Screenplays for You - free movie scripts and screenplays About   Links  
Screenplays and movie scripts organized alphabetically:
#  A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z   PDF



Mr. Smith Goes to Washington (1939) movie script

by Sidney Buchman.
Story by Lewis R. Foster.

More info about this movie on IMDb.com
The CAPITOL DOME at Washington fades in. It is night, and 
the dome is flooded in light.

This view dissolves to the exterior of a Newspaper Office 
WINDOW, seen at night. The letters on the window, illuminated 
by a street light, are picked out with increasing 
distinctness. They read: WASHINGTON POST-DISPATCH. This 
dissolves into the NIGHT CITY EDITOR'S OFFICE, where a 
lethargic, eyeshaded man behind a desk reaches for the 
telephone which is ringing.

			EDITOR
		(mechanically)
	Desk--
		(Then, perking up)
	What?

Inside a PHONE BOOTH in a Hospital Corridor, where a nurse 
seated at the corridor desk is visible through the glass 
doors of the booth, a man is telephoning:

			REPORTER
	Senator Samuel Foley--dead. Died a 
	minute ago--here at St. Vincent's. 
	At the bedside was state political 
	sidekick, Senator Joseph Paine--

And we see the HOSPITAL OFFICE where Senator Joseph Paine, a 
trim, rather dignified man of fifty-eight, occupying the 
desk of the nurse who stands by, is talking rapidly and 
agitatedly into a phone.

			PAINE
		(into the phone)
	Long distance? Senator Joseph Paine 
	speaking. I want the Governor's 
	residence at Jackson City--Governor 
	Hubert Hopper. Hurry--

The scene dissolves into a skimming view of TELEPHONE WIRES 
strung over a vast distance--and then into the BEDROOM of 
Governor and Mrs. Hopper, where the Governor and his wife 
are found in their twin beds, the room darkened. The buzzer 
is sounding. Mrs. Emma Hopper, wife of the Governor, sits 
bolt upright in the dark.

			EMMA
		(a shrew)
	I knew it! I knew a night's rest 
	wasn't possible in this house!
		(As the buzzer is 
			heard again)
	Hubert!

			HUBERT
		(waking with a start, 
			bewildered)
	Wha--? Yes, sweetheart-- Wha--?

			EMMA
	That infernal phone!

			HUBERT
	Yes, yes--phone, phone--
		(Fumbling for the 
			light)
	A--an outrage, pet--an outrage--I'll 
	look into this--
		(Seizing the phone)
	Hello--Joe!--What!--No! Not really! 
	Terrible!

			EMMA
	What is it?

In the HOSPITAL ROOM, we see Paine on the phone.

			PAINE
	It couldn't have come at a worse 
	time. Call Jim Taylor. Tell him I'm 
	taking a plane tonight for home.

In GOVERNOR HOPPER'S BEDROOM:

			HUBERT
		(on the phone)
	Yes, Joe, yes--right away.
		(He hangs up--then 
			lifts the receiver 
			again and begins to 
			dial)

			EMMA
	What is it?

			HUBERT
	Sam Foley--dead!

			EMMA
	Great saints!

			HUBERT
	Of all the times! Of all the times! 
	Two months to the end of his term--
	and Foley has to go and die on us--

			EMMA
	Whom are you calling--in the dead of 
	night?

			HUBERT
	Taylor, my dear.

			EMMA
	Can't that wait, Hubert?

			HUBERT
	No, no--believe me, pet--this is 
	*most* urgent--
		(Into the phone)
	Hello, hello. Is Taylor there?--
	Governor Hopper. Quickly, please--

			EMMA
	This isn't a home, it's the crossroads 
	of the world!

			HUBERT
	Now, now, Emma, dear--you mustn't 
	forget we have been chosen by the 
	people of this commonwealth to--

			EMMA
		(sharply)
	Save that for the laying of 
	cornerstones, Hubert!
		(Groaning)
	Oh, that morning you looked in the 
	mirror and saw a statesman!

			HUBERT
	Now, pet--
		(Then, excitedly into 
			the phone)
	Jim!

In political boss TAYLOR'S ROOM, we see JIM TAYLOR, a hard-
bitten, taciturn, impressive man in his fifties. At the 
moment, he stands at a phone, in vest and rolled up sleeves, 
a cigar between his fingers. Behind him, in a smoke-filled 
room, man are seated at a card table from which Taylor 
evidently has just risen.

			TAYLOR
	What's up, Happy?

In HOPPER'S BEDROOM:

			HUBERT
	Sam Foley--died tonight in Washington. 
	Joe just called. Can you imagine 
	anything more--?

In TAYLOR'S ROOM:

			TAYLOR
	Died, huh? Well, take it easy, Happy. 
	Is Paine coming?--Good. Keep your 
	shirt on--and your mouth shut. No 
	statements.

In HOPPER'S BEDROOM:

			HUBERT
		(into the phone)
	Y-yes, Jim--Yes--

And now flashing on the screen are NEWSPAPER HEADLINES of 
the following morning--announcing Foley's death--and finally 
such headlines as:

			SUCCESSOR TO FOLEY
			TO BE NAMED BY GOVERNOR

			APPOINTEE WILL FILL OUT
			UNEXPIRED TERM OF TWO MONTHS

			HOPPER'S CHOICE
			FOR VACANT SENATE CHAIR
			EAGERLY AWAITED

The scene dissolves into the GOVERNOR'S OUTER OFFICE, in the 
morning. The office is full of people--newspapermen--dignified 
citizens--women--all waiting to see the Governor. A group is 
collected around the male secretary's desk. Two other desks 
are seen with secretaries at them. There is an undertone of 
talk.

			REPORTER
	If His Excellency's statement is 
	going to make the noon edition--

			SECRETARY
	Governor Hopper said you would have 
	it any minute--

An austere gent named Edwards pushes toward the desk.

			EDWARDS
		(firmly)
	Will you please remind the Governor 
	again--

			SECRETARY
	He know your committee is waiting, 
	Mr. Edwards.
		(Raising his voice 
			over the room)
	The Governor will see *all* committees 
	at the first opportunity.

In the GOVERNOR'S PRIVATE OFFICE we see Hubert Hopper and 
McGann, the former on the dictagraph, while McGann lounges 
in a chair.

			HUBERT
		(into the dictagraph)
	Yes, yes--tell them I'll see them 
	immediately--immediately!
		(Snapping up the 
			dictagraph, turning 
			wildly on McGann)
	I can't hold them off! They want 
	something to say about this 
	appointment. Ten to one they've got 
	a man.

			MCGANN
	Relax, Happy. Jim said to wait.

			HUBERT
	I *can't* wait, McGann! You go into 
	that room and tell Jim Taylor and 
	Joe Paine that I give them *one more 
	minute*--

			MCGANN
		(quietly)
	*You* tell Jim Taylor.

			HUBERT
		(walking--fuming)
	Washington! Always discussing the 
	problems of Washington. Nobody ever 
	thinks of the State--and my problems!
		(With sudden 
			determination)
	I *will* tell Jim Taylor. It's high 
	*time* I told him a thing or two!
		(He pushes the door 
			to a small ante room)

In the ANTE-ROOM, Joe Paine and Jim Taylor are on their feet, 
as Happy insert his head.

			HUBERT
		(angrily)
	Look here, Jim--if you and Joe are 
	going to gab about this appointment 
	*any* longer, I'm going ahead and 
	see those committees!

			TAYLOR
		(sharply)
	You'll see those committees when 
	we're finished!

			HUBERT
		(meekly)
	Yes, Jim.

Hubert retires, closing the door. Jim Taylor turns back to 
Paine.

			TAYLOR
	That Happy Hopper is tougher to handle 
	than a prima-donna.

			PAINE
	--in other words, Jim--with this 
	Willet Creek Dam on the fire--the 
	man who goes to the Senate now in 
	Sam Foley's place can't ask any 
	questions or talk out of turn. We 
	must be absolutely sure of him.

			TAYLOR
	That's why I say Miller--Horace 
	Miller. He jumped through hoops for 
	the machine before we moved him up 
	to the bench. He'll take orders.

			PAINE
	Jim--suppose we didn't try to go 
	through with this Willet Creek Dam--
	suppose we postpone it until the 
	next session of Congress--or drop it 
	altogether--

			TAYLOR
	That'd be a crime--after all this 
	work--getting it buried in this 
	Deficiency Bill as nice as you please--
	approved--all ready to roll--

			PAINE
	How much does the Willet Dam mean to 
	you, Jim?

			TAYLOR
	Joe--I've got a lot of people to 
	take care of in this State.

			PAINE
	I know, but is it worth the risk of 
	a scandal now that a new man is going 
	to the Senate?

			TAYLOR
	Joe--what's the matter with you--
	where you're concerned, I wouldn't 
	take the slightest risk--'specially 
	now after the great reputation you've 
	made in the Senate. Why, look at 
	this campaign I've started for you 
	in all my papers. You're the logical 
	man from the West on the National 
	ticket--at the convention, anything 
	can happen--

There is a pause while Joe looks at a newspaper.

			TAYLOR
	Joe, that's coming a long way in 
	twenty years since I met you 
	practising law down there in Main 
	Street.

			PAINE
	Jim--if what you say about the future 
	is remotely possible--why not do as 
	I say--drop things like this dam?

			TAYLOR
	We can't drop it now, Joe. We bought 
	the land around this Dam and we're 
	holding it in dummy names. If we 
	drop it or delay it--we are going to 
	bring about investigations, and 
	investigations will show that we own 
	that land and are trying to sell it 
	to the State under phoney names. No, 
	Joe, in my judgment the only thing 
	to do is push this Dam through--and 
	get it over with.

			PAINE
	Well, then appoint Miller--if you're 
	sure he'll take orders.

			TAYLOR
	Don't worry about Horace--he'll take 
	orders. Come on--

He goes to the door quickly, followed by Paine.

In the GOVERNOR'S PRIVATE OFFICE, as Taylor and Paine barge 
in, Happy Hubert throws his hands up.

			HUBERT
	Well! Thank Heaven!

The dictagraph buzzes.

			HUBERT
		(shouting into it)
	One minute! Just one minute!

			TAYLOR
	Happy, we've got the man. Horace 
	Miller!

			HUBERT
	Horace Mill--!

			MCGANN
		(leaping up)
	Terrific! A born stooge! Horace'll 
	perform like a trained seal.

			HUBERT
	Jim--if I fling a party man like 
	Horace in the face of those angry 
	committees--

			TAYLOR
	Happy, for reasons there isn't time 
	to go into--it's got to be Miller! 
	We've given you the man. Now write 
	the ticket.
		(Moving to the door)
	Come on, Joe. Come on, Chick.

			HUBERT
		(following them)
	Now, wait fellows--great Heavens. 
	I've got to see those angry committees 
	first--feel them out a little--work 
	for harmony--harmony.

			MCGANN
	Harmony--and Horace Miller.

The scene dissolves to the GOVERNOR'S OFFICE, full of 
committee people, arranged in rows of chairs, closely packed 
together. Hubert, at his desk, is addressing them.

			HUBERT
		(spreading the old 
			oil)
	Gentlemen--in considering the 
	candidates who might answer to the 
	high qualifications of United States 
	Senator--there was one name that 
	shone out like a beacon--one I'm 
	sure you will enthusiastically approve--
	the Honorable *Horace Miller*.

A minor bedlam breaks loose. Excited men rise and shout.

			VOICES
	Miller! 
	Not Horace Miller! 
	A Taylor Man! 
	The Veterans will have no part of 
	him! 
	A party man! One of Taylor's tools! 
	Give us a clean man for a change! 
	The New Citizen's Committee won't 
	stand for Miller!

			HUBERT
		(smiling sickly, 
			wincing)
	--please--

The scene dissolves to the GOVERNOR'S LIBRARY in the HOPPER 
HOME, at night. Hubert stands troubledly while Taylor, hat 
in hand, is tearing into him and McGann just listens.

			TAYLOR
	They put up *their* candidate? Who?

			HUBERT
		(swallowing)
	Henry Hill.

			TAYLOR
	*Henry Hill?* That crackpot? That 
	long-haired--! Why, you should have 
	killed that so fast--!

			HUBERT
	I--I couldn't, Jim. Those men were--

			TAYLOR
	We can't help *what* they were! Forget 
	'em!

			HUBERT
	Jim, that bunch is out for blood. If 
	I throw Horace in their teeth now--

			TAYLOR
	I said forget 'em! Horace Miller 
	goes to the Senate--and that settles 
	it!

			HUBERT
	I *won't* send Horace Miller!

			TAYLOR
	*You won't?*

			HUBERT
	I *won't* let you stand there 
	callously and perhaps wreck my whole 
	political future!

			TAYLOR
	*Your* political future! I bought it 
	for you and made you a present. And 
	I can grab it back so fast it'll 
	make your head spin. You got a nerve 
	to stand there and worry about just 
	*your future* when we're in this 
	spot!
		(Starting for the 
			door)
	The man is--*Miller*.

			MCGANN
		(following Taylor; 
			adds dryly)
	M-i-double l-e-r.

The two are gone, leaving Happy very unhappy. He stands for 
a baleful instant. The butler appears.

			BUTLER
	Mr. Edwards of the Citizen's Committee 
	on the phone, sir.

			HUBERT
		(groaning)
	No! I'm out. I'm sick. I--I--
		(Collapsing)
	I'll talk.

He picks up the phone.

			HUBERT
		(brightening his manner)
	*Good* evening, Mr. Edwards... Why, 
	I have the matter under advisement 
	this very moment. Now it isn't a 
	question of my *objecting* to Henry 
	Hill--

BY A PHONE, Edwards is seen to be in considerable heat.

			EDWARDS
		(into the phone)
	Hill is the man every decent element 
	wants--and *expects!* It's Henry 
	Hill, Mr. Governor--or else!

In the GOVERNOR'S LIBRARY, Hubert is seen wincing.

			HUBERT
		(swallowing)
	Yes, Mr. Edwards. Certainly. I shall 
	bear that in mind. Good night.

He hangs up, a picture of deepening misery, as Emma appears 
at the door.

			EMMA
	Dinner, Hubert.

			HUBERT
		(absently)
	I'll bear that in mind... What? Oh. 
	Dinner. Pet--my stomach couldn't 
	hold a bird seed.

			EMMA
		(leaving)
	We're waiting, Hubert.

The scene dissolves to the DINING ROOM. The Hopper family is 
seated at dinner. Six children are around the table--four 
boys ranging from nine to sixteen, and a couple of in-between 
girls. The butler is placing the soup before them.

			HUBERT
	Really, my dear--I don't feel like a 
	thing.

			EMMA
		(over-riding him)
	Nonsense.

			PETER
		("Number Two" son)
	What's the matter, Dad? Is it getting 
	you down?

			HUBERT
	Is *what* getting me down?

			JIMMIE
		("Number One" son)
	You're in a deuce of a pickle, aren't 
	you, Pop?

			OTIS
		("Number Three" son)
	Looks like Henry Hill--huh, Pop?

			PETER
	Naw--it's Horace Miller--or else!

Hubert chokes on his soup.

			JIMMIE
	Gee, I wouldn't appoint an old twerp 
	like Horace Miller--Taylor or no 
	Taylor!

			HUBERT
	Taylor! May I ask what *Taylor* has 
	to do with it?

			JIMMIE
	Well, he's still running the show, 
	ain't he, Dad?

			HUBERT
	Emma! I will not have conversations 
	of this sort carried on by the 
	children at dinner!

			EMMA
	Nonsense. Why don't you listen to 
	your children for a change? You might 
	actually learn something?

			HUBERT
		(with sarcasm)
	For instance, how to run the affairs 
	of government? No doubt my children 
	could make this appointment *for* me--
	with the greatest ease!

			JIMMIE
	That's easy. Jefferson Smith.

			HUBERT
	I beg your pardon?

			PETER
	Jeff Smith. He's the only Senator to 
	have.

			OTIS
	Sure. He ought to be President.

			LITTLE JACKIE
		("Number Four" son)
	I like Jeff Smith.

			HUBERT
	You, too! Fine. Fine. That's everybody 
	heard from. Forgive my abysmal 
	ignorance--but I don't know Jefferson 
	Smith from a--

			PETER
	Gosh, Pop--head of the Boy Rangers!

			HUBERT
	Oh, a *boy*!

			JIMMY
	No, *no*, Pop--Jeff's a *man*! Jeff 
	Smith! Biggest expert we got on wild 
	game--and animals--and rocks.

			PETER
	Yes, and right now he's the greatest 
	hero we ever had. It's all over the 
	headlines--

			JIMMY
	Sure. Didn't you see about the 
	terrific forest fire all around 
	Sweetwater?

			HUBERT
	I did. What about it?

			PETER
	Well, Jeff put that out himself.

			HUBERT
	Himself!

			JIMMIE
	Well--Jeff and the Rangers. He was 
	out camping with 'em--and they saved 
	hundreds of people and millions of 
	dollars--

			OTIS
	And not one boy even scratched!

			JIMMIE
	Now, if you really want a Senator--

			HUBERT
	I do *not* want a Senator. And I do 
	*not* want any more of this nonsense! 
	Emma!

			EMMA
	Why, I think it's very sweet of the 
	children--

			OTIS
	He's the greatest *American* we got, 
	too, Dad. Can tell what George 
	Washington said--by heart. An' "Boy 
	Stuff's" got the swellest stuff in 
	it.

			HUBERT
	What stuff?

			PETER
	"Boy Stuff." That's the name of Jeff's 
	magazine. He prints it.
		(Pulling one out of 
			his pocket excitedly)
	Look--here's one--oh, it's great--
	*everybody* reads it--all the kids 
	in the State--a million of 'em. Look, 
	Pop--let me read you a--

			HUBERT
	Peter, I'm in no mood to hear childish 
	prattle!

			JIMMY
	Prattle!

			PETER
	You're all wet, Pop! Listen to this:
		(Flipping back to a 
			page)
	"What makes a man humane to man--to 
	give and not to take--to serve and 
	not to rule--ideals and not deals--
	creed and not greed--." How about 
	*that*?

			OTIS
	No, *sir*! You couldn't do better, 
	Dad.

			HUBERT
	Than what?

			OTIS
	Jeff for Senator.

			HUBERT
		(his anger rising)
	Emma! Will you *please*--?

			PETER
		(leaping in on the 
			attack)
	Want to get out of a pickle, don't 
	you?

			OTIS
		(leaping right in, 
			too)
	Always looking out for votes, aren't 
	you?

			PETER
	Yeah--an' here's fifty thousand kids 
	with two folks apiece--and *they 
	vote*!

			JIMMIE
		(attacking too)
	If you want to do yourself some good 
	in this State, Dad--

			OTIS
	If you're ever going to stand up 
	like a man some day and tell Taylor 
	to go to--

			EMMA
	Otis!

			HUBERT
		(rising frantically)
	That settles it! I will not be 
	attacked and belittled by my own 
	children in my own home! My nerves 
	are strained to the breaking point!

He throws his serviette down and rushes from the dining-room.

			EMMA
	Hubert!

			LITTLE JANE
	Papa's mad, Mama.

The scene dissolves to Hubert Hopper's STUDY, at night. Hubert 
is pacing miserably as Emma enters, carrying his dinner on a 
plate and setting it down on his desk.

			HUBERT
		(in quiet, heart-
			breaking appeal)
	Emma! I'm a man at the end of his 
	rope.

			EMMA
	No wonder--without your dinner.

			HUBERT
	Emma, which is it--Horace Miller or 
	Henry Hill?

			EMMA
		(starting out)
	Well, your children are very bright--
	and *they* say Jefferson Smith.

And Emma, without pausing, passes on out. Hubert is beside 
himself, and begins to pace again.

			HUBERT
		(to himself, 
			distractedly)
	Henry Hill--Horace Miller--Henry 
	Miller--Horace Hi--uh--Henry--

Then on a desperate impulse, he takes a coin from his pocket 
and gets ready to flip.

			HUBERT
	Heads--Hill. Tails--Miller.

He shuts his eyes and flips. The coin falls on the library 
table. He rushes to it. His eyes pop.

The COIN is seen standing on edge, leaned against a small 
stack of magazines and papers.

HUBERT is at his wit's end. Then his eyes travel over to the 
paper on top of the pile. We see the NEWSPAPER HEADLINE:

			GRATEFUL CITIZENS POUR GRATITUDE
			ON HERO JEFF SMITH

Hubert stares at this headline, then suddenly, wildly, dashes 
for the door.

The scene dissolves to a STREET, at night: a row of simple, 
white-frame houses with neatly kept front years and white 
picket fences. Street lamps illumine the scene. A limousine 
has come to a stop before one HOUSE, JEFFERSON SMITH'S, and 
Governor Hubert Hopper is alighting. He pauses to look at 
the house, is uncertain for an instant as to whether to go 
in or not; then makes up his mind, pushes through the gate 
and goes up the walk.

At the DOOR, Hubert pauses again before knocking, but finally 
does so. As his knuckles rap on the door, a terrific blast 
of band music, blaring instruments badly played. lets go 
from inside the house. Hubert, startled out of his wits, 
turns to run for his life and makes two steps when the door 
is opened; and there stands a smallish, somewhat gray, sweet-
faced little lady (Jeff's Ma). The music goes on, so that 
both have to raise their voices above it.

			MA
	I *thought* I heard... Yes?

			HUBERT
	Uh--Jefferson Smith's residence?

			MA
	Yes. Come in.

			HUBERT
	Is--uh--Jefferson Smith at home?

			MA
	Certainly. Step right in.

In the SITTING ROOM of the Smith Home, a neat, cozy room, 
there are about twenty kids, ranging from nine to fifteen, 
imitating a band. An older boy is leading them. They are of 
all descriptions of dress; some in poor clothes--one with 
his leg in a brace. Hubert edges into the room dumbfounded.

			MA
		(loudly above the 
			music)
	I'll call Jeff. He's back in the 
	shop--

She starts across the room. Hubert remains, disconcerted by 
the music. Suddenly, he looks off into the adjoining room 
with curious interest--and also to escape the music, he moves 
toward it.

The adjoining room the Hubert enters is an OFFICE. It contains 
everything from a roll-top desk crammed with mail, to a small 
power printing press--to short-wave radio equipment. It is a 
beehive of activity, with some eight or ten boys working 
like the seven dwarfs--printing cards on the press--tying 
copies of "Boy Stuff" into bundles--tinkering with the short-
wave set. Hubert is set back on his heels by this unexpected 
sight. He notes the little placards framed on the wall, 
bearing the words of great men, and such admonitions as: 
"When there's an edge--give it to the other fellow." "When a 
man dies he clutches in his hands only that which he has 
given away during his lifetime--" --Jean Jacques Rousseau. 
"No man is good enough to govern another."--Abraham Lincoln. 
"You've got to do your own growing, no matter how tall your 
grandfather was." He notes the boys working at the radio--
others working at the desk--while all the time, the little 
power press goes on. Suddenly Ma returns, followed by 
Jefferson Smith--fine looking, rangy, youthful--at the moment 
wiping some white substance from his right hand.

			JEFFERSON
	Good evening, sir. I was just making 
	some--
		(Then, astoundedly)
	Governor Hopper!

			MA
	Well--I'll go to Halifax!

Suddenly great excitement ensues.

			JEFFERSON
	Boys! Attention! Governor Hopper!

The little fellows drop what they are doing and come to 
attention while Jeff dives for a chair and whips it around.

			HUBERT
	Now--now--please--that's quite all 
	right. Relax, boys--

			JEFFERSON
		(at attention)
	This--this is a great honor, sir. I--
	I--

			HUBERT
	Not at all. I've come to pay you a 
	personal and official--and I might 
	say--a *tardy* tribute, Mr. Smith, 
	for your recent heroic conduct.

			JEFFERSON
	Oh, now, I'm afraid that's been 
	exaggerated some--

			HUBERT
	No. No. A signal service to the State. 
	Yes, indeed. And not only that but--
	uh--I've heard of your excellent 
	work in leading and guiding our youth--

			JEFFERSON
	Well--that's not work, sir--that's 
	fun.

			HUBERT
	No doubt. No doubt. And this fine 
	little paper--"Boy Stuff"--with, I 
	dare say, an *enormous* circulation 
	in the State.

			MA
	Well--it started with a little 
	mimeograph sheet--and it's just grown 
	out of all sense and reason--

			HUBERT
	Excellent! Excellent! My boy, I'm 
	convinced our State has a great debt 
	of gratitude to you--

			JEFFERSON
	Oh, now--

			MA
	Jefferson--

			JEFFERSON
	Yes, Ma?

			MA
	Excuse me for interrupting, Governor, 
	but--
		(To Jeff)
	--that plaster's gonna harden any 
	second, son.

			JEFFERSON
		(on edge)
	Gosh! You see sir--I was fixing some 
	plaster for a cast on Amos' leg--
	he's always chewing 'em off. I'll 
	only be a minute--if you'll excuse 
	me, sir--

			HUBERT
	By all means--by all means.

Jeff exits hurriedly.

			MA
	Maybe you'd like to come along and 
	watch, Governor? Jefferson's done a 
	wonderful job with that leg.

			HUBERT
	Why, of course.

Ma starts out after Jeff--Hubert follows. He descends the 
few steps after her.

The PET SHOP, which Ma and Hubert enter, is a crudely built 
room, another addition to the house proper. The instant they 
set foot inside, the damnedest furore breaks loose--dogs 
bark--parrots scream, until Hubert is about to lose his mind. 
Jeff is placing his plaster on the center table and is 
stepping to one of the cages.

			JEFFERSON
		(calling)
	Jerry! Blackie! Queenie! Let's have 
	it quiet, fellows!

			MA
		(calling)
	Now, now, now!
		(To Hubert)
	It's all right, Governor.

She moves toward the table--Hubert following.

			HUBERT
	A pet shop?

			MA
	Well, it sort of got to be--from 
	Jeff just pullin' splinters and things--

Jeff pulls down from a cage Amos, a Siamese monkey, and sets 
him on the TABLE. Amos is fighting fiercely. The cast on his 
leg hangs down in shreds. Hubert, approaching, is amazed and 
startled. Jefferson starts to pull the old cast from Amos' 
leg.

			JEFFERSON
		(to Ma)
	Here, Skinny, give me a hand. Hold 
	Amos' tail down so he can't get it 
	around my waist.

Ma holds the monkey's tail as directed--or tries to.

			JEFFERSON
		(to Amos)
	Now, now, now--that isn't going to 
	get you any place. Get a firm grip, 
	Ma!

			MA
	Satan's in this little fella tonight!

			JEFFERSON
		(at work)
	Sorry about this, Governor. But it 
	won't take a minute. You were saying 
	something in the other room, sir--

			HUBERT
	Well--yes--I was saying--the State 
	should reward you--

			JEFFERSON
	Aw--

			HUBERT
	--And it is in my power to confer a 
	very signal honor upon you. In my 
	official capacity, therefore, I--

			JEFFERSON
	Ma! Hold him!

			MA
	I just can't, son--not the head and 
	tail both!

			HUBERT
	Uh--could--could I help--?

			JEFFERSON
	Thanks, Governor--*yes*! Do you mind? 
	His head--Ma'll take the tail.

			HUBERT
	The--head?

			JEFFERSON
	Just get one hand against each ear 
	there--keep his face straight up.

Hubert timidly does as directed. Amos yells--Hubert almost 
lets go.

			JEFFERSON
	Amos!
		(To Governor)
	Hold 'im, Governor. That's right. 
	Cinch him down. Fine--fine--

Jeff starts to put the plaster on.

			JEFFERSON
	What were you saying, Governor? Sorry.

			HUBERT
		(determinedly--once 
			and for all)
	I said, sir--in my official capacity--
	as an honorary gesture--I appoint 
	you to the United States Senate!

It does not penetrate to Jeff that instant.

			JEFFERSON
	Now, Amos, now--
		(Then, as Hubert's 
			words hit)
	What?

			MA
	What?

At this instant, Amos wriggles his head and sinks his teeth 
into the soft, white thumb of Governor Hopper.

			HUBERT
		(yelling)
	Ow! He bit me!

He lets go of Amos, who wriggles and is nearly off the table. 
Jeff and Ma make a dive for him.

			JEFFERSON
		(yelling)
	Amos! Amos!

And, added to everything else, the pet shop goes up in a 
roar.

The scene dissolves to NEWSPAPER HEADLINES, a flaring, eight-
column head reads:

	GOVERNOR HOPPER IN SURPRISE APPOINTMENT

And another headline (with picture of Jefferson Smith):

			HERO JEFFERSON SMITH
			IS GOVERNOR'S SENATE CHOICE

The scene dissolves to the GOVERNOR'S LIBRARY, in the morning. 
Taylor, McGann, Hubert and Paine are present.

			TAYLOR
		(pounding a newspaper 
			in his hand, yelling 
			at Happy)
	--a *boy ranger* a squirrel chaser--
	to the United States Senate!

			HUBERT
	Jim--the answer to a prayer--manna 
	from heaven--the man *we want*--and 
	the votes *we need*--

			MCGANN
	He's batty!

			HUBERT
	Listen--the simpleton of all time--a 
	big-eyed patriot--knows Washington 
	and Lincoln by heart--stood at 
	attention in the Governor's presence--
	collects stray boys and cats--

			TAYLOR
	What!

			HUBERT
	Joe--*you* know what I'm talking 
	about. The perfect man. Never in 
	politics in his life. Wouldn't find 
	out what it's all about in two 
	*years*, lets alone two months. But 
	the important thing--and this was 
	the genius of the stroke--*it means 
	votes*!

			MCGANN
	Oh--oh.

			HUBERT
	He's the hero of fifty thousand boys 
	and a hundred thousand parents. Look 
	at these congratulations pouring in! 
	I tell you, gentlemen, by this one 
	statesman-like act, I have--

			TAYLOR
		(deadly)
	But you went ahead and made this 
	appointment without asking me--

			HUBERT
	Jim--when the lightning hit, I--I 
	just--

			TAYLOR
	*But you never asked me*!

			HUBERT
		(petulantly)
	Oh--Jim!

			PAINE
	Wait a minute, boys. Happy may have 
	hit on something tremendous here. 
	Rather than let Miller or anyone 
	else in at this stage, we simply put 
	blinders on this simple son of nature--
	and turn him loose on monuments. 
	He's completely out of the way in 
	Washington, and as Happy says, you 
	make political capital out of it at 
	home.

			TAYLOR
	Joe--do you mean to say--do you think 
	you can actually *handle* this--this 
	whatever-you-call-it in Washington?

			PAINE
		(quietly)
	A young patriot?--Who recites 
	Jefferson and Lincoln?--turned loose 
	in our nation's capital? I think I 
	can.

