MEET JOHN DOE
Written by Robert Riskin
based on a story by Richard Connell and Robert Presnell
Ext. Bulletin Office - Sidewalk.
Close-up: Of a time-worn plaque against
the side of a building. It reads:
"A free press for a free people."
While we read this, a pair of hands
come in holding pneumatic chisel which
immediately attacks the sign. As the
lettering is being obliterated,
Dissolve to: Close-up: A new plaque
on which the lettering has been changed
THE NEW BULLETIN
"A streamlined newspaper for a streamlined
Cut to: Int. Bulletin outer office.
Full shot: Of a mid-western newspaper
Med. shot: At a door at which a sign-painter
works. He is painting HENRY CONNELL's
name on the door. It opens and a flip
office boy emerges. The painter has
to wait until the door closes in order
to resume his work.
Full shot: Of the outer office. The
activity of the office seems to suddenly
cease, as all eyes are centered on the
Med. shot—panning: With the office boy—who
has a small sheet of paper in his hand.
He walks jauntily to a desk, refers
to his paper, points his finger to a
woman, emits a short whistle through
his teeth, runs a finger across his
throat and jerks his thumb toward managing
editor's office. The woman stares starkly
at him while her immediate neighbors
look on with sympathy. The office boy
now goes through the same procedure
with several other people. All watch
him, terror written in their eyes.
Med. shot: Toward CONNELL's office door
where painter works. It opens and three
people emerge. Two men and a girl. The
girl is young and pretty. All three
look dourful. The painter again has
to wait for the door to shut before
resuming his work. The two men exit.
The girl suddenly stops.
Close shot: Of the girl. Her name is
ANN MITCHELL. She stands, thinking,
and then suddenly, impulsively, wheels
around. Camera pans with her as she
returns to CONNELL's office door, flings
it open and disappears. The painter
remains poised with his brush, waiting
for the door to swing back. There is
a slight flash of resentment in his
Int. CONNELL's office. Full shot: CONNELL
is behind his desk on which is a tray
of sandwiches and a glass of milk, half
gone. Near him sits POP DWYER, another
veteran newspaperman. ANN crosses to
Yeh, D. B. Oh, just cleaning out the
? 580 ?
Look, Mr. Connell . . . I just can't
afford to be without work right now,
not even for a day. I've got a mother
and two kid sisters to . . .
Secretary enters. (Her name is Mattie.)
More good luck telegrams.
Well, you know how it is, I, I've just
got to keep working. See?
Sorry, sister. I was sent down here
to clean house. I told yuh I can't use
your column any more. It's lavender
and old lace!
(flicks dictograph button)
Send those other people in.
I'll tell you what I'll do. I get thirty
dollars a week. I'll take twenty-five,
twenty if necessary. I'll do anything
It isn't the money. We're after circulation.
What we need is fireworks. People who
can hit with sledge hammers—start arguments.
Oh, I can do that. I know this town
inside out. Oh, give me a chance, please.
She can get no further, for several
people enter. They are cowed and frightened.
ANN hesitates a moment, then, there
being nothing for her to do, she starts
to exit. She is stopped by CONNELL's
All right, come in, come in! Come in!
Cashier's got your check.
(back to others)
Who are these people? Gibbs, Frowley,
(to Ann at door)
Hey, you, sister!
? 581 ?
Don't forget to get out your last column
before you pick up your check!
ANN's eyes flash angrily as she exits.
Int. Outer Office. Med. shot: ANN storms
out. The painter again has to wait for
the door to swing back to him.
Int. ANN's office. Full shot: ANN enters
her office and paces around, furious.
A man in alpaca sleeve-bands enters.
His name is JOE.
You're a couple o' sticks shy in
your column, Ann.
(ignores him, muttering . . .)
A big, rich slob like D. B. Norton buys
a paper—and forty heads are chopped
Did you get it, too?
Yeah. You, too? Oh, Joe . . . oh, I'm
sorry darling . . . why don't we tear
the building down!
Before you do, Ann, perhaps you'd better
finish this column.
Yeah. Lavender and old lace!
Suddenly she stops pacing. Her eyes
widen as a fiendish idea strikes her.
She flops down in front of her typewriter.
Wants fireworks, huh? Okay!
She begins to pound furiously, her jaw
Close-up: Of ANN. Eyes flashing as she
Close-up: Of JOE, watching her. The
wild look in her eye and the unnatural
speed of her typing causes him to stare
dumbly at her.
Med. shot: ANN bangs away madly. Finally
she finishes. She whips the sheet out
of the typewriter, hands it to JOE.
As JOE takes it, ANN begins to empty
the drawers of her desk.
Close-up: Of JOE reading what ANN has
? 582 ?
"Below is a letter which reached my
desk this morning. It's a commentary
on what we laughingly call the civilized
world. 'Dear Miss Mitchell: Four years
ago I was fired out of my job. Since
then I haven't been able to get another
one. At first I was sore at the state
administration because it's on account
of the slimy politics here we have all
this unemployment. But in looking around,
it seems the whole world's going to
pot, so in protest I'm going to commit
suicide by jumping off the City Hall
roof!' Signed, A disgusted American
citizen, John Doe.'"
JOE pauses to absorb this.
"Editor's note . . . If you ask this
column, the wrong people are jumping
JOE glances up toward ANN, in mild protest.
Hey, Ann, this is the old fakeroo, isn't
Full shot: ANN has just about accumulated
all her things. JOE stares at her, knowing
it's a fake.
Never mind that, Joe. Go ahead.
JOE shrugs, shakes his head, and exits.
ANN stuffs her things under her arm
and also goes.
Int. Outer office: Med. shot: Voices
ad lib—"Awfully sorry you're not going."
ANN comes out. Suddenly, she stops,
gets another idea, picks up a book from
a desk, and reaches back to heave it.
Med. shot: At CONNELL's office door.
The sign-painter has just finished CONNELL's
name, and as he leans back, pleased,
wiping his brushes, the book flies in.
The painter lifts his head slowly, his
wrath too great to find utterance.
Dissolve to: Int. GOVERNOR JACKSON's
office: Close-up: Of two of GOVERNOR'S
" . . . and it's because of the slimy
politics that we have all this unemployment
There it is! That's D. B. Norton's opening
attack on the Governor!
Why Jim, it's just a letter sent in
to a column.
No, no. I can smell it. That's Norton!
While he speaks, the GOVERNOR has entered.
? 583 ?
Good morning, gentlemen. You're rather
'Morning. 'Morning, Governor.
You're here rather early.
(pushes paper over to him)
Did you happen to see this in the New
He emphasizes the word "new" cynically.
Yes. I had it served with my breakfast
Jim thinks it's D. B. Norton at work.
Of course it is!
Oh, come, Jim. That little item? D.
B. Norton does things in a much bigger
way . . .
This is his opening attack on you, Governor!
Take my word for it! What did he buy
a paper for? Why did he hire a high-pressure
editor like Connell for? He's in the
oil business! I tell you, Governor,
he's after your scalp!
All right, Jim. Don't burst a blood
vessel, I'll attend to it.
(flips button on dictograph)
Get me Spencer of the Daily Chronicle
Dissolve to: Int. SPENCER's office:
Med. shot: SPENCER is on the telephone.
Yes. Yes. I saw it, Governor . . . and
if you ask me that's a phoney letter.
Why, that gag has got whiskers on it.
Huh? Okay, I'll get the Mayor and maybe
the Chamber of Commerce to go after
Get Mayor Lovett on the phone!
Int. MAYOR's office: Med. shot: Of MAYOR's
(picking up phone)
Hello? Sorry, the Mayor's busy on the
? 584 ?
Camera pans over to the MAYOR who is
fatuous and excitable.
Yes, I know, Mrs. Brewster. It's a terrible
reflection on our city. I've had a dozen
SECRETARY enters scene.
Spencer of the Chronicle .
Yes, Mrs. Brewster, I'm listening.
The SECRETARY lays down the receiver.
Dissolve to: Int. corner of a bedroom:
Close shot: Of MRS. BREWSTER—stout and
loud. She is propped up in bed—a breakfast
tray on her lap—the newspaper by her
I insist that this John Doe man be found
and given a job at once. If something
isn't done. I'll call out the whole
Auxiliary —yes, and the Junior Auxiliary,
too. We'll hold a meeting and see—
Cut to: Int. MAYOR's office: Med. shot:
Of MAYOR. He lays the receiver down
and we continue to hear MRS. BREWSTER's
voice. MAYOR picks up SPENCER's phone.
Yes, Spencer. Who? The Governor? Well,
what about me? it's my building he's
jumping off of! And I'm up for re-election,
What are you doing? Get Connell at the
Why, he's liable to go right past my
What was that?!
Out the window! Something just flew
I didn't see anything.
? 585 ?
Well, don't stand there, you idiot.
Go and look. Open the window. Oh, why
did he have to pick on my building?
The SECRETARY, telephone in hand, peers
Is there a crowd in the street?
Then he may be caught on a ledge! Look
I think it must have been a sea-gull.
A sea-gull? What's a sea-gull doing
around the city hall? That's a bad omen,
(picks up Mrs. Brewster's phone)
Oh, n-no, sir. The sea-gull is a lovely
I-it's all right, Mrs. Brewster. It
was just a sea-gull.
Er. nothing's happened yet! No, I'm
watching. Don't worry. Ju-just leave
it all to me!
The SECRETARY holds out another phone.
The MAYOR drops MRS. BREWSTER's phone
again, and her voice is still heard.
(into Spencer's phone)
Spencer, I'll call you back.
Secretary has gotten CONNELL on the
phone—hands phone to MAYOR.
Hello! Connell! This is—
What are you doing?
(back to phone)
This is the Mayor.
Int. CONNELL's office: Full shot: CONNELL
is on the phone. POP DWYER is draped
in a chair nearby.
Yes, Mayor Lovett! How many times are
you gonna call me? I've got everybody
and his brother and sister out looking
for him. Did you see the box I'm running?
? 586 ?
He picks up the front page of the Bulletin;
we see a four column box on the front
"An appeal to John Doe. 'Think it over,
John. Life can be beautiful,' says Mayor.
'If you need a job, apply to the editor
of this paper . . .'" " and so forth
and so forth . . . Okay, Mayor. I'll
let you know as soon as I have something!
What? . . . Well, pull down the blinds!
(he hangs up)
The door opens and a man enters. His
name is BEANY. Walks fast, talks fast
and accomplishes nothing. Outside, we
see the painter trying once more to
get his sign painted. He reaches in—and
pulls the door to.
I went up to Miss Mitchell's house,
boss. Boy, she's in a bad way.
Where is she?
Hey, do you know something? She supports
a mother and two kids. What do you know
(controlling his patience)
Did you find her?
No. Her mother's awful worried about
her. When she left the house she said
she was going on a roaring drunk. Er,
the girl, I mean!
Go out and find her!
Sure. Hey, but the biggest thing I didn't
tell you . . .
CONNELL picks up telephone.
Hello! . . . Yeh?
Her old man was Doc Mitchell. You know,
the doc that saved my mother's life
and wouldn't take any money for it?
You remember that? Okay, boss, I'll
go and look for her.
BEANY exits, knocking over an ash-stand.
? 587 ?
Holy smokes, Commissioner. You've had
twenty-four hours! Okay, Hawkshaw, grab
a pencil. Here it is again. She's about
five foot five, brown eyes, light chestnut
hair and as fine a pair of legs as .
The door opens, ANN stands there—CONNELL
(into phone—staring at Ann)
. . . ever walked into this office.
Med. shot: At door. The sign painter
is slowly beginning to lose patience.
He again reaches in—pulls the door shut—glaring
Close-up: Of ANN.
Did you want to see me?
Wider shot: CONNELL, without moving,
stares at her.
No. I've had the whole army and navy
searching for you because that's a game
we play here every day.
I remember, distinctly, being fired.
That's right. But you have a piece of
property that still belongs to this
newspaper. And I'd like to have it!
The letter from John Doe.
The whole town's in an uproar. We've
got to find him. The letter's our only
There is no letter.
? 588 ?
We'll get a handwriting expert to—
(suddenly realizes what she has said)
There is no letter.
He stares at her for a moment, flabbergasted—exchanges
a look with POP—crosses to the back
door—shuts it—then comes back to face
Close shot: ANN and CONNELL.
Say that again.
There is no letter. I made it up.
CONNELL looks at her a long moment and
then up at POP.
You made it up.
Uh-huh. You said you wanted fireworks.
Wider shot: As he recovers from the
shock, and then wheels on ANN again.
Don't you know there are nine jobs waiting
for this guy? Twenty-two families want
to board him free? Five women want to
marry him, and the Mayor's practically
ready to adopt him? And you . . .
As CONNELL glares at her the door springs
open and BEANY enters.
I just called the morgue, boss. They
say there's a girl there—
Close-up: Of BEANY. He is startled by
this—and then stares popeyed as he sees
Ann! Say, why didn't yuh—
Med. shot: At the door. The painter
is beginning to grind his teeth. He
pulls the door shut, viciously.
Wider shot: To include all.
? 589 ?
Only one thing to do, Hank. Drop the
whole business quickly.
Run a story. Say John Doe was in here,
and is sorry he wrote the letter and—
(jumps in quickly)
That's right. You got it! Sure! He came
in here and I made him change his mind.
"Bulletin editor saves John Doe's life."
Why, it's perfect. I'll have Ned write
I got a story I want yuh to—
Wait a minute!
She rushes over—snaps the dictograph
Med. shot: Of ANN, leaning on CONNELL's
Listen, you great big wonderful genius
of a newspaperman! You came down here
to shoot some life into this dying paper,
CONNELL blinks under the attack. POP
and BEANY move into the scene.
Well, the whole town's curious about
John Doe and, boom, just like that you're
going to bury him. There's enough circulation
in that man to start a shortage in the
In what man!
What John Doe?
Our John Doe! The one I made up! Look,
genius— Now, look. Suppose there was
a John Doe—and he walked into this office.
What would you do? Find him a job and
forget about the whole business, I suppose!
Not me! I'd have made a deal with him!
? 590 ?
Sure! When you get hold of a stunt that
sells papers you don't drop it like
a hot potato. Why, this is good for
at least a couple of months. You know
what I'd do? Between now and let's say,
Christmas, when he's gonna jump, I'd
run a daily yarn starting with his boyhood,
his schooling, his first job! A wide-eyed
youngster facing a chaotic world. The
problem of the average man, of all the
John Does in the world.
Two shot: ANN and CONNELL. Despite himself,
he's interested in her recital.
Now, then comes the drama. He meets
discouragement. He finds the world has
feet of clay. His ideals crumble. So
what does he do? He decides to commit
suicide in protest against the state
of civilization. He thinks of the river!
But no, no, he has a better idea. The
City Hall. Why? Because he wants to
attract attention. He wants to get a
few things off his chest, and that's
the only way he can get himself heard.
Full shot: Of the whole group. BEANY
grins in admiration. CONNELL has leaned
back in his chair, his eyes glued on
So! So he writes me a letter and I dig
him up. He pours out his soul to me,
and from now on we quote: "I protest,
by John Doe." He protests against all
the evils in the world; the greed, the
lust, the hate, the fear, all of man's
inhumanity to man.
Arguments will start. Should he commit
suicide or should he not! People will
write in pleading with him. But no!
