						DISSOLVE TO:

EXT. DOOLITTLE'S SUITE OF OFFICES - CLOSE UP - DOOR

We read first only the old firm name of:

DOOLITTLE, MESSERSCHMIDT, DOOLITTLE, HUTCH

CAMERA PANS DOWN to CLOSE UP the remainder of firm name which 
now reads:

CARTER & MASON

		JOHNNY'S VOICE
	And there are certain things, 
	gentlemen, that I want distinctly 
	understood.

							CUT TO:

INT. DOOLITTLE'S OFFICE

CAMERA DRAWS BACK to reveal Johnny pacing before the two 
brothers. He is orating great guns. At his desk, Doolittle 
is seated, and standing behind him are several other members 
of the staff, which include the hitherto nebulous, 
Messerschmidt, Hutch and the other Doolittle. They are all 
watching and listening to Johnny with the greatest respect 
and attention. It is obvious that Johnny is now the fair-
haired boy of the firm.

		JOHNNY
	Now, I called this meeting of all 
	the partners in order to make my 
	position clear once and for all. 
	That before I accept your offer of 
	partnership in the firm of --

INTERCUT CLOSE UPS of each member of the firm as Johnny calls 
their names.

		JOHNNY
	-- Doolittle -- Messerschmidt -- 
	Doolittle -- Hutch -- and Carter, 
	you must know that I consider the 
	methods of this firm at the present 
	time old-fashioned, self-satisfied, 
	high-handed and thoroughly 
	inefficient.

Carter, who has been leaning against the wall, straightens 
up and addresses Doolittle.

		CARTER
	It seems to me --

		JUDGE DOOLITTLE
		(sharply)
	Quiet!

		JOHNNY
	And I demand that they be changed -- 
	effective immediately.

There is a loud knock on the door.

		JUDGE DOOLITTLE
		(frowns and calls out)
	Come in!

CLOSE SHOT - AT DOOR

It opens and John Horace Mason, II, walks in on his own power. 
An instant later, Jane and Mrs. Mason come in, bursting with 
news.

		JANE
	Excuse me, I hope we haven't 
	interrupted anything important --

Johnny comes into scene, frowning.

		JOHNNY
	Now, Jane --

		JANE
	Johnny, I know Judge Doolittle won't 
	mind --

CAMERA ANGLE WIDENS as Judge Doolittle and the others, come 
into the scene.

		JANE
	We just couldn't wait --

		MRS. MASON
	We had to rush down the minute it 
	happened!

		JOHNNY
	What happened?

		JANE
	The baby can TALK!

She drops down on her knees by the baby and takes hold of 
his shoulders.

		JANE
		(to the baby)
	They don't believe us! Come on, 
	darling -- we'll prove it to them!

The men in the office crowd around her.

CLOSE UP - JOHNNY

-- beaming with pride.

CLOSE SHOT

The faces of the men behind Johnny. They wait expectantly.

		JANE'S VOICE
	Show them, darling! Don't be afraid -- 
	speak up -- say Daddy! Say Daddy -- 
	please, darling -- say Daddy!

CLOSE UP - BABY

Looking coyly up at the group around him. He says nothing.

CLOSE UP - JOHNNY

		JOHNNY
		(pleadingly)
	Say Daddy! D--D--D -- Daddy.

CLOSE UP - BABY

Just looking.

CLOSE UP - JUDGE DOOLITTLE

		JUDGE DOOLITTLE
	Say Daddy -- say Daddy --

CLOSE UP - BABY AND JANE

		JANE
	Come on, Johnny. Say Daddy -- Say 
	Daddy --

		BABY
	Ma-ma.

CLOSE UP - DOOLITTLE BROTHERS

As they flip back their coats to hear better.

		DOOLITTLE BROTHERS
		(together)
	What?

						FADE OUT:

				THE END
All movie scripts and screenplays on «Screenplays for You» site are intended for fair use only.