			TAYLOR
		(after a pause)
	Chick--turn the ballyhoo boys loose 
	on this right away. Greatest 
	appointment ever made. A banquet--
	declare a holiday.

			MCGANN
	Wow! A star-spangled banquet--and 
	one of Happy's windy spiels--music--
	little kids--the flag--a tear-jerker 
	from way back--!

The scene dissolves to a MONTAGE, a series of headlines 
screaming approval of Happy's choice--pictures of Happy with 
Smith--of Happy shaking hands with person after person in 
his office--of Jeff Smith surrounded by boys in his home, 
cheering him, clustered around--and adults shaking his hand--
of telegrams coming to him in stacks--of, finally at night, 
the Boy's Club band in the street, marching to a martial 
air, banners at their head reading: "OUR OWN SENATOR JEFFERSON 
SMITH."

This dissolves to a BANQUET HALL, in which HOPPER, seen at 
close range, in white tie--beaming--on his feet at the banquet 
table--is addressing an assemblage.

			HUBERT
	--in the hands of your Governor lay 
	the power to confer a great honor--
	to raise a man to the high office of 
	United States Senator. And how did 
	your Governor confer that honor?

The scene then reveals a great, horseshoe banquet table, 
crowded with leading citizens. At Hubert's left and right 
sit Jefferson and Ma, Mrs. Hopper and Paine. MA is seen 
beaming, while JEFFERSON looks dazed and nervous.

			HUBERT'S VOICE
	Did he give it to some wealthy or 
	influential citizen merely to curry 
	favor? No!
		(As Paine is seen 
			looking down at Jeff)
	Did he give it to some unworthy 
	political hireling? No!

TAYLOR AND MCGANN are seen seated at one of the wing tables--
to be out of sight. McGann raised his eyes to heaven for 
relief.

			HUBERT'S VOICE
	What *did* he do? True to our party's 
	tradition--

EDWARDS is seen listening skeptically.

			HUBERT'S VOICE
	--he went down among the people--
		(warming to a climax, 
			the banquet now in 
			full view)
	--and there found--a nugget! A hero!! 
	That was the spirit your Governor 
	acted in. And in that spirit we have 
	come together tonight to acclaim and 
	bid Godspeed to--Senator Jefferson 
	Smith.

Strong applause--people get to their feet--a band blares a 
salute. Hubert motions Jeff to get to his feet. Dry-mouthed, 
Jeff rises. The noise dies out. They wait.

			JEFFERSON
		(simply--slowly)
	Well--uh--thank you. I--I sort of 
	have a feeling there's been a big 
	mistake--I mean--
		(as gentle laughter 
			greets him)
	--I--I can't think of a greater honor. 
	It isn't just mine. It belongs to 
	all my boys.
		(Turning to Paine)
	Sitting with a man like Senator Paine--
	I can't tell you how much greater 
	that makes the honor. He and my father 
	were very dear friends.

PAINE, startled, is seen looking up at Jeff.

			JEFFERSON'S VOICE
	My father used to tell me that Joseph 
	Paine was the finest man he ever 
	knew.

The applause startles Paine. He looks down, two places 
removed, to MA, who is leaning over, smiling at him. Her 
mouth forms the words: "Hello, Joseph."

We again see the banquet hall in full view, as the applause 
stops.

			JEFFERSON
	I don't think I'll be much help to 
	you, Senator Paine.
		(Laughter from the 
			audience)
	But I *can* promise you this--I'll 
	uphold the honor with all my might--
	I'll do nothing to disgrace the name 
	of--Senator of the United States.
		(He sits down amid a 
			storm of applause)

TAYLOR AND MCGANN are seen applauding mechanically.

			MCGANN
	Who'd ever think I'd be back in Sunday 
	School?

The applause continues in the banquet hall. Then, suddenly, 
a band starts to play off scene. All heads turn to the rear 
of the hall. The BIG DOORS are pushed open and the Boy's 
Club Band--followed by more of Jeff's boys--comes marching 
in. The boys range in size from tiny fellows in front--
building back up, row by row, to the larger fellows in rear. 
They march into the middle of the table formation. The band 
plays a march. The banqueters cheer. JEFFERSON'S eyes are 
alight. The boys come to a stop, marking time, until the 
band stops. A little fellow--Jackie Hopper--steps to the 
front. He is carrying something wrapped up. HUBERT AND EMMA 
are seen watching this.

			EMMA
		(proudly)
	Jackie!

TAYLOR AND MCGANN are also watching.

			MCGANN
	So help me--it's Snow White and a 
	thousand dwarfs!

There is a silence in the hall as Jackie wets his lips and 
addresses Jeff.

			JACKIE
		(stumbling and nervous 
			with a memorized 
			speech)
	Senator Jefferson Smith--we are very 
	proud on this great occas--the Boy 
	Rangers take this oppor--uh--
		(lifts the package)
	--in token of their--uh--in token of 
	this--
		(breaking off, ad 
			libbing)
	--It's a briefcase, Jeff! All the 
	kids pitched in! It's for to carry 
	your laws when you get there!

He rushes forward and pushes the gift into Jeff's hands. The 
banqueters then applaud vigorously. Jeff, speechless and 
touched, stands holding the briefcase. The band strikes up 
"Auld Lang Syne." Everyone stands up, and joins the song. 
Paine moves from his place over to Ma.

Ma is seen singing--as Paine comes to her side. She stops 
singing. They shake hands warmly. Then Paine, looking at 
Jeff, pantomimes: "Is that the little shaver I knew when he 
was this high?" Ma nods. She starts to sign again, and we 
get another full view of the hall. The song is sung earnestly 
by the boys, the banqueters joining it.

JEFFERSON has opened the BRIEFCASE and is staring at it. It 
is seen to be inscribed:

			SENATOR JEFFERSON SMITH
			OUR BEST RANGER--OUR BEST PAL

JEFF is looking off at the boys--his eyes a little dim; this 
is the most wonderful moment of his life.

This dissolves to a Washington-bound TRAIN, on which we see 
Jefferson and Senator Paine. Jefferson is fishing out of his 
briefcase a copy of "Boy Stuff."

			JEFFERSON
	Well, it isn't much, but if you 
	insist, here's this week's.
		(He hands it over)

			PAINE
		(examining it)
	"Boy Stuff." Why, printer's ink runs 
	in your veins, Jeff. You're just 
	like your father.

			JEFFERSON
	Thank you, sir.

			PAINE
	Even to the hat. Same old dreamer, 
	too. One look at you and I can see 
	him, back of his old roll top desk, 
	hat and all, getting out his paper. 
	Always kept his hat on his head so 
	as to be ready to do battle. Clayton 
	Smith, editor and publisher, and 
	champion of lost causes.

			JEFFERSON
	Yeah, Dad always used to say the 
	only causes worth fighting for were 
	lost causes.

			PAINE
	You don't have to tell me Jeff. We 
	were a team, the two of us, a 
	struggling editor and a struggling 
	lawyer. The twin champions of lost 
	causes, they used to call us.

			JEFFERSON
	Ma's told me about it a thousand 
	times.

			PAINE
	His last fight was his best, Jeff. 
	He and his little four-page paper 
	against that mining syndicate and 
	all to defend the right of one small 
	miner who stuck to his claim. You 
	know, they tried everything, bribery, 
	intimidation, then--well--

			JEFFERSON
	Yes, Ma found him slumped over his 
	desk that morning...

			PAINE
	Shot in the back. I was there. I can 
	see him at that old roll top desk, 
	still with his hat on... still with 
	his hat on...

			JEFFERSON
	I know. I suppose, Mr. Paine, when a 
	fellow bucks up against a big 
	organization like that, one man by 
	himself can't get very far, can he?

			PAINE
	No.

The scene fades out.

In the TRAIN SHED (Washington D.C.), we see McGann, Paine, 
Jefferson, Porters and bags.

			JEFFERSON
	Washington!

			MCGANN
	Yeah, for the fifth time, Senator--
	Washington.

			JEFFERSON
	My pigeons--I better see about my 
	pigeons.

			MCGANN
	The porter's got them. They're coming.

			JEFFERSON
		(running out)
	Just a minute, I better make sure.

			MCGANN
		(to Paine)
	Boy! My head's like a balloon--for 
	two whole days. I never knew there 
	was so much American history.

			PAINE
		(kidding)
	You can't find it in racing forms, 
	Chick.

			MCGANN
	Fine thing Jim Taylor wished on me--
	show him the monuments--I need this 
	job like I need ten pounds.

Jeff comes back carrying the pigeons.

			JEFFERSON
	Here they are--I got them. They are 
	all right.

			MCGANN
	Well, that ends that crisis. This 
	way, Senator.

They exit.

At the STATION: Jeff, McGann, Paine and Porters walk in. 
Susan Paine and three other girls rush in and kiss Paine and 
Jeff. The girls carry little cans or boxes with milk fund 
ribbons on them--in which they collect money.

			GIRLS
	Hello, Father. 
	I saw him first. 
	He's mine---

Jeff is utterly confused by the four girls trying to kiss 
him.

			PAINE
	Here, here, Susan--this is Jeff Smith--
	our new Senator.

			SUSAN
	I don't care to meet anybody until I 
	get paid--come on--come on. One dollar 
	each, please, for the Milk Fund.

			ANOTHER GIRL
	If you don't pay quickly you'll get 
	kissed again.

			JEFFERSON
		(confused and searching 
			in his pockets)
	A dollar--four dollars. Gosh! You 
	wouldn't settle for some keys, would 
	you?

			PAINE
	Here, Jeff, I'll advance it for you.--
	Fine introduction to the nation's 
	capital!

			MCGANN
		(pulling out a roll)
	Here, I'll take a dozen of those 
	things. Miss Paine.

			SUSAN
		(taking money)
	Thank you, Mister McGann, you have a 
	very kind heart.

McGann "burns" at not being kissed.

			PAINE
	This is my daughter, Susan, and her 
	friends--Senator Jefferson Smith.

			GIRLS
	How do you do? 
	Meet the new Senator. 
	I thought he'd be a Ranger with a 
	big hat.

			SUSAN
		(pointing at the 
			pigeons)
	What have you got there, Senator?

			MCGANN
	Pigeons--to carry messages back to 
	Ma.

			JEFFERSON
	Just for the fun of it.--You see the 
	one that makes it back home in the 
	fastest time, I am going to enter in 
	the nationals.

			SUSAN
	Wonderful!

			ANOTHER GIRL
	There's romance in him.

			SUSAN
	Imagine having love notes delivered 
	to you by a pigeon.

At this instant two middle-aged men, slightly hard-faced, 
named Cook and Griffith, descend on the party.

			COOK
	Joe!

			GRIFFITH
	Hello, Chick.

			MCGANN
	H'ya, Carl--h'ya, Bill!

			PAINE
	Jeff--meet Mr. Cook and Mr. Griffith--
	members of our State headquarters 
	here.

Cook and Griffiths fall on Jeff, wringing his hand and again 
Jeff can't get a word in. He has put his pigeons down.

			COOK
	Great pleasure, Senator! Yes *sir*. 
	Great appointment! You'll do the old 
	State proud!

			GRIFFITH
	Welcome, Senator. This wild life 
	around here is a little different 
	from what you're used to. They wear 
	high heels! Hah! Hah!

			PAINE
	Well, let's get started. Bill--you've 
	made reservations at the hotel for 
	the Senator and Chick--

			COOK
	All fixed. Same floor with you, Joe.

			SUSAN
		(with lifted eyebrows)
	How nice.

			PAINE
	All right, we'll take Jeff with us--

			SUSAN
	I'm afraid we won't have room in the 
	car, Father. Senator Smith can follow 
	with Mr. McGann and the pigeons.

			JEFFERSON
	Sure.

			SUSAN
	Well, we *must* see a lot of you, 
	Senator. Come, Father.

Paine is being pulled away by Susan. The girls, waving good-
bye to Jeff, follow. Griffith walks along a bit with Paine.

			PAINE
		(calling back--
			cautioning)
	Chick--

			MCGANN
	I've got 'im, Joe. Be right along.

PAINE AND GRIFFITH are now seen together.

			PAINE
	Are you ready for him, Bill?

			GRIFFITH
	All set. Foley's rooms in the Senate 
	office building--nice, big clean 
	desk--lot of Senator stationery to 
	write his little boys on--and Foley's 
	secretary, Saunders, to make it look 
	like the real thing--

			PAINE
	Good. Are the newspaper men at the 
	hotel?

			GRIFFITH
	Yup--Sweeney, Flood, Farrell--waiting 
	for you--

			PAINE
	Fine. The first thing to do is--
	present Mr. Smith to the press--in 
	the *right* way. Hurry him along, 
	Bill.

			GRIFFITH
	How do you feel, champ?

			PAINE
	All right, why?

			GRIFFITH
	Your name's spreading like wild-fire 
	out here--you are the winterbook 
	favorite to get on the National 
	ticket.

			PAINE
	Oh! Go away.

Newsmen come up with cameras to photograph Paine.

JEFFERSON, MCGANN AND COOK are seen together.

			MCGANN
	All right, Senator--let's get these 
	bags and the livestock together--

			JEFFERSON
		(suddenly pointing)
	Look! There it is!

			MCGANN
	What? Who?

We see what Jeff is pointing at--the CAPITOL DOME, up on 
"The Hill"--framed in one of the station portals.

			JEFFERSON'S VOICE
	The Capitol Dome!

The GROUP looks at Jeff dryly.

			COOK
	Yes, sir--big as life. Been there 
	some time now.

			MCGANN
	Yes, sir.
		(Busily, to porters)
	All right, boys--let's go.

Jeff has taken a few steps in the direction of the Dome. 
Griffith joins them, and McGann, Cook and Griffith start off 
with porters.

			MCGANN
	This way, Senator.

McGann, Cook and Griffith are seen moving on, not conscious 
that Jeff isn't following.

			GRIFFITH
	Say, we thought--maybe we ought to 
	meet him in short pants--you know--
	with hatchets.

Cook points to the pigeons a porter carriers.

			COOK
	What's he bringing pigeons for?

			MCGANN
		(sour and sore)
	What for? Why, suppose there's a 
	storm--all lines are down--how you 
	gonna get a message to Ma?

Cook and Griffith give McGann alarmed looks.

JEFF is seen, with his eyes fixed ahead, through the portals, 
on the Dome; he is drawn unconsciously in that directions.

MCGANN, COOK AND GRIFFITH are approaching the door to the 
outside.

			MCGANN
		(looks back)
	Okay, Senator--right through here--

They all stop dead.

			MCGANN
	Where is he? Hey, Senator! What's 
	the matter with that cookie? I *told* 
	him to--. Come on, let's find him. 
	Hey, Smith!

The three start back into the station.

The scene dissolves to the STATION, where McGann, Cook and 
Griffith are coming together.

			COOK
	Positively not in the station! Gone!

			MCGANN
	I'll brain that guy! Well--call Paine--
	call Saunders--

Carl rushes off.

			MCGANN
		(yelling through cupped 
			hands)
	Hey--*ranger*!

The scene dissolves to a PHONE BOOTH, in which Carl Cook is 
telephoning.

			COOK
	--Saunders! Smith hasn't showed up 
	at his office there, has he?... No?... 
	What do you mean 'the slip'?... What's 
	so funny?

In JEFF SMITH'S OUTER OFFICE (SENATE OFFICE BUILDING) SAUNDERS 
is on the phone. She is a girl in her late twenties--pretty--
and a shrewd, keen, abrupt creature--who, at the moment laughs 
mirthlessly.

			SAUNDERS
	Nothing. Have you tried a butterfly 
	net?

In the PHONE BOOTH:

			CARL
	Lay off, Saunders. If your feet felt 
	like mine... Listen--if he shows up 
	there--Paine's waiting at the hotel 
	with newspaper men--let him know 
	right away--understand?

In JEFF'S OUTER OFFICE, Saunders, on the phone, is regarding 
Diz Moore--a fairly young, disheveled, freckle-faced Irishman, 
at the moment stretched out on the sofa.

			SAUNDERS
	Sure. Sure. I'll hang a light in the 
	steeple. One if by land--two if by 
	sea!... Okay!
		(Hanging up)
	Diz--you won't believe it. Daniel 
	Boone's *lost*!

			DIZ
	No!

The door bursts open and a reporter called Nosey sticks his 
head in.

			NOSEY
		(a fast talker)
	Is this new guy Smith here yet? I 
	want a little interview. How about 
	it? Arrived yet--?

			SAUNDERS AND DIZ
		(together)
	No! Scram! Blow!

Nosey slams out.

			SAUNDERS
	How do you *like* this! You don't 
	suppose that ranger met up with some 
	kids--and took 'em for a hike!

			DIZ
	That--or he's out blazing trails. 
	He'll show up.

			SAUNDERS
	Sure--sure. He must have a compass 
	with him.

The scene dissolves to the STATION, where McGann, Cook and 
Griffith are very tired men.

			MCGANN
		(mopping his brow)
	--that dummy wandered off and got 
	hit by a taxi! Bill--call the 
	hospitals--hurry up--!

Bill runs off, McGann yelling after him.

			MCGANN
	And while you're at it, get me a 
	bed!

			COOK
	Let's send out a pigeon!

			MCGANN
	Blow a bugle!

The exterior of the CAPITOL BUILDING is seen, in the view 
from the Library of Congress side, showing both wings of 
House and Senate with the steps leading up to the massive 
columns.

			SPIELER'S VOICE
	--and there you have it, folks--the 
	Capitol of the United States--the 
	home of Congress--

IN FRONT OF THE CAPITOL, people in a bus are craning their 
necks out--*and we find Jeff among them*! A spieler is 
standing in front near the driver, speaking through a small 
megaphone.

			SPIELER
	Yes, *sir*! You are looking at the 
	building where your law-makers have 
	sat since the time of Washington--

In the BUS, Jeff looks at the Spieler suddenly.

			JEFFERSON
	Since the time of Adams--not 
	Washington.

			SPIELER
	How's that, buddy?

			JEFFERSON
	I said--I mean--Washington didn't 
	live to see it finished. Congress 
	didn't move here from Philadelphia 
	till eighteen hundred.

			SPIELER
		(trying to scare him 
			out of his facts)
	Oh--you're *sure* of that now?

			JEFFERSON
	Yes. Washington laid the cornerstone 
	though--wearing an apron for the 
	ceremony that was embroidered by 
	Madame Lafayette--

			SPIELER
		(interrupting)
	Yes, *sir*.
		(Quickly to driver)
	Let's *go* Henry.

The driver throws the bus into gear as the spieler gives 
Jefferson a dirty look.

			SPIELER
	Now, on your right, folks--you see 
	the Library of Congress--

All heads turn to look out of the right side of the bus, and 
the exterior of the CONGRESSIONAL LIBRARY is seen as the bus 
moves along.

			SPIELER'S VOICE
	--greatest library in the world. 
	Five million books and two and a 
	half-million maps, charts, and musical 
	compositions--

In the BUS, JEFFERSON, seen closely, is looking at the 
building in an awed manner.

			JEFFERSON
	You left out the most important thing! 
	That's where you see the Constitution 
	and the Declaration of Independence!

The SPIELER is seen getting pretty sore at this kind of thing.

			SPIELER
	As the gentleman says--without anybody 
	asking him--that's where you see 
	those original, priceless documents--
	the Constitution and Declaration of 
	Independence.
		(To Jeff, sarcastically)
	Much obliged, my friend. You're a 
	great help to me. Let's *go*, Henry!

The scene dissolves to a series of views (a TRAVEL MONTAGE) 
of the Washington monuments as Jeff sees them--his amazement 
and reverence on seeing the Supreme Court Building, the White 
House, the Washington Monuments, Constitution Avenue, and so 
on.

Then the LINCOLN MEMORIAL comes to view and JEFF is seen 
walking up the steps--eyes fixed ahead wonderingly. Soon he 
approaches the top steps and now his is on the floor of the 
shrine. Suddenly he stops dead, and the full figure of LINCOLN 
comes to view--the huge, overpowering figure, seated in that 
great armchair. It is an almost breathing sculpture of the 
great, humane man, looking out.

JEFFERSON, seen closely, is over-awed and reverent, looking 
up at the face. With mechanical steps he comes forward, 
against a background of enormous columns which shed a powerful 
solemnity upon the scene. He comes forward slowly and stops, 
and the words on the statue appear:

			IN THIS TEMPLE
			AS IN THE HEARTS OF THE PEOPLE
			FOR WHOM HE SAVED THE UNION
			THE MEMORY OF ABRAHAM
			LINCOLN
			IS ENSHRINED FOREVER

JEFFERSON has his heart in his mouth. His head turns slowly 
to the left.

On the LEFT WALL, the Second Inaugural Address of Lincoln, 
carved in the stone, appears, and JEFFERSON'S head turns 
back to Lincoln. He quotes in a half-voice--looking up as 
though he heard Lincoln say it:

			JEFFERSON
		(softly)
	'--with malice toward none, with 
	charity for all--with firmness in 
	the right as God gives us to see the 
	right...'

He breaks off and turns his head to the right.

Then at the RIGHT WALL, the Gettysburg Address, carved in 
stone, appears, and JEFFERSON, turning back to the figure of 
Lincoln, again recites:

			JEFFERSON
		(softly)
	'--that these dead shall not have 
	died in vain--that this nation, under 
	God, shall--'

LINCOLN'S FIGURE is seen at close range as Jefferson's voice 
comes over.

			JEFFERSON'S VOICE
	'--have a new birth of freedom--and 
	that Government of the people, by 
	the people, for the people--shall 
	not perish from the earth...'

While Jefferson says these words and while we hold on the 
face of the man who uttered them the scene dissolves slowly.

JEFF'S SENATE OUTER OFFICE is seen at dusk; the light is 
murky. Saunders is pacing a groove in the carpet; Diz Moore 
is still reclining on the sofa.

			DIZ
	Getting on to dinner, isn't it, pal?

			SAUNDERS
		(grimly)
	I give that Trail Blazer five more 
	minutes to show up--
		(turning on the desk 
			lamp viciously)
	--*five more minutes*!

The phone rings.

			SAUNDERS
		(indicating the ringing 
			phone)
	Well--who d'you take this time--Paine, 
	Bill, Carl--or McGann?

			DIZ
	Hey--you're into me for a buck 
	already. I say--McGann. Shoot the 
	whole dollar.

			SAUNDERS
	Okay. For the dollar, I give you 
	McGann *and* Bill and Carl. I got 
	Paine.
		(Picking up the phone)
	Hello... Oh, yes.

Saunders does a 'gimme' gesture at Diz.

			SAUNDERS
	No, not yet, Senator Paine--not hide 
	nor hair of the man. You mean to say 
	the boys haven't--?

			DIZ
	Eight to five Little Boy Blue is 
	plastered.

			SAUNDERS
		(into the phone)
	Well, why don't they try the police--
	get some blood hounds--or Indian 
	guides--

In a CORNER OF THE PAINE HOTEL APARTMENT, Paine is on the 
telephone, and is smiling.

			PAINE
	As a last resort, maybe... Now wait, 
	Saunders--you *can't* leave there! 
	The one place he knows in this city--
	is the Senate office--and you stay 
	there and wait... it isn't *that* 
	late--

In JEFF'S OUTER OFFICE:

			SAUNDERS
		(into the phone)
	All right--then another half hour. 
	Just *one* half hour, Senator. 
	Goodbye.

She hangs up angrily and storms away.

			SAUNDERS
	Why don't I quit? Why don't I pick 
	up and walk out of here?

She passes Diz, grabbing the dollar bill which he holds up 
like a torch--and goes right on talking.

			SAUNDERS
	Tell me why!

			DIZ
		(looking at his empty 
			hand)
	Well, because you're doing all right 
	at the minute.

			SAUNDERS
	When Foley died, why didn't I clear 
	out? How many times, did you hear me 
	say I was fed up on politics and--? 
	But *no*--I let 'em talk me into 
	staying. Secretary to a leader of 
	little squirts. Why? Because I need 
	the job and a new suit of clothes.

			DIZ
	Would you settle for a husband?

			SAUNDERS
		(absently--walking)
	What's this, Diz?

			DIZ
	That old standing offer from Diz 
	Moore--Poet of Washington 
	Correspondents.

			SAUNDERS
		(absently)
	Huh?

			DIZ
	You know--Mrs. Diz Moore.

She is walking furiously, her mind only half on what Diz is 
saying.

			SAUNDERS
	Oh--that again. Yeah.

			DIZ
		(flatly)
	I would cherish you--and stay sober.

			SAUNDERS
	Diz, you're a swell playmate--but--. 
	Maybe if I saw you once with your 
	hair combed, or something--or--no, 
	no--I don't think even that would do 
	it--

			DIZ
		(resigned)
	Well, if you're sure it wouldn't--no 
	use combing my hair for nothing.

			SAUNDERS
	No--don't do it. I'm sure. The truth 
	is, Diz--there's no man I've seen 
	yet or--must be something wrong with 
	me. I've been feeling low for weeks.

			DIZ
	You got worms.

			SAUNDERS
	What! Who?

			DIZ
	You know--little worms--ambition.

			SAUNDERS
	Yeah. Should have seen me seven years 
	ago--when I came to this town. *Now* 
	what am I?--chambermaid to the Pied 
	Piper of Jackson City; *Honorary* 
	appointment! Scratch this thing an 
	you'll find they wanted a dope here 
	for two months.

There is a knock on the door.

			SAUNDERS
		(yelling angrily)
	Yes!

The door doesn't open at once.

			SAUNDERS
	Yes!

The door opens slowly and Jefferson's head pokes in.

			SAUNDERS
	What is it?

			JEFFERSON
	Office of--Senator Smith?

			SAUNDERS
	*No*!

			JEFFERSON
		(looks at number on 
			door)
	The man downstairs said number--

			SAUNDERS
	No!

Startled and scared, Jeff backs out, closing the door.

			SAUNDERS
		(to Diz, picking up 
			where she left off)
	Yup--they must have picked the prize 
	dummy--
		(Then, struck by 
			lightning--pointing 
			at the door)
	*Wait* a minute! That wouldn't be--
	*Daniel Boone*!

She makes a beeline for the door, yanking it open.

In the CORRIDOR, Jeff is gazing around at the door numbers 
bewilderedly--when Saunders appears.

			SAUNDERS
		(excitedly)
	What's your name?

			JEFFERSON
	J-Jefferson Smith.

She makes a run and a grab for him.

			SAUNDERS
	Oh--oh! Come right in! Yes, indeed. 
	Right this way--

She pulls him into the office, Jeff alarmed and speechless.

In the OFFICE, Saunders is seen dragging him in, her movements 
very excited.

			SAUNDERS
	Now, hold it, Senator. Stay right 
	where you are. Don't go 'way--

And she rushes for the phone. Diz' feet come off the sofa 
with a thud.

			SAUNDERS
		(into the phone, 
			excitedly)
	Hello--hello. Helen! Get the Shoreham--
	Paine's apartment. Hurry, will you!

She holds the phone.

			JEFFERSON
	Is--is something the matter?

			SAUNDERS
	Oh, no--no!
		(Then with heavy 
			sarcasm)
	My dear *Senator*--it may be customary 
	out on the prairie to take French 
	leave of people and not be heard of 
	again for five hours--

			JEFFERSON
	Gee--I'm sorry about that, Miss--you 
	*are* Miss Saunders, aren't you?

			SAUNDERS
	Yes, I'm Saunders--and this is Mr. 
	Moore--a member of the press. Meet 
	the *Senator*, Mr. Moore.

			JEFFERSON
		(seizing Diz' hand)
	Pleased to meet you, sir.

			DIZ
		(wincing under the 
			handshake)
	How do you do, Senator? I see you 
	made it.

			JEFFERSON
	Made it? Oh! Yes. Silly of me--you 
	see, what happened was--

			SAUNDERS
		(suddenly into the 
			phone, with heavy 
			sarcasm)
	Hello... Yes, Senator Paine. Yes. 
	Right here. Just came in--under his 
	own power... Yes--he's sober--that's 
	the very next thing on the schedule... 
	Yes, sir, I'll have him right over.

She hangs up, and comes forward to Jefferson.

			JEFFERSON
	Gee, I'm sorry. You see, it wasn't 
	until I was fairly well along in the 
	bus that I realized--

			SAUNDERS
	Did you say--bus?

			JEFFERSON
	One of those sightseers--you know. 
	You see, I--gosh, I've never been 
	called absent-minded or... but there 
	it was all of a sudden--looking right 
	at me through one of the station 
	doors--

			SAUNDERS
	There *what* was?

			JEFFERSON
	The Dome--the Capitol Dome--

Saunders just looks at Diz with wide eyes.

			JEFFERSON
	--big as life--sparkling away there 
	under the sun. I--I started walking 
	toward it--and there was a bus outside--
	and--well--I--I just naturally got 
	aboard--

			SAUNDERS
	Most natural thing in the world!

			JEFFERSON
	I don't believe I've been so thrilled 
	in my--oh, and that Lincoln Memorial! 
	Gee! There he is--Mr. Lincoln--looking 
	right at you as you come up the steps--
	sitting there like he was waiting 
	for someone to come along--

			SAUNDERS
	Well--he's got nothing on me.

She turns away and starts for her hat and coat.

			SAUNDERS
	Now, if you're ready, Senator, we 
	can start for the hotel. I'll *see* 
	that you get there.

			JEFFERSON
		(with a laugh)
	Yes--I think maybe you'd better.

The scene dissolves to the interior of the TAXICAB with 
JEFFERSON AND SAUNDERS, Jefferson looking out of the windows, 
seeing what he can see, even though it's night; Saunders 
giving him an impatient, martyred look.

			JEFFERSON
		(pointing out)
	Whose statue is that?

			SAUNDERS
	I wouldn't know in the *day time*.

Suddenly he leans over Saunders and points excitedly out her 
side of the cab.

			JEFFERSON
	The Capitol Dome! Lighted up!

			SAUNDERS
		(gently pushing him 
			off)
	You--uh--you better relax, Senator. 
	You'll be plumb wore out.

			JEFFERSON
	Tell me, Miss Saunders--what time 
	does the Senate--uh--what do they 
	call it?

			SAUNDERS
	Convene?

			JEFFERSON
	Convene--that's it--yes. I got to 
	pick up some of those parliamentary 
	words. I imagine a fellow can get 
	pretty lost in the Senate without 
	'em--

			SAUNDERS
		(more or less under 
			her breath)
	With or without 'em.
		(Quickly)
	Twelve--noon. The Senate convenes at 
	twelve o'clock.

			JEFFERSON
		(breaking in--full of 
			the idea)
	Gosh--that'll be something! You know 
	what I better do in the morning?

			SAUNDERS
		(wearily)
	No. What had you better--?