No, sir! John Doe will remain adamant!
On Christmas Eve, hot or cold, he goes!
She finishes, takes a deep breath—awed,
and at the same time proud of her accomplishment.
Close shot: Of CONNELL. He just stares
(after a pause—quietly)
Very pretty. Very pretty, indeed, Miss
Mitchell. But would you mind telling
me who goes on Christmas Eve?
What John Doe?
? 591 ?
(screams right back)
The one we hire for the job, you lunkhead!
There is silence for a moment.
(breaking silence—speaks with a controlled
Wait a minute. Wait a minute. Lemme
get this through this lame brain of
mine. Are you suggesting we go out and
hire someone to say he's gonna commit
suicide on Christmas Eve? Is that it?
Well, you're catching on.
Who, for instance?
Anybody! Er, er—Beany'll do!
Close-up: BEANY. He is petrified.
Why sure—Who? Me? Jump off a—Oh, no!
Any time but Christmas. I'm superstitious.
Full shot: BEANY backs away from them—and
when he gets to the door—makes a dash
Int. Outer office: Med. shot: At door.
As BEANY comes dashing out, he almost
upsets the painter from the stool. When
the door is shut, the name of "Connell"
which he has been printing is all smudged
over. The painter stares at it, helplessly
for a second, and then—unable to stand
it any more, rises, throws his brush
violently to the floor—after completely
smearing the sign himself.
Miss Mitchell, do me a favor, will you?
Go on out and get married and have a
lot o' babies—but stay out o' newspaper
Better get that story in, Hank, it's
You're supposed to be a smart guy! If
it was raining hundred dollar bills,
you'd be out looking for a dime you
lost some place.
Holy smokes! Wasting my time listening
to this mad woman.
? 592 ?
He crosses to his desk just as NED enters
from the back door.
Look, Chief! Look what the Chronicle
is running on John Doe. They say it's
CONNELL turns sharply.
Close-up: Of ANN. She was just about
giving up, when she hears this—and her
eyes brighten alertly.
Med. shot: At CONNELL's desk. CONNELL—reading
the paper—becomes incensed.
Why, the no-good—low-down—
"John Doe story amateur journalism.
It's palpably phoney. It's a wonder
anyone is taking it seriously." What
do yuh think of those guys!
ANN has walked into scene while CONNELL
That's fine! That's fine! Now fall right
into their laps. Go ahead. Say John
Doe walked in and called the whole thing
off. You know what that's going to sound
like on top of this!
(doesn't like Ned hearing all this)
That's all, Ned. Thank you.
NED, puzzled, exits. CONNELL comes away
from his desk and walks around.
"Amateur journalism", huh? Why, the
bunch of sophomores! I can teach them
But he is interrupted by the front door
being flung open. On the threshold stands
Hey, boss. Get a load of this.
(joins him in the doorway)
Med. shot: Over their shoulders. In
the outer office are a large group of
derelict-looking men. Some standing—some
sitting—some leaning. It looks like
the lobby of a flophouse had been transplanted.
Close shot: Beany and Connell.
? 593 ?
What do they want?
They all say they wrote the John Doe
Med. shot: POP and ANN have walked over
and also peer out.
Oh, they all wrote the letter?
ANN pushes CONNELL aside—talks to BEANY.
Tell them all to wait.
She shuts the door and turns to CONNELL.
Look, Mr. Connell—one of those men is
your John Doe. They're desperate and
will do anything for a cup of coffee.
Pick one out and you can make the Chronicle
eat their words.
Close-up: Of CONNELL. A broad smile
slowly spreads over his face.
I'm beginning to like this.
Med. shot: POP looks worried.
If you ask me, Hank, you're playing
around with dynamite.
No, no, no, the gal's right. We can't
let the Chronicle get the laugh on us!
We've got to produce a John Doe now.
Amateur journalism, huh!
(starts for door)
I'll show those guys.
Sure—and there's no reason for them
to find out the truth, either.
Because, naturally, I won't say anything.
CONNELL turns sharply, stares at her
a moment puzzled, then grins.
Okay, sister, you get your job back.
Plus a bonus.
? 594 ?
Close-up: Of ANN. She takes the plunge.
She is a little frightened at her own
nerve, but she is going to brazen it
(tries to drop it casually)
Oh, the bonus of a thousand dollars
the Chronicle was going to pay me for
this little document. You'll find it
says, er: "I, Ann Mitchell, hereby certify
that the John Doe letter was created
Med. shot: As she speaks, she gets the
"little document" out of her bag, hands
it to CONNELL who glares at her, takes
the paper and starts to read. Ann leans
over his shoulder. POP peers over his
I can read. I can read!
She backs away. CONNELL continues reading
So you think this is worth a thousand
dollars, do you?
Oh, the Chronicle would consider it
Packs everything, including a gun.
(flings paper on desk)
Okay, sister, you've got yourself a
deal. Now let's take a look at the candidates.
The one we pick has gotta be the typical
average man. Typical American that can
keep his mouth shut.
Show me an American who can keep his
mouth shut and—I'll eat him.
Okay, Beany, bring 'em in one at a time.
(he steps back and rubs his hands in
Wipe to: Montage: Half a dozen different
types of hoboes appear—and in each instance
ANN shakes her head, negatively.
Wipe to: Close shot: Of a TALL CHAP,
head hanging shyly.
Two shot: Of ANN and CONNELL. They are
Full shot: ANN and CONNELL exchange
hopeful glances and begin slowly walking
around the new candidate.
Close-up: Of TALL CHAP. He feels awkward
under this scrutiny.
Wider shot: CONNELL stops in his examination
of the man.
? 595 ?
Did you write that letter to Miss Mitchell?
(after a pause)
No, I didn't.
ANN, CONNELL and POP evince their surprise.
What are you doing up here then?
Well, the paper said there were some
jobs around loose. Thought there might
be one left over.
They study him for a second, then ANN
walks over close to him.
Two shot: ANN and TALL CHAP.
Had any schooling?
Yeah, a little.
What do you do when you work?
I used to pitch.
Uh-huh. Till my wing went bad.
Where'd you play?
Bush leagues mostly.
Med. shot: To include the rest of them.
They have their eyes glued on his face.
ANN is very much interested.
How about family? Got any family?
(after a pause)
Oh, just traveling through, huh?
Yeah. Me and a friend of mine. He's
? 596 ?
CONNELL nods to the others to join him
in a huddle. He crosses to a corner.
Close three shot: They speak in subdued
Looks all right—
He's perfect! A baseball player. What
could be more American!
I wish he had a family, though.
Be less complicated without a family.
Look at that face. It's wonderful. They'll
believe him . Come on.
Close-up: Of TALL CHAP. He is a strange,
bewildered figure. He knows he is being
appraised, but doesn't know why. He
fingers his hat nervously and looks
around the room. Suddenly he is attracted
Close-up: Of tray of sandwiches on CONNELL's
Close-up: Of TALL CHAP. He swallows
hard. His eyes stare at the sandwiches
Med. shot: Over his shoulder. Shooting
toward the huddling group. It breaks
up. They walk toward him.
Med. shot: Another angle.
What's your name?
Willoughby. John Willoughby, Long John
Willoughby they called me in baseball.
Er, would you, er, would you like to
make some money?
NOTE: Henceforth in this script he shall
be referred to as JOHN DOE.
Would you be willing to say you wrote
that letter—and stick by it?
Oh, I get the idea. Yeah, maybe.
There is an appraising pause, and CONNELL
again signals them to join him in a
huddle. They exit to their corner.
? 597 ?
Close-up: Of JOHN. His eyes immediately
go to the sandwiches.
Close-up: Of tray, with sandwiches and
milk, on desk.
Close-up: Of JOHN. His eyes riveted
on tray. He glances, speculatively,
over toward them and then back to the
Med. shot: Of the huddled group.
That's our man. He's made to order.
I don't know. He don't seem like a guy
that'd fall into line.
(it's significant to her)
When you're desperate for money, you
do a lot of things, Mr. Connell. He's
our man, I tell you.
Suddenly, they are startled by a loud
thud: they all look around sharply.
He's fainted! Get some water quickly!
As all three rush to him.
Hurry up, Pop.
Right here. Sit down.
Are you all right?
Yeah, I'm all right.
Dissolve to: Int. ANN's office. Close-up:
Of JOHN—sitting at ANN's desk, just
completing a meal—and still eating voraciously.
Camera draws back and we find another
bindle-stiff sitting beside JOHN, packing
food away in silence. He is the friend
JOHN referred to. He is much older and
goes by the name of COLONEL.
Camera continues to pull back revealing
ANN who sits nearby, watching them sympathetically.
Close shot: JOHN and the COLONEL. They
continue eating. JOHN glances up and
catches ANN's eye. He smiles self-consciously.
Close-up: Of ANN. She, too, smiles warmly.
Med. shot: They continue to eat silently.
? 598 ?
How many is that, six? Pretty hungry,
Say, all this John Doe business is batty,
if yuh ask me.
Well, nobody asked yuh.
Trying to improve the world by jumping
off buildings. You couldn't improve
the world if the building jumped on
Don't mind the Colonel. He hates people.
He likes you well enough to stick around.
Oh, that's 'cause we both play doohickies.
I met him in a box car a couple o' years
ago. I was foolin' around with my harmonica
and he comes over and joins in. I haven't
been able to shake him since.
Full shot: Suddenly, he starts to play
the overture from "William Tell." The
COLONEL whips out an ocarina and joins
him. ANN stares, amused. The door opens
and CONNELL and BEANY barge in, followed
by half a dozen photographers.
All right, boys, here he is.
No, no, no! You can't take pictures
of him like that—eating a sandwich—and
with a beard!
She waves the photographers out, and
shuts the door.
But, he's gonna jump off a building!
Yes, but not because he's out of a job.
That's not news! This man's going to
jump as a matter of principle.
Well, maybe you're right.
We'll clean him up and put him in a
hotel room—under bodyguards. We'll make
a mystery out of him.
Did you speak to Mr. Norton?
? 599 ?
Thinks it's terrific. Says for us to
go the limit. Wants us to build a bonfire
under every big shot in the state.
Oh, swell! Is that the contract?
(seeing paper in CONNELL's hand)
(sees the COLONEL)
What's he doing here?
Friend of his. They play duets together.
Duets? But can we trust him?
I trust him.
Oh, you trust him, eh? Well, that's
fine. I suppose he trusts you, too?
Oh, stop worrying. He's all right.
Well, okay. But we don't want more than
a couple o' hundred people in on this
thing. Now the first thing I want is
an exact copy of the John Doe letter
in your own handwriting.
I got it all ready. Here.
Well, that's fine. Now I want you to
sign this agreement. It gives us an
exclusive story under your name day
by day from now until Christmas. On
December twenty-sixth, you get one railroad
ticket out of town, and the Bulletin
agrees to pay to have your arm fixed.
That's what you want, isn't it?
Yeah, but it's got to be by Bone-Setter
Okay, Bone-Setter Brown goes. Here,
sign it. Meanwhile, here's fifty dollars
for spending money. That's fine. Beany!
? 600 ?
Take charge of him. Get him a suite
at the Imperial and hire some bodyguards.
Yeah, and some new clothes, Beany.
Do you think we better have him de-loused?
Yeh, yeh, yeh.
Both of 'em?
Yes, both of 'em! But don't let him
out of your sight.
Hey, Beany, gray suit, huh?
Take it easy, John Doe.
JOHN and the COLONEL follow BEANY out.
(turns to Ann)
And you! Start pounding that typewriter.
Oh, boy! This is terrific! No responsibilities
on our part. Just statements from John
Doe and we can blast our heads off.
Before you pop too many buttons, don't
forget to make out that check for a
Dissolve to: Int. Living-room of suite.
Full shot: The door opens and BEANY
enters. He is followed by JOHN and the
COLONEL. JOHN glances around, impressed.
The COLONEL looks glum.
Med. shot: At door. As JOHN exits scene
into the room, tailed by the unhappy
COLONEL. BEANY beckons someone out in
? 601 ?
Three bruisers stand in the doorway.
Now, lemme see. You sit outside the
door. Nobody comes in, see. You two
fellas sit in here.
As they reach for chairs,
Cut to: Med. shot: JOHN is pleased as
his gaze wanders around the room.
Hey, pretty nifty, huh?
You ain't gonna get me to stay here.
Sure, you are.
No, sir. That spot under the bridge
where we slept last night's good enough
While he speaks, JOHN has managed to
get a glimpse of himself in a mirror—admiring
his new suit.
Hey, what'll I do with this baggage?
Aw, stick 'em in the bedroom.
Gimme mine. I ain't staying! You know
we were headed for the Columbia River
country before all this John Doe business
came up. You remember that, don't yuh?
Sure. I remember . . . Say, did your
ears pop coming up in the elevator?
Aw, Long John . . . I tell you—it's
no good. You're gonna get used to a
lotta stuff that's gonna wreck you.
Why, that fifty bucks in your pocket's
beginning to show up on you already.
And don't pull that on me neither!
(as John brings out harmonica)
Stop worrying, Colonel. I'm gonna get
my arm fixed out of this.
Wider shot: As BEANY enters scene with
box of cigars.
Here's some cigars the boss sent up.
JOHN's eyes light up.
? 602 ?
He grabs one and stuffs it in his mouth.
JOHN flops into a luxurious chair—and
immediately ANGELFACE holds a light
up for his cigar. JOHN looks up, pleased.
Say, I'll bet yuh even the Major Leaguers
don't rate an outfit like this.
(hands him a newspaper)
Here. Make yourself comfortable.
(turns to the Colonel)
I don't read no papers and I don't listen
to radios either. I know the world's
been shaved by a drunken barber and
I don't have to read it.
ANGELFACE backs away, puzzled.
(crosses to John)
I've seen guys like you go under before.
Guys that never had a worry. Then they
got ahold of some dough and went goofy.
The first thing that happens to a guy—
Hey, did yuh get a load of the bedroom?
BEANY beckons to him to follow, which
JOHN does with great interest.
Int. bedroom: Full shot: As BEANY and
JOHN puff luxuriously on their cigars
and examine the room.
The first thing that happens to a guy
like that—he starts wantin' to go into
restaurants and sit at a table and eat
salads—and cup cakes—and tea—
Boy, what that kinda food does to your
JOHN pushes on the bed and is impressed
with its softness.
The next thing the dope wants is a room.
Yessir, a room with steam heat! And
curtains and rugs
? 603 ?
and 'fore you know it, he's all softened
up and he can't sleep 'less he has a
Close-up: Of BEANY. He stares, bewildered,
at the COLONEL.
Wider shot: JOHN turns and crosses to
(as he goes)
Hey, stop worrying, Colonel. Fifty bucks
ain't going to ruin me.
I seen plenty of fellers start out with
fifty bucks and wind up with a bank
(can't stand it any more)
Hey, whatsa matter with a bank account,
And let me tell you, Long John. When
you become a guy with a bank account,
they got you. Yessir, they got you!
Who's got him?
(at the window)
Hey. There's the City Hall tower I'm
supposed to jump off of. It's even higher
Who's got him?
Close-up: JOHN opens window and leans
Close-up: Of BEANY. His eyes pop; he's
Med. shot: JOHN stretches far out of
the window, and quickly bounces back.
At the same time BEANY springs to his
side and yanks him back.
Hey, wait a minute! You ain't supposed
to do that till Christmas Eve! Wanta
get me in a jam?
? 604 ?
(twinkle in his eye)
If it's gonna get you in a jam, I'll
do you a favor. I won't jump.
He exits to the living room.
Int. living room: Full shot: As JOHN
enters, flicking ashes from his cigar,
grandly, the COLONEL leaves the doorway,
still pursuing his point.
And when they get you, you got no more
chance than a road-rabbit.
(dogging the COLONEL)
Hey. Who'd you say was gonna get him?
Say, is this one of those places where
you ring if you want something?
Yeah. Just use the phone.
The thought of this delights JOHN.
Boy! I've always wanted to do this!
He goes to the phone.
Hey, Doc, look. Look, Doc. Gimme that
again, will yuh? Who's gonna get him?
Who are they?
Two shot: The COLONEL finally levels
off on BEANY.
Listen, sucker, yuh ever been broke?
Sure. Mostly often.
All right. You're walking along—not
a nickel in your jeans—free as the wind—nobody
bothers you—hundreds of people pass
yuh by in every line of business—shoes,
hats, automobiles, radio, furniture,
everything. They're all nice, lovable
people, and they let you alone. Is that
Close-up: Of BEANY—nodding his head,
? 605 ?
Then you get hold of some dough, and
BEANY instinctively shakes his head.
Two shot: The COLONEL takes on a sneering
All those nice, sweet, lovable people
become heelots. A lotta heels.
They begin creeping up on you—trying
to sell you something. They've got long
claws and they get a strangle-hold on
you—and you squirm—and duck and holler—and
you try to push 'em away—but you haven't
got a chance—they've got you! First
thing you know, you own things. A car,
BEANY has been following him, eyes blinking,
Now your whole life is messed up with
more stuff—license fees—and number plates—and
gas and oil—and taxes and insurance—
Close shot: Of the LUGS at the door.
One of them listens with a half-smile
on his face. The other, more goofy,
looks bewildered. He has been listening—and
now, slowly rises, ears cocked, frightened
by the harrowing tale. Camera retreats
before him—as he slowly walks nearer
to BEANY and the COLONEL. Meantime,
we continue to hear the COLONEL'S voice.
. . . and identification cards—and
letters—and bills—and flat tires—and
dents—and traffic tickets and motorcycle
cops and court rooms—and lawyers—and
Wider shot: The LUG steps up directly
behind BEANY—and the two horrified faces
are close together—both staring at the
And a million and one other things.
And what happens? You're not the free
and happy guy you used to be. You gotta
have money to pay for all those things—so
you go after what the other feller's
And there you are—you're a heelot yourself!
Close shot: Of the two heads of BEANY
and the LUG. They continue to stare,
wide-eyed, at the COLONEL.
Wider shot: As JOHN approaches the COLONEL.
You win, Colonel. Here's the fifty.
Go on out and get rid of it.
? 606 ?
(as he goes)
You bet I will! As fast as I can! Gonna
get some canned goods—a fishing rod,
and the rest I'm gonna give away.
Hey. Get me a pitcher's glove! Got to
get some practice.
Say, he's giving it away! I'm gonna
get me some of that!
Hey, come back here, yuh heelot!
(on the phone)
Will you send up five hamburgers with
all the trimmings, five chocolate ice
cream sodas, and five pieces of apple
pie? No, apple, with cheese. Yeah. Thank
JOHN hangs up.
The COLONEL has just reached the door
when it flies open and Ann comes in
with photographer EDDIE—she sees JOHN
all dressed up.
Hello there. Well, well! If it isn't
the man about town!
All set, Ann?
(coming out of it)
Huh? Oh, yes. Let's go.
(she backs away)
Now, let's see. We want some action
in these pictures.
JOHN winds up in pitching pose—his left
leg lifted up high.
No, no, no. This man's going to jump
off a roof.
? 607 ?
Here. Wait a minute. Let me comb your
hair. Sit down. There. That's better.
Close shot: She combs his hair—straightens
his tie—etc. He inhales the fragrance
of her hair and likes it—winks to the
others. She poses JOHN's face and looks
You know, he's got a nice face, hasn't
JOHN gives him a look and starts to
get up slowly.
Here. Sit down!
(back to JOHN)
All right, now, a serious expression.
Can't. I'm feeling too good.
Oh, come on, now. This is serious. You're
a man disgusted with all of civilization.
With all of it?
Yes, you're sore at the world. Come
Oh, crabby guy, huh?
He tries scowling.
Yeah. No, no!
No! No, look. You don't have to smell
(the men laugh)
Well, all those guys in the bleachers
Never mind those guys. All right, stand
up. Now let's see what you look like
when you protest.
Against anything. Just protest.
You got me.
? 608 ?
Oh, look. I'm the umpire, and you just
cut the heart of the plate with your
fast one and I call it a ball. What
would you do?
(advances toward her)
Oh, yuh did, huh?
Why can't you call right, you bone-headed,
pig-eared, lop-eared, pot-bellied—
Grab it, Eddie, grab it!
Eddie takes the picture.
A Montage: Of Newspaper inserts featuring
John Doe's picture.
"I protest against collapse of decency
in the world."
"I protest against corruption in local
"I protest against civic heads being
in league with crime."
"I protest against state relief being
used as political football."
"I protest against County Hospitals
shutting out the needy."
"I protest against all the brutality
and slaughter in the world."
Close-up: Superimposed over all of the
above is a circulation chart—showing
the circulation of the Bulletin in a
Dissolve to: Int. GOVERNOR's study:
Med. shot: The GOVERNOR paces furiously.
In front of him are several associates.
I don't care whose picture they're publishing.
I still say that this John Doe person
is a myth. And you can quote me on that.
And I'm going to insist on his being
produced for questioning. You know as
well as I do that this whole thing is
being engineered by a vicious man with
a vicious purpose—Mr. D. B. Norton.
As he finishes saying this, Dissolve
to: Ext. D. B.'s estate:
Close-up: Of D. B. NORTON. Camera pulls
back and we find him on horseback.
Reverse long shot: We discover that
he is watching the maneuvers of a motorcycle
corps who are in uniform. They are being
drilled by TED SHELDON.
? 609 ?
Med. shot: As a groom rides toward D.
Mr. Connell and Miss Mitchell are at
the house, sir.
Oh, they are? All right, come on.
Dissolve to: Int. D. B. 's study: Med.
shot—panning: As ANN, D. B. and CONNELL
enter and cross to D. B. 's desk.
(as they walk)
Personally, I think it's just plain
stupidity to drop it now.
They reach D. B. 's desk and stop.
You should see his fan mail! Thousands!
Why, it's going over like a house afire!
Close-up: Of D. B. He studies her a
moment before he turns to CONNELL.
What are you afraid of, Connell? It's
doubled our circulation.
Wider shot: To include all three.
Yeah, but it's got everybody sore. Ads
are being pulled—the Governor's starting
a libel suit—what's more, they all know
John Doe's a phoney—and they insist
on seeing him.
Well, what about it? Let them see him!
We'll go them one better. They can also
(to D. B.)
You own a radio station, Mr. Norton.
Why not put him on the air?
Close-up: Of D. B. He admires her fight.
Watch out for this dame, D. B. She'll
drive you batty!
? 610 ?
Wider shot: To include all three.
Look. We can't let 'em get to this bush-league
pitcher and start pumping him. Good
night! No telling what that screwball
might do. I walked in yesterday—here
he is, standing on a table with a fishing
pole flycasting. Take my advice and
get him out of town before this thing
explodes in our faces!
If you do, Mr. Norton, you're just as
much of a dumb cluck as he is! Excuse
No, you've got yourself a meal ticket
and you hate to let go.
Sure, it's a meal ticket for me. I admit
it, but it's also a windfall for somebody
like Mr. Norton who's trying to crash
(she turns to D. B.)
That's what you bought the newspaper
for, isn't it? You wanta reach a lotta
people, don't you? Well, put John Doe
on the air and you can reach a hundred
and fifty million of 'em. He can say
anything he wants and they'll listen
Close-up: Of D. B. Fascinated by ANN.
Wider shot: CONNELL stares at her derisively.
D. B. is completely absorbed.
All right, let's not forget the Governor,
the Mayor and all small fry like that.
This can arouse national interest! If
he made a hit around here—he can do
it everywhere else in the country! And
you'll be pulling the strings, Mr. Norton!
Close-up: Of D. B. His eyes have begun
to light up with extensive plans.
Wider shot: D. B. continues to study
ANN with deep interest. Then he turns
Go down to the office and arrange for
some radio time.
Why, D. B., you're not going to fall
I want it as soon as possible.
? 611 ?
Okay. I just came in to get warm, myself.
Come on, let's go.
He starts out. ANN picks up her bag,
prepared to follow CONNELL.
Er, don't you go. I want to talk to
CONNELL goes. ANN waits, somewhat nervously.
(when CONNELL is gone)
Med. two shot: ANN and D. B. D. B. studies
her for a moment.
. . . Er, this John Doe idea is yours,
How much money do you get?
Thirty dollars? Well, er, what are you
after? I mean, what do you want? A journalistic
Money? Well, I'm glad to hear somebody
admit it. Do you suppose you could write
a radio speech that would put that fellow
Oh, I'm sure I can.
Do it, and I'll give you a hundred dollars
A hundred dollars!
That's only the beginning. You play
your cards right and you'll never have
to worry about money again. Oh, I knew
ANN'S eyes brighten with excitement.
They are interrupted by the arrival
of TED SHELDON, in uniform.
? 612 ?
Hello. Whenever there's a pretty woman
This is my nephew, Ted Sheldon, Miss
How do you do.
How do you do!
All right, Casanova. I'll give you a
break. See that Miss Mitchell gets a
car to take her home.
Always reading my mind, aren't you?
Thank you very much for everything.
And, Miss Mitchell—I think from now
on you'd better work directly with me.
They exit. D. B. walks to the door,
a pleased expression on his face.
Close-up: Of D. B. His face wreathed
in a victorious smile.
Fade-in: Int. ANN's living room: Close
shot: Of ANN. She sits at a typewriter
reading something she has written. Suddenly,
impulsively, she yanks the sheet out
of the machine and flings it to the
floor. As she rises, camera pulls back.
We find the floor littered with previously
unsuccessful attempts to get the speech
written. For a moment, ANN paces agitatedly,
until she is interrupted by a commotion.
Med. Shot: At door. ANN's two sisters,
IRENE and ELLEN, aged nine and eleven—and
dressed in their sleeping pajamas, dash
in, squealing mischievously. Camera
pans with them as they rush to ANN and
leap on her.
Oh! Hey! Oh, hey! I thought you were
We just wanted to say good night, Sis.
They embrace and kiss her.
Oh, oh! Oh, you little brats! You're
just stalling. I said good night!
? 613 ?
Med. shot: At door. ANN'S MOTHER appears
in the doorway. She is a prim little
woman—her clothes have a touch of the
Victorian about them—her hair is done
up in old-fashioned style, her throat
is modestly covered in lace.
(above the din)
Come, come, come, children. It's past
Oh, all right.
Come on, Pooch! Come on, come on.
Now, keep Pooch off the bed.
The CHILDREN exit, squealing. ANN'S
MOTHER goes to ANN's desk and searches
Stick a fork through me! I'm done. I'll
never get this speech right.
Oh, yes you will, Ann dear . . . you're
Yeah, I know. What are you looking for?
Your purse. I need ten dollars.
What for? I gave you fifty just the
Yes, I know, dear, but Mrs. Burke had
her baby yesterday. Nine pounds! And
there wasn't a thing in the house—and
then this morning the Community Chest
lady came around and—
And the fifty's all gone, huh? Who's
the ten for?
You remember those lovely people your
father used to take care of? I thought
I'd buy them some groceries. Oh, Ann,
dear, it's a shame, those poor—
? 614 ?
You're marvelous, Ma. You're just like
Father used to be. Do you realize a
couple of weeks ago we didn't have enough
to eat ourselves?
Well, yes, I know, dear, but these people
are in such need and we have plenty
If you're thinking of that thousand
dollars, forget it. It's practically
gone. We owed everybody in town. Now,
you've just gotta stop giving all your
Her MOTHER looks up, surprised at her
Oh, Ann, dear!
Close-up: ANN realizes she has spoken
sharply to her MOTHER and immediately
regrets it. Her face softens.
Med. shot: As ANN crosses to her MOTHER—and
places an arm around her shoulder, tenderly.
Oh, I'm sorry, Ma. Oh, don't pay any
attention to me. I guess I'm just upset
about all this. Gee whiz, here I am
with a great opportunity to get somewhere,
to give us security for once in our
lives, and I'm stuck. If I could put
this over, your Mrs. Burke can have
Do you mean the speech you're writing?
Yeah, I don't know. I simply can't get
it to jell! I created somebody who's
gonna give up his life for a principle,
hundreds of thousands of people are
gonna listen to him over the radio and,
unless he says something that's, well,
that's sensational, it's just no good!
Well, honey, of course I don't know
what kind of a speech you're trying
to write, but judging from the samples
I've read, I don't think anybody'll
Darling, there are so many complaining
political speeches. People are tired
of hearing nothing but doom and despair
on the radio. If you're going to have
him say anything, why don't you let
him say something simple and real, something
with hope in it? If your father were
alive, he'd know what to say.
? 615 ?
Oh, yes, Father certainly would.
Wait a minute . . .
MRS. MITCHELL crosses to a desk, finds
a key and unlocks a compartment. ANN
watches her, curiously.
Close shot: MRS. MITCHELL extracts a
diary from the compartment, which she
handles very tenderly.
Camera pans with her as she goes back
That's your father's diary, Ann.
Father's . . . I never knew he had a
There's enough in it for a hundred speeches,
things people ought to hear nowadays.
You be careful of it, won't you dear?
It's always helped keep your father
alive for me.
(holds MOTHER's hand to her cheek)
You bet I will, Ma.
Her mother abruptly leaves.
Close-up: ANN turns her attention to
the diary. As she opens it, her eyes
sparkle expectantly. She becomes interested
in the first thing she sees.
Dissolve to: Int. corridor of hotel.
Med. shot: At door of JOHN's suite.
A crowd of people are around the door
trying to crash it. The LUG on guard
stands before the door.
Wait a minute. John Doe don't wanta
sign no autographs.
Well, what does he do all day?
What does he do all day? He's writin'
out his memories!
Cut to: Int. living room.
Med. shot: BEANY is on the telephone.
He is apparently weary from answering
them all day.
? 616 ?
Sorry, lady. you can't see Mr. Doe.
He wants to be alone. No, no, he just
sits around all day and commutes with
Camera swings around to JOHN. He stands
in the middle of the floor, his pitcher's
glove on, playing an imaginary game
of ball. He winds up and throws an imaginary
Close-up: Of the COLONEL. He wears a
catcher's mitt—and smacks it as if he
just caught the ball.
I don't know how you're gonna stand
it around here till after Christmas.
Full shot: At the door are the two LUGS,
watching the imaginary ball game. The
COLONEL takes a couple of steps over
home plate, and throws the "ball" back
to JOHN who picks it up out of the air.
(as he steps back behind the plate)
I betcha yuh ain't heard a train whistle
in two weeks.