			JEFFERSON
	Go out to Mount Vernon. It'd be a 
	sort of fine thing to do--see 
	Washington's home just before walking 
	into the Senate for the first time--
	don't you think?

			SAUNDERS
		(hollowly)
	Oh--a wonderful thing--yes. Get you 
	right in the mood--yes--yes.

Just then, the cab pulls over toward the curb and Saunders 
perks up.

			SAUNDERS
	Oh--and *here* we are, Senator! Well, 
	well, well! At last!

The cab stops and a uniformed doorman opens the cab door on 
Jefferson's side.

Now we see the HOTEL CURB, THE CAB, THE FOOTMAN, and JEFF 
looking out of the cab. Coming out of the hotel is a party 
in evening dress--white mufflered, top-hatted man--and women 
in furs.

			SAUNDERS
		(impatiently)
	After you. Do you mind?

Jeff stares at the party, at the footman--then up at the 
fifteen-story hotel.

			SAUNDERS
		(very impatiently)
	This is *it*, Senator!

In the CAB:

			JEFFERSON
	No, gee--I couldn't stay here--

			SAUNDERS
		(amazed)
	You *couldn't*?

			JEFFERSON
	I mean--gosh--I wouldn't be 
	comfortable in a--I--I haven't got 
	clothes and things like that--and--I 
	couldn't keep pigeons *there*--No--I--
	I just--just wouldn't be--

And he pulls the cab door closed.

			DRIVER
	Where to, Mister?

			JEFFERSON
	Where to, Miss Saunders?

			SAUNDERS
		(at the end of her 
			patience)
	Where? Why, the wide open spaces!

The scene dissolves to a PHONE BOOTH, with SAUNDERS 
telephoning.

			SAUNDERS
		(with emphasis)
	--all I know is, he refused to go 
	into your hotel, Senator Paine--and 
	not having my lasso with me, I didn't 
	know how to *make* him.

In PAINE'S HOTEL APARTMENT, Paine is on the phone, with McGann 
in the background.

			PAINE
	What did you do? Where did he go?

In the PHONE BOOTH:

			SAUNDERS
	Well--finally--after a substantial 
	tour of the city, he saw a sort of 
	boarding house, built nice and close 
	to the ground. That's what he wanted--
	and that's where you're to send his 
	bags--Eleven B Street, Northeast. Oh--
	and don't forget the pigeons!

In PAINE'S HOTEL APARTMENT:

			PAINE
	And that's where you *left* him?

In the PHONE BOOTH:

			SAUNDERS
		(with weary sarcasm)
	...Oh, he's perfectly all right. 
	Going to stay in and write to Ma 
	tonight... Ma. Ma. Don't you know 
	Ma? And then he'll take his swig of 
	Castoria and go to sleep... I'd rather 
	not think about the morning right 
	now, if you don't mind. Goodnight, 
	Senator!
		(She hangs up)

In PAINE'S HOTEL APARTMENT, Paine hangs up the phone.

			PAINE
	Eleven B Street, Northeast. Take his 
	bags and your own right over--and 
	get yourself a room in the same place--

			MCGANN
	Listen, Joe--at least--after a day 
	like this--I got one good bust coming 
	before I start showing him monuments--

He is interrupted by Susan, who comes dashing in excitedly, 
all dressed to go out.

			SUSAN
	For heaven's sake--will someone please 
	get those pigeons out of this 
	apartment! They're smelling up the 
	place something--

			MCGANN
	Pigeons!

The scene dissolves to a RESTAURANT BAR, with Saunders and 
Diz hopped up on stools. Saunders is grimly and angrily 
holding forth.

			SAUNDERS
	I'm still asking myself--what is he--
	animal, vegetable, or mineral? A 
	Senator! A United States Senator! I 
	thought I'd seen everything but--
	why, he doesn't know what time it 
	is, Diz! When I think of myself 
	sitting around--playing straight for 
	all that phoney, patriotic chatter--
	*me*, carrying bibs for an infant 
	with little flags in his fists--no, 
	I can't take it, Diz--I'm through--I 
	quit!

			DIZ
	Sure--sure--wait a minute now--simmer 
	down--

NOSEY, at this point, saunters up to the bar, his back to 
Saunders.

			SAUNDERS
		(breaking out again)
	Why--do you know what he's going to 
	do before taking that Senate seat 
	tomorrow? He's going to Mount Vernon--
	to get into the mood--a *warm up*!

Nosey swings around in a flash and pushes his face right in.

			NOSEY
	Who? Who? Your boss! A nut, huh? A 
	nut! Wow! There's a *story* in this 
	guy--! I smelled it!

			SAUNDERS
		(impatient)
	Go away, Nosey.

			NOSEY
	Saunders--it's meat and drink--lemme 
	at 'im! Five minutes--! I'll make it 
	right with you!

			DIZ
	Will you go chase an ambulance!

			SAUNDERS
	Whadaya mean--*right*?

			NOSEY
	What do I *mean*, huh? Uh--*I'll* 
	tell ya--World's Series--a pass! In 
	a month it's worth fifteen bucks!

			SAUNDERS
	Well, well!

			DIZ
		(to Saunders)
	Hey--you're not *talking* to this 
	guy!

			NOSEY
	Whadaya say?

			DIZ
	Nothin'! Beat it!

			SAUNDERS
	Look, Nosey--your pals would like to 
	get in on this, wouldn't they?

			NOSEY
	Hey--I wanna *scoop*!

			SAUNDERS
	Well, that's out. Either it's *lots* 
	of reporters and *lots* of tickets 
	or--. Now will you go and call 'em 
	before I change my mind about the 
	whole thing!

			NOSEY
	Okay. See you here.

He charges off. Saunders clambers down off the stool. Diz 
grabs her arm.

			DIZ
	Kid--wait--what do you think you're 
	going to do?

			SAUNDERS
	Get my *whole* fall outfit--and quit 
	this job in style!

			DIZ
	Now, you've got more sense than to 
	put Nosey onto this guy--!

			SAUNDERS
		(thinking hard)
	Wait--wait. Let's see--watchdog McGann--
	he's bound to move right in--get him 
	out of the way first--
		(Then)
	Pardon me, friend--I've got some 
	telephoning to do--!
		(And she rushes off)

The scene dissolves to a PHONE BOOTH, with SAUNDERS on the 
phone.

			SAUNDERS
		(laying on a Southern 
			accent)
	Mr. McGann?... This is Miss Lulu 
	Love.

In MCGANN'S ROOM, MCGANN is on the phone; behind him, his 
suitcases are open.

			MCGANN
	Who?

In the PHONE BOOTH:

			SAUNDERS
	Oh, you don't know *me*, Mr. McGann--
	but I've seen *you* in Washington 
	before--and I think you're awfully 
	cute. Mr. Griffith told me you got 
	in and maybe you were a little lonely--

In MCGANN'S ROOM:

			MCGANN
		(taking it big)
	Did, huh? Well, now, he's not wrong 
	at all... Tonight? Sister, that's 
	just what the doctor ordered... Whoa, 
	wait a minute--

He looks off, and through a partly opened door leading into 
Jeff's room. Jeff appears standing at the window with one of 
his pigeons, while McGann is heard on the phone.

			MCGANN'S VOICE
	I'm not sure I can make that, Lulu. 
	Hold on a second, will you?
		(He puts his hand 
			over the mouthpiece, 
			and calls out)
	Say--Senator! How're you fixed--I 
	mean--uh--you're gonna stay in and 
	write to Ma and the boys, like you 
	said, huh?

In JEFF'S ROOM, JEFF is inserting a small roll of paper in a 
little metal container on the pigeon's leg.

			JEFFERSON
		(without turning)
	Uh-huh.

			MCGANN'S VOICE
	Not going out or anything?

			JEFFERSON
	No. Why?

In MCGANN'S ROOM:

			MCGANN
		(yelling to Jeff)
	Atta boy. Right into bed for a nice 
	long sleep. Me, too.
		(Then--softly, into 
			phone)
	Okay, Toots! When and where?

In the PHONE BOOTH, Saunders is still speaking.

			SAUNDERS
		(into the phone)
	Now isn't that nice! Let's say the 
	Mayflower lobby, Mr. McGann--in a 
	half hour... What I *look* like? 
	Well, I got red hair and--oh, that's 
	all right--I know what *you* look 
	like--you cute thing. Goodbye.
		(She hangs up)

In MCGANN'S ROOM, McGann hangs up, tiptoes over quickly and 
closes the door to Jeff's room, then makes a dash for his 
coat.

			MCGANN
	Boy, oh, boy! Red Hair! McGann--you 
	fell into something!

The scene dissolves to the HOTEL LOBBY at night, and MCGANN 
is seen watching for his date, but in JEFFERSON'S BOARDING 
HOUSE SITTING ROOM there is a startling tableau: Jeff is 
standing in the center of this rather homely, anciently 
appointed sitting room, surrounded by ten or a dozen newspaper 
men, three or four of whom have cameras. A woman reporter is 
present. Nosey is leading the circus as the main interrogator 
and master of ceremonies. Cameras are flashing, while 
Jefferson is posing, pleased and happy and proud.

			VOICES
	That's it. Right like that. Chin up 
	a little, Senator--please. Hold it!

Then the cameras relax and questions pop.

			VOICES
	Tell us about yourself, Senator! 
	Hear you got a Boy's Club back home! 
	Any ideas? Going to make things hum 
	in the Senate, huh?

			JEFFERSON
		(holding his hands 
			up, laughing)
	Hold on, fellows--I'm not used to 
	more then one question at a time--

			NOSEY
	One moment, friends, let's give the 
	Senator a break.
		(To Jeff)
	Now, where'd you say you studied 
	law?

			JEFFERSON
	Well--I haven't needed much law so 
	far--what I'd like to get first is a 
	little common sense--

			NOSEY
	Swell!

			REPORTER
	What did he say?

			NOSEY
		(calling back)
	You don't need law--you need *common* 
	sense!

Reporters make rapid notes.

			REPORTER
	What are you going to do while you're 
	here, Senator?

			NOSEY
	Any special ax to grind?

			JEFFERSON
	Ax?

			NOSEY
	A pet idea--you know--pension bill--
	save the buffalo--you've got *one* 
	notion you think would be good for 
	this country, haven't you?

			JEFFERSON
	Well--I have got *one* idea--

			VOICES
	Ah! That's more like it! What?

			JEFFERSON
	Well--for a couple of years now--I--
	I've thought it would be a wonderful 
	thing to have a National Boys' Camp 
	out in our State--

			VOICES
	A camp! Well!

			JEFFERSON
	You see--if we could take the poor 
	kids off the streets--out of cities--
	a few months in the summer--learn 
	something about Nature and American 
	ideals--

			NOSEY
	Marvelous! And what would this camp 
	set the Government back?

			JEFFERSON
	Oh--nothing--nothing. My idea is--
	for the Government to lend us the 
	money--and the boys'll pay it back--
	sending in a penny or a nickel--no 
	more than a dime--no, gosh--the 
	Government's got enough on its hands 
	without--

			NOSEY
	Great!
		(Calls back)
	The Government's putting dough in 
	too many places *now*!

			VOICES
		(as they make notes)
	You don't say! Well, well!

			WOMAN REPORTER
	What do you think of the girls in 
	our town, Senator?

			JEFFERSON
	Well--I haven't seen many--oh--well--
	Miss Susan Paine--she's about the 
	prettiest girl I--I *ever* saw--

			REPORTER
	How about some more pictures, Senator?

			NOSEY
	Yeah! How about it? You're a nature 
	lover. Do you handle any of that 
	sign language?

			JEFFERSON
	Well--I can *manage*--

			ANOTHER REPORTER
	What about bird calls! Know any?

			JEFFERSON
	Well--a few--

			VOICES
	Swell! Well! Come right ahead! Let 
	'em fly, Senator!

As Jeff laughs, preparing to do his stuff--and as the cameras 
are made ready--

The scene dissolves to the HOTEL LOBBY. McGann, looking at 
his watch, is sore as a boil by this time. Glaring off, his 
attention is arrested. He starts forward. At the SWINGING 
DOOR, a cute little girl has just come through and stands. 
McGann marches up to her.

			MCGANN
	Well! About time, toots! Redhead or 
	no readhead--keeping a guy waiting 
	two hours is no--
		(Looking her over, 
			relaxing, and grabbing 
			her arm)
	Good thing you're as cute as you 
	are, or I'd--

			THE GIRL
		(struggling)
	Wally!

A big six-footer, with football shoulders, comes swinging 
in. The girl leaps to his side. McGann at once realizes a 
hideous mistake has been made somewhere--and it's too late. 
Wally fixes him with a deadly stare and advances to do murder. 
McGann starts backing away in alarm as the scene dissolves 
amid a dash of music.

A NEWSPAPER FRONT PAGE come to view. It reveals a full-length 
picture of Jeff, and then the caption:

			SENATOR (RANGER) SMITH
			Demands More Common Sense--
			Less Law In Government

This dissolves to ANOTHER HEADLINE:

			SMITH ATTACKS
			GOVERNMENT SPENDING
			No Money Left for Boy's Camp

In SAUNDER'S ROOM, Saunders is drinking her morning coffee--
looking at the morning papers. She nearly chokes as she stares 
at the paper.

This scene dissolves to MCGANN'S ROOM, with McGann, half-
dressed, one eye bandaged, staring at a paper. A NEWS PICTURE 
comes to view, showing Jeff kneeling over a little fire of 
sticks. The caption reads:

			MAKES CAMP FIRE--SHOWS HOW
			HE'LL PUT THE HEAT ON CONGRESS

MCGANN, shirt-tails flying, tears for the door to Jeff's 
room. It is empty.

			MCGANN
	Senator! Hey--ranger!
		(Clapping a hand to 
			his forehead)
	Gone again!

The scene dissolves to a NEWSPAPER PICTURE of Jefferson 
imitating a bird-call eyes bulging--while his two hands appear 
to be gripping his nose as if warding off a bad odor. The 
caption reads:

			RANGER SENATOR GETS FIRST
			"WHIFF" OF OFFICIAL WASHINGTON

In the DINING ROOM OF PAINE'S HOTEL APARTMENT, Paine and 
Susan are at breakfast, Paine's eyes glued wildly to the 
paper; Susan also holds a paper and laughs.

			PAINE
	His first 'whiff'!

			SUSAN
	Such pretty knees for a big boy!

			PAINE
	Do I actually *see* this--?

			SUSAN
	Listen, Father! "Young Lochinvar 
	smitten with Susan Paine"!

The scene dissolves to PAINE'S PRIVATE OFFICE as Saunders 
enters and Paine rises from behind his desk.

			SAUNDERS
		(belligerently)
	You want to see me, Senator?

			PAINE
	Yes. Good morning, Saunders.
		(Picking up the 
			newspaper; genially)
	Have you--uh--any idea how this 
	happened?

			SAUNDERS
	The ranger's notices? No idea at 
	all.

			PAINE
		(with good humor)
	No?

			SAUNDERS
	No--I'm sorry. I merely saw him home. 
	I'm not supposed to tuck him in and 
	give him his bottle. That's McGann's 
	job.

			PAINE
	By the way, Mr. McGann just phoned--
	in a high fever. Smith's gone again. 
	Have you any idea where?

			SAUNDERS
	Yes. He went to Mount Vernon to give 
	himself a patriotic address.

			PAINE
		(smiling)
	Well--that's very fine.
		(Then)
	Saunders, some person in your office 
	says you've quit--

			SAUNDERS
	That's right.

			PAINE
	Oh, now--that won't do--

			SAUNDERS
	Look, Senator--I wasn't given a brain 
	just to tell a Boy Ranger what time 
	it is. What do you need me for? Get 
	somebody else--get a registered nurse--

			PAINE
	You're the best nurse I can think of--

			SAUNDERS
	Nice *compliment*!

			PAINE
	I meant it for one. I meant--Sam 
	Foley couldn't get along without you--
	and neither can I at the moment--

			SAUNDERS
	No?

			PAINE
	You see--Governor Hopper made an 
	appointment in this case that--well, 
	Jeff isn't exactly fitted to the 
	work, let's say. He's here to see 
	monuments--and pass the time. That's 
	important to--to my work--and 
	everybody concerned. So, someone who 
	can be trusted has to occupy him and 
	keep him out of trouble--

			SAUNDERS
	And I'm an old hand at following 
	instructions--

			PAINE
	You're more than that. I've had 
	example of the fact that wild horses 
	couldn't pull confidential matter in 
	these two offices out of you. That's 
	why I tell you what I do--about Smith 
	and this situation. So, you see--

			SAUNDERS
	Yeah--I see I'm right where I've 
	been for seven years--

			PAINE
	You deserve a lot better. And I'll 
	tell you what we'll do. Stay and 
	play nurse, as you say--and if certain 
	things happen I'm taking everybody 
	up with me, and you'll get one of 
	the biggest jobs in Washington.

			SAUNDERS
	Yeah?
		(A pause)
	And what else?

			PAINE
	What do you mean?

			SAUNDERS
	Well, when I first came to Washington, 
	my eyes were big, blue question marks--
	now they're big, green dollar marks--

			PAINE
	I see. All right. You finish this 
	job properly--and you get a handsome 
	bonus besides--

Saunder's face lights up with interest.

			PAINE'S VOICE
	And by *properly* I mean--stay away 
	with Smith every minute--keep him 
	away from anything that smacks of 
	politics--see that there's no 
	recurrence of things like these 
	newspapers--

The scene dissolves to the SENATE LOBBY, an elevator corridor 
leading to the Senate chamber. A CLOCK shows 11:45. Then, 
Saunders and Jefferson are seen as they emerge from the 
elevator and start forward. People crowd the corridor--there 
is surging activity--an air of excitement. Jeff, baffled, 
looking around, suddenly looks ahead and stops dead.

			JEFFERSON
	Saunders! That's it! We're here!

In the SENATE CHAMBER, seen through the entrance doors, people 
are seated in and entering galleries; Senators are walking, 
standing in groups, talking; some are at their desks.

On the FLOOR OF THE SENATE CHAMBER, a Page is leading 
Jefferson to his desk. Jeff is more agape now than before. 
All around him are Senators--in groups or seated. Most of 
them are at their desks now. The Page brings him a desk, on 
a minority side and way at the rear. Heads turn to follow 
Jeff curiously.

			BOY
	Here you are, Senator. Not a bad 
	desk, either. Daniel Webster used to 
	use it.

			JEFFERSON
	Daniel Webster? Sat here? Say--that 
	man was a great orator.

			BOY
	Give you something to shoot at, 
	Senator--if you figure on doing any 
	talking.

			JEFFERSON
	Not me, sonny. I'm just going to sit 
	around and listen.
		(Picking up calendar)
	What's this?

			BOY
	Calendar for the day. You'll find 
	the Senate Manual in the drawer. 
	Anything else you want, just snap 
	for a page.

			JEFFERSON
	Where's the Majority Leader?

			BOY
	The Majority Leader? Right over there. 
	And that's [           ] the Minority 
	Leader. They're both pretty good in 
	the clinches.

			JEFFERSON
	Uh-huh. And where's the Press Galery?

			BOY
	Right up there over the Vice-
	President's chair--the four in the 
	front row represent the four big 
	news services. You've met the press 
	bunch, haven't you?

			JEFFERSON
	Oh, yes--they're fine people--regular 
	people.

			BOY
	Look out for those fellows--they 
	tell the truth about you--sometimes. 
	That corner over there is reserved 
	for guides and sightseers who come 
	in for five minutes to rest their 
	feet. That section over there is 
	reserved for Senator's friends. The 
	front row--the empty one--is for the 
	President and White House guests--
	see that old couple over there--
	they've attended every session for 
	the last twenty years. Over the clock 
	back here is the Diplomatic section. 
	They and the page boys are the only 
	real class we have in this place. 
	The rest are mostly people who come 
	here like they go to the zoo--

			JEFFERSON
	Those busts up there--all around the 
	wall--who are they, sonny?

			BOY
	All the ex-vice-Presidents. You can 
	get ten-to-one around here if you 
	think you can remember their names. 
	The Vice-President presides over the 
	Senate--you know that. It's how he 
	earns his pay. Oh--over there, Senator--
	on the east side of the Chair we 
	still have the old snuff boxes with 
	real snuff in them if you like snuff.

			JEFFERSON
	Thanks very much, sonny--

			BOY
	I'll take your hat into the cloak 
	room.

			JEFFERSON
	Here--let me give you a Boy Ranger 
	button.

			BOY
	Swell. Thanks very much.
		(He takes Jeff's hand)
	Good luck, Senator. Keep your left 
	up.

Jeff, looking up toward the Press Gallery, sees Saunders and 
waves to her.

PAINE comes to Jeff.

			PAINE
	Hello, Jeff--sorry, I've been on a 
	committee all morning. Got your 
	credentials--when the Vice-President 
	calls you, you go down that center 
	aisle and I'll meet you there--he's 
	about ready to come in now, Jeff. 
	Good luck--

Paine pats Jeff's shoulder and moves away. Senators are 
separating and making for their seats. Jeff excitedly sits 
down again.

After a full view of the CHAMBER, showing people subsiding 
into their seats all over the gallery, we see the gray, small 
PRESIDENT of the Senate. He has a mild, humorful face. 
Everything is in order in front of him as he looks out over 
the body of the Senate and picks up the small ivory gavel-
head. His eyes look off intently at something. He raises his 
gavel a the long hand of the CLOCK that comes to view jumps 
to twelve o'clock exactly. Two gavel pounds are heard.

			PRESIDENT
		(pounding twice again)
	The Senate will come to order!

The body is lulled, though a few members are walking to their 
desks. Then the Senator occupying the desk traditionally 
used by the majority leader (front and center and on the 
right side of the aisle) rises.

			MAJORITY LEADER
	Mr. President.

			PRESIDENT
	Senator Agnew.

			MAJORITY LEADER
	I ask unanimous consent that the 
	reading of the journal of the previous 
	calendar day be dispensed with and 
	the journal stand approved.
		(He sits)

			PRESIDENT
		(bored, mechanically)
	Is there objection?
		(A pause)
	The journal stands approved.

JEFFERSON is seen in close view, his attention darting from 
one point to the other.

			SENATOR'S VOICE
	Mr. President...

			PRESIDENT'S VOICE
	Senator Brownell.

			SENATOR'S VOICE
	I suggest the absence of a quorum.

			PRESIDENT'S VOICE
	The clerk will call the roll.

At the ROSTRUM, the Chief Clerk proceeds to call the roll 
and Senator's voices answer to their names--"here" or 
"present."

The Clerk is next seen passing up the roll sheet to the 
President, who looks at it.

			PRESIDENT
	Eighty Senators have answered to 
	their names. A quorum is present.

Paine rises.

			PAINE
	Mr. President...

			PRESIDENT
	Senator Paine.

			PAINE
	I present the credentials of Honorable 
	Jefferson Smith who has just been 
	appointed Senator by the Governor of 
	my state.

A page takes the credentials from Paine's hand and takes 
them to the desk.

			PAINE
	The Senator-designate is present--

JEFFERSON looks startled.

			PAINE'S VOICE
	...and I ask that the oath of office 
	be administered to him at this time.

The PRESIDENT is picking up what are evidently Jefferson's 
credentials.

			PRESIDENT
	If the Senator-designate will present 
	himself at the desk, the oath will 
	be administered.

JEFFERSON, swallowing, frightened, is glued to his seat for 
an instant. People in the Gallery and the Senate turn to 
look for him; among them are Saunders and, in the Press 
Section, Diz. A few of the Senators consult the newspapers 
on their desks, significantly.

PAINE rises, motioning to Jefferson to get to his feet, and 
JEFFERSON, on seeing him, gets up unsteadily. Paine starting 
to the back, indicating that he is to follow him, Jefferson 
advances to the rear of the center aisle where Paine is now 
waiting for him. Then both of them start down the aisle toward 
the Rostrum--while the people (including Saunders, the Press, 
and groups of Senators) watch them advance, some of the 
Senators appearing tight-lipped and disapproving. Aware of 
the eyes on him, JEFFERSON, in the company of PAINE, arrives 
at the lower level of the Rostrum, while the people of the 
press rise to look over their desks at the ceremony. Then 
Paine indicates to Jefferson to mount one more step to the 
level just below the President's desk. But as Jefferson makes 
the designated step up, and the President is about to rise, 
a voice cracks out from somewhere out in the Chamber.

			SENATOR'S VOICE
	Mr. President! I rise to a question 
	of order!

All turn to the Senator who has risen. Jefferson, standing 
before the President, turns to look back.

			PRESIDENT
	The gentleman will state it.

			SENATOR
		(who is now seen in 
			close view)
	I seek to ascertain, Mr. President, 
	if the gentleman about to be sworn 
	in is fully aware of the 
	responsibilities of his high office--
	and that the members of this body 
	strive to conduct themselves at all 
	times--

We see JEFFERSON, his puzzlement deepening as he hears the 
Senator.

			SENATOR'S VOICE
	--with dignity and sincerity.

The SENATOR is seen gesturing with a newspaper.

			SENATOR
	I refer to his astounding and 
	shameless performance for the 
	newspapers this morning.

PAINE is seen wincing (he knew this was coming) as he listens.

			SENATOR'S VOICE
	A *versatile* performance, I grant 
	you--

There are titters from all over the house. The PRESIDENT 
brings the gavel down, and looks up at the gallery.

			PRESIDENT
	Order in the chamber.

			SENATOR
		(while the entire 
			chamber is visible)
	--but one that brings his rank down 
	to the level of a side-show 
	entertainer--and reflects on the 
	sincerity, if not the *sanity*, of 
	the highest body of lawmakers in the 
	land!
		(Waving the paper)
	I seek to learn if this is the 
	gentleman's conception of the nature 
	of his office!

JEFF turns impulsively to the PRESIDENT.

			JEFFERSON
	I don't understand, sir! I don't 
	know what the gentleman--

			PRESIDENT
		(banging gavel)
	The Senator has no voice in this 
	chamber until the oath of office has 
	been administered!

			PAINE
	Mr. President! I will answer the 
	gentleman! My colleague was innocent 
	in the matter referred to. He was 
	completely misquoted. I *know* 
	Jefferson Smith--and I will *vouch* 
	for it--he has the greatest possible 
	respect for his office and for these 
	gentlemen.

			A SENATOR'S VOICE
	Mr. President!

			PRESIDENT
		(eyes on Jefferson 
			with sympathy; bangs 
			gavel)
	The swearing in of the Senator-
	designate is the order of business!
		(He rises. The chamber 
			is in full view)
	The gentleman will raise his right 
	hand and repeat after me the following 
	oath--

Jefferson does as bid. The President recites the oath, and 
Jefferson repeats after him:

			PRESIDENT
	"I do solemnly swear--that I will 
	support and defend the Constitution 
	of the United States--against all 
	enemies, foreign and domestic--that 
	I will bear true faith and allegiance 
	to the same--that I take this 
	obligation freely--without and mental 
	reservation and purpose of evasion--
	and that I will well and faithfully 
	discharge the duties of the office 
	on which I am about to enter. So 
	help me God."

			JEFFERSON
		(finishing)
	"So help me God."

			PRESIDENT
	Senator, you can talk all you want 
	to, now.

The President shakes hands with Jefferson. Paine shakes his 
hand, then, guides him down one step to the clerk where 
Jefferson, dazed, understands that he is to sign the register. 
Then Jefferson and Paine start back up the center aisle, all 
eyes following them, and ripples of laughter breaking out 
from all over the Chamber.

JEFFERSON is seen making his way back up the aisle. Suddenly 
he snatches up a paper from a desk he passes, and his eyes 
fasten on the headlines. He continues to walk, reading--his 
jaw muscles tightening--then he looks up into the Press 
gallery.

The scene now dissolves to a MONTAGE, first the headlines 
appearing over Jeff's incredulous expression as he reads. He 
starts walking--hands clenched, murder in his eye--he meets 
a reporter of the night before, grabs him, socks him and 
marches on. He meets another one in a different place--socko 
again! Finally he smacks Nosey--and marches on--. Next we 
see a pair of DOORS, on which is printed "Press Club," and 
when these doors are pushed aside violently the PRESS CLUB 
BAR is visible as Jeff stands glaring. Newspaper men are at 
the bar and at tables ranged along the wall. Conversation--
smoke. Sweeney, Farrell, Flood, Summers and Diz are there--
and Nosey.

NOSEY appears with Diz and Sweeney, at one of the tables.

			NOSEY
	He's on a rampage. The streets aren't 
	safe. I came up here to--
		(Looking toward door 
			suddenly)
	Oh-oh. Tarzan!

Heads turn in that direction, as Jeff starts toward Nosey. 
When he gets within five steps, he suddenly lunges forward 
and grabs him. He draws his right hand back to hit--the boys 
leap in--and a free-for-all is on. Chairs and tables go over. 
Finally, Jeff is swarmed under--down on his back on the long 
seat against the wall while Nosey is under a table.

			VOICES
	Whoa, now... 
	Wait a minute... 
	Take it easy, Senator... 
	We don't go in for slugging around 
	here... 
	If you can behave yourself now...

Jeff stop struggling.

			NOSEY
		(from under a table)
	Meet Senator Smith, boys.

They pile off Jeff--who sits up slowly, looking the worse 
for wear. His pugnacity is gone, and he is calm, hurt and 
bitter.

			SWEENEY
	You act like a man with something on 
	your mind--

			FLOOD
	What's the idea--charging in like 
	that on the gentlemen of the Press--
	?

			JEFFERSON
		(bitterly)
	*Gentlemen*! Gentlemen are supposed 
	to believe in something decent. 
	Instead of twisting facts and making 
	a joke of everything--why don't you 
	tell the people the *truth* for a 
	change?

			VOICES
	The truth! 
	Well, the man wants the truth! 
	"What *is* truth?" asked so-and-so, 
	and turned away!

			JEFFERSON
	That's what I said--the *truth*!

			SWEENEY
	How'll you have it--dished out--or 
	in a bottle?

			DIZ
	Well, if that's what you want, Senator--
	sit down--. We'll see what we can 
	do.

			JEFFERSON
	There isn't a chance I'd find it 
	here!

			SUMMERS
	No?

			FLOOD
	Why--*truth* is the *business* of a 
	few of us correspondents, Senator--

			FARRELL
	Leaving out the Noseys, of course--

			JEFFERSON
	Yes? And the people of this country 
	pick up their papers--and what do 
	they read?

			DIZ
	Well--*this morning* they read that 
	an incompetent clown arrived in 
	Washington parading like a member of 
	the Senate--

Jeff makes a leap for Diz.

			JEFFERSON
	Why, you--!

The men are on him and push him back.

			VOICES
	Whoa! 
	Hold it! 
	Pipe down! 
	Come on, now--that's enough of that.