He crouches on his knees—and gives JOHN
I know why you're hangin' around—you're
stuck on a girl—that's all a guy needs
is to get hooked up with a woman.
Close shot: Of JOHN. He shakes his head,
and waits for another sign. When he
gets it, he nods. He steps onto the
mound—winds up and lets another one
go. This is apparently a hit, for his
eyes shoot skyward, and he quickly turns—watching
the progress of the ball as it is flung
to first base. From his frown we know
the man is safe.
Close shot: Of the two LUGS, ANGELFACE
and MIKE. ANGELFACE is seriously absorbed
in the game. MIKE leans against the
wall, eyes narrowed, a plan going on
in his head.
What was that? A single?
Close-up: Of JOHN.
The first baseman dropped the ball.
Close-up: Of ANGELFACE.
? 617 ?
(shouting at "firstbaseman")
(back to John)
That's tough luck, Pal.
Med. shot: JOHN disregards him completely.
He is too much absorbed with the man
on first. He now has the stance of a
pitch without the windup.
When a guy has a woman on his hands—the
first thing he knows his life is balled
up with a lot more things—furniture
Close shot: Of JOHN. He catches the
"ball"—gets into position—nods to his
catcher—raises his hands in the air,
takes a peek toward first base—and suddenly
wheels around facing camera, and whips
the "ball" toward first base. Almost
immediately his face lights up.
Close-up: Of ANGELFACE.
Did you get him?
Close-up: Of JOHN. He winks.
Full shot: JOHN flips the glove off
his hand so that it dangles from his
wrist—and massages the ball with his
That's swell! What's this—the end of
He steps into the "pitcher's box".
Wider shot: Just as they take their
positions, the LUG, from outside, partly
opens the door.
Hey, Beany! There's a coupla lugs from
the Chronicle snooping around out here!
BEANY immediately comes from background.
Come on, Angelface! Gangway!
As they reach the door, the LUG speaks
What's the score, Angelface?
Three to two—our favor.
? 618 ?
Gee, that's great!
Close-up: Of JOHN. He has heard this
and grins mischievously. He starts winding
up for another pitch.
Close-up: Of MIKE. He looks around mischievously,
then turns to JOHN.
You've got swell form. Must have been
a pretty good pitcher.
Wider shot: JOHN is just receiving the
Pretty good? Say, I was just about ready
for the major leagues when I chipped
a bone in my elbow. I got it pitchin'
a nineteen-inning game!
Yep. There was a major league scout
there watching me, too. And he came
down after the game with a contract.
Do you know what? I couldn't life my
arm to sign it. But I'll be okay again
as soon as I get it fixed up.
(picks up newspaper—sighing)
That's too bad.
What do you mean, too bad?
Huh? Oh, that you'll never be able to
Well, what are you talking about? I
just told you I was gonna get a—
Well, you know how they are in baseball—if
a guy's mixed up in a racket—
Racket? What do you mean?
Well, I was just thinking about this
John Doe business. Why, as soon as it
comes out it's all a fake, you'll be
washed up in baseball, won't you?
? 619 ?
Y-yeah. Gee, doggone it, I never thought
about that. Gosh!
And another thing, what about all the
kids in the country, the kids that idolize
ball players? What are they gonna think
(shakes his head)
Close shot: Of the COLONEL. He has dropped
his glove—flopped into a chair—and has
taken out his ocarina.
Hey, did you hear that, Colonel?
The COLONEL nods, disinterestedly, and
begins to play.
Wider shot: JOHN ponders his dilemma
for a second.
I gotta figure some way out of this
The elevators are still runnin'.
I know one way you can do it.
Well, when you get up on the radio,
all you have to do is say the whole
thing's a frame-up. Make you a hero
sure as you're born!
John thinks this over, but something
Yeah, but how am I gonna get my arm
Well, that's a cinch. I know somebody
that'll give you five thousand dollars
just to get up on the radio and tell
Five thousand dollars?
Yeah. Five thousand dollars. And he
gets it right away. You don't have to
wait till Christmas.
Look out, Long John! They're closing
in on you!
? 620 ?
Say, who's putting up this dough?
Feller runs the Chronicle .
(takes it out of his pocket)
Here's the speech you make—and it's
all written out for you.
JOHN takes it.
Close-up: Of the COLONEL.
Five thousand dollars! Holy mackerel!
I can see the heelots comin'. The whole
army of them!
It's on the level.
Close-up: Of JOHN.
Dissolve to: Int. broadcasting station:
Close shot: TELEPHONE OPERATORS.
No, I'm sorry. Tickets for the broadcast
are all gone. Phone the Bulletin.
Sorry. No more tickets left.
Med. shot: Crowd chattering—they recognize
JOHN DOE coming in.
Close shot: At a side door in broadcasting
station. As the COLONEL and MIKE take
Int. office in broadcasting station:
Full shot: JOHN is led by BEANY into
the office. They are immediately followed
by several photographers.
Here he is.
Hello, John. All set for the big night?
One moment—hold it! Now stand still,
Okay, Beany, take them outside.
Two shot: JOHN and ANN.
? 621 ?
Now, look, John. Here's the speech.
It's in caps and double-spaced. You
won't have any trouble reading it. Not
nervous, are you?
Of course not. He wouldn't be.
John Doe. The one in there.
(pointing to speech)
Hey, don't let your knees rattle. It
picks up on the mike!
Oh, Beany! You needn't be nervous, John.
All you have to remember is to be sincere.
Wider shot: Man pokes his head in.
Pick up the phone, Miss Mitchell. It's
Hello? Yes, Mother. Oh, thank you, darling.
Full shot: While she speaks on the phone,
MRS. BREWSTER barges in, accompanied
by two other ladies.
Oh, there he is, the poor, dear man!
Oh, good luck to you, Mr. Doe. We want
you to know that we're all for you.
The girls all decided that you're not
to jump off any roof a'tall. Oh, we'll
ANN completes the phone call—crosses
to MRS. BREWSTER.
Sorry, ladies. Mr. Doe can't be bothered
now. He's gotta make a speech out there,
While she gets them out—MIKE slips into
Close shot: MIKE and JOHN.
Have you got the speech I gave you?
(taps breast pocket)
? 622 ?
Now, look. I'll give this money to the
Colonel just as soon as you get started.
We'll have a car waiting at the side
entrance for you.
Full shot: ANN turns away from the door.
How'd you get in here?
Huh? Oh, I just came in to wish him
Come on, out. Out!
(turning to John)
Mother says good luck, too. John, when
you read that speech, please, please
believe every word of it. He's turned
out to be a wonderful person, John.
John Doe, the one in the speech.
You know something? I've actually fallen
in love with him.
Full shot: They are interrupted by the
arrival of CONNELL. He is accompanied
by several photographers—and a beautiful
girl in a bathing suit. A banner across
her front reads: "Miss Average Girl".
All right, there he is, sister. Now,
come on—plenty of oomph!
The GIRL, all smiles, throws her arms
around JOHN's shoulder—and strikes a
languid pose. The flashlights go off.
What's the idea?
No, no, no. Now that's too much!
One moment, please.
This is no time for cheap publicity,
? 623 ?
Listen. If that guy lays an egg. I want
to get something out of it. I'm getting
a Jane Doe ready!
(trying to get rid of them)
That's fine, honey. Now, get out!
All right. I need one more.
Go right ahead.
While there is this confusion, the COLONEL
pushes in and stands in the doorway.
How're you doin'?
(calls to Beany outside)
All right, Beany—bring 'em in!
While CONNELL speaks, two MIDGETS push
the COLONEL out of the way and enter
the room. The COLONEL glances down—and
nearly jumps out of his skin. BEANY
follows them in.
Holy smoke! A half a heelot!
There you are, Boss, just like you ordered.
Symbols of the little people.
Okay. Get them up.
BEANY lifts them and places them, one
on each of JOHN's arms. The flashlights
This is ridiculous, Mr. Connell! Come
on, give him a chance. The man's on
While she speaks, she tries to shove
the photographers out.
(to girl midget)
Come on, Snooks—you better bail out.
Goodbye, Mr. Doe!
BEANY lifts her off—and ANN pushes them
all out—just as the STAGE MANAGER reappears.
Better get ready. One minute to go!
? 624 ?
Two shot: JOHN and ANN. ANN turns quickly
Wow! One minute to go, and the score
is nothing to nothing! Now, please,
John, you won't let me down, will you?
Will you? 'Course you won't. If you'll
just think of yourself as the real John
Listen. Everything in that speech are
things a certain man believed in. He
was my father, John. And when he talked,
people listened. They'll listen to you,
Funny—you know what my mother said the
other night? She said to look into your
eyes—that I'd see Father there.
Hey—what do you say?
Okay! We're coming. Come on!
Now, listen, John. You're a pitcher.
Now, get in there and pitch!
(kisses his cheek)
For a moment he just stares at her,
under a spell. Then, turning, he exits.
After a second of watching him, ANN
Give him room, let him through. Come
Int. broadcasting stage: Med. shot:
Camera retreats in front of JOHN and
the official, as they leave the office
and proceed to the microphones. Everyone
stares curiously at JOHN—whispering
to each other.
Med. shot: Shooting through glass partition,
toward control booth. We see the two
men at the board. They glance nervously
at their watches—then at the clock on
Close shot: Of ANN. She has taken a
position at a table near the mike. Next
to her sits CONNELL. ANN watches JOHN
with intense interest.
The COLONEL has followed JOHN up to
Hey. Let's get out o' here. There's
the door right there.
Hey, what're you doing here?
That's what I'd like to know!
Come on, out. Out.
? 625 ?
Say, he's a friend of mine.
(at John's elbow)
Never mind. Let him alone. He's all
right. I'll be right over there pulling
JOHN starts to follow ANN away from
mike. ANN leads him back to mike again.
No, John—over here.
Med. shot: At door. The COLONEL surreptitiously
tries the door, to see that it opens
readily. Standing near him is BEANY
and the others.
Med. shot: Group around SPENCER. They
wait expectantly. Their eyes sparkling
Phone the Chronicle . Tell 'em to start
getting those extras out.
Med. shot: Toward control booth. The
man with the earphones on has his hand
up ready to give the signal. He listens
a moment, then abruptly drops his hand.
Close-up: The man near the announcer
throws his hand up as a signal to someone
Med. shot: An orchestra in a corner.
The conductor waves his baton—and the
orchestra blasts out a dramatic fanfare.
Close shot: ANNOUNCER and JOHN. ANNOUNCER
holds his script up and the moment the
music stops he speaks dramatically.
And good evening, ladies and gentlemen.
This is Kenneth Frye, speaking for the
New Bulletin . Tonight we give you something
entirely new and different. Standing
beside me is the young man who has declared
publicly that on Christmas Eve he intends
to commit suicide, giving as his reason—quote:
"I protest against the state of civilization."
End quote. Ladies and gentlemen, the
New Bulletin takes pleasure in presenting
the man who is fast becoming the most
talked-of person in the whole country,
The man next to him waves his hand—there
is an outburst of music.
A flash: Of ANN—she looks at JOHN intently.
Med. shot: Group around BEANY. They
all applaud, except for MIKE and the
COLONEL. MIKE, with his hand hanging
down, nudges the COLONEL.
? 626 ?
Close shot: Of their hands meeting and
we see the envelope change hands. Camera
pans up to the COLONEL's face which
is twisted into a miserable grimace.
Close-up: Of JOHN. He glances around,
Close shot: Of MIKE and the COLONEL.
MIKE elbows the COLONEL to throw his
signal. The COLONEL looks toward JOHN
and nods his head.
Close shot: Of JOHN. He catches the
COLONEL'S signal and quickly his hand
goes to his pocket. Just as he is about
to bring it out, his hand pauses. He
turns and looks at ANN.
Close-up: Of ANN. A warm, pleading look
in her eyes.
Med. shot: Around JOHN. He is still
staring at ANN, when the ANNOUNCER reaches
over and nudges him—pointing to the
mike. JOHN snaps out of it—turns his
face to the mike—pushes the paper back
in his pocket—and starts reading ANN'S
Ladies and gentlemen: I am the man you
all know as John Doe.
(clearing his throat)
I took that name because it seems to
describe—because it seems to describe
(his voice unnatural)
the average man, and that's me.
And that's me.
Med. shot: The COLONEL and MIKE. The
COLONEL realizes JOHN is not going to
make SPENCER'S speech, and his face
breaks into a broad grin. He takes MIKE'S
hand and slaps the envelope into his
palm. Over the shot we hear JOHN'S voice.
Well, it was me—before I said I was
gonna jump off the City Hall roof at
midnight on Christmas Eve. Now, I guess
I'm not average any more. Now, I'm getting
all sorts of attention, from big shots,
Med. shot: To include JOHN and ANN.
Med. shot: Around SPENCER, as MIKE enters
to him and hands him envelope.
We've been double-crossed!
SPENCER stares at the envelope, frothing
at the mouth.
? 627 ?
Med. shot: Featuring JOHN and ANN.
The Mayor and the Governor, for instance.
They don't like those articles I've
Suddenly they are startled by SPENCER's
You're an imposter, young fella! That's
a pack of lies you're telling!
Quick flashes: Of reaction from audience,
CONNELL and others.
Who wrote that speech for you?
(pointing accusing finger at JOHN)
Beany, get that guy!
Med. shot: Around SPENCER. It is as
far as he gets. Several attendants,
BEANY among them, have reached him and
start throwing him out.
Cut to: Int. D. B. NORTON's study: Med.
shot: D. B. and TED SHELDON are listening
to JOHN's speech over the radio. D.
B. is astonished at the disturbance
in the program.
(recognizing the voice)
Cut to: Int. broadcasting stage:
Close shot: Of ANNOUNCER.
Ladies and gentlemen, the disturbance
you just heard was caused by someone
in the audience who tried to heckle
Mr. Doe. The speech will continue.
Med. shot: Featuring JOHN and ANN.
Well, people like the Governor
People like the Governor and that fella
there can—can stop worrying. I'm not
gonna talk about them.
ANN smiles admiringly.
Close-up: Of JOHN. He is becoming strangely
absorbed in what he is saying.
? 628 ?
I'm gonna talk about us, the average
guys, the John Does. If anybody should
ask you what the average John Doe is
like, you couldn't tell him because
he's a million and one things. He's
Mr. Big and Mr. Small. He's simple and
he's wise. He's inherently honest, but
he's got a streak of larceny in his
heart. He seldom walks up to a public
telephone without shoving his finger
into the slot to see if somebody left
a nickel there.
Close-up: Of ANN. Her eyes are glued
He's the man the ads are written for.
He's the fella everybody sells things
to. He's Joe Doakes, the world's
greatest stooge and the world's greatest
Yes, sir. Yessir, we're a great family,
the John Does. We're the meek who are,
er, supposed to inherit the earth. You'll
find us everywhere. We raise the crops,
we dig the mines, work the factories,
keep the books, fly the planes and drive
the busses! And when a cop yells: "Stand
back there, you!" He means us, the John
Cut to: Int. D. B. 's study:
Med. shot: D. B. and TED listen near
the radio. TED's eyes flash angrily.
Well, what kind of a speech is that?
Didn't you read it?
D. B. stops him with a gesture of his
hand. He doesn't want to miss a word.
Cut to: Int. broadcasting stage:
Med. shot: Toward JOHN.
We've existed since time began. We built
the pyramids, we saw Christ crucified,
pulled the oars for Roman emperors,
sailed the boats for Columbus, retreated
from Moscow with Napoleon and froze
with Washington at Valley Forge!
Yes, sir. We've been in there dodging
left hooks since before history began
to walk! In our struggle for freedom
we've hit the canvas many a time, but
we always bounced back!
Med. shot—panning: Around audience—to
get a variety of interested faces.
Because we're the people —and we're
Close-up: Of JOHN.
? 629 ?
They've started a lot of talk about
free people going soft—that we can't
take it. That's a lot of hooey! . .
. A free people can beat the world at
anything, from war to tiddle-de-winks,
if we all pull in the same direction!
Med. shot: To include radio announcer
and other radio officials. Their interest
centers on JOHN.
I know a lot of you are saying "What
can I do? I'm just a little punk. I
don't count." Well, you're dead wrong!
The little punks have always counted
because in the long run the character
of a country is the sum total of the
character of its little punks.
Int. D. B.'s study. Med. Shot. D. B.'s
expression of disturbance has vanished.
It is now replaced by one of thoughtfulness
and interest. He looks off toward the
foyer, and impulsively goes in that
Med. shot: D. B. crosses to a pantry
door and pushes the swinging door open
Int. pantry: Med. shot: All we can see
through the slightly open door is one
side of the room. Clustered around the
radio on a table are all the household
help. They listen, fascinated.
Int. foyer: Closeup of D. B. His eyes
begin to brighten with an idea. Meantime,
over the foregoing shots, JOHN's voice
But we've all got to get in there and
pitch! We can't win the old ball game
unless we have team work. And that's
where every John Doe comes in! It's
up to him to get together with his teammate!
Cut to: Int. broadcasting station:
Med. shot: Closeup: Of JOHN.
And your teammates, my friends, is the
guy next door to you. Your neighbor!
He's a terribly important guy, that
guy next door! You're gonna need him
and he's gonna need you . . . so look
him up! If he's sick, call on him! If
he's hungry, feed him! If he's out of
a job, find him one! To most of you,
your neighbor is a stranger, a guy with
a barking dog, and a high fence around
Med. shot: Somewhere in audience.
? 630 ?
Now, you can't be a stranger to any
guy that's on your own team. So tear
down the fence that separates you, tear
down the fence and you'll tear down
a lot of hates and prejudices! Tear
down all the fences in the country and
you'll really have teamwork!
Med. shot: Around BEANY and the LUGS.
They, too, are interested.
I know a lot of you are saying to yourselves:
"He's asking for a miracle to happen.
He's expecting people to change all
of a sudden." Well, you're wrong. It's
no miracle. It's no miracle because
I see it happen once every year. And
so do you. At Christmas time! There's
something swell about the spirit of
Christmas, to see what it does to people,
all kinds of people . . .
Close-up: Of ANN. Her eyes go from JOHN
to the audience—as she watches their
Full shot: Shooting toward audience
over JOHN's shoulder.
Now, why can't that spirit, that same
warm Christmas spirit last the whole
year round? Gosh, if it ever did, if
each and every John Doe would make that
spirit last three hundred and sixty-five
days out of the year, we'd develop such
a strength, we'd create such a tidal
wave of good will, that no human force
could stand against it.
Close-up: Of JOHN. He has become visibly
affected by the speech himself.
Yes, sir, my friends, the meek can only
inherit the earth when the John Does
start loving their neighbors. You'd
better start right now. Don't wait till
the game is called on account of darkness!
Wake up, John Doe! You're the hope of
He has finished—but does not move. He
drops his head to conceal the moisture
in his eyes.
Close-up: Of ANN. She, too, remains
seated. Her moist eyes riveted on JOHN.
Med. long shot: Of Audience. There is
no outburst of applause. All continue
to stare forward, emotionally touched.
Med. shot: Of ANN. She runs over to
John! You were wonderful!
Med. shot: Of the audience. They too
realize it is over—and gradually they
rise and applaud him wildly, and the
radio station rings with cheers.
? 631 ?
Med. shot: JOHN and ANN. JOHN stares
at ANN, then turns to COLONEL.
(as he reaches COLONEL)
Let's get out of here.
They exit through the door at which
the COLONEL has been on guard.
Now you're talking!
Med. shot: At side door. The COLONEL
opens it, and a little crowd of autograph
hounds wait for JOHN.
Gangway, you heelots!
They push their way to a taxi waiting
at the curb.
Close-up: Of ANN. She stares at them
leaving, follows and tries to stop them,
but her efforts are unsuccessful.
Dissolve to: Ext. under a bridge: Med.
shot: JOHN and the COLONEL are in a
secluded spot. The lights of the city
can be seen in the distance. The COLONEL
is building a fire.
I knew you'd wake up sooner or later!
Boy, am I glad we got out of that mess.
Close-up: Of JOHN. He reaches around
and pulls his pitcher's glove out of
his back pocket, and starts pounding
his fist into it.
I had that five thousand bucks sewed
up! Could have been on my way to old
"You're a pitcher, John," she said,
"Now go in there and pitch!
What a sucker!
Wider shot: To include the COLONEL,
who has quite a mound of twigs built,
under which he lights a match.
Yeah, she's a heelot just like the rest
of them. It's lucky you got away from
What was I doin' up there makin' a speech,
anyway? Me? Huh? Gee, the more I think
about it the more I could . . .
Tear down all the fences. Why, if you
tore one picket off of your neighbor's
fence he'd sue you!
Five thousand bucks! I had it right
in my hand!
Dissolve to: Int. D.B.'s study: Close-up:
D.B. on telephone.
? 632 ?
What do you mean, he ran away? Well,
go after him! Find him! That man is
Dissolve to: Ext. a box car (process).
Close shot: Of JOHN and the COLONEL.
They play a duet on their instruments.
Fade in: Ext. a small town street—day:
Med. shot: As JOHN and the COLONEL come
from around a corner. Camera pans with
them as they enter "Dan's Beanery".
Int. DAN's Beanery: Full shot: They
enter and flop down on stools. Half
a dozen other customers are present.
Med. shot: Kids dancing to phonograph.
Close shot: JOHN and the COLONEL.
Yeh. Say, how much money we got left?
Better make it doughnuts, huh?
What'll it be, gents?
Have you got a coupla steaks about that
big and about that thick?
Er, yeh, with hash-brown potatoes and
tomatoes and—and apple pie and ice cream
And doughnuts! I know. Hey, Ma! Sinkers,
Sinkers, a pair, coming up.
Glad he took the "T" out of that.
(sees something off—nudges the Colonel)
? 633 ?
Long shot: Shooting from their view
through the store window. In the street
outside, a delivery wagon is passing.
On its side is a sign reading "JOIN
THE JOHN DOE CLUB".
Int. DAN's beanery: Close-up: JOHN and
Join the John Doe Club.
John Doe Club?
Close shot: Of the WAITER standing near
the coffee urn. From back of it he has
taken a local paper—on the front page
of which is JOHN's picture. The WAITER
looks at it and then turns his head
Two shot: JOHN and the COLONEL. They
turn and see the waiter watching them
Wider shot. As the WAITER approaches
Are you John Doe?
JOHN lowers his head.
(pointing to paper)
You need glasses, buddy.
Well, he's the spittin' image of—
Yeah, but his name's Willoughby.
Long John Willoughby.
(takes glove out of pocket)
I'm a baseball player.
Oh, no. I'd know that voice anywhere.
You can't kid me! You're John Doe! Hey,
Ma! Ma! That's John Doe!
? 634 ?
Yeah. Sitting right there, big as life.
Who'd you say it was?
John Doe! The big guy there! Picture's
in the paper!
JOHN gives the COLONEL the office and
they hastily exit. Several customers,
who had gathered around, now evince
interest. DAN identifies JOHN as JOHN
DOE, and the people follow JOHN out
into the street. DAN hastily seizes
Hey, Operator? Dan's Beanery. Look.
Call everybody in town. John Doe was
just in my place. Yeh. He ordered doughnuts.
Long shot: Shooting out of window toward
street. We see JOHN and the COLONEL
as they hurry away, being followed by
the crowd which is gradually growing
larger . . . as we see people crossing
the street to get to them—
There he is!
There he is! Come on!
Gotta see John Doe!
Dissolve to: Ext. sidewalk: Med. shot:
Millville City Hall. The sidewalk is
crowded with people. Those near the
entrance are trying to force their way
in. MAYOR HAWKINS guards the door.
I know, you all voted for me and you're
all anxious to see John Doe. We're all
neighbors, but my office is packed like
a sardine box.
What does John Doe look like, Mr. Mayor.
Oh, he's one of those great big outdoor
type of men. No, you can't see him.
MAYOR notices one member of the crowd
You didn't vote for me the last time.
Shame on you—get off my front porch!
Mr. Norton come yet? What's keeping
him? He should of been here fifteen
minutes ago. Oh, there he comes now.
Now, everybody on your dignity. Don't
do anything to disgrace us. This is
a little town, but we gotta show off.
? 635 ?
Wider shot: Of curb. From off-scene
we hear the wail of sirens, and as the
crowd on the sidewalk turn they see
two motorcycle cops drive in, followed
by a limousine.
Two shot: ANN and D. B.
Better let me talk to him.
All right, but present it to him as
a great cause for the common man.
ANN nods as they start toward building.
Camera pans with them as the cops break
through the curious mob.
Med. shot: MAYOR HAWKINS endeavors to
Ah, here he comes! Give him room down
there! Give him room, folks! How do
you do, Mr. Norton! I'm the Mayor—
Come back here!
Let me go, you dern fool! I'm the Mayor!
Mr. Norton! I'm Mayor Hawkins. Your
office telephoned me to hold him.
Int. City Hall: Med. shot: As they walk
toward MAYOR'S office.
(to Mayor Hawkins)
Well, that's fine. How is he?
Oh, he's fine. He's right in my office
there. You know, this is a great honor
having John Doe here, and you too. Haven't
had so much excitement since the old
city hall burned down.
People were so excited, they nearly
tore his clothes off.
(turns to secretary)
Oh, Matilda darling, phone the newspapers.
Tell them Mr. Norton is here. Step right
inside, Mr. Norton—my office is very
comfortable here, Mr. Norton. Just had
it air-conditioned. Gangway, please.
Make room for Mr. Norton. Gangway, gangway.
Here he is, Mr. Norton, well taken care
of. The neighbors are serving him a
Int. MAYOR's office. Full shot: JOHN
and the COLONEL are surrounded by a
room full of people, including the SHERIFF
in full uniform and several policemen.
JOHN sits at the MAYOR'S desk, which
is filled with edibles. D.B., ANN and
the MAYOR enter. JOHN, upon seeing ANN,
gets to his feet.
? 636 ?
Mister Mayor, if you don't mind, we'd
like to talk to him alone.
Why, certainly, certainly. All right,
everybody, clear out.
They all start to shuffle out—the MAYOR
excitedly egging them on.
Don't argue with me here. Wait till
we get home.
Don't you push me around like that!
Even though I'm your wife, you can't
push me around—
They all shuffle out, and D.B. shuts
the door. JOHN watches him, doesn't
like his proprietary manner.
Look, Mr. Norton, I think you've got
a lot of nerve having those people hold
There's nobody holding you here, Mr.
It's only natural that people—
Well, if there's nobody holding us here,
let's get going. Incidentally, my name
isn't Doe. It's Willoughby.
(gets in front of him—pleads)
Look, John. Something terribly important's
happened. They're forming John Doe Clubs.
We know of eight already and they say
that there's going—
(interested despite himself)
John Doe Clubs? What for?
Uh-huh. To carry out the principles
you talked about in your radio speech.
? 637 ?
(regains his former attitude)
I don't care what they're forming. I'm
on my way and I don't like the idea
of being stopped either.
Oh, but you don't know how big this
thing is. You should see the thousands
of telegrams we've received and what
they're saying about you.
Look, it started as a circulation stunt,
Uh-huh . . .
Well, you got your circulation. Now,
why don't you let me alone?
Oh, it started as a circulation stunt,
but it isn't any more. Mr. Norton wants
to get back of it and sponsor John Doe
Clubs all over the country. He wants
to send you on a lecture tour.
Why, certainly. With your ability to
influence people, it might grow into
a glorious movement.
Say, let's get something straight here.
I don't want any part of this thing.
If you've got an idea I'm going around
lecturing to people, why you're crazy!
Baseball's my racket, and I'm sticking
to it. Come on, Colonel, let's get out
The beaming COLONEL starts to follow
him to the door. When they get there,
the door suddenly flies open and a crowd
of townspeople push their way in—with
the MAYOR and the SHERIFF trying to
hold them back.
Please, please! I just got rid of one
Oh, but please. Mr. Mayor, tell him
the John Doe Club wants to talk to him.
Close-up: Of D. B. He gets an idea.
These people might influence JOHN.
? 638 ?
Let them in, Mr. Mayor. Let them come
Full shot: As the MAYOR and the SHERIFF
Okay, folks, but remember your manners.
No stampeding. Walk slow, like you do
when you come to pay your taxes.
Med. shot: Of the group. They shuffle
forward grinning happily. Those in the
rear rise on tiptoes for a better look.
The men doff their hats as they come
Med. shot: Of JOHN, the COLONEL, ANN
and D.B. John glances around nervously.
The COLONEL is worried.
Med. shot: Of the townspeople. They
just stand there, awkwardly, some grinning
sheepishly, others staring at JOHN.
Finally someone nudges a young man in
the foreground and whispers.
Come on, Bert.
Okay. All right, give me a chance.
(making room for him)
Come right in.
Wider shot: As the group around JOHN
My name's Bert Hansen, Mr. Doe, I'm
the head soda jerker at Schwabacher's
Close shot: Of BERT—as he plunges into
Well, sir, you see, me and my wife,
we heard your broadcast, and we got
quite a bang out of it, especially my
Wider shot: To include JOHN and the
Kept me up half the night saying "That
man's right, honey. The trouble with
the world is—nobody gives a hoot about
his neighbor. That's why everybody in
town's sore and cranky at each other."
And I kept saying, "Well, that's fine,
but how's a guy gonna go around loving
the kind of neighbors we got? Old Sourpuss
You see, Sourpuss Smithers is a guy
who lives all alone next door to us.
He's a cranky old man and runs a second-hand
furniture store. We haven't spoken to
him for years. I always figured he was
an ornery old gent that hated the world
cause he was always slamming his garage
door and playing the radio so loud he
kept half the neighbors up.
? 639 ?
Close-up: Of BERT.
Well, anyway, the next morning I'm out
watering the lawn and I look over and
there's Sourpuss on the other side of
the hedge straightening out a dent in
his fender and, er, my wife yells to
me out of the window. She says, "Go
on. Speak to him, Bert." And I figured,
well, heck, I can't lose anything—so
I yelled over to him "Good morning,
Mr. Smithers." He went right on pounding
his fender, and was I burned! So I turned
around to give my wife a dirty look
and she said, "Louder, louder. He didn't
hear you." So, in a voice you could
of heard in the next county, I yelled.
"Good morning, Mr. Smithers!"
Med. shot: Featuring JOHN and BERT.
JOHN is very interested.
Well, sir, you coulda knocked me over
with a feather. Old Sourpuss turned
around surprised like, and he put on
a big smile, came over and took my hand
like an old lodge brother, and he said.