			JEFFERSON
		(yelling)
	If you thought as much of being honest--
	as you do of being smart--!

			DIZ
	Honest! Why, we're the only ones who 
	can *afford* to be honest about what 
	*we* tell the voters. We don't have 
	to be re-elected, like politicians--

			VOICES
	Hear! Hear!

			SWEENEY
	For instance, we tell 'em when the 
	phonies, crackpots and hillbillies 
	come here to make their laws--

			FARRELL
	And if it's the *truth* you want--
	what are *you* doing in the Senate?

			FLOOD
	What do *you* know about laws--and 
	making laws--and what the people 
	need?

			JEFFERSON
		(tormentedly blurting)
	I--I don't *pretend* to know!

			DIZ
	Then what are you doing in the Senate?

			SWEENEY
	What's he *doing*? Why--*honorary* 
	appointment!

			SUMMERS
	Sure! *I* see! When the country needs 
	men up there who *know* and have 
	courage--like it never did before--
	he's just going to decorate a chair 
	and get himself *honored*--!

			FARRELL
	Oh, but he'll *vote*! Sure. Like his 
	colleague tells him--

			DIZ
	Yes, *sir*--like a Christmas tiger. 
	He'll nod his head and vote 'yes'. 
	You're not a Senator! You're an 
	honorary *stooge*! And should be 
	showed up!

			FLOOD
	Have a drink, Senator!

As the last crack hits, Jeff gets to his feet like a shot, 
as if ready to kill. The men stand firm and Jeff stops dead. 
He glares around; they stare back in contempt. Jeff's anger 
flows away. He finally says quietly:

			JEFFERSON
		(after a pause)
	Good day--gentlemen.

And he starts grimly for the door--the men falling aside 
quietly to let him through.

The scene dissolves to PAINE'S LIVING ROOM, with JEFFERSON 
speaking tensely to PAINE.

			JEFFERSON
	I mean, sir--if I'm going to stay in 
	the Senate--I ought to know what I'm 
	doing--at least, I ought to try to 
	study the Bills that are coming up--

			PAINE
	The *Bills*? Jeff--let me advise you--
	as your father would--politics is a 
	business--sometimes a cruel business. 
	In your time here, you couldn't even 
	start on those Bills. They're put 
	together by legal minds--after a 
	long study. Why, after twenty years, 
	I can't understand half of them 
	myself. No, really, Jeff--in your 
	own interests--

			JEFFERSON
		(downcast, turning 
			away)
	Well, then--I--I don't feel I can 
	stay, sir.

			PAINE
	Jeff, look--didn't you say something 
	to the papers about wanting to create 
	a National Boys' camp? Were you in 
	earnest about that?

			JEFFERSON
	Yes, I was--

			PAINE
	Well, why not do it? There's a job 
	for you. Get a Bill started to 
	accomplish it--present it to Congress--
	it would be a great experience--

			JEFFERSON
	Senator Paine, if I could do just 
	that one thing while I'm here, I--
	I'd feel that I--

			PAINE
	What's to stop you? Saunders will 
	help you with it--

			JEFFERSON
		(elatedly)
	I will, sir! I will!
		(Taking Paine's hand)
	I--I don't know how to thank you. I 
	knew, if any man could help me--

			PAINE
	Nonsense, Jeff.

			JEFFERSON
	Thank you, sir. Thank you for your 
	time.

			PAINE
	Here--where are you running off to?

			JEFFERSON
	Well, I'm sort of anxious to get 
	back to the office--

Susan, looking quite ravishing, appears suddenly.

			SUSAN
	Father--oh.

			PAINE
	Jefferson dropped in for a minute, 
	Susan.

			SUSAN
		(with a distinct lack 
			of emotion)
	How nice. How do you do, Senator?

			JEFFERSON
		(dry-mouthed; his 
			eyes fastened on the 
			lovely creature)
	How--how do you do, Miss Paine?
		(With reference to 
			his clothes)
	I--I apologize for looking like this--
	I--I have to be going now--

			SUSAN
	How are the pigeons?

			JEFFERSON
	Fine--they're fine.
		(Then suddenly)
	Oh, Miss Paine, I--I want to apologize--
	what the papers said I said about 
	you--that wasn't true. I--I would 
	never say a thing like that.

			SUSAN
		(with tongue in cheek)
	Did you hear, Father? He didn't mean 
	it when he said I was beautiful.

			JEFFERSON
	Oh--you are!

			SUSAN
	Then you *did* say it.

			JEFFERSON
	No--I mean--yes--that is--

In a great perspiring fuss, he drops the subject like a hot 
coal, comes to Paine quickly and seizes his hand.

			JEFFERSON
	Well, goodbye, sir--and thank you 
	again.
		(Starting to back 
			toward the foyer as 
			he speaks to Susan)
	Well--it--it was nice seeing you, 
	Miss Paine--

			SUSAN
	Goodnight, Senator--

Jeff is still backing.

			JEFFERSON
	Goo-goodnight, Miss Paine.
		(To Paine again)
	Goodnight, sir--goodnight.

And at this point he backs right into a delicate side-table 
with a lamp on it. Table and lamp go down with a crash.

			JEFFERSON
	Gosh! Darn!

He scrambles to pick up the table and lamp. There's been no 
damage.

			JEFFERSON
		(as he picks things 
			up)
	I'm sorry! Gee! I hope--

			PAINE
	That's all right, my boy--don't bother--

			JEFFERSON
	Gosh!
		(Straightens lamp on 
			table)
	Well--looks good as new. If there 
	*is* any damage, I'll--

			PAINE
		(laughing)
	Good as new! It's quite all right--

Jeff starts backing into the foyer again.

			JEFFERSON
	Well--goodnight.

			PAINE
	Goodnight, Jeff.

			JEFFERSON
	Goodnight, Miss Paine.

			SUSAN
	*Goodnight*!

Jeff turns like a rabbit and heads for the hall door. We 
hear it slam. Susan laughs loudly. Paine looks toward the 
foyer thoughtfully.

			PAINE
		(reflectively)
	Well, at the expense of some of the 
	furniture, Susan--you've made another 
	conquest.

			SUSAN
	What! Not Ol' Honest Abe!

			PAINE
	And Honest Abe's ideals. A rare man--
	these days.

The scene dissolves to JEFF'S OUTER OFFICE, at night, with 
Saunders at her desk, as McGann comes charging in, perspired 
and bothered.

			MCGANN
	Well! Hear anything? Any sign of 
	him?

			SAUNDERS
	How'd you like a punch in the nose?

			MCGANN
		(startled)
	What! Who?

			SAUNDERS
	That's what he's been doing since 
	last heard from.

			MCGANN
	Whaddaya mean! What did *I* have to 
	do with it? I don't blame the guy.
		(Sinking into chair, 
			exhausted)
	Wow! Twenty-four hours in this town 
	and nothing but dog-fights! And things 
	aren't bad enough--last night I have 
	to get a run-around from some wise 
	dame--

			SAUNDERS
		(innocently, slipping 
			over a southern accent)
	My, my--you sho' are pahwerfully 
	upset, Mister McGann--but you' awfully 
	cute.

			MCGANN
	Yeah? Well, when I get my hands on a 
	red-headed doll with a southern lingo, 
	I'll--

He breaks off--her southern accent just sinking through. The 
look he throws is quietly terrific. At this instant, a lively, 
whistled rendition of "Dixie"--out in the corridor--breaks 
in on them.

As the door is swung open, JEFF bursts in, marching in step 
to his spirited whistle. He marches right up to the astounded 
Saunders and McGann--and finishes his whistle with a flourish.

			JEFFERSON
		(in high spirits)
	You should hear our Ranger Band rattle 
	that off--if you want to *hear* 
	something! Good evening, Miss 
	Saunders. Good evening Mister McGann.

			MCGANN
		(finding his voice)
	H'ya, Senator. I--I've sorta been 
	looking for you--

			JEFFERSON
	You have?
		(Then--quickly)
	Will you come in a minute, Miss 
	Saunders.

He starts for the private office.

			MCGANN
	Uh--Senator--I thought you and me 
	might go out to dinner together--and 
	grab off a few monuments.

			JEFFERSON
	Oh, I couldn't tonight. Thanks a 
	lot.

Saunders follows Jeff.

In JEFF'S PRIVATE OFFICE: he enters, marching to his desk. 
Saunders comes slowly toward him, after closing the door.

			SAUNDERS
	Go ahead--punch.

			JEFFERSON
	Punch?

			SAUNDERS
	I had a lot to do with that little 
	press conference last night--

			JEFFERSON
		(excitedly)
	Well, then, I--I *thank* you, Miss 
	Saunders! Nothing better could have 
	happened--. Yes *sir*, Miss Saunders, 
	we're going right ahead with it!

			SAUNDERS
	We're going right ahead with--*what*?

			JEFFERSON
	Why, the Bill--the Bill--to make a 
	National Boys' Camp...

			SAUNDERS
	One moment, Senator. Do I understand 
	you're going to present a *Bill*?

			JEFFERSON
	Sure! A Bill. Senator Paine and I 
	decided it was the one way in the 
	world I could make myself--

			SAUNDERS
	Pardon me. Senator Paine decided 
	this *with* you?

			JEFFERSON
	Yes. Sure. It was his idea. *I* should 
	have been the one to think of it--

			SAUNDERS
	My dear Senator, have you the faintest 
	idea of what it takes to get a Bill 
	passed?

			JEFFERSON
	I know--but you--you're going to 
	help.

			SAUNDERS
	If I were *triplets*, I couldn't--. 
	Look, Senator--let me give you a 
	rough idea. A member has a Bill in 
	mind--like you--a camp. Right?

			JEFFERSON
	Right.

			SAUNDERS
	Fine. Now, what does he do? He's got 
	to sit down first and write it up. 
	The where, when, why, how--and 
	everything else. That takes time--

			JEFFERSON
	Oh, but this one is so simple.

			SAUNDERS
	I see. *This* one is so simple--

			JEFFERSON
	And with your help--

			SAUNDERS
	Oh, yes. And *I'm* helping. Simple--
	and I'm helping. So we knock this 
	off in record-breaking time of--let's 
	say three or four days--

			JEFFERSON
	Oh, just a day--

			SAUNDERS
	A *day*!

			JEFFERSON
	Tonight.

			SAUNDERS
	Tonight.
		(Controlling herself 
			in a quiet burn)
	Look--uh--I don't want to seem to be 
	complaining, Senator--but in all 
	civilized countries, there's an 
	institution called *dinner*--!

			JEFFERSON
		(laughing a little)
	Oh--dinner. Yes. Well, I'm hungry, 
	too. I thought--maybe--we could have 
	something brought in--you know, like 
	big executives who eat off trays. 
	You see, we've got to light into 
	this and get it going--

			SAUNDERS
	Uh-huh. Well, dinner comes in on 
	trays. We're executives. And we light 
	into this. It is dawn. Your Bill is 
	ready. You go over there and introduce 
	it--

			JEFFERSON
	How?

			SAUNDERS
	You get to your feet in the Senate 
	and present it. Then you take the 
	Bill and put it in a little box--
	like a letter box--on the side of 
	the rostrum. Just hold it between 
	thumb and forefinger and drop it in. 
	Clerks read it and refer it to the 
	right committee--

			JEFFERSON
	Committee, huh?

			SAUNDERS
	Committee.

			JEFFERSON
	Why?

			SAUNDERS
	That's how Congress--or any large 
	body--is run. All work has to be 
	done by committee.

			JEFFERSON
	Why?

			SAUNDERS
	Look--committees--small groups of 
	Senators--have to sift a Bill down--
	look into it--study it--and report 
	to the whole Senate. You can't take 
	a Bill no one knows anything about 
	and discuss it among ninety-six men. 
	Where would you get?

			JEFFERSON
	Yes, I see that.

			SAUNDERS
	Good. Where are we?

			JEFFERSON
	Some committee's got it.

			SAUNDERS
	Yes. They give it to a *sub*-
	committee, where they really give it 
	a going over--hold hearings--call in 
	people and ask questions--then report 
	back to the bigger committee--where 
	it's considered some more, changed, 
	amended, or whatever. Days are going 
	by, Senator. Days--weeks. Finally, 
	they think it's quite a Bill. It 
	goes over to the House of 
	Representatives for debate and a 
	vote. *But* it's got to wait its 
	turn on the calendar--

			JEFFERSON
	Calendar?

			SAUNDERS
	That's the order of business. Your 
	Bill has to stand *way* back there 
	in line unless the Steering Committee 
	decides it is important enough to be--

			JEFFERSON
	What's that?

			SAUNDERS
	What?

			JEFFERSON
	The Steering Committee.

			SAUNDERS
		(depressed)
	Do you really think we're getting 
	anywhere.

			JEFFERSON
	Yes. Sure. What's a Steering 
	Committee?

			SAUNDERS
	A committee of the majority party 
	leaders. They decide when a Bill is 
	important enough to be moved up toward 
	the head of the list--

			JEFFERSON
	*This* is.

			SAUNDERS
	Pardon me--*this* is. Where are we 
	now?

			JEFFERSON
	We're over in the House.

			SAUNDERS
	Yes. House. More amendments--more 
	changes--and the Bill goes back to 
	the Senate--and *waits its turn on 
	the calendar again*. The Senate 
	doesn't like what the house did to 
	the Bill. They make more changes. 
	The House doesn't like *those* 
	changes. Stymie. So they appoint men 
	from each house to go into a huddle 
	called a conference and battle it 
	out. Besides that, all the lobbyists 
	interested give cocktail parties for 
	and against--government departments 
	get in their two cents' worth--cabinet 
	members--budget bureaus--embassies. 
	Finally, if the Bill is alive after 
	all this vivisection, it comes to a 
	vote. Yes, sir--the big day finally 
	arrives. And--nine times out of ten, 
	they vote it down.
		(Taking a deep breath)
	Are you catching on, Senator?

			JEFFERSON
	Yes. Shall we start on it right now--
	or order dinner first?

			SAUNDERS
		(mouth drops open)
	Pardon?

			JEFFERSON
	I said--shall we get started *now* 
	or--

			SAUNDERS
		(weakly)
	Yes--sure. Why not?
		(Then, very tired)
	You don't mind if I take the time to 
	get a pencil?

She turns mechanically and heads for the outer office.

			JEFFERSON
		(calling after her--
			laughing in high 
			spirits)
	No! Go right ahead, Miss Saunders.

			SAUNDERS
	Thanks very much.

			JEFFERSON
	And a *lot* of paper!

As Jefferson starts picking up the telegrams and reading 
them avidly, Saunders goes out. In the OUTER OFFICE, McGann 
jumps up as Saunders goes to her desk to pick up paper and 
pencils, which she does mechanically.

			SAUNDERS
	I wouldn't wait if I were you.

			MCGANN
	What do you mean? What's going on?

			SAUNDERS
	The Head Man's writing a Bill.

			MCGANN
	A Bill! Not *him*!

Saunders silently gathers pencils and paper. She starts back 
toward the Private Office.

			MCGANN
		(calling after her)
	What does he want to--? What's *he* 
	doing writing a Bill?

			SAUNDERS
		(without stopping--
			giving it the Southern 
			accent again)
	Why, he's a Senator, isn't he? I'm 
	surprised at you, Mister McGann--
		(and she passes into 
			the Private Office)

McGann is a man fit to be tied. Suddenly he lunges for his 
hat and starts out quickly into the corridor.

The scene dissolves to the exterior of PAINE'S HOTEL as Paine 
and Susan, dressed for the evening--and in the company of 
three other people (an elderly gentleman, a second man and a 
middle-aged woman), are entering a limousine waiting at the 
curb. A newsman, with camera, is running alongside Paine.

			NEWSMAN
	Do you mind, Senator? I'd like a 
	picture.

Paine stops before the limousine, as the others get inside. 
The photographer gets set. Before he can snap it, McGann 
rushes up.

			MCGANN
		(in a breathless 
			whisper)
	Joe--drop everything and come with 
	me!

			PAINE
	What's the matter?

			NEWSMAN
		(motioning McGann 
			aside)
	Do you mind?

			MCGANN
		(to Paine)
	Smith--do you know what he's doing?--
	writing Bills!

			PAINE
	Yes, I know. I told him to.
		(Putting McGann aside)
	Pardon me, Charles. We're late to an 
	Embassy dinner--

The photographer gets his shot, and Chick leaps back to Paine.

			MCGANN
	Joe! You *told* him to!

			PAINE
	Yes--a camp bill that will never get 
	beyond a first reading. So calm down, 
	Chick--and--goodnight.

Paine gets into the limousine--and the door closes.

			MCGANN
	Joe! Jim said--*monuments*!

The car pulls out--and McGann is left on the curb.

The scene dissolves to JEFF'S PRIVATE OFFICE at night, 
revealing SAUNDERS AND JEFFERSON. Saunders is against one 
end of the desk with papers before her; Jefferson, his coat 
off, is walking in circles--in the throes of creating his 
bill.

(Dinner trays, with empty dinner dishes on them, are in 
evidence.)

			JEFFERSON
		(in a brown study)
	--that's the main idea, Miss Saunders. 
	The United States Government isn't 
	going to buy or build this camp--
	just lend us the money. You've made 
	a note of that, huh?

			SAUNDERS
	Yes, Senator--*twice*.

			JEFFERSON
		(walking circles)
	Uh--have you?
		(Running his hand 
			through his hair)
	Did you ever have so much to say 
	about something--you couldn't say 
	it?

			SAUNDERS
		(dryly)
	Try sitting down.

			JEFFERSON
	I did--and--and I got right up.

			SAUNDERS
	Now, let's get down to particulars. 
	How big is this thing? Where is it 
	to be? How many boys will it take 
	care of? If they're going to buy it--
	how do they make their contributions? 
	Your Bill has to have all that in it--

			JEFFERSON
	And something else, too, Miss Saunders--
	the spirit of it--the idea--the--

In his walk, he has come to the window. He points out 
suddenly.

			JEFFERSON
	That's what's got to be in it.

She looks in that direction, and sees the lighted CAPITOL 
DOME, as seen through the window--with JEFFERSON in the 
foreground.

			JEFFERSON
		(pointing)
	That.

SAUNDERS indicates that she sees the Dome, her eyebrows 
lifting a little.

			SAUNDERS
		(quietly--with only a 
			touch of sarcasm)
	On paper?

			JEFFERSON
		(still looking out of 
			the window, not 
			conscious of her 
			cynical question)
	I want to make that come to life--
	yes, and lighted up like that, too--
	for every boy in the land. Boys forget 
	what their country means--just reading 
	"land of the free" in history books. 
	And they get to be men--and forget 
	even more. Liberty is too precious 
	to get buried in books, Miss Saunders. 
	Men ought to hold it up in front of 
	them--every day of their lives and 
	say: "I am free--to think--to speak. 
	My ancestors couldn't. I can. My 
	children will."

And we see SAUNDERS looking at Jefferson with a new expression--
listening rather raptly--then starting to make rapid notes.

			JEFFERSON'S VOICE
	The boys ought to grow up 
	*remembering* that.

He breaks off--turns from the window--collecting himself out 
of a daze--and a little embarrassed.

			JEFFERSON
	Well--gosh--that--that isn't 
	"particulars," is it?

			SAUNDERS
	But you've just taken care of the 
	spirit all right.

			JEFFERSON
	Well, anyway, it's *something* like 
	that--
		(Then--impulsively)
	And it *is* important. That--that 
	Steering Committee has *got* to see 
	it that way. And I'm sure Senator 
	Paine will do all he can--
		(Breaking off)
	He's a fine man, Miss Saunders, isn't 
	he? He knew my father, you know.

			SAUNDERS
	He did?

			JEFFERSON
	We need a lot like him--his kind of 
	character--ideals.

			SAUNDERS
		(dropping her head to 
			the paper)
	Uh--getting back to this, Senator--

			JEFFERSON
	Yes, yes--

			SAUNDERS
	Now, this camp is going to be out in 
	your state, of course--

			JEFFERSON
		(with enthusiasm)
	About two hundred of the most 
	beautiful acres that ever were! 
	Mountains, prairie land, trees, 
	streams! A paradise for boys who 
	live in stuffy cities--
		(Breaking off)
	You don't know that country out there, 
	do you, Miss Saunders?

			SAUNDERS
	No.

			JEFFERSON
	I've been over every foot of it. You 
	couldn't have any idea. You'd have 
	to see for yourself--
		(gazing off, enraptured)
	--the prairies--the wind leaning on 
	the tall grass--

SAUNDERS is seen again, raptly watching him.

			JEFFERSON'S VOICE
	--lazy streams down in the meadows--
	and angry little midgets of water up 
	in the mountains--
		(again seen, together 
			with SAUNDERS)
	--cattle moving down a slope against 
	the sun--camp-fires--snowdrifts...
		(Breaking off)
	Everybody ought to have *some* of 
	that--*some* time in his life. My 
	father taught me to see those things. 
	He grew up with our state--an' he 
	used to say to me, "Son, don't miss 
	the wonders that surround you. Every 
	tree, every sunset, every ant-hill 
	and star is filled with the wonders 
	of nature." He used to say, "Haven't 
	you ever noticed how grateful you 
	are to see daylight again after going 
	through a dark tunnel?" "Well," he'd 
	say, "open your eyes and always see 
	life around you as if you'd just 
	come out of a long tunnel."
		(Then)
	Where did *you* come from. Miss 
	Saunders?

			SAUNDERS
		(quietly)
	Well--I guess I've been in that tunnel 
	all my life.

			JEFFERSON
	You mean--here?

			SAUNDERS
	Baltimore. Pure city-dweller.

			JEFFERSON
	But you've had beautiful country all 
	around you. You've just had to life 
	up your eyes!

			SAUNDERS
	City-dwellers never do that--for 
	fear of what might drop *in* 'em.

			JEFFERSON
		(observing her a second)
	Have you always had to--work?

			SAUNDERS
	Since sixteen or so.

			JEFFERSON
	I take it your--your parents couldn't--
	uh--

			SAUNDERS
	No, they couldn't. Father was a 
	doctor. The kind who placed ethics 
	above collections. That speaks well 
	for Father but it always left us 
	kind of--
		(Then)
	Could we get on with this, Senator?

			JEFFERSON
	It hasn't been easy, has it?

			SAUNDERS
	No complaints.

			JEFFERSON
	But--I mean--for a woman--And--you've 
	done awfully well--

			SAUNDERS
	Have I?

			JEFFERSON
	I never met anyone more--more 
	intelligent--or capable. I--I don't 
	know where I'd be on this bill of 
	mine without your help--

			SAUNDERS
	I don't see where we are *with* it.

			JEFFERSON
		(jumping)
	No! Gosh! I better get moving here, 
	Miss Saunders--
		(Suddenly)
	Everybody else calls you just plain 
	"Saunders." Why can't I?

			SAUNDERS
	Go right ahead.

			JEFFERSON
	Saunders. That's better.
		(Practicing)
	Good morning, Saunders. Hello, 
	Saunders. How's the bill coming, 
	Saunders--?

			SAUNDERS
		(permitting herself a 
			laugh)
	Terrible, thank you.

			JEFFERSON
	Yeah. Yeah. Well, anyway, we've got 
	"Saunders" settled. Maybe that was 
	my trouble all along.
		(Rubbing his hands)
	YEs, *sir*. I'm all ready to go now--
		(Then--suddenly)
	What's your *first* name?

			SAUNDERS
	Why?

			JEFFERSON
	Well--nobody calls you anything but 
	Saunders.

			SAUNDERS
	I also answer to whistles.

			JEFFERSON
	You--you've *got* a first name, 
	haven't you?

			SAUNDERS
	Look--I think we ought to skip it.

			JEFFERSON
	All right. Sure. Just curious. The 
	picture popped into my mind all of a 
	sudden of a pump without a handle--
	or something--

			SAUNDERS
	Well, if it's all the same to you--

			JEFFERSON
		(kidding her)
	I know. It's--Violet.

			SAUNDERS
	It *is* not!

			JEFFERSON
	Abigail.

			SAUNDERS
	No!

			JEFFERSON
	Letitia.

			SAUNDERS
	No!

			JEFFERSON
	Lena.

			SAUNDERS
		(laughing)
	No! Stop it!

			JEFFERSON
	I've got more. You better tell me.

			SAUNDERS
	You win. It's--Clarissa.

			JEFFERSON
		(dashed down a little)
	Clarissa. Oh. Uh-huh.
		(Then)
	Well, Saunders--let's go--

			SAUNDERS
	Now, *Susan*--that's really a *pretty* 
	name--

			JEFFERSON
		(rising to the bait)
	Susan! Susan Paine--that's beautiful--

			SAUNDERS
	And a beautiful woman, too--don't 
	you think?

			JEFFERSON
	Yes. The most beautiful I think I 
	ever--gee--
		(Catching himself--
			leaping into action)
	Say--we're *never* going to finish 
	this thing! Now, here we go, Saunders. 
	I'm going to talk faster'n you can 
	write--

Jefferson walks around rapidly. He is off at great speed 
now.

			JEFFERSON
	The location of the camp. About two 
	hundred acres situated in Ambrose 
	County--Terry Canyon--

SAUNDERS is seen busily writing down the facts.

			JEFFERSON'S VOICE
	--running about a quarter of a mile 
	on either side of Willet Creek--

			SAUNDERS
		(suddenly--sharply)
	On either side of--*what*?

Jefferson pauses--a little astonished at her sharp question.

			JEFFERSON
		(seen with SAUNDERS 
			again)
	Uh--Willet Creek. It's just a little 
	stream--

			SAUNDERS
	In Terry Canyon?

			JEFFERSON
	You--don't know it, do you?

			SAUNDERS
		(quickly)
	No--

			JEFFERSON
	You couldn't. You've never been out 
	there, you said.

			SAUNDERS
		(quickly again)
	No, I haven't. I guess I thought the 
	name was familiar.
		(Then)
	By the way, you discussed with Senator 
	Paine where the camp was to be 
	situated and everything?

			JEFFERSON
	Well--no. I didn't. Why?

			SAUNDERS
	Nothing. I just wondered. No *reason* 
	to take it up with him.
		(Reading from pad)
	"--about a quarter of a mile on either 
	side of Willet Creek--"

			JEFFERSON
		(picking up again)
	Yeah. This land to be bought by 
	contributions from the boys. You 
	have that. Money to be--

Saunders, writing, looks up at Jefferson from under her brows 
with growing interest.

The scene dissolves to the SENATE CHAMBER, with the Senate 
in session and the President speaking:

			PRESIDENT
	--the chair lays before the Senate a 
	communication from the Secretary of 
	State, in response to Senate 
	resolution 343.

The communication is handed to the clerk, who begins to read.

In the PRESS GALLERY we see SAUNDERS with DIZ, Saunders 
smiling down on the floor as the clerk's voice is heard.

			SAUNDERS
	Sit tight, Diz. The show commences 
	in just a minute.

			DIZ
	What show? Would you mind telling me 
	what's coming off here?

			SAUNDERS
	Certainly.
		(Pointing down to the 
			floor)
	Now there's the principal actor in 
	our little play.

In the SENATE CHAMBER, JEFFERSON is grasping the bill tightly 
in his hand--nervously, perspiringly waiting. He smiles up 
at Saunders and waves the bill. The Clerk's voice is heard.

In the PRESS GALLERY, Saunders smiles back at Jeff.

			SAUNDERS
		(to Diz)
	Don Quixote--with bill.

Diz doesn't make anything of this. Saunders glances off--and 
points.

			SAUNDERS
	Ah. One of the supporting characters.

			DIZ
	Who?

In the VISITOR'S GALLERY MCGANN is seen listening to the 
proceedings.

In the PRESS GALLERY:

			SAUNDERS
	That gorilla in Man's clothing--
	McGann.

			DIZ
	Oh, you mean--Puss in Boots.

			SAUNDERS
	Yes. Mostly "Puss."
		(Pointing to the floor 
			again)
	Oh, the *other* prominent character 
	in the play.

In the CHAMBER, PAINE is seen listening to the clerk.

In the PRESS GALLERY:

			SAUNDERS
	The Silver Knight. Soul of Honor--on 
	a tight-rope.

			DIZ
	What do I play?

			SAUNDERS
	You play--left field.

			DIZ
	Frankly, kid--are you goofy?

			SAUNDERS
	Diz--Don Quixote with bill is going 
	to get to his feet in a minute and 
	speak two important words--*Willet 
	Creek*. When that happens--if my 
	hunch is right--the Silver Knight 
	will fall off his tightrope and Puss 
	will jump out of his boots.

In the CHAMBER, the Clerk finishes what he has been reading.

			A SENATOR
	Mr. President--I ask that the 
	communication be referred to Committee 
	on Foreign Relations and printed.

			PRESIDENT
	It is so ordered.
		(Then)
	Introduction of bills--

JEFFERSON is seen in close view, his head jerking up.

			PRESIDENT'S VOICE
	--and joint resolutions.

			JEFFERSON
		(leaping to his feet, 
			and yelling loudly)
	Mr. President!

The PRESIDENT is startled by the yell and a GROUP OF SENATORS 
is seen turning around, also startled. In a portion of the 
VISITOR'S GALLERY, people begin to titter--then laugh. The 
gavel raps for order.

JEFFERSON, aware that he has caused a stir by his shout, is 
embarrassed as the gavel continues rapping. PAINE is mildly 
amused. But in the VISITOR'S GALLERY, MCGANN, tight-lipped, 
is shaking his head. He doesn't like this.

			PRESIDENT
		(with a smile)
	The chair recognizes the rather strong-
	lunged junior Senator, Mr. Smith.

			JEFFERSON
		(almost in a whisper)
	I--I'm sorry, sir. I--I have a bill--

			PRESIDENT'S VOICE
	You may speak a little louder, 
	Senator, but not too loud.

			JEFFERSON
	I have a bill to propose, sir.

			PRESIDENT
	Order, gentlemen. Our junior Senator 
	is about to make a speech. You may 
	proceed, Senator.

With trembling, fumbling hands, Jefferson gets his paper up 
before him.

			JEFFERSON
		(reading)
	"Be it enacted by the Senate and the 
	House of Representatives that there 
	be appointed as a loan--"

In the PRESS GALLERY, Saunders nudges Diz to watch McGann 
and Paine.

			JEFFERSON'S VOICE
	"--a sum sufficient to create a 
	National Boys' Camp--"

			JEFFERSON
		(again visible)
	"--to be paid back to the United 
	States Treasury by contributions 
	from the boys of America. This Camp 
	to be situated on the land at and 
	adjacent to the head waters of the 
	stream known as Willet Creek in Terry 
	Canyon--

PAINE is seen to be hit by lightning, and his eyes go 
startledly to McGann in the gallery.

			JEFFERSON'S VOICE
	"--for the purpose of bringing greater 
	education, mutual understanding--"

MCGANN rises in the GALLERY, signals to Paine, and starts to 
go out.

			JEFFERSON'S VOICE
	"--and the healthful life to the 
	boys of this great and beautiful 
	land!"

As Jeff finishes applause breaks out in the gallery. It is 
caught up and grows. PAINE is seen hurriedly leaving the 
chamber, while the applause continues.

			PRESIDENT
	Our young Senator will make a good 
	orator when his voice stops changing.

In the PRESS GALLERY, Saunders is nudging Diz.

			SAUNDERS
	Did you like the first act?

			DIZ
	Yeah. What about the second act?

			SAUNDERS
	That's taking place outside now.

We hear the gavel rapping for order.

In the CAPITOL VESTIBULE, Paine and McGann come together 
quickly. They talk in undertones.

			MCGANN
		(in a controlled lather)
	Did I hear right? Did he say *Willet 
	Creek*?

			PAINE
	Let's get away from here.
		(He starts to pull 
			McGann along)

			MCGANN
	That's dynamite, Joe!

The scene dissolves to PAINE'S AUTOMOBILE.

			PAINE
	--amazing coincidence! Of all places 
	in the world--to choose Willet Creek 
	for his boys' camp!

			MCGANN
	Joe--I'm getting leery of this guy. 
	We keep calling him dumb--and he 
	keeps winding up in our hair! I'm 
	telling you--when he finds out there's 
	a dam going up where he wants his 
	camp, he's gonna start asking 
	questions six ways from Sunday--

			PAINE
	Be quiet, Chick--I'm trying to think--
		(Then)
	This Deficiency Bill is going to be 
	read in the Senate tomorrow.

			MCGANN
	Tomorrow! Joe--he'll hear the section 
	on Willet Dam. He can't be there!

			PAINE
	I know that.

			MCGANN
	Listen--tomorrow I take him to see 
	monuments--if I have to hit him over 
	the head with a couple!

			PAINE
	That won't work, Chick. This boy's 
	honest, not stupid.

			MCGANN
	Susan!

			PAINE
	My daughter isn't here to carry out 
	assignments like that for *anybody*.

			MCGANN
	Well, then--this is too much for 
	*my* lame brain. I'm calling Jim 
	Taylor.

			PAINE
	Jim's methods won't do in Washington.

			MCGANN
	Joe--listen--all Susan has to do is 
	turn those big eyes on him--he'll 
	fall all over himself--just keep him 
	out of there *one afternoon*--while 
	they read that bill--

The scene dissolves to the SENATE OFFICE BUILDING, in the 
late afternoon, and JEFFERSON is seen marching along down 
the corridor, in high spirits--whistling "Dixie." He turns 
into his OUTER OFFICE, which is full of people. As he strides 
in, the people leap up and make a dive for him.

			PEOPLE
	Can I see you, Senator--? 
	I'm from Jackson City-- 
	Senator, just one minute of your 
	time-- 
	I'm from the old home state, Senator--

Saunders, who has been sitting at her desk, leaps up and 
comes to the rescue as the people begin to claw and pull 
Jeff.

			SAUNDERS
	Whoa! Here--here--just a minute! 
	Keep your seats.
		(Taking Jeff's arm)
	This way, Senator--

She leads the dazed Jeff into his PRIVATE OFFICE.

			JEFFERSON
		(entering with Saunders)
	What do they--? Who are all those--?

			SAUNDERS
	One of the plagues on members of 
	Congress--office-seekers, cranks, 
	people with pet bills. Get my son 
	into West Point--or *outta* West 
	Point. I've got a scheme to put people 
	to work. How do I get rid of 
	cockroaches? Some woman's composed a 
	hymn to replace the Star Spangled 
	Banner. Want to hear it?

			JEFFERSON
		(laughing)
	No--not today! Boy, I feel like a 
	house afire! Saunders--how did I do?

			SAUNDERS
	Great.

			JEFFERSON
	I--I don't know how I got it out. My 
	heart was right up here all the time--
		(Then--excitedly)
	I wonder what Senator Paine thought 
	of it?

			SAUNDERS
	Must have been tickled pink.

			JEFFERSON
	Gee--I hope so. What's all this?

			SAUNDERS
	Contributions from boys who read 
	about your camp.

			JEFFERSON
	Already? All these letters?

			SAUNDERS
	Oh, those are only local. Wait'll 
	they start pouring in from all over 
	the country.

			JEFFERSON
	Do you mean all--look--look we'd 
	better open them up--see what they 
	say here--look at the money--what 
	does it say--"Dear Senator Smith, I 
	would like to come to your boy's 
	camp and I shine shoes at the station 
	and here's nine cents." Oh, isn't 
	that wonderful. Look and he signs 
	it. "Yours truly, Stinky Moore." 
	Isn't that marvelous?
		(Breaking off--looking 
			in desk drawer)
	Say--have I got some paper here?

			SAUNDERS
	Second drawer.

			JEFFERSON
	Good! I'm going to be pretty busy 
	tonight--

			SAUNDERS
	Not another bill?

			JEFFERSON
	No! Letters. I've got to write to 
	the Rangers and Ma--and--I'm bustin' 
	with news! Why, I've introduced a 
	bill! Me--Jeff Smith. I got up and 
	talked in the Senate!
		(He sits down excitedly 
			at his desk)

			SAUNDERS
	Do you want to dictate them?

			JEFFERSON
	The letters? Gosh--no. I couldn't 
	talk letters. I've gotta scratch 'em 
	out. And say--I'm going to tell Ma 
	all about you. If I tell it right--
	the first thing you know you're going 
	to get the best jar of preserves you 
	ever tasted.

			SAUNDERS
		(starting for the 
			door)
	Thanks a lot.

			JEFFERSON
	Oh--*Saunders*!

He comes leaping around from behind the desk--grabbing her 
hand.

			JEFFERSON
	I--I--gee whiz--I didn't thank you!

			SAUNDERS
	Don't mention it--

			JEFFERSON
	I mean it. I--without you, I 
	could't've--

The phone rings. Saunders takes a step to the desk to get 
the phone. Jefferson goes back behind his desk.

			SAUNDERS
	Hello.
		(Rather startled)
	Who? Who?

In the PAINE LIVING ROOM:

			SUSAN
		(on the phone)
	Susan Paine.

In JEFFERSON'S PRIVATE OFFICE, Jeff sits at his desk, prepared 
to write--indifferent to Saunder's conversation. Saunders 
casts a quick look at Jeff.

			SAUNDERS
		(into phone)
	How do you do?... Yes, go ahead.

In the PAINE LIVING ROOM:

			SUSAN
	I'm sorry to bother you, Saunders--
	but you've got to help me. I'm elected 
	to snatch Mr. Jefferson Smith from 
	the Senate tomorrow--

In JEFFERSON'S PRIVATE OFFICE, while Jeff is still busy over 
his papers:

			SAUNDERS
	You're--what?

In the PAINE LIVING ROOM:

			SUSAN
	There's trouble brewing some place 
	and I'm to turn on my glamour for 
	him. I've got to take him out. You 
	sympathize, don't you, Saunders?

In JEFFERSON'S PRIVATE OFFICE:

			SAUNDERS
		(with a glance at the 
			occupied Jeff)
	Awkward, isn't it?

In the PAINE LIVING ROOM:

			SUSAN
	Here's what you've got to do for me. 
	Take him out and buy him a suit of 
	clothes that fits--and a hat. A 
	manicure and haircut wouldn't do any 
	harm--and if you can get in a little 
	practice with a fork and a teacup--. 
	As one woman to another, Saunders--
	that is, I hate to ask you to do it, 
	but--

In JEFFERSON'S PRIVATE OFFICE:

			SAUNDERS
		(into the phone)
	But as one woman to another, of 
	course.

In the PAINE LIVING ROOM:

			SUSAN
	Thanks, Saunders. And now--is--uh--
	young Lochinvar around?

In JEFFERSON'S PRIVATE OFFICE:

			SAUNDERS
	Yes--right here. Just a second--
		(Extending phone to 
			Jeff)
	Miss Paine.

			JEFFERSON
		(looking up as if he 
			had been kicked)
	*Who*! Miss--! Is that--? Why didn't 
	you--? Holy smoke;
		(Grabbing the phone--
			breathlessly)
	H-hello... Yes, Miss Paine... How--
	how are you, Miss Paine...? What?... 
	Escort *you* Gee--I mean--*sure*--
	*yes*! I'd be--. Reception for a 
	*princess*! Gosh!... Thanks, Miss 
	Paine. Yes. I--I'll be there! Goodbye, 
	Miss Paine.
		(Hanging up, and 
			getting up excitedly)
	Did you hear that?--Escort Susan 
	Paine--reception for a princess! 
	Imagine her calling me--asking *me*--
	!

			SAUNDERS
	Get your hat, Senator. We've got a 
	lot to do between now and tomorrow--

			JEFFERSON
	Wow!

As he makes a dive for his hat, the scene dissolves to 
glimpses of the shopping tour of Jefferson Smith:

He has the Prince Albert coat of a new suit on--standing 
before a mirror--the sleeves too short--looking *really* 
like a scarecrow--and being frightened of his own image in 
the mirror. Saunders is standing by, supervising.

He is trying to walk in a pair of pointed black shoes. His 
feet hurt terribly.

He is trying on hats. We catch one that sits on his head 
like a peanut. He looks to Saunders, who shakes her head.

In a barber's chair--his hair being cut--his nails are being 
manicured. He stares unbelievingly down at the manicurist's 
work.

Jeff, in his rooms, is getting all tricked out in his new 
clothes. Saunders ties his tie and puts a flower in his 
buttonhole.

Finally the scene dissolves into the PAINE LIMOUSINE, and we 
see, at last, the full result of the dressing of Jefferson 
Smith--togged out from top to toe, and very uncomfortable. 
Susan snatches glances at the effect, out of the corner of 
her eyes.

			JEFFERSON
		(with a struggle)
	I--I'm awfully glad to be--that is, 
	it was nice of you to--
		(Giving up, he makes 
			an attempt at 
			conversation)
	Uh--how's your father?

			SUSAN
	Splendid.

			JEFFERSON
	Uh--that's good. And--uh--you?

			SUSAN
	I'm splendid, too.

			JEFFERSON
	That's--that's splendid.

			SUSAN
	And how's your bill, Senator?

			JEFFERSON
	Oh, the bill. Oh--splendid--I mean--
		(With a disarming 
			smile)
	I--I just can't seem to talk in this 
	suit.
		(Her eyebrows lift)
	I'll tell you a secret. It's brand 
	new.

			SUSAN
	Well! You don't say!

			JEFFERSON
		(intimately--boyishly)
	It's just as well to tell you--because 
	if we're going to get off on the 
	right foot--I mean--in case I act 
	sort of strange--it's the suit.

			SUSAN
		(at a loss)
	Well--I--

			JEFFERSON
		(laughing)
	Funnier things have happened. Ma 
	says when Pa was courting her, he 
	acted strange for months. Didn't 
	make sense--or anything. And one 
	day, on a hunch, Ma said: "Clayton, 
	so help me, you talk like a man whose 
	collar is too tight to bear." "Not 
	the collar, Mary," he said, "my 
	shoes." "Well, for land's sake," Ma 
	said, "Take the pesky things off!" 
	Which Pa did, an' they were engaged 
	within a week.

			SUSAN
	You're not going to take your *suit* 
	off!

			JEFFERSON
		(alarmed)
	No! No! Gosh. See, there you are! 
	I'm not making sense!

The scene dissolves to the LIVING ROOM OF DIZ'S APARTMENT, 
at dinner time. Diz is mixing a drink. Saunders, her hat on 
as though she hasn't been there long, is restless.

			DIZ
	Well--I stuck my foot in it again at 
	the President's press conference 
	today--
		(Casually)
	How come so early? Get the day off?

			SAUNDERS
	They decoyed the little General off 
	to a tea party to keep him out of 
	the Senate.

			DIZ
	Well, well--
		(Then--picking up)
	Yeah--I got smart and thought I'd 
	slip one over on the old man in the 
	press meeting. I said, "Mr. President, 
	about the monopoly investigation--" 
	And he jumps right in and says, "Diz, 
	if you were sitting in my chair, 
	would you answer the question you're 
	about to ask?" He had me.

			SAUNDERS
		(paying no attention)
	I don't mind *who* gets licked in a 
	*fair* fight, Diz. It's these clouts 
	below the belt I can't take. Sicking 
	that horrible dame on him--when he's 
	goofy about her--

			DIZ
	What dame?

			SAUNDERS
	Paine.

			DIZ
	Oh--yeah--

			SAUNDERS
	He isn't going to hurt enough as it 
	is. *She* has to twist a knife in 
	him, too--the regal jackass! "I'll 
	turn my glamour on him," she says--

			DIZ
	Forget it, kid. What's it *to* you?

			SAUNDERS
	Nothing. I'm just saying--I might be 
	able to lie, cheat, steal--and I'd 
	still tear into a guy I saw kicking 
	a dog. Not that *he* is, by a long 
	shot--

			DIZ
	Okay. So what? Stop worrying. I've 
	told you--the dopes are gonna inherit 
	the earth anyway--

			SAUNDERS
	I've wondered, Diz--maybe this Don 
	Quixote's got the jump on all of us. 
	I've wondered--maybe it's a curse to 
	go through life wised up like you 
	and me--

			DIZ
	Now, look, kid--if we're gonna wonder, 
	let's go down and do it over a hunk 
	of steak.
		(Handing her a drink)
	Come on, snap out of it. Diz Moore--
	that rarest of companions--is here 
	at your side.
		(Lifting his glass)
	To genteel crime, kid.

			SAUNDERS
		(lifting hers)
	And to Don Quixote!

The scene dissolves to a RESTAURANT at night, with SAUNDERS 
AND DIZ at a corner table--drinks in front of them--both 
feeling pretty high and loose-tongued. Saunders is alternating 
lightness with grimness. (Music from someplace off). Diz is 
finishing a story.

			DIZ
	--and the guy sees a drunk, lookin' 
	around under the street lamp, see--
	and he says--whatsa matter?--lose 
	somethin'? Yeah--my cigarette case--
	dropped it in the next block.
		(Pointing way over)
	Next block!--the guy says to the 
	drunk--whaddaya lookin' for it here 
	for?... 'Cause there's more light 
	here, the drunk says--

They laugh.

			SAUNDERS
	Why do I always laugh at that?

			DIZ
	"There's more light here," he says--

			SAUNDERS
	Drunks are funny--

			DIZ
	Yeah. Funny--

			SAUNDERS
		(reflectively--sober 
			suddenly)
	Yeah.

			DIZ
	Yeah. Some of my best friends are 
	funny.

			SAUNDERS
	Every time I think of it, I get a 
	laugh, Diz.

			DIZ
	My friends?

			SAUNDERS
	Old Don Quixote--man of the people 
	Smith--

			DIZ
		(calling)
	Waiter!

			SAUNDERS
	--followin' Miss Susan Fass-Pass 
	around--his little heart poundin' 
	away--the sound of angels' wings in 
	his ears.

The waiter comes over.

			DIZ
	Now, you've gone and let Don Quixote 
	in here again. I told you to keep 
	him out!

			SAUNDERS
	Shut up, Diz.

			DIZ
		(to waiter)
	Mind, now! Keep Don Quixote out of 
	here!

The waiter backs away--shaking his head.

			SAUNDERS
	And I got him all dressed up, too--
	to go way up in a balloon--so they 
	can drop him a long way--make sure 
	they break his heart. Why, not all 
	the Boy Rangers in the world, working 
	night shifts, 'll be able to put 
	Humpty-Dumpty together again--

			DIZ
	Now--how'd Humpty-Dumpty get in here?

			SAUNDERS
	Do you know how I felt, Diz?

			DIZ
	No. How'd you feel? Quick.

			SAUNDERS
	Like a mother sending her kid off to 
	school for the first time--watchin' 
	the little fella toddling off--in 
	his best bib and tucker--and you 
	sink in the middle--hoping he can 
	stand up to the other kids--won't 
	get his feeling hurt--and--if you 
	could only spare him the knocks he's 
	gotta take--
		(Catching herself)
	Say--who started this?

			DIZ
	*I'm* just waiting for a street car--

			SAUNDERS
	Well--cut it out. See? Who *cares* 
	anyway?

			DIZ
	I apologize.

			SAUNDERS
	*All right*, then. After all, what's 
	it to me? So they *drop* him out of 
	a balloon. All I care is--I don't 
	want to be around. See? Squeamish. 
	See? That's what I am. No, sir. I 
	don't have to take it. Won't be a 
	party to no murder. I'm gonna quit. 
	I'm through.

			DIZ
	Again? Good idea.

			SAUNDERS
	Diz--

			DIZ
	Yeah.

			SAUNDERS
	How about getting married?

			DIZ
		(same tone)
	Good idea. When?

			SAUNDERS
	Any time.

			DIZ
	Tonight?

			SAUNDERS
	Okay. You don't mind?

			DIZ
	I'll cherish ya.

			SAUNDERS
	You--you've been a good egg, Diz. 
	Maybe we could clear out of this 
	town--get to feel like *people*--get 
	the habit of lifting up our eyes--
	live like we just got out of a tunnel.

			DIZ
		(startled)
	Tunnel?

			SAUNDERS
	You've never seen prairie grass with 
	the wind leaning on it, have you, 
	Diz?

			DIZ
	Is the wind tired out there?

			SAUNDERS
	Or angry little mountain streams--
	and cattle moving against the sun. 
	You haven't seen any of that, have 
	you, Diz?

			DIZ
	Have *you*?

			SAUNDERS
	No.

			DIZ
	Do we *have* to?

			SAUNDERS
		(flinging the mood 
			off)
	No! I can't think of anything more 
	sappy!)

			DIZ
	Well, let's get going.

			SAUNDERS
	Where?

			DIZ
	We're gonna get married.

			SAUNDERS
		(getting her purse 
			and hat together)
	Yeah--that's right. Diz--

			DIZ
	What?

			SAUNDERS
	I case you don't know--I want to 
	give ya a chance to back out if you 
	don't like it--

			DIZ
	What?

			SAUNDERS
	My first name's--Clarissa.

			DIZ
	Yeah, I know. That's okay.

			SAUNDERS
	Don't say "okay," Diz. Say you think 
	it's beautiful.

			DIZ
	Okay--I mean--

			SAUNDERS
	You don't know a name off-hand you 
	like better, do you, Diz?

			DIZ
		(thinking)
	No--not offhand--

			SAUNDERS
	Nothing like--uh--Susan--or anything 
	like that, huh?

			DIZ
	Susan? Nah!

			SAUNDERS
		(breaking into Diz 
			violently)
	I won't take it! See? I won't be 
	party to murder. See? Steering a 
	poor dope up blind alleys for that 
	grafting Taylor mob is low enough. 
	But helping that dame cut him up in 
	little pieces besides--nobody's gonna 
	make me do that. No, sir.

			DIZ
	You said it!

			SAUNDERS
	I'm getting out of there. Right now, 
	Diz. Right now. Bonus or no bonus. 
	I'm gonna clear outa that office--
	everything I own--my extra hat--
	everything--

She starts to scramble out from behind the table. Diz is 
startled by her sudden, furious movements.

			DIZ
	Hey! We're gettin' married--!

			SAUNDERS
		(without pausing)
	Right now--everything I own--!

She is on her way. Diz, with a great effort, scrambles out 
from behind the table after her.

The scene dissolves to JEFF'S PRIVATE OFFICE, where JEFFERSON, 
his collar undone, is writing with great eagerness, his eyes 
alight. Suddenly a desk drawer slams off scene. He looks up.

			JEFFERSON
		(calling)
	Saunders?

No reply. Another desk drawer slams.

			JEFFERSON
	Saunders!

			SAUNDERS' VOICE
	Whadaya want?

Jeff, puzzled at the tone of her voice, rises. He starts 
slowly around from his desk.

			JEFFERSON
	Saunders--I looked for you--

She appears in the doorway, pugnaciously.

			SAUNDERS
	Yeah? What for?

She heads for the coat-rack to get her extra hat.

			SAUNDERS
	I know. Don't tell me. It was a 
	wonderful party. Your suit went over 
	big. And she looked beautiful, and 
	she gave her hand when you left her--
	and said--"Thank you, Mr. Smith." 
	Oh, but it was the way she *said* 
	it. You like to fell through the 
	floor--Horseradish!

			JEFFERSON
		(fairly speechless 
			under this violent 
			attack)
	Saunders--!

			SAUNDERS
	And you're writing Ma all about it. 
	And your pigeons will carry the 
	message of love. And the first thing 
	you know--Susan Paine'll get the 
	best jar of preserves she ever tasted!

			JEFFERSON
	Are you drunk?

She returns to the OUTER OFFICE--Jeff following.

There Diz is collapsed in a chair, and Saunders is collecting 
her things.

			SAUNDERS
	Certainly. You didn't think I was a 
	lady, did you? You don't think a 
	*lady* would be working for this 
	outfit. Even *I* can't take it 
	anymore. I quit. Can't take a lot of 
	things. *You*. I can't watch a simple 
	guy like you--
		(Breaking off--in a 
			burst)
	Why don't you go back home? Take my 
	advice. Go on back to your prairies--
	roust your rangers around--tell your 
	little streams about your camp and 
	the land of the free! This isn't any 
	place for you. You're half-way decent. 
	You don't belong here. Go home. That's 
	all I'll tell you. That's all. I owe 
	my conscience that much. I owe it a 
	lot more, but--
		(Suddenly--indicating 
			Diz)
	Meet the man I'm going to marry!

DIZ is seen forcing a smile and feeble wave at Jeff.

			DIZ
	Tha's me.

Saunders turns viciously on Jeff, who is stunned and silent.

			SAUNDERS
	Well--why don't you say something--
	what are you standing there for--?
		(Then--on a wild 
			impulse)
	Wait a minute!

She tears for the files--dives into one section of them.

			SAUNDERS
	Why don't I get out of this place 
	clean?
		(Lifting a printed 
			bill out)
	Want to be a Senator, huh? Gonna 
	build a camp on Willet Creek! See 
	this? Appropriations Bill. A little 
	section--number forty. A *dam's* 
	going up where you think you're gonna 
	have a camp. Ever hear of it? No. 
	They read all about it in the Senate 
	today--but you weren't supposed to 
	hear it. That's why that ritzy dame 
	took you in tow. That's why they 
	sent you here in the first place--
	because you wouldn't know a dam from 
	a bathtub!
		(Flinging it on a 
			desk)
	Go ahead--*try* to build your camp--
	*try* to mess up Mr. Taylor's little 
	graft! Go ahead--be a Senator! But 
	if you *can't* be--and you can't in 
	nine million years--go on home--don't 
	hang around here making people feel 
	sorry for you! Come on, Diz.

She grabs Diz by the hand and pulls him to the door, while 
Jeff stares blankly at the bill on the desk.

In the CORRIDOR, DIZ and SAUNDERS come through. She stops, 
looking ahead dazedly.

			DIZ
	Well--let's dig up the preacher, 
	kid.

			SAUNDERS
		(in a suddenly sobered 
			trance)
	Huh?

			DIZ
	You know, we're getting married.

			SAUNDERS
		(suddenly cracking 
			up, sobbing)
	Take me home, Diz.

The scene dissolves to PAINE'S LIVING ROOM at night. Jeff is 
on his feet, in the midst of a dramatic delivery. Paine is 
trying to sit calmly and judicially. McGann, tipped back in 
a chair, is whittling his nails, trying to seem disinterested.

			JEFFERSON
		(emphatically)
	--I may not know much about a lot of 
	things, sir--but I know that Willet 
	Creek country like a book--and--and 
	I tell you, Senator Paine--there's 
	something *wrong* about this dam--
	why, there isn't a foot of water in 
	that creek--it's dry four months out 
	of the--

			PAINE
	Jeff--listen--this was all taken up 
	in the State Legislature and approved--
	they're going to divert waters from 
	up above--

			JEFFERSON
	But--there are a hundred other places 
	in the state that *need* the water. 
	Besides--I talked to Kenneth Allen, 
	who owns some of that land--and he 
	didn't say anything about a dam. No--
	I'm sure, sir--there's something 
	wrong--and I--I won't vote on this 
	thing until I get a lot of questions 
	answered--

			PAINE
		(strongly)
	Jeff! You're trying to understand in 
	a moment everything about a project 
	that took two years to set up--the 
	reasons--the benefits--

			JEFFERSON
	Yes--the *benefits*! What's a man 
	called Taylor got to do with this?

McGann's tipped-back chair comes forward with a thud and he 
gets up.

			JEFFERSON
	He's a newspaper publisher I know--
	and--

			MCGANN
	What makes you think he's got 
	*anything* to do with it?

			JEFFERSON
	Saunders said--this whole thing was 
	*his* idea to get graft--!

			PAINE
		(forcefully)
	One minute, Jeff!

McGann starts quickly in the direction of the foyer.

			PAINE
	You're accusing *me* of helping to 
	frame a bill for the benefit of *one* 
	individual--

McGann enters a TELEPHONE CLOSET in the foyer and picks up 
the phone.

			PAINE'S VOICE
	--of helping to put through a scheme 
	for *graft*!

McGann kicks the door closed.

			MCGANN
		(grimly--into the 
			phone)
	Long distance. Get me James Taylor--
	Jackson City--Main 3100--

The scene dissolves to the GOVERNOR'S LIBRARY at night. Hubert 
is in his dressing gown and nightshirt--fearful. Taylor paces 
furiously. Kenneth Allen, middle-aged, sits by quietly.

			TAYLOR
	Boy Ranger! The answer to a prayer. 
	Manna from heaven! Didn't know the 
	time of day--!

			HUBERT
	Will you please tell me *exactly* 
	what he's done?

			TAYLOR
	Yes! He's about to blow the whole 
	machine to smithereens--and *you 
	with it*, Mr. Governor!

			HUBERT
	Me! Jim--how--?

			TAYLOR
	You couldn't understand! Listen, Ten 
	Thumbs, I'll be on my way to 
	Washington in half an hour. Whatever 
	happens, I'm all ready for this Ranger 
	of yours. Never mind how. You'll get 
	your instructions from Ken Allen 
	here. It isn't anything you have to 
	do. I wouldn't trust you to lick a 
	stamp. Allen'll do it himself. You 
	just use your *high office* to help 
	him get it done. Understand?

			HUBERT
	Y-yes, Jim.

			TAYLOR
	I doubt it! Come on, Ken.

Taylor starts for the door--Allen following.

			HUBERT
	Jim--wait--will you please tell me--
	?

Taylor and Allen have slammed out.

			HUBERT
		(protesting frantically--
			to himself)
	Blow *me* to smithereens! My record 
	is *clean*!

The scene dissolves to TAYLOR'S HOTEL SUITE in Washington, 
with Taylor seen at his breakfast--calm, quiet. Around him 
are Paine, McGann and three men--Congressmen Radner, Schultz 
and Diggs.

			PAINE
		(nervously)
	--I've used every argument in the 
	world to try to turn him off. He 
	just keeps coming back to the dam--
	and what he knows--

			MCGANN
	Saunders! I'd like to tie her in a 
	sack and drop her from the Brooklyn 
	Bridge--

			PAINE
		(waving at the three 
			men)
	--now he wants to talk to the 
	Congressmen from the Willet Creek 
	districts--he's run their names down--

There is a knock on the door.

			TAYLOR
	That's him. Let him in.

			PAINE
		(suddenly--alarmed)
	Wait a minute--Jim--you didn't ask 
	*Smith* over here!

			TAYLOR
	What do you think?

			PAINE
	Jim, you can't come here and pull 
	that steamroller stuff. Your methods 
	won't do here. This boy is a Senator, 
	however it happened, he's a Senator. 
	This is Washington.

			TAYLOR
	Steamroller stuff, Joe? My methods 
	don't go in Washington? They've done 
	pretty well by now, haven't they?

			PAINE
	Oh, Jim, that's beside the point. 
	This boy's different. He's honest 
	and beside he thinks the world of 
	me. We can't do this to him.

			TAYLOR
	Well, what do you want me to do? 
	Stand around like you chump and let 
	that drooling infant wrap that Willet 
	Creek Dam appropriation around my 
	neck. Either he falls in line with 
	us and behaves himself or I'll break 
	him so wide open they'll never be 
	able to find the pieces.

			PAINE
	Jim, I won't stand for it.

			TAYLOR
	You won't stand for it?

			PAINE
	I don't want any part of crucifying 
	this boy.

			TAYLOR
	Oh, I see. Out steamroller methods 
	are getting too hard to your sensitive 
	soul, is that it, Joe? The Silver 
	Knight is getting to big for us. My 
	methods have been all right for the 
	past twenty years, Joe, since I picked 
	you out of a fly-specked hole in the 
	wall and blew you up to look like a 
	Senator, and now you can't stand it. 
	Well, maybe you won't have to stand 
	it, Joe. Maybe we can fix it so you 
	and your Boy Ranger can go home 
	together.

			PAINE
	Jim, you don't have to--

			TAYLOR
	Oh, it's all right--it's all right. 
	It seems a shame, though, to part 
	company like this after all these 
	years, especially now with a national 
	convention coming up. Joe, I've put 
	everything I have behind you. And so 
	did all of our friends, but I guess 
	we'll survive. We'll just have to 
	find somebody else that's got a little 
	more sense, that's all. In the 
	meantime, you explain to Mr. Smith 
	about Willet Dam. It's your bill--
	it's your reputation, and if he can't 
	find enough facts to break you with, 
	you just send him to me and I'll 
	give him a couple of good ones. I'm 
	taking the next plane home.

			PAINE
	Jim, it's just that I like the kid--
	I don't want to see you get too rough 
	on him.

			TAYLOR
	I'm glad to see you come to your 
	senses. You had me scared there for 
	a minute, thought.
		(To McGann)
	Let him in.

McGann opens the door, and Jeff stands in the doorway.

			TAYLOR
	Come in.

Jeff enters, looking around at the faces he has never seen 
before.

			PAINE
	Jeff--this is Mr. Taylor.

			TAYLOR
		(taking his hand)
	Glad to know you, Senator. Meet the 
	boys--

			PAINE
		(quickly)
	Congressmen, Radner, Schultz, Diggs--

			VOICES OF CONGRESSMEN
	How are you, Senator? 
	Glad to know you. 
	How do you do?

			TAYLOR
	I happened to be passing through, 
	Senator. I wanted to meet you. Thanks 
	for coming. Sit down.

Jeff hesitates, looks at the men, his eyes resting on Paine 
a moment. More and more puzzled, he takes a chair just a 
step away.