"Good morning, Hansen. I've been wanting
to talk to you for years, only I thought
you didn't like me." And then he started
chatting away like a happy little kid,
and he got so excited his eyes begin
Med. shot: Of a group of neighbors.
They smile sympathetically.
Well, Mr. Doe, before we got through,
I found out Smithers is a swell egg,
only he's pretty deaf, and that accounts
for all the noises.
Wider shot: To include BERT, JOHN and
And he says it's a shame how little
we know about our neighbors, and then
he got an idea, and he said, "How's
about inviting everybody some place
where we can all get together and know
each other a little better?" Well, I'm
feeling so good by this time, I'm ripe
Close shot: Of ANN and D. B. They listen,
amused and excited.
So Smithers goes around the neighborhood
inviting everybody to a meeting at the
school house and I tell everybody that
comes in the store, including Mr. Schwabacher,
Oh, I'm talking too much.
Med. shot: JOHN and BERT.
? 640 ?
Well, I'll be doggoned if over forty
people don't show up. 'Course none of
us knew what to do, but we sure got
a kick out of seeing how glad everybody
was just to say hello to one another.
Tell him about making Sourpuss chairman,
Oh, yeah. We made Sourpuss chairman
and decided to call ourselves The John
Doe Club. And, say, incidentally, this
is my wife. Come here, honey.
His WIFE comes forward and stands beside
This is my wife, Mr. Doe.
MRS. HANSEN nods her head shyly—and
JOHN acknowledges the introduction by
a half wave of his hand.
How do you do, Mr. Doe . . . Er, Sourpuss
is here, too.
Oh, is he?
Med. shot: Of a group around SOURPUSS.
He is as described, except when he smiles,
his whole face warms up. Those around
him push him forward. At first he looks
bewildered, then, understanding, he
starts toward BERT, grinning sheepishly.
Med. shot: Around BERT—as SOURPUSS comes
This is Sourpuss. Er, excuse me. Er,
Mr. Smithers, Mr. Doe.
Th—that's all right. If you didn't call
me Sourpuss, it wouldn't feel natural.
There are snickers from the background.
Well, anyway, I—I guess nearly everybody
in the neighborhood came, except the
DeLaneys. The Delaneys live in a big
house with an iron fence around it and
they always keep their blinds drawn,
and we always figured that he was just
an old miser that sat back counting
his money, so why bother about inviting
him? Until Grimes, the milkman spoke
up and he said, "Say, you've got the
Delaneys all wrong." And then he tells
? 641 ?
us about how they cancelled their milk
last week, and how, when he found a
note in the bottle he got kinda curious
like and he sorta peeked in under the
blinds and found the house empty. "If
you ask me," he says, "they're starving."
Old man Delaney has been bringing his
furniture over to my place at night,
one piece at a time, and selling it.
Close shot: Of JOHN. Profoundly impressed
Wider shot: BERT clears his throat.
Yeah. And, well, sir, a half a dozen
of us ran over there to fetch them and
we got them to the meeting. What a reception
they got. Why, everybody shook hands
with them and made a fuss over them,
and, well, finally, Mr. and Mrs. Delaney
just sat right down and cried.
He smiles, embarrassed, and JOHN, as
well as the others, clear their throats.
And then we started to find out about
a lot of other people.
Yeah, sure. Er, you know Grubbel, for
Grubbel's here. See?
Yeah. That's—that's him. Of course,
you don't know Grubbel, but he's the
man that everybody figured was the worst
no-account in the neighborhood because
he was living like a hermit and nobody'd
have anything to do with him. Er, that
is until Murphy, the postman told us
the truth. "Why, Grubbel," he says,
"he lives out of garbage cans because
he won't take charity. Because it'd
ruin his self-respect," he says.
Just like you said on the radio, Mr.
Well, sir, about a dozen families got
together and gave Grubbel a job watering
their lawns. Isn't that wonderful? And
then we found jobs for six other people
and they've all gone off relief!
Yeh. Er, and my boss, Mr. Schwabacker
made a job in his warehouse for old
? 642 ?
And he gave you that five dollar raise.
Yeah! Wasn't that swell!
Med. shot: Around MAYOR HAWKINS. He
Why, Bert, I feel slighted. I'd like
to join but nobody asked me.
Med. shot: Around BERT and SOURPUSS.
Well, I'm sorry, Mayor, but we voted
that no politicians could join.
Just the John Does of the neighborhood.
Cause you know how politicians are.
Close-up: Of the MAYOR—completely deflated.
Yeah . . .
Med. shot: Around JOHN. As they smile,
amused at the MAYOR'S discomfiture.
Med. shot: Around BERT. He looks over
at JOHN, hesitates a moment, and then
Well, er, the reason we wanted to tell
you this, Mr. Doe, was to give you an
idea what you started. And from where
I'm sitting, I don't see any sense in
your jumping off any building.
Well, thank you for listening. Goodbye,
Mr. Doe. You're a wonderful man and
it strikes me you can be mighty useful
walking around for a while.
Close-up: Of JOHN. Deeply touched. Shifts
awkwardly, unable to say anything.
Med. shot: As D. B. and ANN watch his
face to see the effect.
Goodbye Mr. Doe.
? 643 ?
BERT has turned to go, and the rest
follow suit. They all shuffle silently
Med. shot: Of an old couple who remain
looking up at JOHN, as those around
them leave. The old lady takes the old
man's arm and starts toward JOHN. Camera
pans with them until they reach him.
I'm Mrs. Delaney, Mr. Doe . . . and
God bless you, my boy.
(she gently kisses his hand)
The two OLD PEOPLE leave.
Close-up: Of JOHN. He swallows a lump
in his throat. He watches the old people
until they have left, then with a quick
glance at his hand—and self-consciously
in front of the others, stuffs his hand
into his pocket.
Full shot: As they all watch him, without
speaking. JOHN runs his hand through
his hair, stealing a fleeting glance
at the others, and grins awkwardly.
Close shot: Of D. B. as he signals to
the MAYOR and the SHERIFF, who have
remained, to leave.
Med. shot: Of the MAYOR and the SHERIFF,
who receive the signal and discreetly
Full shot: They wait for JOHN to speak,
but JOHN begins walking around, profoundly
Close-up: Of the COLONEL watching him,
Two shot: Of D. B. and ANN. Their eyes
glued on him, expectantly.
Full shot: JOHN still paces, disturbed
by clashing emotions. He stops, glances
at the door, a soft, thoughtful expression
in his eyes. Then, as his thought shifts,
he runs his left hand over his pitching
Gee, whiz—I'm all mixed up—I don't get
it. Look, all those swell people think
I'm gonna jump off a building or something.
He looks toward the door.
I never had any such idea. Gosh! A fella'd
have to be a mighty fine example himself
to go around telling other people how
to—Say, look, what happened the other
night was on account of Miss Mitchell,
here. She wrote the stuff.
ANN walks over to JOHN.
Two shot: ANN and JOHN. She faces him,
looking up into his face.
? 644 ?
Don't you see what a wonderful thing
this can be?
But we need you , John.
Close-up: Of the COLONEL. He stares
at JOHN, sees him weakening, and grimaces
Wider shot: The COLONEL watches JOHN
as he continues to turn it over in his
You're hooked! I can see that right
They all look up, startled.
They got you. Well, I'm through.
(crosses to door—stops, turns)
For three years I've been trying to
get you up to the Columbia River country.
First, it was your glass arm. Then it
was the radio. And now it's the John
Doe clubs. Well, I ain't waiting another
He opens the door and when he sees the
townspeople still gathered outside,
he yells to them.
Gangway, you heelots!
He pushes his way out.
Hey, Colonel! Wait a minute!
He starts after the COLONEL, but when
he gets to the door, the townspeople
surge toward him and block his way.
Oh, please, Mr. Doe—
Close-up: Of JOHN.
He tries to peer over the heads of the
townspeople who go on chattering. There
is a trapped look on JOHN's face.
Two shot: D. B. and ANN. They exchange
Dissolve to: Int. office of headquarters.
Close shot: Of large map of the U.S.
over the top of which we read: "John
Doe Clubs." There are a dozen pegs scattered
over the map, indicating where the clubs
are. We hear D. B.'s voice.
Camera draws back and we find D. B.
talking to a group of men in front of
? 645 ?
I want you personally to go along with
John Doe and Miss Mitchell and handle
the press and the radio.
(an experienced promoter)
Yes. I don't want to take any chances.
Yes. D. B.
Your crew will do the mop up job. They'll
follow John Doe into every town, see
that the clubs are properly organized
and the charters issued.
There are only eight flags up there
now. I want to see that map covered
before we get through!
Med. shot: D. B. is still speaking as
camera moves down to the map again,
which constantly remains a background
for the montage following. As the montage
proceeds, pegs begin to appear in abundance
on the map.
A montage: Accompanied by a fanfare
1. Flashes of banners reading:
"JOHN DOE COMING"—"JOHN DOE TONIGHT"
"GOODBYE JOHN DOE, CALL AGAIN"
2. Close-ups of JOHN speaking—superimposed
over long shots of audiences of various
3. Flashes of ANN typing.
4. Flashes of sheets of paper being
ripped out of a typewriter.
5. Flashes of JOHN on the radio—with
ANN by his side.
6. Flashes of people listening.
7. Flashes of people applauding.
8. Series of signs being nailed up:
"JOHN DOE CLUB—BE A BETTER NEIGHOR."
9. Superimposed shots of JOHN and ANN
riding in trains, planes and automobiles.
10. Against stock shots of these cities,
the names zoom up to the fore-ground
of Kansas City, Chicago, Buffalo, Washington,
Baltimore, Philadelphia, New York.
11. Superimpose map over the above titles,
showing the states they are in being
covered with pegs.
12. A picture of JOHN DOE on front page
of Time magazine, with a caption under
it reading: "MAN OF THE HOUR."
? 646 ?
13. Conference Room.
This has been growing like wildfire!
If they only made demands, but the John
Does ask for nothing!
14. A man sits at a desk on which is
a nameplate reading: "Relief Administrator."
People are going off relief! If this
keeps up, I'll be out of a job!
15. Stock shot—of Capitol Hill.
16. Corner of a club smoking room. A
group of legislators—some sit—some stand.
The room is filled with smoke.
As soon as he gets strong enough, we'll
find out what John Doe wants! Thirty
every Thursday—sixty at sixty—who knows
17. Insert: Sign reading: DEMOCRATIC
HEADQUARTERS. A man reports to the boss
behind the desk.
I'm sorry, boss. they just won't let
anybody talk politics to them. It's,
18. Insert: Sign reading: REPUBLICAN
HEADQUARTERS. A man at a desk talks
to several in front of him.
We've got to get to them! They represent
millions of voters!
Dissolve to: Insert: Of Map. Nearly
every state in the union have pegs in
them, varying in volume. Camera pulls
back and we find the map is on a stand
near a door, the sign on which we see
in reverse. It reads: "OFFICE OF JOHN
Int. JOHN DOE headquarters. Med. shot:
D.B. standing behind his desk, speaking
to a group of people in front of him.
We recognize the MAYOR, and the President
of the Chamber of Commerce. Representatives
of several other branches of the City
Administration are also present. CONNELL
sits near D. B.—scrutinizing him thoughtfully.
On the other side of D. B. is TED SHELDON.
I tell you, ladies and gentlemen, this
thing has been nothing short of a prairie
fire. We've received so many applications
for charters to the John Doe Clubs we
haven't been able to take care of them.
I'd hate to have that many pins stuck
This John Doe convention is a natural.
It's gonna put our city on the map.
Why, over twentyfour hundred John Doe
clubs are sending delegates. Can you
imagine that? You, Mr. Mayor, will be
the official host. You will make the
arrangements for decorating the city,
parades and a reception for John Doe
when he gets home! And—don't wear your
? 647 ?
No high hat?
No high hat. And from you, Connell,
I want a special John Doe edition every
day until the convention is over.
And now, if you will please just step
into the outer office and look your
prettiest because there are photographers
there to take pictures of this committee.
They start to exit. The MAYOR is full
Don't worry, D. B. Everything'll be
taken care of!
Isn't it all too wonderful?
The group, chattering, exit into outer
(from the outer office)
Oh, Mr. Mayor, would you step right
in the front row, please? Will you ladies
get close to him? That's it!
Close-up: Of CONNELL. To inter-cut with
above speech. He has been watching D.
B.—deeply disturbed about something.
Wider shot: All have left except CONNELL,
TED, and D.B. CONNELL rises from his
chair—with a deep sigh.
(shaking his head)
Well, I don't get it.
Huh? Get what?
Look, D. B. I'm supposed to know my
way around. This John Doe movement costs
you a fortune. This convention's gonna
Well, I'm stuck with two and two—but
I'm a sucker if I can make four out
(cocking his head)
Where do you come in?
Why, I'll have the satisfaction of knowing
that my money has been spent for a worthy
? 648 ?
Close-up: of CONNELL. He stares at D.
B. a moment. He realizes he has been
told to mind his own business.
Two shot: CONNELL picks up his hat.
I see. I'd better stick to running the
I think maybe you'd better. And Connell—I'd
like to have the John Doe contract,
all the receipts for the money we have
advanced him and the letter Miss Mitchell
wrote, for which I gave her a thousand
Dissolve to: Int. a hotel living room—night.
Full shot: ANN's luggage is packed and
ready to be taken out. She stands near
a desk stuffing papers into a manuscript
case. She seems lost in worried thought.
The door opens as CHARLIE, high pressure
exploitation man, enters.
Well, we leave for the airport in half
an hour. Is that Johnny-boy's room?
I'd better hustle him up!
He'll be ready on time. He's packing
(crosses to Ann)
Did you see his picture on the cover
of Time ?
CHARLIE drops the magazine on the desk
in front of her. ANN glances at it,
unenthusiastically. CHARLIE goes to
a table where there are several bottles
of coca-cola and starts to pour himself
I gotta give you credit, Annie-girl.
I've handled a good many big promotions
in my time . . . everything from the
world's fair to a channel swimmer, but
this one has certainly got me spinning.
And now a John Doe Convention! Wow!
Say! If you could only get him to jump
off the City Hall roof on Christmas
Eve, I'd guarantee you half a million
ANN is lost in troubled thought.
(nods toward door)
What do you make of him?
? 649 ?
Two shot: CHARLIE and ANN.
Well, I don't know what angle you want,
but I'll give it to you quick. Number
one, he's got great yokel appeal; but
he's a nice guy. Number two, he's beginning
to believe he really wrote that original
suicide letter that you made up. Number
three, he thinks that you're Joan of
Arc or something!
Close-up: Of ANN. This is definitely
troublesome to her.
Yeah, I know.
Wider shot: ANN walks away—pacing perturbedly.
Number four, well, you know what number
four is. He's nuts about you. Yeah,
it's running out of his ears.
ANN runs her hand through her hair.
Suddenly she wheels around to CHARLIE.
You left out number five. We're all
heels, me especially.
She returns to her packing. CHARLIE
watches her a second.
They are interrupted by a knock on the
JOHN enters, carrying a suitcase.
I'm all packed.
Good. I'll go and get Beany-boy.
? 650 ?
CHARLIE winks good-naturedly and exits.