			TAYLOR
	Well. I hear you've been right on 
	your toes since you got here. Pitching 
	right in. Lots of people took you 
	for dumb--but they're wrong. You're 
	smart. In fact, *I* think you're 
	smart enough to understand a situation 
	when it's explained to you--

			JEFFERSON
	Like what, Mr. Taylor?

			TAYLOR
	Well now--just to take an example--
	putting up a dam--on Willet Creek. 
	As I look at it--that dam's going to 
	do the people of our state a lot of 
	good--

			JEFFERSON
	Yes, so I was told, Mr. Taylor, but--

			TAYLOR
		(interrupting)
	But you have some objections here 
	and there. And maybe right, for all 
	I know. But the point is--there's no 
	sense stopping the whole works now--
	specially after some men have worked 
	hard for a long time to put this 
	through--

			JEFFERSON
	What is your interest in this, Mr. 
	Taylor?

			TAYLOR
	Mine? Why--naturally--whatever 
	benefits the state is mighty important 
	to me--owning a lot of its industry--
	newspapers and other odds and ends. 
	And if I thought you had the welfare 
	of the state at heart, like myself--
	for instance, if you were to turn 
	around and help a project like this 
	along instead of standing in the way--
	why, I'd say you were a man to watch. 
	For a fellow your age, you'd be in a 
	spot to make a great start in life. 
	If you liked business--you could 
	pick any job in the state and go 
	right to the top. Or politics. If 
	you like being a Senator. No reason 
	why you couldn't come back to that 
	Senate for the rest of your life.

			PAINE
	Jim!

			TAYLOR
		(sharply)
	Just a minute, Joe!

			PAINE
		(fighting)
	You can't say *that* to--

			TAYLOR
	*I* know what I'm doing! I'll say 
	what I *want*!

Paine rushes to the door and is gone. There is silence for 
an instant. Jeff rises.

			TAYLOR
	Sit down, Smith. I'm not through.

Jeff remains standing.

			TAYLOR
	As I was saying--the state *needs* 
	men like you--*smart* men.
		(Indicating the boys)
	Now, these boys are. And they've 
	been doing all right. They don't 
	worry about being re-elected--or 
	anything else. They take my advice--
	and they'll go a lot farther yet. 
	So, you see, you've got a pretty 
	important question to settle for 
	yourself, Smith. But you're smart. 
	You can decide that right now, can't 
	you?

Jeff looks from Taylor to the other boys.

			TAYLOR
		(after a pause)
	Can't you?

			JEFFERSON
		(quietly)
	You mean--you tell these men--and 
	Senator Paine what to do?

			TAYLOR
	Yes! I've told Senator Paine for 
	twenty years--

			JEFFERSON
	You're a liar!

Jeff turns and starts for the door. Taylor rushes after him.

			TAYLOR
	Smith!
		(Stopping him at the 
			door)
	You heard what I said. And I've *got* 
	to have your answer--*now*!
		(As Jeff starts to go)
	Listen. To put it another way--if 
	you've got any fool notion of bucking 
	this thing--if you open your mouth 
	when that bill is read in the Senate 
	tomorrow--if you so much as lift a 
	finger to stop it--you're through--
	like no man *ever* was! I'm all ready 
	for you. Understand? I give you my 
	word on that. You're finished!

Jeff grabs violently for the door and barges out.

			TAYLOR
	I give you my word!

The scene dissolves to PAINE'S PRIVATE SENATE OFFICE, as 
Jeff enters, closing the door behind him. Paine, standing 
near his desk--strained and miserable--cannot meet Jeff's 
accusing, damning gaze.

			PAINE
		(faltering)
	Jeff--I want to talk to you--sit 
	down--

Jeff remains standing--his eyes fixed on Paine.

			PAINE
	Listen, Jeff--you--you don't 
	understand these things--you mustn't 
	condemn me for my part in this without--
	you've had no experience--you see 
	things as black or white--and a man 
	as angel or devil. That's the young 
	idealist in you. And that isn't how 
	the world runs, Jeff--certainly not 
	Government and politics. It's a 
	question of give and take--you have 
	to play the rules--compromise--you 
	have to leave your ideals outside 
	the door, with your rubbers. I feel 
	I'm the right man for the Senate. 
	And there are certain powers--
	influence. To stay there, I must 
	respect them. And now and then--for 
	the sake of that power--a dam has to 
	be built--and one must shut his eyes. 
	It's--it's a small compromise. The 
	*best* men have had to make them. Do 
	you understand?
		(Desperately and with 
			greater emotion as 
			Jeff is silent)
	I know how you feel, Jeff. Thirty 
	years ago--I had those ideals, too. 
	I was *you*. I had to make the 
	decision you were asked to make today.
		(Breaking out)
	And I compromised--yes! So that all 
	these years I could stay in that 
	Senate--and serve the people in a 
	thousand honest ways! You've got to 
	face facts, Jeff. I've served our 
	State well, haven't I? We have the 
	lowest unemployment and the highest 
	Federal grants. But, well, I've had 
	to compromise, had to play ball. You 
	can't count on people voting, half 
	the time they don't vote, anyway. 
	That's how states and empires have 
	been built since time began. Don't 
	you understand? Well, Jeff, you can 
	take my word for it, that's how things 
	are. Now I've told you all this 
	because--well, I've grown very fond 
	of you--about like a son--in fact, 
	and I don't want to see you get hurt. 
	Now, when that Deficiency Bill comes 
	up in the Senate tomorrow you stay 
	away from it. Don't say a word. Great 
	powers are behind it, and they'll 
	destroy you before you can even get 
	started. For your own sake, Jeff, 
	and for the sake of my friendship 
	with your father, please, don't say 
	a word.

Jeff goes out quickly--as Paine stops dead, staring after 
him.

The scene dissolves to the VISITOR'S ROOM adjacent to the 
Senate Chamber, with TAYLOR and PAINE huddled together, 
talking in low tones and rapidly--people occasionally passing 
in the background.

			TAYLOR
	It's in your lap, Joe. Keep an eye 
	on him. If he gets to his feet and 
	says anything--

			PAINE
	It's crucifying him--!

			TAYLOR
	Anything *better* to offer?

			PAINE
	Maybe he won't get up.

			TAYLOR
	But--if he *does*, Joe--

The bell sounds--Paine walks away quickly.

			TAYLOR
		(calling after in low 
			voice--cautioning)
	Joe! If he *does*--!

The scene dissolves to the SENATE CHAMBER, which first reveals 
the PRESIDENT of the Senate speaking.

			PRESIDENT
	--during the consideration of the 
	Deficiency Bill, there is a unanimous 
	consent agreement--

JEFFERSON is seen keeping his head up, his expression 
revealing nothing about what he intends to do.

			PRESIDENT'S VOICE
	--that no Senator shall speak more 
	than once, or longer than five minutes--

PAINE is seen looking over at Jefferson.

			PRESIDENT'S VOICE
	--on any section of the bill. The 
	clerk will begin the reading.

Now the CLERK rises with a copy of the bill in his hands.

			CLERK
		(reading)
	"A bill providing for deficiency 
	appropriations for the fiscal year. 
	Section One. For emergency relief--"

In the VISITOR'S GALLERY, TAYLOR AND MCGANN are sitting 
tensely, looking down on the Senate floor.

			CLERK'S VOICE
	"--to create and erect public 
	improvements on rivers, harbors and 
	roadways in the states of--"

In the SENATE, the CLERK in now half-way through the bill, 
held plainly in his hands.

			CLERK
		(reading)
	"Section Forty: An appropriation for 
	diverting and impounding the 
	headwaters of Willet Creek--"

JEFFERSON is seen alert and anxious and determined.

			CLERK'S VOICE
	"--in the natural basin of Terry 
	Canyon. Five million dollars--"

Jeff leaps up. His hands are clenched. His face is white.

			JEFFERSON
	Mr. President!

TAYLOR AND MCGANN, in the Visitor's Gallery, come forward in 
their seats.

			PRESIDENT'S VOICE
	Does the Senator desire to be heard 
	on Section Forty?

			JEFFERSON
		(on his feet now)
	I do, sir.

			PRESIDENT
	The Senator understands he is limited 
	to five minutes?

			JEFFERSON
		(tense and pale)
	Yes, sir--

In the VISITOR'S GALLERY, Taylor's eyes are darting fire in 
the direction of Paine.

			TAYLOR
		(viciously--under his 
			breath)
	Joe!

			PRESIDENT'S VOICE
	You may proceed.

In the CHAMBER, Paine is seen holding the corners of his 
desk tensely.

			JEFFERSON'S VOICE
	Mr. President--this section of the 
	bill--this dam on Willet Creek is 
	nothing but a--

			PAINE
	Mr. President!

Paine is on his feet. Jeff, puzzled, looks toward Paine and 
stops.

			PRESIDENT
		(to Jeff)
	Does Senator Smith yield to his 
	colleague Senator Paine?

JEFFERSON, his eyes wonderingly on Paine, doesn't know what 
to do for an instant.

			JEFFERSON
		(hesitantly)
	Y-yes.

			PAINE
		(with difficulty--
			while Jeff remains 
			standing)
	Mr. President--gentlemen--I--I have 
	risen to a painful duty--to say that, 
	out of evidence that has come to my 
	attention, I consider Senator Smith 
	unworthy to address this body!

Senators turn around to look at Paine--on such an amazing 
statement. A hum from the gallery. The gavel pounds.

JEFFERSON, seen closely, has his head turned to Paine in 
frank wonderment.

			PAINE'S VOICE
	I--I have hesitated to speak--but, 
	in all conscience--

TAYLOR AND MCGANN are now tense but relieved.

			PAINE'S VOICE
	--I must.

PAINE, seen at close view, is under great strain, looking 
away from Jeff and toward the chair.

			PAINE
	It is a charge as grave and--and as 
	infamous--as has ever been made from 
	the floor against a fellow member--

In the PRESS GALLERY, the Press Men are leaning forward 
alertly--mouths open to catch the next word.

			PAINE'S VOICE
	I refer to the bill he has introduced 
	in this chamber to create a National 
	Boy's Camp. He named a portion of 
	land to be dedicated for that purpose--
		(Hurling his charge 
			with desperate 
			strength)
	and to be bought by contributions 
	from boys all over America.
		(Gritting his teeth 
			to go on)
	Senators--I have conclusive evidence 
	to prove that my colleague *owns* 
	the very land he described in his 
	bill! He bought it the day following 
	his appointment to the Senate! And 
	is holding it--using this body and 
	his privileged office--to legalize 
	an outrageous profit for himself--
	out of the purchase of that land 
	through the nickels and dimes scraped 
	together by the boys of this country--
	!

A close view reveals JEFFERSON, struck dumb and cold--as an 
uproar goes up around him. And a close view shows TAYLOR AND 
MCGANN satisfied, relieved, amid the shouting.

In the PRESS GALLERY, the reporters pile up the narrow aisle 
stairs to the press room behind them, as the uproar in the 
Senate is heard. In the SENATE PRESS ROOM (behind the Press 
Gallery), the press boys come rushing in and dive for the 
telegraphic services of the various newspaper men shouting:

--a near riot! Ranger Smith branded from the floor by--

--Paine hurls sensational graft charge at--

--nothing like it in fifty years! Paine charges Smith using 
office to--

Senate orders immediate hearings--before committee on 
Privileges and Elections--! Most terrific accusation in the 
history of--

The scene dissolves to the SMITH SITTING ROOM in Jackson 
City. It is evening and Ma is surrounded by kids--all staring 
at headlines.

			A BOY
	Jeff--doing anything like that!

			ANOTHER
	They--they're crazy!

Thereupon, in the HOPPER STUDY at night, Hubert, stricken 
numb, is being attacked by his children who have papers in 
their hands.

			PETER
	*Jeff*--take money from *kids*!

			JIMMIE
	It's a *frame*!

			OTIS
	A dirty frame!

			HUBERT
		(calling for help)
	Emma!

The scene dissolves to DOORS in the Senate Building on which 
are printed the words COMMITTEE ON PRIVILEGES AND ELECTIONS; 
and to the COMMITTEE ROOM, with the Committee in session--a 
closed hearing. Kenneth Allen is on the stand.

			CHAIRMAN
	How long have you known Senator Smith, 
	Mr. Allen?

			ALLEN
	Oh--a good many years. He used to 
	use my land up around Willet Creek 
	every summer for his scout camps. 
	Seemed like a mighty nice fellow. 
	And when he can to me with this 
	proposition--

			CHAIRMAN
	What proposition?

			ALLEN
	Why--a deal for those two hundred 
	acres. 'Course, at the time, I didn't 
	know about his appointment to the 
	Senate--or anything like that--

			A SENATOR
	Did he say what he wanted those two 
	hundred acres for?

			ALLEN
	No. He wouldn't tell me at the time. 
	He just made me this proposition. 
	Said he had a great chance to sell 
	that land for about five hundred an 
	acre. If I'd deed it to him for six 
	months, he'd try to turn it over and 
	split what he got for it. I had 
	nothing to lose. I'd be glad to sell 
	for twenty-five an acre. So we set 
	it up like this. I deeded him the 
	land--and *he gave me* a contract 
	guaranteeing me half what he got if 
	he made the sale. Sounded kinda fishy 
	at the time--and when I heard about 
	his camp bill I knew there was some 
	dirty business going on and I went 
	right to Governor Hopper with the 
	whole story--

			CHAIRMAN
	Have you got that contract, Mr. Allen?

			ALLEN
		(going into his pocket)
	You don't think that land would be 
	in his name if I didn't have, do 
	you?

Now Hubert Hopper is on the stand--perspired and anxious.

			HUBERT
	--frankly, gentlemen--the morning 
	Mr. Kenneth Allen burst into my office 
	bringing proof that Jefferson Smith 
	had bought that land--well, frankly, 
	I--I was dumbfounded! Jefferson Smith--
	of all people! *Never* was a chief 
	executive so--so *betrayed* in his 
	child like trust in man! To think 
	that--

			CHAIRMAN
		(interrupting wearily)
	Pardon me, Governor. We're interested 
	in certain facts at the moment. What 
	did you do when Mr. Allen brought 
	this matter to your attention?

			HUBERT
	I consulted at once with the Head of 
	the Department of Records--Arthur 
	Kim.

Now Arthur Kim is on the witness stand--a smooth, shifty, 
careful guy.

			CHAIRMAN
	Mr. Kim--do you remember recording 
	this deed?

			KIM
		(with copy of the 
			deed in his hands)
	Yes, on the date set forth here, Mr. 
	Kenneth Allen came before me to record 
	this deed--setting over these two 
	hundred acres in the name of Jefferson 
	Smith--

			A SENATOR
	Let me understand. Mr. Smith did 
	*not* appear before you?

			KIM
	No, sir. That is not required by our 
	state law--

Now Senator Paine is talking to the Committee with apparent 
difficulty--and reluctance.

			PAINE
	This is a very painful duty for me. 
	This boy is the son of my very best 
	friend. I sponsored him in the Senate. 
	I helped him frame his Bill and the 
	day he presented it I went over to 
	congratulate him but I pointed out 
	that a dam was already going up on 
	the very site he had chosen for his 
	camp. There are hundreds of equally 
	good camp sites nearby and so I 
	suggested he choose another. He became 
	furious. He said, "Move the dam." I 
	was amazed at his violent reaction. 
	I couldn't understand it, until the 
	evidence came to me that he owned 
	those very two hundred acres and, as 
	you have heard, had carefully made 
	plans to make an enormous profit out 
	of the nickels and dimes scraped 
	together by the boys of this country. 
	Faced with that and regardless of my 
	personal feelings for the boy, my 
	sense of duty told me that his 
	expulsion from the Senate was the 
	only possible answer.

Then Jeff is on the stand--grim, determined, while the 
chairman holds the deed and contract.

			CHAIRMAN
		(strongly)
	--what possible explanation can you 
	offer for this charge being--as you 
	say--"trumped up" against you!

			JEFFERSON
		(firmly)
	It was done to stop me from talking 
	about a section of the Appropriations 
	Bill!

			CHAIRMAN
	It was?

			JEFFERSON
	Yes! This was how I could be put out 
	of the Senate and out of the way! 
	They even *promised* me that if I--

			A SENATOR
	Wait a minute. Three days ago this 
	bill was read in detail before the 
	body. Why didn't you object then?

			JEFFERSON
	I wasn't *in* the Senate that day.

			SENATOR
	Where were you?

			JEFFERSON
	To--to a reception--uh--for a princess--
	I forget her name--

After an instant's pause, a quick look passes between the 
Chairman and the Committee.

			CHAIRMAN
	And you say you never signed this 
	contract with Mr. Allen?

			JEFFERSON
	I did not--

			CHAIRMAN
	You've never *seen* this contract.

			JEFFERSON
	Never.

			CHAIRMAN
	But you did *talk* to Mr. Allen about 
	that and--?

			JEFFERSON
	I--I discussed it with him--yes--
	because I--you see, I've always had 
	this camp in mind--but I made no 
	contract with him!

			CHAIRMAN
		(shoving contract at 
			Jeff)
	Then--this is *not* you signature, 
	Senator?

			JEFFERSON
	Looks like it, but--

			CHAIRMAN
	But it *isn't*?

			JEFFERSON
	It couldn't be.

			CHAIRMAN
	You are saying, in effect, that this 
	is a forgery?

			JEFFERSON
	I'm saying I didn't sign it!

We see JEFFERSON'S HAND writing his name--the eighth signature 
in a row. Then a MAN on the stand is comparing papers in his 
hands.

			MAN
	In my professional opinion as an 
	expert on handwriting, I'd say that 
	the name of Jefferson Smith on this 
	contract has been forged--

Then ANOTHER MAN stands before a large screen, with Jeff's 
signature blown up on it.

			SECOND MAN
	--after a long study of this signature 
	it is my professional opinion that 
	it is definitely in Jefferson Smith's 
	own handwriting--!

Then a THIRD MAN is on the stand--with papers spread before 
him--comparing as he talks.

			THIRD MAN
	It is extremely difficult to tell a 
	clever forgery from the real thing. 
	You can always get divided opinions 
	from experts. But I would stake my 
	whole twenty-year professional career 
	on the fact that this is not a 
	forgery, but is Mr. Smith's own 
	signature--

The scene dissolves to TAYLOR'S HOTEL SUITE, at night, Taylor 
eagerly on the phone--McGann excitedly standing by--Paine 
standing in the background thoughtfully. Hubert ("Happy") 
Hopper is also there and looks nervous.

			TAYLOR
		(excitedly)
	Hello! I said *Sam Hendricks*--the 
	editor! Can't you hear? This is Jim 
	Taylor--in Washington. Put him on!
		(A slight wait)
	Hendricks! Jim. It's all over. Smith's 
	hearing's closed--Joe's canvassed 
	the committee--privately. First thing 
	tomorrow in the Senate, they'll bring 
	in a resolution to *expel* him--to 
	throw him out!

			MCGANN
		(exultantly)
	A dead goose!

			TAYLOR
		(into the phone)
	It'll be voted unanimously! Get our 
	papers ready--smear it all over. And 
	the second he's out--the Deficiency 
	Bill passes the Senate--and we're 
	home! Stick close to the office, 
	Hendricks--I'll be calling!

He hangs up. McGann is out of his mind with joy.

			MCGANN
		(to Hopper)
	Your Ranger's on the garbage pile, 
	Happy! He's done for!

			PAINE
		(breaking out wildly 
			at McGann)
	Shut up! You've *got* the man 
	pilloried! Do you have to dance around 
	him like a cannibal--!

			TAYLOR
		(to Hopper)
	By the skin of your teeth you got 
	out of this one, Happy--by the skin 
	of your--!

Paine is going for the door.

			TAYLOR
	Hey--Joe! Where you going? We've got 
	to celebrate tonight!

			PAINE
	No--I--I'll take a walk--
		(He continues out)

The scene dissolves to SAUNDERS' ROOM at night where Saunders 
is standing at her window, looking out absently as Diz walks 
around furiously.

			DIZ
	He's cooked! They'll drum the poor 
	lug out of that chamber tomorrow as 
	sure as I'm--! And now they're all 
	down on him. Yeah--my press pals, 
	too--he's a bad egg--still water 
	running deep. Boloney! It's the frame 
	of all time! When I see a phoney 
	like this--my journalist blood boils--
	I wanna *fight*!
		(Then)
	Look, kid--rack your brains, will 
	you? Haven't you got any confidential 
	stuff on that mob? I'll write my arm 
	off--I'll blow Taylor and his--

			SAUNDERS
		(whirling away from 
			window)
	I've told you ten times--if I had 
	anything they couldn't bat down in a 
	second, don't you suppose I'd've 
	been up in that hearing yelling 
	murder! Sure--he was cooked the night 
	I sounded off like a fool and spilled 
	the whole works!

			DIZ
	Then--in the name of kindness to 
	dumb animals--we can't let him walk 
	into that Senate tomorrow and take a 
	terrible punch in a nose! A couple 
	of us went up there--told him all he 
	could do was beat it--resign--clear 
	out. But--he's in a daze--he's been 
	hit by a ton of bricks. Just says, 
	"I haven't done anything. Why should 
	I resign?" He might *listen* to *you*--

			SAUNDERS
	Why me?

			DIZ
	Come on--don't pull that. You know 
	you'd give your right--. What are 
	you staying away from him for?

			SAUNDERS
	You don't think he'd want *me* within 
	fifty miles, do you?--after the 
	exhibition he saw me give! Did you 
	see his *face*--?

			DIZ
	All I know is--he said to me tonight--
	"What does your wife think?" My wife. 
	Thinks we're married--

			SAUNDERS
	Well, then, that's great! And that's 
	a great place to leave it! It's no 
	use *my* barging into this now and--

A knock on the door stops her.

			SAUNDERS
		(calling)
	Yes!

The door is opened by Paine. He looks from Saunders to Diz--
then back to Saunders. Diz glares at Paine with pretty bold 
contempt.

			PAINE
	I--wanted to see you, Saunders--

Diz grabs up his hat angrily.

			DIZ
	Go ahead.
		(Bitterly--as he passes 
			Paine)
	Well, we certainly hunted that bad 
	Ranger down, didn't we? Good work, 
	*Senator*!

And Diz slams out. Paine and Saunders stare at each other an 
instant. Then:

			SAUNDERS
		(with brutal coldness)
	What do you want, Senator?

			PAINE
	Saunders--it's going to go pretty 
	bad for Jeff tomorrow. There's only 
	one thing that can be done for him 
	now--
		(Taking a folded paper 
			from his pocket)
	I--I've written his resignation. He 
	resigns under protest--denying all 
	charges. No one will ever be sure if 
	he was guilty or not. It leaves him 
	with at least a shred of honor. The 
	other way--branded openly in the 
	Senate--expelled--he'll never live 
	it down. Rather a simple compromise 
	than utter ruin. In a year--the whole 
	thing might be forgotten--

			SAUNDERS
	What are you driving at? You want 
	*me* to get him to sign that?

			PAINE
	Yes--

			SAUNDERS
	Why don't you do it yourself?

			PAINE
	He's lost complete faith in me--

			SAUNDERS
	Well--me, too!

			PAINE
	But--you love him, don't you, 
	Saunders?

			SAUNDERS
	What are you talking about? What 
	difference--?

			PAINE
	Do you?

			SAUNDERS
	All right--*yes*! And what does that 
	make me to him? *Nothing*! I've got 
	to go about my own business--and 
	forget it!

			PAINE
	I thought I could, too.
		(With mocking lightness 
			for an instant)
	*My* business--this fine future! I 
	have no future I *care* about, if 
	this boy is broken! I--I can't sleep. 
	The only important thing in my life 
	now is to save what I can for him. I 
	want him to get a start again--I'll 
	see that he's taken care of as long 
	as he lives--!
		(Then)
	Saunders--whether you ever mean 
	anything to him or not--

			SAUNDERS
	*Me! Me*! I *still* don't see why I 
	should--! If you love him so much, 
	why don't you go to him yourself and--
	? Or better still--get up in that 
	Senate and *fight* for him!

			PAINE
	It's too late now--it's *impossible*!

			SAUNDERS
	So I go right back where I was--
	carrying compromises--covering up--
	back to political tricks--this time 
	for--! No! I was just getting rid of 
	all that. If I did *anything*, I 
	ought to go and tell him to stand up 
	and--. No! I don't want any part of 
	it! Smith or anything else! I'm all 
	through. I want to be left alone!

She turns her back to Paine, and goes to the window. He 
hesitates a moment--then moves to leave, dropping the folded 
paper on the table. He goes. Saunders turns and sees the 
paper. She clamps her jaws and turns away again.

The scene dissolves to JEFF'S PRIVATE OFFICE at night. Jeff 
is behind his desk--only the desk lamp lighted in the room--
sitting numbly, staring ahead blankly. The phone rings--
startling him. He picks it up slowly.

			JEFFERSON
	Hello... Who?
		(Hesitating, making a 
			difficult decision)
	Yes--all right--I--I'll take it.
		(Brightening his voice)
	Hello, Ma.

The SMITH SITTING ROOM, Ma is on the phone.

			MA
		(with a bright, 
			cheerful manner)
	Hello, Jefferson. How are you, son?

In JEFF'S PRIVATE OFFICE:

			JEFFERSON
	Just fine, Ma, fine... No--really, 
	Ma--everything's fine. Uh--how're 
	all the boys?

In the SMITH SITTING ROOM:

			MA
		(tears in her eyes)
	They're wonderful, son. They miss 
	you a lot--

In JEFF'S PRIVATE OFFICE:

			JEFFERSON
		(his chin quivering)
	Do, huh? Well, gee, that's--that's 
	great. How's Amos?... Is, huh? Good 
	for him--

In the SMITH SITTING ROOM:

			MA
		(getting pretty shaky--
			swallowing hard)
	Well--I just got a fool notion to 
	call, that's all. Oh--Jefferson--you 
	know, when a man's right--he don't 
	have to worry none--he'll just 
	naturally come *out* right. We know 
	that, don't we, son?

In JEFF'S PRIVATE OFFICE, we see that Ma has nearly broken 
Jeff down. He hangs on with all he's got.

			JEFFERSON
	Why, sure, Ma, sure.
		(Quickly--to avoid 
			crying outright)
	Well--so long, skinny.

He hangs up quickly--and rises from his chair. He appears to 
have been pushed to the breaking point. In terrible torment, 
he looks out the window. Then, on an impulse, he seizes his 
hat from off the corner of his desk and starts out.

The scene dissolves to the LINCOLN MEMORIAL: Jeff is walking 
up the steps, his eyes lifted up intently to something ahead. 
THE MEMORIAL stands magnificent and breathtaking--lighted up--
in the background, as he mounts the steps. Jeff gains the 
top level and proceeds toward the Lincoln figure, and the 
stone Lincoln comes into view in the background--dramatically 
lighted. He approaches to within fifteen feet of the figure 
and pauses. Now JEFF is scanning the face of Lincoln with a 
tortured expression. Then, he turns away--as if not being 
able to face the spirit of the man--and moves quickly to the 
steps. Then Jeff, nearly blind, stumbling out of the interior 
of the Memorial, comes to a stop at a column--then breaks 
down completely, slipping to the steps at the base of the 
column and burying his face in his hands.

SAUNDERS is standing near another column close by, her eyes 
on Jeff, and is swallowing back her tears. When she hears 
Jeff's sobs, she starts toward him. She comes to him and 
sits down beside him. It is an instant before he realizes 
that anyone is there.

			SAUNDERS
		(quietly)
	Hello.

			JEFFERSON
	Saunders--

He turns away, and tries to recover himself. She waits--
watching him. At last, Jeff can trust himself to talk.

			JEFFERSON
		(attempting lightness)
	Well gee--how--how've you been, 
	Saunders? I--I haven't seen you in--
	. I suppose--now that you're married--

			SAUNDERS
	I'm not.

He stares at her.

			SAUNDERS
	No. That night--I--well, *you* know--
	I was pretty--. No--Diz is a--a sort 
	of brother, that's all--

			JEFFERSON
		(tries to laugh a 
			little)
	That's funny. I thought all along--
		(Then earnestly)
	Gee--I--I'm glad to see you. I 
	*thought* of you--I mean--I wanted 
	to talk to someone and--well--
		(With toss of head at 
			statue)
	--Mr. Lincoln hasn't much to say--
		(Breaking down--
			blurting)
	Saunders--I'm not fit to sit up in 
	the Senate--haven't you heard?--I 
	robbed boys of their pennies and 
	dimes!

He turns away again, to get control of himself, Saunders 
watching him.

			SAUNDERS
		(after a pause)
	What are you going to do?

			JEFFERSON
	I--I don't know. I--I'm afraid they've 
	got me licked.

She takes the resignation from her pocket.

			SAUNDERS
	Jeff--Paine asked me to give you 
	this--your resignation--he wrote it 
	out--

He takes it from her incredulously and begins to read.

			SAUNDERS
		(as she watches him--
			quietly)
	It might save some of the pieces, 
	Jeff. It would leave a doubt about 
	the whole thing--about you. Might 
	blow over, this way.

			JEFFERSON
		(avidly--finishes 
			reading)
	Yeah. I see. Well--that's about the 
	only thing to do. Don't you think?

			SAUNDERS
		(non-committally)
	Well, I guess it's a chance.

			JEFFERSON
	Yeah. I guess--sometimes--Senator 
	Paine must be right. Sometimes you--
	you got to compromise a little--
		(Breaking off)
	And if you say so too, Saunders--if 
	*you* think that's the thing to do--

			SAUNDERS
		(snatching the paper 
			out of his hand)
	I *don't* think that's the thing to 
	do! No! I think what you ought to do 
	is--*fight*!
		(She tears up the 
			paper)

			JEFFERSON
	Wait--

			SAUNDERS
	What you *have* to do is fight!

			JEFFERSON
	But--I've done everything I--

			SAUNDERS
	I don't care *what* you've done! 
	Don't quit. Don't grab a measly chance 
	like this to save a few pieces--other 
	men could--but not you. As long as 
	you lived, you'd remember you ran 
	out and threw this country of yours 
	to the jackals--!

			JEFFERSON
		(burying his head--
			hopelessly)
	Oh--Saunders--

			SAUNDERS
	Jeff--listen--remember the day you 
	got here?--what you said about Mr. 
	Lincoln?--that he was sitting up 
	there--watching--waiting for someone 
	to come along? Well--that was *you*. 
	Someone with a little plain, decent, 
	uncompromising *rightness*--to root 
	out the Taylors--yeah, and really 
	light up that dome for once. This 
	country could use some of that--so 
	could the whole drunken, cockeyed 
	world right now--a *lot* of it! And 
	when the right man comes along--no 
	matter *what* the odds--he can't 
	*ever* quit! A little fellow called 
	David walked out with only a sling-
	shot--but he had the *truth* on his 
	side--

			JEFFERSON
		(still hopelessly)
	Saunders--if there was *any* way--

			SAUNDERS
	We'll *find* one! Only throw 
	compromise out of the window--stick 
	to Jeff Smith, the man who first 
	came to this town--get up and *fight*--
	and we'll find *some* way. I don't 
	know where we'll wind up--but the 
	flag'll be flying--!

Jeff has been coming to life. Now he suddenly leaps to his 
feet!

			JEFFERSON
	Yay!

			SAUNDERS
		(getting up, too)
	Hurray!

			JEFFERSON
	Where do we go from here?

			SAUNDERS
	To a hard night's work, son. Come 
	on!
		(She seizes his hand 
			and pulls him down 
			the steps)

The scene dissolves to the SENATE CHAMBER, as the PRESIDENT 
pounds the gavel.

			PRESIDENT
	The Clerk will call the roll.

The clerk's voice begins to call the names--and the voices 
of Senators answer. The President looks out to JEFFERSON'S 
EMPTY DESK. Then PAINE is seen, also looking at Jeff's desk--
as Paine answers to his own name.

In the packed VISITOR'S GALLERY, as the roll is heard, an 
OLD LADY, who is knitting, and an OLD MAN look down.

			OLD MAN
	Nope. Not here. They never show up 
	to face the music.

			OLD LADY
	Too bad. Might've been a little 
	excitement.

TAYLOR and MCGANN are seen smiling down with satisfaction.

			MCGANN
	Well--wasn't in his room last night. 
	Ten to one he's on a train--headin' 
	home to Ma.

In the PRESS GALLERY SWEENEY and FARRELL are looking at Jeff's 
empty seat.

			SWEENEY
	Well, that's good. Never *could* 
	stand executions--

In the SENATE CHAMBER, the CLERK reads a few names, then:

			CLERK
	Jefferson Smith!

			JEFFERSON'S VOICE
		(ringing out)
	Here!

JEFFERSON enters the Chamber with a brisk step, his head 
held high. The only thing peculiar about him is the bumpy 
appearance of his jacket pockets. In his hands are books and 
papers. Everywhere there are reactions to his appearance. At 
the ROSTRUM, the Clerk, in amazement, has stopped reading, 
and watches Jeff's progress to his desk. The SAUNDERS AND 
DIZ enter the PRESS GALLERY, she carrying a Senate Manual, 
and JEFF takes his seat in the CHAMBER.

Then a hum grows over the packed chamber seen in full view.

			PRESIDENT
		(banging)
	The Clerk will proceed with the roll!

The startled Clerk, proceeds, as JEFF smiles around at the 
chamber, and then looks up at the Gallery, where Saunders is 
waving to him--smiling.

The scene dissolves into the SENATE CHAMBER.

			PRESIDENT
	--proceeding now to the order of 
	business--

			SENATOR'S VOICE
	Mr. President!

The Senator, who was chairman of the Committee on Privileges 
(Dearborn) is on his feet.

			DEARBORN
	In pursuance of the notice I gave 
	yesterday, I desire to call up the 
	report of the Committee on Privileges 
	and Elections on the expulsion of 
	Jefferson Smith.

We see JEFFERSON, smiling a shade sickly, looking up at 
Saunders.

			PRESIDENT'S VOICE
	The Clerk will read the report.

The Clerk rises. Senator Dearborn remains standing as the 
report is read, while in the PRESS GALLERY, SAUNDERS is seen 
indicating "sit tight" to Jeff.

			CLERK
		(reading)
	The Committee on Privileges and 
	Elections report: that it appears to 
	the satisfaction of the Committee, 
	after hearing a number of witnesses, 
	that justice to the Senate requires 
	that Jefferson Smith no longer 
	continue a member of this Body.

There is dead silence in the chamber.

			CLERK'S VOICE
		(as we see JEFF smiling 
			courageously)
	They therefore respectfully report 
	this resoultion with the unanimous 
	recommendation that the same do pass.

			CLERK
		(seen in the full 
			chamber)
	Resolved: That Jefferson Smith be 
	expelled from his seat in the Senate.

There is continued dead silence in the chamber, then a Senator 
rises.

			SENATOR
	Mr. President, I move for the 
	immediate adoption of the Resolution.

In the PRESS GALLERY, SAUNDERS is now signaling frantically 
to Jeff, and then Jefferson and another Senator leap to their 
feet--calling out almost simultaneously:

			JEFFERSON
	Mr. President!

			SENATOR
	Mr. President!

			JEFFERSON
	I addressed the Chair first, sir!

			SENATOR
	I am about to ask for a roll call on 
	the passage of the Resolution--without 
	further delay. The Senator can have 
	nothing to say at this time that 
	would not be either in bad grace or--

			PRESIDENT
	However, Senator Smith is still a 
	member of this Body and as such has 
	equal claim on the attention of the 
	Chair--

			JEFFERSON
	You were about to recognize me, sir--

			PRESIDENT
	That is merely your *impression*, 
	Senator. The Chair has yet to settle 
	the question to its own satisfaction!

In the PRESS GALLERY, on a nudge from Saunders, Diz applauds 
and yells:

			DIZ
	Let him speak!

SWEENEY AND FLOOD also applaud Diz's cry.

In the VISITOR'S GALLERY, the Old Lady and Old Man are leaning 
forward interestedly--eyes bright. This is fireworks. They 
applaud, too, and immediately the sound grows all around 
them from people in the gallery.

In the SENATE CHAMBER, the PRESIDENT bangs his gavel and 
looks up at the gallery.

			PRESIDENT
		(sharply)
	Before proceeding, I should like to 
	remind visitors that they are here 
	as our guests--and ought to behave 
	as such. I might add that their 
	sentiment will certainly in no wise 
	affect the judgment of this Chair.

He pauses and glares out over the Senate.

JEFFERSON is seen waiting for the chair's ruling--holding 
his breath. There is a dead pause, during which Jeff and the 
contending Senator are on their feet. Suddenly, the President 
whips his gavel up and out, like a referee saying "In that 
corner--!"

			PRESIDENT
		(barking)
	The chair recognizes Senator--Smith!

A wave of excited relief sweeps the chamber, while in the 
PRESS GALLERY, SAUNDERS' tense face is thawing out fast.

			JEFFERSON
		(a smile breaking 
			over his face)
	I thank you, sir.

He glances up at Saunders, who smiles back at him.

			JEFFERSON
		(addressing the chair)
	Well--seems like some of the gentlemen 
	are in a pretty tall hurry to have 
	me out of here. The way the evidence 
	stacks up against me, I can't say I 
	blame 'em. But, hurry or no hurry, 
	sir--I've got a few things to say 
	before I leave. I tried saying 'em 
	in here the other day and was stopped 
	colder'n a mackerel. Well, I'm going 
	to get them said now--in fact, you 
	might as well know, I'm not letting 
	myself be expelled from this Chamber 
	until I do.

There is a hum in the Chamber and the gavel pounds. Paine is 
on his feet.

			PAINE
		(above the noise)
	Mr. President! Will the Senator yield?

			PRESIDENT
		(to Jeff)
	Will Senator Smith yield to--?

			JEFFERSON
		(breaking in--loudly 
			and positively)
	*No*, sir! I'm afraid not!

A sudden, astounded quiet.

			JEFFERSON
	I yielded the floor the other day, 
	if you remember--and was practically 
	never heard of again.

A ripple from the gallery. The President pounds his gavel.

			JEFFERSON
	*No*, sir! And we might as well get 
	together on this "yielding" right 
	off the bat. I had some pretty good 
	coaching last night and I find that 
	if I yield only for a question, a 
	point of order, or a personal 
	privilege, I can hold this floor a 
	little short of doomsday. In other 
	words, I've got a *piece* to speak--
	and blow hot or cold, I'm going to 
	speak it.
		(Then--plunging on)
	Mr. President--up on your desk there 
	is a final conference report on a 
	Deficiency Bill--waiting to be passed. 
	Well, I'm here to tell you that one 
	section of it is nothing but a 
	barefaced thievery--a piece of graft--
	!

A hum goes up; the gavel pounds--and Paine has leaped to his 
feet.

			PAINE
		(strongly)
	Will the Senator yield?

			PRESIDENT
		(pounding again)
	Order!
		(To Jeff)
	Will Senator Smith yield to--?

			JEFFERSON
		(breaking in)
	Yield *how*, sir?

			PAINE
	Will he yield for a question?

			JEFFERSON
	Ah, now, that's better.

			PAINE
		(angrily)
	Will he *yield*?

			JEFFERSON
	For a *question*.

			PAINE
	Does my colleague's piece concern 
	Section Forty of the bill--a dam on 
	Willet Creek?

			JEFFERSON
	It does!

			PAINE
	Every *aspect* of this matter--the 
	gentleman's attack on that section--
	everything--was dealt with in the 
	committee hearing--

			JEFFERSON
		(trying to break in)
	Mr. President--

			PAINE
		(continuing)
	I wish to ask the gentleman--has he 
	one shred of evidence to add now to 
	the defense he did not give--and 
	*could* not give at that same hearing?

			JEFFERSON
		(sharply)
	I have no defense against forged 
	papers and--

			PAINE
		(breaking in)
	The committee ruled otherwise! The 
	gentleman stands guilty as charged. 
	And I believe I speak for all the 
	members when I say that no one cares 
	to hear what a man of his condemned 
	character has to say about *any* 
	section of *any* legislation before 
	this house!

Some applause breaks out over the floor--and a commotion in 
the gallery.

			PRESIDENT
		(pounds)
	Order, gentlemen!

			JEFFERSON
	Mr. President--I stand guilty as 
	*framed*! Because Section Forty is 
	graft, and I was ready to say so. I 
	was ready to tell you that one man 
	in my state--Mister James Taylor--
	was putting that dam through for his 
	own profit!

A hum of excitement, and the gavel pounds. We get glimpses 
of Taylor's reaction and Paine's growing dread of this 
outburst.

			JEFFERSON
		(raising his voice)
	A man who controls a political machine--
	and everything else worth controlling 
	in that state--powerful enough to 
	buy men and put them in this Congress 
	to legislate his graft! I saw three 
	of those men--when Mister Taylor 
	came here to see me.

Paine is up again.

			PAINE
	Will the Senator--

			JEFFERSON
	I will not yield, sir! This same man--
	Mister Taylor--came here to offer me 
	a place in this Senate for twenty 
	years, if I would vote for a dam 
	that he knew and *I* knew was a 
	*fraud*! But if I opened my mouth 
	against it, he promised to break me 
	in two! And I stood here one day and 
	tried--I *started* to open my mouth--
	and it all came to pass. The long, 
	powerful arm of Mister James Taylor 
	reached right into this sacred chamber 
	and took me by the scruff of the 
	neck--

Paine is on his feet desperately.

			PAINE
	Mr. President! A point of order!

			JEFFERSON
		(trying to proceed)
	Mr. President--

			PRESIDENT
		(rasping)
	Senator Paine will state it!

			PAINE
	It was *I* who rose in this Chamber 
	to accuse him. He is saying that I 
	was carrying out criminal orders on 
	falsified evidence--

			JEFFERSON
	Mr. President--

			PAINE
	He has imputed to me conduct unworthy 
	a Senator--and I demand he be made 
	to yield the floor--!

			JEFFERSON
	Mr. President--I did not say that 
	Senator Paine was one of those 
	Congressmen I saw. If the chair 
	please, I will deny that Senator 
	Paine *saw* Taylor or even knows him--

			PAINE
	I *did* see Taylor! And I was in 
	that room!

An uproar all over the house. Gavel pounds.

			PAINE
		(raising his voice 
			above noise)
	I accuse this man--by his tone--by 
	his careful denials--he is 
	deliberately trying to plant damaging 
	impressions of my conduct--! *I'll* 
	tell you why we were in tht room. 
	Because Mr. Taylor, a respected 
	citizen of our State, had brought 
	with him the evidence against this 
	man, later presented from this floor, 
	and *we were urging him to resign*--
	!

			PRESIDENT
		(banging)
	Order!

			PAINE
	--to avoid bringing disgrace upon a 
	clean and honorable State!

Jeff now listens in amazement--stunned by the desperate, 
fighting lies of Paine.

			PAINE
		(pitching on)
	But he refused. He threatened to 
	bring that very disgrace down upon 
	the State and all of us--if we did 
	not let him go through with his 
	contemptible scheme!

More commotion.

			PRESIDENT
	Order!

			PAINE
		(shouting)
	Finally, there was only one answer 
	to a man like him--the truth--which 
	I rose and gave to this body!
		(Rising to emphatic, 
			desperate strength)
	Mr. President--he has told lie upon 
	lie--every lie a desperate attempt 
	to conceal his own guilt. And now, 
	he is trying to blackmail this Senate--
	as he tried to blackmail me! To 
	prevent his expulsion, he would 
	probably even try to hold up this 
	Deficiency Bill--vital to the whole 
	country--which must be passed 
	immediately--*today*! *Anything*--to 
	force you to clear his bad name and 
	save his hide!
		(Then)
	Gentlemen--I--I have no more patience 
	with this--this *rascally* character. 
	I apologize to this body for his 
	appointment--I regret I had ever 
	known him. I--I'm sick and tired of 
	this contemptible young man and I 
	refuse to listen to him any longer! 
	I hope every member of this body 
	feels as I do!

With that, Paine walks quickly to the cloakroom door--and 
out. Applause breaks out. The President does not try to compel 
order for a second. Cries break out--from gallery and floor.

			CRIES
	Get off the floor! 
	Yield! 
	Yield!

Boos commence, and we get glimpses of Saunders and the newsmen--
watching Jeff in this tight spot--and of Taylor and McGann, 
with hope in their eyes. Then Senators pop up.

			SENATOR
	Give up this disgraceful stand--and 
	quit the floor!

			ANOTHER SENATOR
	The resolution to expel!

			ANOTHER ONE
	Yield the floor!

			PRESIDENT
		(pounding)
	Please address the Chair--

Cries of "yield" as the gavel raps.

			JEFFERSON
		(above the tumult)
	Mr. President--the gentlemen want me 
	to yield! Well--I *would*, sir--on 
	one condition. These gentlemen won't 
	believe me--but the people of my 
	State will. I want to go back and 
	tell *them* this story. I want one 
	week--and until I get back here and 
	tell you what *they* say--and bring 
	you proof that I'm right--I want the 
	Senate's word that I won't be expelled 
	and that Deficiency Bill will not be 
	passed!

An uprising of men and gavel pounds.

			SENATOR
	Will the Senator yield?

			JEFFERSON
		(staunchly)
	For a question!

			SENATOR
	Has the gentleman the effrontery--
	standing there convicted and in 
	disgrace--to try to force the 
	postponement of that bill--?

			JEFFERSON
	For one week!

			SENATOR
	Is he fully aware that this bill has 
	been months in both Houses--delayed 
	and delayed--millions will be without 
	food and shelter until its passage--
	public works to relieve unemployment 
	will be at a standstill--government 
	agencies will be forced to suspend--
	?

			ANOTHER
	This is unthinkable and an outrage!

			PRESIDENT
	Order!

			JEFFERSON
	The outrage is Section Forty!

			A SENATOR
	Mr. President! If the Senate yields 
	to this form of blackmail--from *this* 
	man--and *this* time--it will become 
	a laughing stock--

			ANOTHER SENATOR
	Mr. President! It's an insult to 
	this body to be asked to listen. An 
	insult to our colleague, Senator 
	Paine. I, for one, will follow the 
	Senator's example and refuse to remain 
	in this Chamber as long as this man 
	holds the floor!

The Senator starts for the exit--many members, with cries of 
agreement, rise and start to move with him. The gavel pounds.

			PRESIDENT
	Gentlemen!

JEFFERSON is seen watching the member's progress toward the 
exits. His attitude is grim and steadfast. After a moment, 
he starts deliberately and calmly to pull small packages and 
a thermos bottle out of his bulging pockets.

			JEFFERSON
		(raising his voice)
	Well then, sir--I guess I'll just 
	have to talk to the people of my 
	State from here.

In the Senate, the members continue out--and the gallery 
leans over to see Jeff calmly continuing to take his packages 
out.

			JEFFERSON
	And I know *one* thing--wild horses 
	aren't going to drag me off this 
	floor till those people've heard 
	everything I've got to say. Not if 
	it takes all winter.

There is some applause in portions of the gallery, while we 
get glimpses of departing Senators--of gallery characters--
of Saunders, thrilled, and excited--of Taylor and McGann, 
who rise and start out. In the PRESS GALLERY, men go tumbling 
up the stairs, and then break into the PRESS ROOM, shouting.

			REPORTERS
	Filibuster! 
	Wow! 
	Filibuster!

In the CHAMBER, emptying of Senators, Jeff is finishing 
arranging his desk and the President is pounding for order.

			JEFFERSON
	Yes, sir. I'll go right on blasting 
	from here--and if I know those people--
	when I'm through--they'll rear up 
	and kick Mister Taylor's machine to 
	kingdom come.

He looks up to SAUNDERS. She indicates the departing Senators, 
and holds up the Senate Manual.

JEFFERSON, catching her signal, picks up the manual, and 
looks at the empty chamber.

			JEFFERSON
	Uh--Mr. President--you and I are 
	about to be alone in here, sir. I'm 
	not complaining for social reasons, 
	but it'd be a pity if the gentlemen 
	missed any of this.
		(Then, referring to 
			his manual--in a 
			business-like tone)
	Mr. President--I call the chair's 
	attention to Rule Five of the Standing 
	Rules of the Senate Section Three. 
	"If it shall be found that a quorum 
	is not present, a majority of the 
	Senators present--," and that begins 
	to look like me--"may direct the 
	Sergeant-at-arms to request, and if 
	necessary *compel* the attendance of 
	the absent Senators."
		(Then-stoutly)
	Mr. President--*I so direct*.

			PRESIDENT
		(to the Secretary of 
			the Minority)
	Ring the call to quorum.

The quorum bell is sounded. Jeff remains standing.

			JEFFERSON
	No hurry, sir--I've got plenty of 
	time--

The quorum bell sounds again.

The scene dissolves to the SENATE PRESS ROOM, as SAUNDERS 
tears up to Diz and grabs him. (In the background, is an 
unholy chatter of typewriters and the jabber of men 
telephoning their stories to the papers, with snatches heard 
like: "--sensational story of graft--"; "--hang on all winter--
won't let bill pass till Taylor machine is blasted--.")

			SAUNDERS
	The war's on!

			DIZ
	He's a house-afire!

			SAUNDERS
	Diz--get what he says to the people 
	back in that State. It's up to you 
	and the boys. Keep those wires hot. 
	Fire away, pal!

And impulsively she kisses him a smack on the cheek and runs 
off. Diz looks after her in a foolish daze. The background 
of boys phoning their stories in, rises to a pitch--as we 
dissolve to newspaper headlines, and then again to HOPPER'S 
EXECUTIVE OFFICE, with Happy Hopper at his desk, on the phone, 
as three of his boys come charging in, waving newspapers.

			HUBERT
		(into phone)
	Amazing! Fantastic!

			THE BOYS
	Pop! 
	Jeff's after 'em! 
	Filibuster!

			HUBERT
		(to boys)
	Silence!

			JIMMIE
	When Jeff gets through with Taylor, 
	Pop--

			HUBERT
		(into the phone; by 
			mistake)
	When Jeff gets through with Taylor--
		(Breaking off, turning 
			viciously on boys)
	Quiet! What do you mean by breaking 
	in here--? Get out! Get *out* of 
	here!

He has risen and is driving the boys out.

At the PET SHOP, REAR OF SMITH HOME, Ma is mixing pet food 
at the center table--surrounded by boys waving papers 
excitedly. The pets are in an uproar.

			BOYS
	Whee! 
	Ma, Jeff's tellin' 'em, Ma! 
	Jeff's gonna talk till doomsday--! 
	He's fightin' 'em, Ma--Jeff won't 
	quit!

			MA
		(calmly going about 
			her business)
	Well, well. Kinda *thought* Jeff 
	wouldn't be comin' home so soon.

			VOICES
	Comin' home--! 
	Look, Ma--look! 
	Read it!

The scene dissolves to TAYLOR'S HOTEL SUITE, with Taylor, 
Paine, Cook, Griffith and three Congressmen under great 
nervous strain. Desks have been moved into the suite, 
telephones are teletype are being installed.

			TAYLOR
		(yelling)
	Where's that Jackson City long 
	distance?

			COOK
		(placatingly)
	Wait now--Hendricks stepped out--

			TAYLOR
		(furiously)
	Why isn't an editor at his desk where 
	he belongs?

			PAINE
	Jim--the boy's talking to that State--
	the story is out--!

			TAYLOR
		(viciously)
	Sure! The fight's in the open now--
	to a finish--!

			PAINE
	And if he can raise public opinion 
	against us--if any *part* of this 
	sticks--

			TAYLOR
	He won't get started! I'll *make* 
	public opinion out there in five 
	hours. I've done it all my life! 
	I'll blacken this punk until--
		(Breaking off)
	Joe--your job is back in the Senate--
	keep those men fighting him *there*.

			PAINE
	I hit him from the floor with 
	everything I knew!

			TAYLOR
	Keep doing it! This is the whole 
	works, Joe--we're out of business of 
	bigger than we then we ever were. We 
	can't miss a trick--we can't stop at 
	*anything*--till this yokel's smashed 
	up and buried so deep he'll never--!

The phone rings, and Griffith picks it up.

			GRIFFITH
		(into phone)
	Yes--*yes*!
		(To Taylor)
	Jackson City--Hendricks!

			TAYLOR
	Joe! Will you go back to that Senate!

Paine turns abruptly and hurries out. Taylor grabs for the 
phone.

			TAYLOR
	Hendricks! Line up all the papers in 
	the State! Don't print a word of 
	what Smith says--not a word of any 
	news story coming out of Washington! 
	Understand? Defend the machine. *Hit* 
	this guy! A criminal--convicted by 
	Senate--blocking relief bill--starving 
	the people. Start protests coming. 
	Wires. Buy up every minute you can 
	on every two-watt radio station in 
	the State. Keep 'em spouting against 
	Smith! McGann's flying out--be there 
	in five hours. Stop your presses--
	yank out the stories you got in 'em 
	now--and get going--*get that whole 
	State moving*--!

In HENDRICK'S OFFICE:

			HENDRICKS
	Okay, Jim. Goodbye.
		(He hangs up the phone, 
			then flips a 
			dictograph key)
	Stop the presses!

The scene dissolves to the JACKSON CITY PRESS--a huge printing 
press--slowing down--and men leaping on it and beginning to 
tear out sheets being printed; then to a RADIO STATION where 
a man is broadcasting.

			MAN
	--Jefferson Smith is guilty! This 
	filibuster is a cowardly attempt to 
	turn your attention from the true 
	facts--!

We see ANOTHER MICROPHONE, at which another man is thundering:

			MAN
		(foaming)
	--it's an open-and-shut case! 
	Jefferson Smith was--

In MA SMITH'S SITTING ROOM, Ma is seen in a rocking chair, 
surrounded by kids--some of whom hold papers. All are 
listening to the radio--the voice of the preceding scene:

			RADIO VOICE
		(continuing from above)
	--caught red-handed--stealing from 
	boys!

A yowl goes up.

			BOYS
		(wildly)
	They're lying! 
	A bunch of lies!

			RADIO VOICE
		(continuing--but lost 
			in uproar)
	A Committee of the United States 
	Senate found him guilty! Like the 
	blackguard he is! He is trying to 
	save what's left of his name--by 
	attacking Joseph Paine, Willet Dam! 
	He doesn't care what it may cost the 
	people of this country--!

			BOYS
		(continuing unbrokenly; 
			waving paper)
	Why don't they tell us what Jeff's 
	saying! 
	Yeah! What about Jeff? 
	They can't say that! 
	What's *Jeff* saying?

We see ANOTHER MICROPHONE and a man broadcasting.

			MAN
	--to gain his own contemptible ends, 
	this man is blocking a bill--

Then a ROOM, with a group of people--a family--listening.

			RADIO VOICE
		(continuing from above)
	--vital to you and this entire nation. 
	Relief will be stopped! Men will be 
	thrown out of jobs--!

Through the last line of the above, the man of the family 
yells:

			MAN
	I always knew that Smith was a phoney!

Then the HOPPER DINING ROOM, with the family at dinner. Four 
of the boys are crowded around Happy Hopper, at the head of 
the table, where a portable radio is blasting away.

			RADIO VOICE
	--and to save his own hide, this is 
	what Jefferson Smith is going to do! 
	He's going to destroy everything 
	Joseph Paine and his political party 
	have done for this State. Joe Paine 
	has brought us great Federal grants, 
	prosperity--and now the Willet Dam. 
	But Smith will destroy that, too--!

			KIDS
	It's a lie! 
	It's a dirty lie! 
	Jeff never destroyed nothin'. 
	What do you mean--'destroy'? 
	How do you get that way?

			HAPPY
		(yelling)
	Quiet!

			EMMA
		(distracted)
	*Will you please sit down to dinner*!

			RADIO VOICE
		(continuing)
	Yes! Jefferson Smith will keep money 
	out of this State, and work for 
	thousands--with a deed and a signed 
	contract against him.

			KIDS
		(wildly)
	It's a frame!... Why don't somebody 
	*do* something?... You *know* it's a 
	frame, Pop!... When ya gonna be a 
	man and stop this dirty Taylor from--
	?

			HAPPY
	Silence! I *am* a man!

The butler has entered while the Radio voice has continued 
with the following:

			RADIO VOICE
	In other words, this man who couldn't 
	get away with stealing money for 
	himself, is going to take money away 
	from you, but he will not get away 
	with it. Citizens of this State know 
	the facts. They will brand Jefferson 
	Smith as he deserves!

			BUTLER
		(raising his voice)
	Mr. Taylor, calling from Washington, 
	sir!

			HAPPY
		(above the clamor)
	What? Who?

			KIDS
	Taylor, Pop! 
	From Washington! 
	Now is your chance, Pop!

Happy switches off the radio and leaps up from the table, 
rushing out of the dining room. The kids, with yells of 
"Zowie," "Wow," and "Taylor, huh?"--rush out of the room 
after Happy.

			EMMA
		(calling after them)
	Hubert! Boys!

Now in TAYLOR'S HOTEL SUITE in Washington, Taylor is on the 
phone, his coat off; in the background a battery of men, 
phones, teletype machine, desks.

			TAYLOR
		(into the phone)
	Happy? What's the matter with you? 
	*Collapsed*? McGann says you're 
	sitting home! I want some action! 
	Get into this!

In the HOPPER LIBRARY, Happy is surrounded by the children, 
shouting:

			KIDS
	Go ahead--tell him, Pop! 
	Talk up, Pop! 
	Tell Taylor it's a frame! Tell him 
	what you think! 
	Tell him to go fly a kite!

			HAPPY
		(into the phone)
	Y-yes, Jim!
		(To boys)
	Please!

In TAYLOR'S HOTEL SUITE:

			TAYLOR
	What's the racket?--You heard me, 
	Happy--stop stalling--*move*!

He slams the receiver. Cook is waving a phone at him.

			COOK
	Clark, Jim--

			TAYLOR
		(grabbing the phone)
	Clark?... Jim Taylor--in Washington. 
	This Smith filibuster--your chain of 
	papers in the Southwest must know 
	that this bill he's blocking affects 
	your section as well as any--it's 
	the patriotic duty of every newspaper 
	in the country to--

In a SENATE CHAMBER, Paine, the Vice-President, and several 
Senators are seen talking.

			FIRST SENATOR
	I've seen filibustering, but this is--

			SECOND SENATOR
	Gentlemen, this can't go on, it's 
	ridiculous!

			THIRD SENATOR
	Henry, we've got to get this man off 
	the floor.

			PRESIDENT
	Boys, as long as Mr. Smith holds 
	that floor legitimately, he's going 
	to continue to hold it. If you ask 
	me, that young fellow's making a 
	whole lot of sense.

			PAINE
	Sense. Do you call blackmail sense, 
	Henry?

			FOURTH SENATOR
	Now look, Joe, I didn't like this 
	boy from the beginning, but most of 
	us feel that no man who wasn't sincere 
	could stage a fight like this against 
	those impossible odds.

			PAINE
	Well, I'm very glad to know that, 
	Martin. After twenty years of working 
	with you fellows, I'm very glad to 
	know you're ready to take his word 
	against mine. That's fine.

			SENATORS
	Ridiculous! 
	Nothing of the sort!

			PAINE
	Oh, yes, that's what it means. If 
	he's just that much right, I'm wrong.

			THIRD SENATOR
	Joe, listen, can't we work out some 
	deal to pull that Willet Dam out and 
	let the Deficiency Bill go through?

			PAINE
	It isn't a question of Willet Dam. 
	It's a question of my honor and 
	reputation and the integrity of the 
	Committee on Privileges and Elections, 
	the integrity of the Senate itself. 
	Well, if you want to throw out Section 
	forty, go ahead. I'll resign and 
	we'll have the whole thing over with.

			SENATORS
	Now, wait a minute, Joe. 
	Wait, wait, wait.

			SECOND SENATOR
	Wait a minute. This is a lot of 
	nonsense. Joe's right. A deal's 
	impossible. We've got to go on just 
	as we've been doing and break him, 
	keep him talking, no relief, maintain 
	a quorum in relays. Is that how you 
	feel, John?

			FIRST SENATOR
	For once I agree with him. Gentlemen, 
	it's time to relieve the men on the 
	floor.

			FOURTH SENATOR
	How can a man as green as that know 
	as much as he does? He can't go on 
	much longer.

The scene dissolves to the SENATE CHAMBER at night, a crowded 
chamber--the gallery full and attentive. Of the Senators, 
some are at their desks, some with backs turned to Jefferson 
and reading, a couple of them dozing, one with his head thrown 
back and a newspaper over his face.

Jeff is standing as his desk reading from the Senate Manual 
in strong, positive tones.

The Senators of the previous scene are entering the Chamber. 
The Vice-President walks to his chair to relieve the Pro 
Tem. As the Majority Leader walks to his desk, he signals to 
several men who are to be relieved. These men rise and saunter 
out. Some forty men, consequently, are in motion.

			JEFFERSON
		(reading)
	"--We hold these truths to be self-
	evident, that all men are created 
	equal, that they are endowed by their 
	Creator with certain unalienable 
	Rights--"
		(He breaks off, 
			remarking the Senators 
			relieving each other--
			dryly)
	Well--looks like the night shift's 
	comin' on.

			PRESIDENT
	The Senator will please suspend until 
	order is restored in the chamber.

A close view of JEFFERSON shows a slight strain after these 
seven or eight hours of continuous talk. His collar is undone, 
his beard has started to sprout. His eyes go back to his 
book, and he continues his reading.