JOHN turns to ANN, who concentrates
on her packing.
Med. shot: He looks at ANN with great
interest, and walks toward her, camera
panning with him. ANN feels him coming,
but does not turn.
(after a pause)
Can I help you pack?
No, thank you.
JOHN wanders over to a chair and sits
on the edge—watching her.
Close-up: Of ANN. She is conscious of
his eyes on her and fumbles with her
packing. Finally she turns.
Close-up: Of JOHN. He stares at her,
a warm smile on his face.
Close-up: Of ANN. She becomes self-conscious
and resumes her packing.
Med. shot: JOHN.
Do you care if I sit down out here?
A broad smile appears on JOHN'S face.
You know, I had a crazy dream last night.
It was about you.
Sure was crazy. I dreamt I was your
Close-up: Of ANN. The fact that he has
seen himself in the image of her father
disturbs her. She turns slowly.
Two shot: JOHN clears his throat nervously.
There was, there was something I was
trying to stop you from doing. So, er,
so I got up out of bed and I walked
right through the wall here, right straight
into your room.
You know how dreams are.
ANN stares at him—fearful of the trend
his dream is taking.
? 651 ?
And there you were in bed.
But you—you were a little girl. You
He pauses and recalls the scene.
And very pretty, too. So, I shook you,
and the moment you opened your eyes,
you hopped out of bed and started running
like the devil, in your nightgown.
You ran right out the window there.
And you ran out over the tops of buildings
and roofs and everything for miles,
and I was chasing you.
And all the time you were running you
kept growing bigger and bigger and bigger—and
pretty soon you were as big as you are
now. You know— grown up. And all the
time I kept asking myself, "What am
I chasing her for?" And I didn't know.
Isn't that a hot one? Well, anyway,
you ran into some place, and then Iran
in after you and—and when I got there,
there you were getting married.
Close-up: Of JOHN. He suddenly becomes
aware he is treading on sensitive grounds.
And the nightgown had changed into a
beautiful wedding gown. You sure looked
And then I knew what it was I was trying
to stop you from doing.
Close-up: Of ANN. She, too, begins to
feel uncomfortable—not quite knowing
how to handle it.
Two shot: JOHN glances at her.
Dreams are sure crazy, aren't they?
ANN smiles, noncommittedly.
Well, would you like to know who it
was you were marrying?
Well, a tall handsome Ubangi, I suppose.
No, not that bad. It was a fella that
sends you flowers every day. Er, what's
his name? Mr. Norton's nephew.
? 652 ?
Close-up: Of ANN. She recognizes the
significance in this.
Yeah, that's the one.
ANN turns back to her packing.
Wider shot: JOHN starts to chuckle.
But here's the funniest part of it all.
I was the fella up there doing the marrying.
You know, the Justice of the Peace or
something . . .
You were? I thought you were chasing
Well, yes, I was. But I was your father
then, see? But the real me, John Doe,
er, that is, Long John Willoughby, I
was the fellow up there with the book.
You know what I mean?
I guess so. Then what happened?
Well, I took you across my knee and
I started spanking you.
ANN turns and stares at him, eyes widening.
That is, I didn't do it.
I mean, I did do it, but it wasn't me.
You see, I was your father then. Well,
I laid you across my knee and I said:
"Annie, I won't allow you to marry a
man that's, that's just rich, or that
has his secretary send you flowers.
The man you marry has got to swim rivers
for you! He's got to climb high mountains
for you! He's got to slay dragons for
you! He's got to perform wonderful deeds
for you! Yes, sir!"
BEANY enters and stands back of him,
And all the time, er, the guy up there,
you know, with the book, me, just stood
there nodding his head and he said,
"Go to it, Pop, whack her one for me,
because that's just the way I feel about
So he says, "Come on down here and whack
her yourself." So I came down and I
whacked you a good one, see? And then
he whacked one—and I whacked you another
one, and we both started whacking you
like . . .
? 653 ?
He demonstrates by slapping his knees,
first with one hand and then with the
other. Suddenly he becomes aware of
BEANY and stops, embarrassed.
Well, if you're through whacking her,
come on, let's get going.
(to bell boys)
Okay, fellows, right in here.
You go out the side entrance. There's
a bunch of autograph seekers out front.
We'll be down with the bags in a minute.
(speaking to boys)
Don't make a government project out
The bell boys have lifted her luggage
and all exit.
Close-up: Of JOHN. He has been left
with his proposal unfinished.
Dissolve to: Int. airport lunchroom—night.
Med. shot: Scene opens with BEANY entering
airport lunchroom to end of counter
at which CHARLIE is seated.
How're you, Beany?
When does our plane take off again.
In a couple of minutes.
Camera moves down counter to pick up
JOHN and ANN at table. They sit silently
for a moment. We hear the strains of
music from a "juke" box.
(after a pause)
How many people do you think we've talked
to already, outside the radio, I mean?
I don't know. About three hundred thousand.
Three hundred thousand? What makes them
do it, Ann? What makes them come and
listen and, and get up their John Doe
Clubs the way they do? I've been trying
to figure it out.
(in an effort to disillusion him)
Look, John—what we're handing them are
platitudes. Things they've heard a million
times: "Love thy neighbor," "Clouds
have silver linings," "Turn the other
cheek." It's just a—
? 654 ?
Yeah, I've heard them a million times,
too, but—there you are. Maybe they're
like me. Just beginning to get an idea
what those things mean.
ANN is deeply concerned. She watches
You know, I never thought much about
people before. They were always just
somebody to fill up the bleachers. The
only time I worried about them was if
they—is when they didn't come in to
see me pitch. You know, lately I've
been watching them while I talked to
them. I could see something in their
faces. I could feel that they were hungry
for something. Do you know what I mean?
Maybe that's why they came. Maybe they
were just lonely and wanted somebody
to say hello to. I know how they feel.
I've been lonely and hungry for something
practically all my life.
ANN forces a smile. The moment threatens
to become awkward—until they are saved
by the pilot's voice.
All aboard, folks!
They suddenly snap out of their mood—and
as they rise:
Fade in: Int. D. B.'s dining room. Full
shot: As D. B., ANN and TED SHELDON
enter and cross to table. ANN starts
to sit and notices a fur coat flung
over the back of the chair.
Oh, somebody else sitting there?
No, no, no—that's your seat.
And this is your coat.
A little token of appreciation.
Ann pauses a moment, glances toward
D. B.—while TED throws the coat over
? 655 ?
(glances into a mirror)
Oh! Oh, it's beautiful, D. B. Well—I
don't quite know what to say . . .
Well, don't say anything at all. Just
Close-up: Of ANN. She sits down, picks
up her serviette—and something she sees
suddenly makes her look with surprise
at D. B.
Camera pans down to a jewel box which
had been under the serviette.
Camera pans back to ANN. She glances
up at D. B. somewhat bewildered.
Go ahead, open it, open it.
ANN opens the box and holds up a lovely
diamond bracelet. Her eyes dance.
Oh! Oh, it's lovely!
And a new contract goes with it.
Wider shot: D. B. and TED exchange satisfied
glances. ANN admires the bracelet on
her wrist—and then turns to D. B., looks
directly at him.
Well, come on, spring it! You've got
something on your mind.
D. B. laughs.
Must be stupendous.
Wider shot: As D. B. roars with laughter.
You know, that's what I like about her.
Right to the point, like that! All right,
practical Annie, here it is.
He leans forward. ANN waits. TED watches
Two shot: ANN and D. B.
Tomorrow night, before a crowd of fifteen
thousand people, and talking over a
nation-wide radio hook-up, John Doe
will announce the formation of a third
? 656 ?
A third party?
Yes. The John Doe Party.
Wider shot: TED watches ANN, expectantly.
Devoted entirely to the interests of
all the John Does all over the country.
Which practically means, ninety per
cent of the voters. He will also announce
the third party's candidate for the
presidency. A man whom he, personally,
recommends. A great humanitarian; the
best friend the John Does have.
(in an awed whisper)
Mr. D. B. Norton!
D. B. verifies her guess by leaning
back, a pleased grin on his face, his
huge chest expanded.
Ann looks from one to the other, a little
awed by the size of the project.
(on her breath)
Dissolve to: Int. broadcasting booth—ball
park—night. Med. shot: The place is
a bee-hive of activity. Announcers walk
about with "mikes" in their hands—all
speaking at once—as they describe the
Close shot: Of N.B.C. ANNOUNCER
And although the opening of the convention
is hours off, the delegates are already
pouring into the ball park by the droves,
with lunch baskets, banners and petitions,
asking John Doe not to jump off any
roof . . .
Camera pans over to KNOX MANNING.
It is still a phenomenal movement. The
John Does, or the hoi polloi as you've
heard people call them, have been laughed
at and ridiculed but here they are,
gay and happy, having traveled thousands
of miles, their expenses paid by their
neighbors, to come here to pay homage
to their hero, John Doe.
Camera pans over to JOHN B. HUGHES.
? 657 ?
JOHN B. HUGHES
And in these days of wars and bombings,
it's a hopeful sign that a simple idea
like this can sweep the country, an
idea based on friendliness, on giving
and not taking, on helping your neighbor
and asking nothing in return. And if
a thing like this can happen, don't
let any of our grumbling friends tell
you that humanity is falling apart.
This is John B. Hughes, signing off
now and returning you to our main studio
until nine o'clock when the convention
will officially open.
Dissolve to: Int. ANN's living room.
Med. shot: At Door. ANN's MOTHER opens
it and JOHN stands on the threshold.
He has a small box of flowers in his
hand. Water drips from his hat.
Oh, John. Come in.
Say, I'm kinda—it's raining out a little—
That's all right.
Wider shot: MRS. MITCHELL lays his hat
down somewhere. John takes a few steps
inside the room, not quite knowing what
(turning to him)
It's good to see you. Sit down.
He sits on the edge of a sofa, still
clinging to the little box. Then holds
box out awkwardly.
It's for Ann . . .
(taking the box)
Oh, how nice! Thank you very much.
I'm terribly sorry she isn't here.
No, she just left. I'm surprised you
didn't run into her. She went over to
Mr. Norton's house.
? 658 ?
Did you want to see her about something
Yeah. I, uh, well . . . No. It'll wait.
Say, he's a nice man, isn't he? Mr.
Norton, I mean. He's, er, he's done
an awful lot for the—
Close-up: Of MRS. MITCHELL. She watches
Say, my coat's pretty wet. I'm afraid
I might have wet the couch a little.
Wider shot: JOHN is still struggling
to find conversation.
Well, I guess I'll see her at the convention
Yes, of course. I'll see that she gets
He rises and looks around for hat on
the floor and back of the chair.
Thanks. Good night, Mrs. Mitchell.
(finds his hat and gives it to him)
Good night, John.
Close-up: Of JOHN. He starts away and
suddenly stops, speculatively. He glances
out of the corner of his eye toward
(going back to her)
Say, Mrs. Mitchell, I, er, I'm kinda
glad Ann isn't here. You see, I was,
I came over here hoping to see her alone
and kinda hoping I wouldn't, too. You
know what I mean? There was something
I wanted to talk to her about. But,
well, I—It'll wait, I guess. Good night.
Close-up: Of MRS. MITCHELL. She begins
to sense what is on his mind, and her
face becomes serious.
Close-up: Of JOHN. He smiles helplessly.
Starts toward door.
MRS. MITCHELL'S VOICE
Good night, John.
Two shot: JOHN and MRS. MITCHELL. He
stares at her a second.
Say, look, Mrs. Mitchell, have you ever
? 659 ?
Oh, sure you have.
Gosh! That's pretty silly! I guess you
must think I'm kinda batty!
JOHN shakes his head at his own stupidity.
(can't get over it)
Well, I guess I'd better be going at
He bows again, and starts for the door.
When he gets there, he is stopped by
MRS. MITCHELL's voice.
MRS. MITCHELL'S VOICE
John. My husband said: "I love you.
Will you marry me?"
He did? What happened?
I married him.
JOHN comes right back to her.
Two shot: JOHN and MRS. MITCHELL.
(full of excitement)
Oh, yeah. That's what I mean. See? It
was easy as all that, huh?
Yeah, yeah, but look, Mrs. Mitchell,
you know I love Ann and it's gonna be
awfully hard for me to say it because,
well, you know, she's so wonderful,
and, well, the best I ever was was a
Close-up: Of JOHN.
And you know, I think she's in love
with another man, the one she made up.
You know, the real John Doe. Well, that's
pretty tough competition.
Two shot: JOHN and MRS. MITCHELL. She
is terribly fond of JOHN and deeply
I bet you he'd know how to say it all
right. And me, I get up to it and around
it and in back of it, but, but I never
get right to it. Do you know what I
mean? So the only chance I've got is,
well, if somebody could kinda give her
a warning sort of, sorta prepare her
for the shock!
? 660 ?
You mean you'd like me to do it, huh?
Well, I was thinking that—Yeah, you
know, sort of break the ice.
Close-up of MOTHER. She doesn't know
how she can, with her present strained
relationship with ANN, but JOHN's sincerity
Of course I will, John.
Two shot: JOHN's face lights up, gratefully.
Gee whiz! Thank you, Mrs. Mitchell.
(grabs her hand)
Gee, you're—uh—you're okay!
He exits from scene—but almost immediately
he is back. He plants a kiss on her
cheek and goes.
Cut to: Ext. sidewalk. Front of ANN's
apartment. Med. Shot: An automobile
stands at the curb, in front of which
is BEANY. Also waiting, are four motorcycle
(to the other men)
This John Doe meeting is gonna be one
of the biggest things that ever happened.
As JOHN appears in the doorway of the
apartment house, he pretends to throw
a baseball at them.
Why, they're coming from all over; trains,
box cars, wagons—
Med. Shot: Reverse angle. As BEANY holds
the door open for JOHN.
Hello, bodyguards! Hey, had your dinner
Well, look. No. Go ahead and have your
He is about to enter the car when a
voice from off-scene stops him.
Wait a minute, John.
Camera pans over to a taxicab which
has just driven in. CONNELL hands the
driver a bill and walks, rather unsteadily
Med. shot: Around BEANY's car. CONNELL
ambles into the scene.
? 661 ?
Hello, Mr. Connell.
John, I want to have a little talk with
(lurches—John holds him up)
What's the matter—are you falling? Come
Takes his arm to lead him off.
Oh, quiet, quiet, quiet.
Say, tell me something did you read
that speech you're gonna make tonight?
No, I never read the speeches before
I make them. I get more of a kick out
of it that way.
Uh-huh. That's exactly what I thought.
Beany, go on down to the office, tell
Pop to give you the speech. There's
a copy on my desk.
Gee whiz, Boss, you know Mr. Norton
told me not to leave him, not even for
(shooing him away)
Go on, go on, go on. And we'll be at
Jim's Bar up the street.
He points in the general direction and
again takes JOHN's arm. JOHN watches
him, rather amused to see CONNELL off
his milk diet, and allows himself to
be led away.
Wipe to: Int. a barroom. Close shot:
In a corner booth, JOHN and CONNELL
sit, close together, drinks in front
of them. JOHN's drink has remained untouched.
CONNELL is just taking a long swig.
From off-scene we hear the strains of
an old-fashioned torch ballad, coming
from an automatic piano.
(after a pause)
You're a nice guy, John. I like you.
You're gentle. I like gentle people.