A BROADCASTING STUDIO appears, revealing H. V. KALTENBORN at 
the microphone.

			KALTENBORN
	This is H. V. Kaltenborn speaking--
	half of official Washington is here 
	to see democracy's finest show--
	Washington's uncontrolled filibuster. 
	The right to talk your head off... 
	The American privilege of free speech 
	in it's most dramatic form... the 
	least man in that chamber, once he 
	gets and holds the floor by the rules, 
	can hold it and talk as long as he 
	can stand on his feet--providing 
	always first, that he does not sit 
	down, second that he does not leave 
	the chamber or stop talking. The 
	galleries are packed, and in the 
	diplomatic gallery are the envoys of 
	two dictator powers. They have come 
	to see what they can't see at home--
	democracy in action.

The floor of the SENATE is seen again.

			JEFFERSON
	"--certain Unalienable Rights--that 
	among these are Life, Liberty and 
	the Pursuit of Happiness. That to 
	secure these rights, Governments are 
	instituted among Men, deriving their 
	just powers from the consent of the 
	governed, that whenever any form of 
	government becomes destructive of 
	these ends, it is the Right of the 
	People to alter or to abolish it, 
	and to institute new government, 
	laying its foundation on such 
	principles and organizing its powers 
	in such form, as to them shall seem 
	most likely to effect their Safety 
	and Happiness--"
		(Finishing with a 
			flourish and putting 
			the book down)
	Now, that's pretty swell, isn't it? 
	I always get a great kick outa those 
	parts of the Declaration--especially 
	when I can read 'em out loud to 
	somebody.

He picks up the book and starts to walk with it--stretching 
his legs to get the stiffness out.

			JEFFERSON
		(waving the book)
	You see, that's what I had in mind 
	about camp--except those men said it 
	a little better than I can. Now, 
	you're not gonna have a country that 
	makes these kinds of rules *work*, 
	if you haven't got men who've learned 
	to tell human rights from a punch in 
	the nose. And funny thing about men--
	they start life being boys. That's 
	why it seemed like a pretty good 
	idea to take kids out of crowded 
	cities and stuffy basements for a 
	few months a year--and build their 
	bodies and minds for a man-sized 
	job. Those boys'll be sitting at 
	these desks some day. Yes--it seemed 
	a pretty good idea--boys coming 
	together--all nationalities and ways 
	of living--finding out what makes 
	different people tick the way they 
	do. 'Cause I wouldn't give you a red 
	cent for *all* your fine rules, 
	without there was some plain every-
	day, common kindness under 'em--and 
	a little looking-out for the next 
	fella. Yes--pretty important, all 
	that. Just happens to be blood and 
	bone and sinew of this democracy 
	that some great man handed down to 
	the human race--! That's all! But, 
	of course, if you need to build a 
	dam where a camp like that ought to 
	be--to make some graft and pay off 
	your political army or something--
	why, that's different!
		(Suddenly--with 
			strength)
	No sir! If anybody here thinks I'm 
	going back to those boys and say to 
	'em: "Forget it, fellas. Everything 
	I've told you about the land you 
	live in is a lotta hooey. It isn't 
	your country--it belongs to the James 
	Taylors--!" No, sir, anybody that 
	thinks that has got another think 
	coming!
		(He breaks off, and 
			starts a different 
			tune, apologetically)
	I--I'm sorry to be coming back to 
	that and--I'm sorry I have to stand 
	here--it's pretty disrespectful to 
	this honorable body. When I think--
	this was where Clay and Calhoun and 
	Webster spoke--Webster stood right 
	here by this desk--why, in the first 
	place--an' I hate to go on trying 
	your patience like this--but--well, 
	I'm either dead right or I'm *crazy*!

			A SENATOR
		(looking back and 
			calling out dryly)
	You wouldn't care to put that to a 
	vote, Senator?

A ripple of laughter. The gavel pounds. Another Senator is 
up.

			SENATOR
	Will the Senator yield for a question?

			JEFFERSON
	I yield.

			SENATOR
	In view of the gentleman's touching 
	concern for the Senators, would he 
	permit a motion to recess until the 
	morning--at which time he could 
	continue to educate this august body 
	with his profound babblings?

Jeff pauses. He looks up. Senators come up from under their 
newspapers on the alert. Maybe this is the trick that 
dislodges him.

We see SAUNDERS, shaking her head, pointing Jeff's attention 
to the Chair; then JEFF looking down from Saunders, then 
around him suspiciously.

			JEFFERSON
		(addressing the Chair)
	Well, now--I wouldn't know about 
	that. Mr. President--what happens to 
	me in the morning--I mean about my 
	having this floor to go on babbling?

			PRESIDENT
		(seen if a full view 
			of the Chamber)
	If the Senator permits this motion 
	to recess he will not have the floor 
	in the morning to babble or anything 
	else, unless he is recognized first 
	by the Chair.

With a wise expression, Jeff picks up where he left off way 
back. (Saunders and Diz leave the Press Gallery in this 
scene.)

			JEFFERSON
	I see, well, as I was saying, 
	gentlemen--I'm either right or crazy. 
	And I feel fine.

The Senators go back under their newspapers. The ruse didn't 
work.

			JEFFERSON
	The people of my State have got both 
	ears full by this time. They're 
	probably rising up and starting here 
	in droves just about now--so I think 
	I'll go on talking until I hear from 
	them.

			PAGE BOY
	Here you are, Senator, from Miss 
	Saunders.
		(Hands Jeff the 
			Constitution)

			JEFFERSON
	Oh! Thanks.
		(The Page Boy shows 
			he still has on his 
			ranger button)
	Well, the Constitution of the United 
	States--
		(Reading)
	Article one--section one.

The scene dissolves to a STREET in JACKSON CITY, at night; 
to a parade of which we see the torchlights and hear the 
noise of bands and shouts. A huge banner is seen extended 
across the marchers, reading:

			MASS MEETING
			Jackson City Hall

This banner passes and another comes forward which reads: 
PROTEST SMITH FILIBUSTER. Then we see the PUBLIC AUDITORIUM 
at night, people jamming the entrance and milling around 
outside. AT THE ENTRANCE, groups are seen being told that 
the place is "full up," with no seats. Then we are in the 
AUDITORIUM, where several prominent citizens are seated on 
the platform, among them Happy Hopper. Happy mops his brow 
in extreme discomfort. Kenneth Allen is addressing the 
assembly, rabble-rousing.

			KENNETH ALLEN
	He's a red-handed criminal, that 
	Jefferson Smith, going to block that 
	dam--keep money and employment out 
	of your State--stop relief to starving 
	millions! Are we going to let a 
	scoundrel like that throw mud at a 
	man like Joe Paine?

A shout of "no!" is thrown back at him.

			ALLEN
	Are you for Joe Paine?

A yell goes up.

			ALLEN
	Then *tell* him you are!

Another cheer, and at this point, somewhere in the AUDITORIUM, 
a youngster yells down with all his might:

			KID
	Hurray for Jeff Smith!

But simultaneously with his yelling, and right at the end of 
the cheer, the band strikes up "Stars and Stripes Forever." 
The kids are drowned out and almost immediately are seized 
by the scruff of the neck, hands clasped over their mouths, 
and dragged out. The scene dissolves to HEADLINES flying up 
to screen, capping Allen's request:

			WIRE
			CONGRESS! STOP SMITH!

This dissolves to the JACKSON CITY PRESS OFFICE, with MCGANN 
at a desk, surrounded by a few other men.

			MCGANN
		(talking excitedly 
			into the phone)
	We're burnin' 'em up, Jim! Got every 
	paper in the state tied up except 
	the Clarkville Courier up near 
	Sweetwater.

In TAYLOR'S HOTEL SUITE in Washington:

			TAYLOR
	Well, buy it--or *wreck* it!

In the SENATE UPPER CORRIDOR, SAUNDERS AND DIZ are pushing 
out of one of the gallery doors and through the crowd; Diz 
has Saunders by the hand.

			SAUNDERS
		(in alarm)
	What is it, Diz?

He stops with her in a relatively uncrowded spot.

			SAUNDERS
		(again)
	Diz!

			DIZ
		(excitedly)
	Kid--he thinks he's talking to that 
	mob at home, but not a line we've 
	written--not a word he's said from 
	that floor has gotten into that home 
	State.

			SAUNDERS
	What!

			DIZ
	Not a word! Taylor's sewed up every 
	paper. They're tossing out everything 
	that comes in over the wires!

			SAUNDERS
		(exploding)
	Freedom of the press! Mr. James Taylor 
	blindfolding a whole State--
		(Then suddenly)
	Wait a minute! If that's how he wants 
	to play *I'll* get through to that 
	bunch--I'll get plenty of words into 
	that, State--!
		(Grabbing Diz)
	Come on, Diz, get that stuff you've 
	written--let me have it--

She pulls him along quickly.

The scene dissolves to JEFFERSON'S OFFICE at night, with 
Saunders on the phone--a sheaf of papers in her hand, Diz 
alongside.

			SAUNDERS
		(eagerly)
	Hello! Hello! Mrs. Smith? This is 
	Saunders, in Washington... Yes--
	Saunders--that's right. Listen...oh, 
	he's fine--great. Don't you worry. 
	Ma--look--Jeff has a paper there--
	"Boy Stuff," that's right. Well, 
	look--they aren't letting what Jeff 
	says into the State. If I give you a 
	raft of it over the phone now, will 
	you print it up and spread a billion 
	copies of it?--Swell! Take this down, 
	Ma, will you?

In MA SMITH'S SITTING ROOM, Ma is on the phone, several boys 
around her. (A clock here shows the hour to be about 10:21.)

			MA
		(turning from the 
			phone)
	Boys--everything about Jeff--get 
	pencils and paper!

With a yowl the boys scramble around.

			MA
		(into the phone--with 
			a smile)
	One second--*Clarissa*!

The boys pile around with pads and pencils.

			BOYS
	Okay, Ma!

			MA
		(into the phone)
	Shoot, Clarissa!

And little Bobby, with a bugle, raises it and blows a 
tremendous, exultant blast!

The scene dissolves to a MONTAGE presentation of the conflict 
between the Taylor-McGann press and the youngsters' press: 
First Saunders is on the phone, reading material to Ma.

			SAUNDERS
	--the Willet Dam is a graft to line 
	the pockets of the Taylor machine. 
	Taylor has bought off Congressmen 
	for years and has systematically 
	robbed the people. He offered Jeff a 
	seat in the Senate for life if he 
	would vote as he was told.

This is contrasted with Taylor, with a sheaf of papers in 
his hand, reading over the phone:

			TAYLOR
	--Chick--I want the whole morning 
	edition a blast to push him off the 
	floor! Campaign for protests--wires! 
	Here's your front page editorial: "A 
	convicted thief, representing you, 
	holds the floor of the United States 
	Senate--"

From the above starts by Saunders and Taylor there follow 
the words of Saunders being taken down on a broken little 
portable typewriter, by one of the kids, with other kids 
bringing him sheets of paper in longhand.

Contrasted is McGann listening in, while beside him a couple 
of men with earphones pound professionally at typewriters. 
The sheets are grabbed out of their rollers by runners who 
tear out of the office with them.

We see the kids setting type laboriously.

Contrasted are linotypists of the Jackson City Press.

The kids cut their paper to size on a little hand apparatus.

Contrasted, we see the huge rolls of paper being set in the 
giant presses.

We see the kids composing and locking their type in little 
flats.

Contrasted are the moulds being put into place on the Jackson 
City Press rollers.

We see the little press starting up, hand fed, and pumping 
out one little circular at a time.

Contrasted is the whirling giant press rattling out at trip-
hammer speed.

Back to the little press, pumping out boldly printed 
circulars; with headlines that read:

			PEOPLE OF THIS STATE!
			READ JEFF'S STORY

			JEFF SMITH SPEAKS TO YOU!

			SMASH THE TAYLOR MACHINE!

			JEFF SMITH IS FIGHTING GRAFT

Contrasted is the whirling Jackson City Press. Over it 
headlines flash up:

			SMITH FORCING NATION TO CRISIS!

			STOP SMITH!

			PROTEST!

Then a CARTOON is seen depicting Jeff with a little whiskbroom 
sweeping back an ocean labelled "PUBLIC CONDEMNATION."

Then another cartoon showing a line of haggard people at a 
window marked "RELIEF FUNDS." A man at the window holds up 
his hand, palm out, and says: "Sorry, Jefferson Smith is 
still talking."

Back to kids who are stacking and tying bundles of circulars.

Contrasted, we see the professional stacking and tying of an 
army of workers in the Jackson City Press rooms. (Perhaps 
showing a change of shifts--fresh men coming in, as the gong 
sounds and shows that it is five o'clock in the morning.)

Back in the Smith home, with the kids still active and the 
press still going. Ma is giving the kids coffee. One kid is 
bobbing at a desk. A big boy is putting a little fellow, 
sound asleep, down on a bed.

The scene dissolves to bobbing Senators at their desks in 
the United States Senate. JEFF is seen still talking. His 
hair is disheveled, he is weary in the joint, with black 
circles under his eyes, collar open. Jeff is saying:

			JEFFERSON
	--there just can't be any compromise 
	with inalienable rights like life 
	and liberty. That's about the only 
	thing I know for sure--and that's 
	about all I got up on this floor to 
	say--when was it? A year ago, it 
	seems like--

Further impressionistic views of the Chamber: the clock, 
more sleeping attitudes of the Senators, a weary Vice-
President Pro Tem, the sprinkling of people in the gallery, 
made up of the night or early morning birds such as a fellow 
in top hat and muffler, a milkman, a street car conductor.

Back to all sorts of little vehicles--play wagons, bicycles, 
scooters, etc.--collected in Jeff's back yard as piles of 
circulars are carried out and loaded on these contraptions. 
Some of the kids are starting away with their bundles. The 
bugle note sounds over the scene.

Contrasted, at the Jacskon City Press, the morning extra is 
being loaded on big, handsome trucks which roar away.

Then the distribution of the reading matter by both Taylor's 
press and the kids'. We see Taylor's trucks dumping bundles 
at street corners to newsboys.

Jeff's kids race down residence blocks throwing circulars on 
lawns, passing them out on business streets, shoving them 
into people's hands--at crowded street corners, at factory 
entrances.

Taylor's newspaper boys are interspersed, hawking their 
papers. (End of the montage.)

In the JACKSON CITY PRESS OFFICE, McGann is on the phone, 
with men rushing into him with copy.

			MCGANN
		(shouting)
	That's right, get out every piece of 
	loud speaker equipment on wheels--!

He is interrupted by a man who rushes in with some leaflets 
in his hand.

			MAN
	Chick, Chick, look--"Boy Stuff" 
	circulars--peddled by nine million 
	kids--

			MCGANN
		(grabbing the leaflets, 
			yelling)
	Well, what are you standin' for? Get 
	the boys out! Kill it!

The scene dissolves to RESIDENCE BLOCKS, three episodes, 
showing a couple of kids rushing along with a wagon full of 
circulars and other kids taking from it to distribute them. 
A big open truck swerves up to the curb. A couple of men 
rush out, push the kids away from the little wagon, grab the 
circulars, and toss them into the truck. The kids raise a 
hue and cry and pile on. A quick free-for-all in which the 
kids are sent sprawling--a smack to the jaw, a kick.

This dissolves to A SLUM LOCATION: A large truck is loaded 
with signs, is surrounded by shabbily-dressed men. McGann is 
on hand, with a fist full of money. Signs are being passed 
down to the waiting men and, as each takes one, McGann slips 
a bill into his hand and he hurries off with a sign. The 
signs carry these appeals: "STOP SMITH!" "WIRE CONGRESS!" 
"STOP SMITH--WE WANT TO EAT." "CRIMINAL SMITH TALKS AND 
AMERICANS STARVE!" "HERO JOSEPH PAINE." "JOE PAINE SAVED 
YOUR STATE."

Then we see an overlapping series of posters going up--a 
banner being hoisted over a street. Men pasting up huge twenty-
four sheets and three sheets--and little cards tacked to 
telegraph poles and sides of buildings. They read: "STOP 
SMITH! WIRE CONGRESS." A piece of bunting, folded up, suddenly 
is pulled open to reveal STOP SMITH! Now we are in a STREET 
at the front end of a small but boisterous parade, composed 
principally of adults with a sprinkling of kids. Both adults 
and a few children, flanking the marchers, play instruments. 
There are banners at the end of the parade which read: "DOWN 
WITH GRAFT--AND TAYLOR!"

"SMASH THE TAYLOR MACHINE!"--"SMITH IS FIGHTING YOUR BATTLE!" 
"JEFF SMITH WAS FRAMED!" "HAVE JEFF SMITH AND A CLEAN STATE!"

Suddenly, those in the forefront look off in horror as almost 
simultaneously they are hit by a might stream of water. We 
see a fire truck and hoses pouring water, held by a couple 
of firemen, with the aid of a plug-ugly. There are glimpses 
of people as they are swept off their feet and whirled 
violently on the ground. Simultaneously a calliope is heard. 
Down the street comes the truck pulling a tremendous poster 
on which is printed; "STOP JEFF (JUDAS) SMITH!" This truck, 
with calliope playing, moves through what remains of the 
parade. A loud speaker attached, bawls out:

			LOUD SPEAKER VOICE
	Stop Smith! Remove this scoundrel 
	from the Senate! Wire Congress!

This dissolves to a CORNER. A soap box is surrounded by a 
small group which is in the act of forming.

			SOAP BOXER
		(yelling)
	Smith was framed! Don't believe the 
	papers! James Taylor owns them.
		(Waves a circular)
	If you want the truth, read--

The small group is rushed by some professional hoodlums. 
They charge through the group and the soap boxer is dragged 
from his perch. At this instant a screaming siren is 
overheard. People pause to look up. Then a MOVING AIRPLANE 
is seen, with siren screaming, pulling a streamer on which 
are the the letters: "STOP SMITH! WIRE CONGRESS!"

			LOUD SPEAKER VOICE
	Stop Smith! It's the duty of every 
	citizen--

Various groups of people in the streets are looking up--people 
raising their windows to look out, people rushing out of 
doors from factories and public building as the loud speaker 
continues:

			LOUD SPEAKER VOICE
	--to wire Congress! Put Smith out of 
	the Senate! Pass the Deficiency Bill. 
	Wire Congress--in the name of the 
	needy and hungry Americans!

But in a STREET, there appears the car of the Governor's 
children, and it is pulling a trailer on which small hand-
painted posters lean against each other. These posters bear 
the words: "STAND BEHIND JEFF" and "READ WHAT TAYLOR'S PAPERS 
WON'T PRINT." The Governor's kids are recognized in this car 
and also the little boy with the bugle who is playing one 
continuous blast. The kids are throwing circulars to the 
left and right as they move down the street. Suddenly a big 
touring car with some plug uglies in it bears down with a 
roar on this little trailer. They run into it--gasoline is 
either poured on it or the gasoline tank is drilled with a 
bullet and a match is set to the whole works. The trailer 
and the car go up in a blaze as the kids scramble out to 
save their lives.

The scene dissolves to the HOPPER EXECUTIVE OFFICE, in which 
Hubert is on the phone, raging:

			HUBERT
	Are you Commissioner of Safety or--? 
	*Hoodlums*! Taylor's hoodlums are 
	running riot in the streets! Even 
	children are not safe--hospitals are 
	filled! I won't stand for this 
	violence--

And in the SMITH HOME, the place is still whirling. The kids 
are working away. One of them is speaking into an amateur 
radio excitedly--with a circular in his hands.

			KID
		(on radio)
	Fellas--tell your folks--the Taylor 
	machine is framing Jeff Smith! Here's 
	Jeff's story--put it down--!

He breaks off as shouts are heard outside. About three 
gorillas are pushing their way into the office. A group of 
kids has evidently been fighting them from the time they 
entered the house. The kids are yelling: "What do you want 
in here?" "Who are you?" "Get out of here!" The men throw 
off the kids and advance to both the press and the amateur 
radio. One of them takes a small object that looks like a 
hand grenade out of his pocket and hurls it at the press. 
There is an explosion. The men duck and run. A couple of 
kids clutch their faces and scream. The press stops. 
Simultaneously one of the other gorillas has thrown himself 
at the amateur radio. He starts pulling it apart.

Next MA is on the phone.

			MA
		(frantically)
	Saunders! Is that you, Saunders?

And we see SAUNDERS on the phone.

			SAUNDERS
	Yes, Ma!
		(She listens)
	What!

In the SMITH HOME:

			MA
		(wildly)
	Yes! Bombs--acid! Children hurt! All 
	over the city! Tell Jeff to stop! 
	It's no use. They--they'll just kill 
	*him* if he goes on--and everybody 
	else! It isn't worth it, Saunders--

SAUNDERS is seen paralyzed, holding the receiver as Ma's 
voice screeches through.

			MA'S VOICE
	*Tell him to stop*!

H. V. KALTENBORN is seen again, broadcasting.

			KALTENBORN
	Senator Smith has now talked for 
	twenty-three hours and sixteen 
	minutes. It is the most unusual and 
	spectacular thing in the Senate 
	annals. One lone and simple American 
	holding the greatest floor in the 
	land. What he lacked in experience 
	he's made up in fight. But those 
	tired Boy Ranger legs are buckling; 
	bleary eyes, voice gone, he can't go 
	on much longer and all official 
	Washington is here to be in on the 
	kill.

In the SENATE PRESS GALLERY, Saunders and Diz are seen.

			JEFFERSON'S VOICE
	No, sir, there's no compromise with 
	truth. That's all I got up on this 
	floor to say--when was it--a year 
	ago, it seems like.

			SAUNDERS
	Diz, I'm afraid. Terrible things are 
	happening. I've got to stop him.

			DIZ
	They're listening to him. Anything 
	might happen now.

			JEFFERSON
	Just get up off the ground, that's 
	all I ask. Get up there with that 
	lady that is up on top of this Capitol 
	dome--that lady that stands for 
	liberty, take a look at this country 
	through her eyes if you really want 
	to see something and you won't just 
	see scenery--you'll see the whole 
	parade of what man's carved out for 
	himself after centuries of fighting 
	and fighting for something better  
	than just jungle law, fighting so's 
	he can stand on his own two feet--
	free and decent, like he was created--
	no matter what his race, color or 
	creed. That's what you'll see. There's 
	no place out there for graft or greed 
	or lies or compromise with human 
	liberties. And if that's what the 
	grown-ups have done to this world 
	that was given to them we'd better 
	get those boy's camps started fast 
	and see what the kids can do and it 
	is not too late because this country 
	is bigger than the Taylors, or you 
	or me, or anything else. Great 
	principles don't get lost once they 
	come to light. They're right here. 
	You just have to see them.

			PAINE
		(rising at his desk)
	Mr. President, will the Senator yield 
	for a question?

			PRESIDENT
	Will Senator Smith yield to his 
	colleague?

			JEFFERSON
	Yes, sir, I yield for a question.

			PAINE
	The gentleman has said repeatedly 
	that he is speaking to the people of 
	his State. He has been waiting, as 
	he so fancifully puts it, for them 
	to come marching here in droves. 
	Would the gentleman be interested in 
	knowing what those people have to 
	say?

In the PRESS GALLERY:

			SAUNDERS
	Here it comes, Diz.

On the FLOOR again:

			JEFFERSON
	Yes, sir, you bet I would.

			PAINE
	Mr. President, have I permission to 
	bring into this Chamber evidence of 
	the response from my State?

			PRESIDENT
	Is there objection?
		(There is none)
	You may proceed, Senator.

			PAINE
	Page boys!

Now a number of page boys enter, carrying down and placing 
before the President's ROSTRUM many WIRE BASKETS, filled 
with telegrams. The view picks out SAUNDERS.

			SAUNDERS
	I can't stand it, Diz. I can't stand 
	to see him hurt like this.

			A MAN
	Public opinion made to order.

			DIZ
	Yeah, Taylor made.

SENATOR PAINE walks down and points to the baskets.

There it is, there's the gentleman's answer. Telegrams, five 
thousand of them, demanding that he yield the floor. I invite 
the Senate to read them. I invite my colleague to read them. 
The people's answer to Mr. Jefferson Smith.

			SAUNDERS
		(seen getting up and 
			screaming)
	Stop, Jeff, stop!
		(Her voice is lost in 
			the tumult)

JEFFERSON has gone wearily to the baskets. He seizes handfulls 
of telegrams at random and glances at them. He sags in 
despair, almost falling.

			JEFFERSON
		(with effort)
	I guess this is just another lost 
	cause, Mr. Paine. All you people 
	don't know about lost causes. Mr. 
	Paine does. He said once they were 
	the only causes worth fighting for, 
	and he fought for them once, for the 
	only reason that any man ever fights 
	for them. Because of just one plain, 
	simple rule, "Love thy neighbor," 
	and in this world today, full of 
	hatred, a man who knows that one 
	rule has a great trust. You knew 
	that rule, Mr. Paine, and I loved 
	you for it, just as my father did. 
	And you know that you fight for the 
	lost causes harder than for any 
	others. Yes, you'd even die for them, 
	like a man we both know, Mr. Paine. 
	You think I'm licked. You all think 
	I'm licked. Well, I'm not licked and 
	I'm going to stay right here and 
	fight for this lost cause even if 
	this room gets filled with lies like 
	these, and the Taylors and all their 
	armies come marching into this place. 
	Somebody'll listen to me--some--

The chamber whirls in front of Jeff's eyes--and he pitches 
forward to the floor. People get to their feet automatically 
all over the house--and there is dead silence except for 
SAUNDERS, who utters one shriek as she gets to her feet--
then stands unable to move.

Then PAINE rises stiffly--his face a complete blank--and 
starts toward the cloak room, several feet away.

The tense, silent shock of the Senate floor is broken and 
men start for Jeff's inert form. A tumult goes up, and 
JEFFERSON is seen inert--completely gone--as men surround 
him. And then--suddenly--off-scene--a pistol shot is heard. 
Heads turn violently in the direction of the cloak room. 
Women scream.

In the CLOAK ROOM, near the door to the Chamber, Paine is 
now struggling with three or four men, who wrest a revolver 
out of Paine's hand. In violent desperation, Paine tears 
himself loose and rushes for the chamber.

In THE CHAMBER Paine comes toward the center aisle. (Jefferson 
still lying face down on the floor.)

			PAINE
		(crying out to the 
			Chair)
	Expel *me*! Not him. *Me*!

He continues toward the chair as he talks--a man distracted--
the whole house on its feet.

			PAINE
	Willet Dam is a fraud! It's a crime 
	against the people who sent me here--
	and *I* committed it!

PAINE walks mechanically toward the chair.

			PAINE
		(shouting)
	Every word that boy said is the truth! 
	I'm not fit for office! I'm not fit 
	for any place of honor or trust in 
	this land! Expel me--!

			SAUNDERS
		(wildly, clutching 
			Diz)
	He did it.

			DIZ
	Wait a minute. I've got to write 
	this story.

			PRESIDENT
		(pounding vainly with 
			his gavel)
	Order, gentlemen, please.

			DIZ
		(to Saunders)
	Will you please let go of me.

			SAUNDERS
		(screaming)
	He did it! Yippee!

The scene dissolves to the HOPPER KIDS, a newspaper between 
them--and just yelling at the tops of their lungs:

			BOYS
	Yeow!

And this is followed by a BONFIRE SCENE, with Boy Rangers 
leaping and yelling; and then we see the WINDOW of the offices 
of the JACKSON CITY PRESS at night, where a rock goes crashing 
through the window, smashing it to smithereens.

This dissolves to HOPPER'S EXECUTIVE OFFICE, in which HOPPER 
is surrounded by Edwards and the other members of the 
Citizen's Committee. Happy is a lion at bay.

			HUBERT
		(yelling into their 
			teeth--in violent 
			indignation)
	Resign! Resign! Who found this 
	magnificent young American? Who went 
	down alone--in the dead of night--
	and sought out this Lincoln--this--
	Resign! Why, I've just begun! I'll 
	find *more* Jefferson Smiths! I'll 
	clean out of our glorious state every 
	*vestige* of James Taylor--I'll--

Now we are in a STREET, in daylight, with the BOY RANGER 
BAND marching--playing a martial air--confetti falling on 
them. JEFFERSON AND SAUNDERS are in the back of an open car--
band--cheers--confetti! They are both rather dazed. A huge 
placard, carried by a Boy Ranger, reads:

			JEFFERSON TO THE SENATE

			FOR LIFE!

There is a BAND, and there is much cheering. Then the GOVERNOR 
AND MRS. HOPPER are seen in the back of an open car. (Band 
and cheers and confetti.) Happy is bowing to left and right--
all smiles. He pauses to say:

			HUBERT
	Emma--it's the White House--no less!

JEFFERSON AND SAUNDERS are in the open car; Jeff looks off, 
and is suddenly at attention.

In a GROUP ON THE SIDEWALK, Joseph Paine is watching the 
parade. Suddenly Jeff leaps out of the car and heads for the 
curb. Saunders tries to stop him. JEFF is pushing through 
the crowd--and grabbing for PAINE, who has fearfully started 
to move off.

			JEFFERSON
	Please, sir!--come with me!

			PAINE
	No, Jeff--please--!

			JEFFERSON
	I say it's *your* parade, sir! You've 
	*got* to come!

He pulls Paine with him--back toward the automobile. The 
people mill around them.

The scene dissolves to the SMITH LIVING ROOM, as Jeff and 
Saunders and Paine enter to Ma, who is waiting. (Outside we 
still hear the band and cheers.)

			MA
		(kissing Jeff's cheek)
	Hello, Jefferson.

			JEFFERSON
	Hello, Ma.
		(Indicating Saunders)
	Clarissa, Ma. She'll be stayin' a 
	while--

			MA
		(takes Saunders' hands)
	Fine--

			JEFFERSON
	And Senator Paine too, Ma--we'd like 
	to have him--

			MA
		(warmly)
	Certainly would, Joseph.

			JEFFERSON
	How's Amos, Ma?

			MA
	Just fine.

			JEFFERSON
		(taking Saunders' 
			hand)
	We'd better see.

			SAUNDERS
	Jeff--wait--they want you to speak!

			JEFFERSON
	Not *me*! Joseph Paine is the man 
	they ought to be listening to! Come 
	on!

He drags her off toward pet shop--Paine calling after him, 
protesting.

And in the PET SHOP: Saunders and Jeff are seen entering. On 
seeing Jeff, the animals go berserk. And in a comparative 
lull Jeff says to them:

			JEFFERSON
	Meet Clarissa, fellas.

And the scene fades out.

			THE END


All movie scripts and screenplays on "Screenplays for You" site are intended for fair use only.