Me? I'm hard—hard and tough.
(shakes his head—disparagingly)
I got no use for hard people. Gotta
be gentle to suit me. Like you, for
? 662 ?
JOHN smiles, amused at him. CONNELL
starts to light his cigarette, which
is bent. He hold the match up, but it
never reaches the tip of the bent cigarette.
He puffs, satisfied.
Yep, I'm hard. But you want to know
something? I've got a weakness. You'd
never guess that, would you? Well, I
have. Want to know what it is?
The Star Spangled Banner.
(looks directly at John)
(turns back to his glass)
Well, maybe it is. But play the "Star
Spangled Banner"—and I'm a sucker for
it. It always gets me right here—
(thumps his diaphragm)
You know what I mean?
Close-up: Of JOHN. His face has become
(points to back of neck)
It gets me right back here.
Two shot: JOHN and CONNELL. CONNELL
speculates about this with his head
Oh, back there, huh?
(shrugs, dismissing it)
Well, every man to his own taste.
JOHN smiles at him. CONNELL tries lighting
his bent cigarette again—with the same
result—while JOHN watches, amused.
You weren't old enough for the first
world war, were you?
JOHN starts to answer, but CONNELL goes
Course not. Must have been a kid.
He pours JOHN's drink into his own glass.
I was. I was just ripe. And rarin' to
Know what my old man did when I joined
up? He joined up too.
Close-up: Of JOHN. He finds himself
Got to be a sergeant.
? 663 ?
Two shot: JOHN and CONNELL.
(as he raises his glass)
That's a kick for you. We were in the
same outfit. Funny, huh?
Close-up: Of CONNELL. He lifts his glass
to his lips, and without drinking, lowers
He was killed, John.
Close-up: Of JOHN. His face enveloped
in an expression of sympathy.
Two shot: CONNELL stares down at the
glass which he revolves between his
I saw him get it. I was right there
and saw it with my own eyes.
Without glancing at JOHN, he lifts the
glass and drains it.
(turns to JOHN)
Me? I came out of it without a scratch.
Except for my ulcers. Should be drinking
(picks up his glass)
This stuff's poison.
As he holds up his glass, he realizes
it is empty.
(yelling to bartender)
Yes, Mr. Connell?
(indicates the empty glass)
Whadda you say?
Close shot: JOHN and CONNELL. CONNELL
looks around guardedly, to make certain
he is not overhead.
Yessir. I'm a sucker for this country.
(gets a little sore about it)
I'm a sucker for the Star Spangled Banner—and
I'm a sucker for this country.
(taps table with his middle finger)
I like what we got here! I like it!
? 664 ?
(emphasizes each point)
A guy can say what he wants—and do what
he wants—without having a bayonet shoved
through his belly.
Med. shot: As he leans back and nods
his head, satisfied he made his point.
Now, that's all right, isn't it?
The BARTENDER comes in with drink and
All right. And we don't want anybody
coming around changing it, do we?
JOHN shakes his head.
Two shot: JOHN and CONNELL.
No, sir. And when they do I get mad!
I get b-boiling mad. And right now,
John, I'm sizzling!
JOHN looks at him, puzzled.
I get mad for a lot of other guys besides
myself—I get mad for a guy named Washington!
And a guy named Jefferson—and Lincoln.
Lighthouses, John! Lighthouses in a
foggy world! You know what I mean?
Yeah, you bet!
CONNELL takes a drink and looks at JOHN
a moment before he speaks.
(leans on the table)
Listen, pal—this fifth column stuff's
pretty rotten, isn't it?
Yeah. It certainly is.
And you'd feel like an awful sucker
if you found yourself marching right
in the middle of it, wouldn't you?
JOHN glances up sharply.
? 665 ?
And you, of course you wouldn't know
it because you're gentle. But that's
what you're doing. You're mixed up with
a skunk, my boy, a no-good, dangerous
JOHN'S resentment vanishes—and is replaced
Say, you're not talking about Mr. Norton,
Two shot: JOHN and CONNELL.
I'm not talking about his grandfather's
CONNELL again makes an effort to light
his bent cigarette—and again is unsuccessful.
You must be wrong, Mr. Connell, 'cause
he's been marvelous about the John Doe
Say, you're sold on the John Doe idea,
Sure. I don't blame you. So am I.
Close-up: Of CONNELL.
It's a beautiful miracle. A miracle
that could only happen right here in
the good old U.S.A. And I think it's
terrific! What do you think of that!
Me! Hard-boiled Connell! I think it's
Two shot: John is rather pleased to
hear him say this.
All right! Now, supposing a certain
unmentionable worm, whose initials are
D. B., was trying to use that to shove
his way into the White House. So he
could put the screws on, so he could
turn out the lights in those lighthouses.
What would you say about that? Huh?
? 666 ?
Nobody's gonna do that, Mr. Connell.
They can't use the John Doe Clubs for
politics. That's the main idea.
Is that so? Then what's a big political
boss like Hammett doing in town? And
a labor leader like Bennett? And a lot
of other big shots who are up at D.
B.'s house right now? Wolves, John,
wolves waiting to cut up the John Does!
Wait till you get a gander at that speech
you're gonna make tonight!
You're all wet. Miss Mitchell writes
those speeches and nobody can make her
write that kind of stuff.
They can't, huh?
Who do you think writes 'em? My Aunt
Emma? I know she writes them.
Close-up: Of JOHN. His jaw stiffens,
And get a big bonus for doing them,
too. A mink coat and a diamond bracelet.
JOHN glares at him, his rage mounting.
Close-up: Of CONNELL. Unaware of JOHN's
Don't write 'em? Why, that gold-grabbin'
dame would double-cross her own mother
for a handful of Chinese yen!
(in an outraged outcry)
Shut up! If you weren't drunk I'd—
Simultaneously his hand comes in and
grabs the startled CONNELL violently
by his shirt front, lifting him out
of his seat. Camera pulls back to include
JOHN—who towers over CONNELL.
Wider shot: JOHN is still holding CONNELL,
glaring down at him, enraged, when BEANY
runs into the scene.
(holding out the envelope)
Hey, Boss! Here's the speech, Boss.
Suddenly he sees what's happening, and
? 667 ?
Med. shot: As JOHN pushes CONNELL back
into the seat, snatches the envelope
from BEANY, and exits.
Go on and read it, John, and then start
Wider shot: As JOHN exits from place.
BEANY suddenly realizes he has gone—and
chases after him.
Hey, wait a minute, Mr. Doe!
. . . Tubby?
Better bring me a glass of milk.
Close-up: Of CONNELL. He stares at his
unlighted cigarette—grimaces unhappily.
I'm smoking too much.
He grinds out the unlighted cigarette
in the tray.
Dissolve to: Int. D. B.'s dining room.
Close shot: Of D. B., who is at head
of table, talking on phone.
. . . Yes, Charlie? You've got everything
all set? Fine! Has John Doe been taken
care of? Good! How many people do you
think will be there?
A pleased expression comes over his
Fifteen thousand? Oh my, that's fine.
Now, listen, Charlie, as soon as John
Doe stops talking about me, I want you
to start that demonstration. And make
it a big one, you understand?
As D. B. hangs up.
Wider shot: Including TED SHELDON.
Don't worry about that, D. B. My boys
are there. They'll take care of it.
What? yes, I'll be there fifteen minutes
after I get your call.
Camera draws back as he speaks. We see
that dinner has been concluded. His
listeners, besides TED and ANN, are
half a dozen distinguished looking men,
some with cigars stuck in their mouths,
others sip from champagne glasses. ANN
sits to D. B.'s right.
Cut to: Int. foyer: Med. shot: At D.
B.'s front door. A butler is opening
the door for JOHN.
? 668 ?
Why, Mr. Doe . . .
Where are they?
In the dining room, sir.
JOHN strides toward the dining room.
Camera pans with JOHN, who is dripping
wet, as he crosses the foyer until he
comes within sight of the open door
of the dining room. JOHN stops.
Cut back to: Int. D. B.'s dining room.
Wider shot: D. B. addressing the group
at the table.
Well, gentlemen, I think we're about
ready to throw that great big bombshell—
Yeah, well it's about time.
Even a conservative estimate shows that
we can count on anywhere between ten
and twenty million John Doe votes. Now,
add to that the labor vote that Mr.
Bennett will throw in . . .
He indicates BENNETT who nods, importantly.
. . . and the votes controlled by Mr.
Hammett and the rest of you gentlemen
in your territories—
and nothing can stop us!
Close-up: Of ANN. She seems distressed.
She apparently has been listening to
things that have caused her considerable
Wider shot: WESTON leans forward and
speaks to D. B.
As I said before, I'm with you—providing
you can guarantee the John Doe vote.
Don't worry about that.
You can count on me under one condition.
Little Bennett's gotta be taken care
Didn't I tell you that everybody in
this room would be taken care? My agreement
with you gentlemen stands!
I'm with you, D. B., but I still think
it's a very daring thing we're attempting!
? 669 ?
These are daring times, Mr. Barrington.
We're coming to a new order of things.
There's been too much talk going on
in this country.
ANN glances up at D. B., a startled
look in her eyes.
Close shot: D. B.'s audience beams with
satisfaction as he continues.
Too many concessions have been made!
What the American people need is an
That's true. You're quite right, D.
Quite right! Exactly!
There are cries of: "Hear, hear!" and
Close-up: Of ANN. She is completely
seized by panic—and although she attempts
applauding, it is feeble.
Med. shot: Shooting through open door
toward dining room. Prominently in view
is ANN, still lost in troubled thought.
D. B. is still on his feet.
(lifting champagne glass)
may I offer a little toast to Miss Ann
Mitchell—the brilliant and beautiful
lady who is responsible for all this!
The men rise.
Miss Mitchell! Miss Mitchell!
Mr. Norton, I'd like to talk to you
alone for a moment.
Miss Mitchell has something to say to
Well, that's fine. Speech! Speech!
Ann spots John.
? 670 ?
John! I'm so glad to see you. I—I was
(showing her a copy of the speech)
Did you write this?
Yes, I did, John. But I—I had no idea
what was going on.
Close-up: Of JOHN. His mouths screws
That's a swell bracelet you're wearing.
He leaves her, abruptly.
Int. dining room: Full shot: JOHN enters
and looks the men over appraisingly
as he goes toward D. B. They all stare
Why aren't you at the convention?
JOHN doesn't answer.
Is there anything wrong?
(after a pause)
Oh, no. Nothing's wrong. Everything's
fine! So there's gonna be a new order
of things, huh? Everybody's gonna cut
himself a nice, fat slice of the John
(turns toward D. B.)
You forgot one detail, Mr. Big Shot—you
forgot me, the prize stooge of the world.
Why, if you or anybody else thinks he's
gonna use the John Doe clubs for his
own rotten purpose, he's gonna have
to do it over my dead body!
Now, hold on a minute, young man! Hold
on! That's rather big talk! I started
the John Doe clubs with my money and
I'll decide whether or not they're being
No you won't! You're through deciding
D. B. cannot believe his ears.
? 671 ?
And what's more, I'm going down to that
convention and I'm gonna tell those
people exactly what you and all your
fine-feathered friends here are trying
to cook up for them!
He looks up at ANN—and starts tearing
the speech in his hand.
And I'll say it in my own words this
He flings the torn paper toward ANN—and
HAMMETT AND OTHERS
Stop him, somebody! He'll ruin us, D.
Med. shot: At Door. As JOHN reaches
it, TED steps up in front of him.
Wait a minute, young feller—my uncle
wants to talk to you.
D. B. walks up to JOHN.
Listen to me, my son! Before you lose
your head completely, may I remind you
that I picked you up out of the gutter
and I can throw you right back there
again! You've got a nerve accusing people
of things! These gentlemen and I know
what's the best for the John Does of
America, regardless of what tramps like
Get off that righteous horse of yours
and come to your senses. You're the
fake! We believe in what we're doing!
You're the one that was paid the thirty
pieces of silver! Have you forgotten
that? Well, I haven't!
You're a fake, John Doe, and I can prove
it! You're the big hero that's supposed
to jump off tall buildings and things!
Do you remember? What do you suppose
your precious John Does will say when
they find out that you never had any
intention of doing it? That you were
being paid to say so? You're lucky if
they don't run you out of the country!
Why, with the newspapers and the radio
stations that these gentlemen control,
we can kill the John Doe movement deader
than a doornail, and we'll do it, too,
the moment you step out of line! Now,
if you still want to go to that convention
and shoot your trap off, you go ahead
and do it!
Full shot: D. B. leaves JOHN and returns
to his chair. JOHN stares at him, unbelievingly.
Close shot: of JOHN.
? 672 ?
(after a pause)
Do you mean to tell me you'd try to
kill the John Doe movement if you can't
use it to get what you want?
D. B.'S VOICE
You bet your bottom dollar we would!
Well, that certainly is a new low. I
guess I've seen everything now.
Wider shot: As JOHN's lips curl up contemptuously
and he steps up to the table.
(throwing his hat on the table)
You sit there back of your big cigars
and think of deliberately killing an
idea that's made millions of people
a little bit happier! An idea that's
brought thousands of them here from
all over the country, by bus and by
freight, in jallopies and on foot—so
they could pass on to each other their
own simple little experiences.
Close-up: Of ANN. Her eyes light up
Why, look, I'm just a mug and I know
it. But I'm beginning to understand
a lot of things. Why, your type's old
as history. If you can't lay your dirty
fingers on a decent idea and twist it
and squeeze it and stuff it into your
own pocket, you slap it down! Like dogs,
if you can't eat something, you bury
Close-up: Of JOHN. His voice is pleading.
Why, this is the one worthwhile thing
that's come along. People are finally
finding out that the guy next door isn't
a bad egg. That's simple, isn't it?
And yet a thing like that's got a chance
of spreading till it touches every last
doggone human being in the world—and
you talk about killing it!
Full shot: They listen to him—unmoved.
Why, when this fire dies down, what's
going to be left? More misery, more
hunger and more hate. And what's to
prevent that from starting all over
again? Nobody knows the answer to that
one, and certainly not you, with those
slimy, bolloxed-up theories you've got!
The John Doe idea may be the answer,
though! It may be the one thing capable
of saving this cockeyed world! Yet you
sit back there on your fat hulks and
tell me you'll kill it if you can't
? 673 ?
Well, you go ahead and try! You couldn't
do it in a million years, with all your
radio stations and all your power! Because
it's bigger than whether I'm a fake!
It's bigger than your ambitions! And
it's bigger than all the bracelets and
fur coats in the world!
Wider shot: ANN runs to JOHN.
You bet it is, John!
JOHN starts to exit.
Med. shot: Shooting toward door.
(turning to them)
And that's exactly what I'm going down
there to tell those people!
As JOHN reaches door, TED SHELDON jumps
in front of him.
Wait a minute, you ungrateful rat! My
Uncle's been too good to—
While he speaks, JOHN looks down at
the fist clutching his shirt, and then,
with a suddenness that startles TED,
he steps aside and clips TED on the
jaw. TED's knees buckle and he goes
down. JOHN exits.
Wider shot: As several men rush to TED's
assistance. D. B. does not move.
He's getting away!
Ext. entrance to D. B.'s house: Med.
shot: As JOHN hurries out. He goes by
half a dozen members of TED SHELDON's
motorcycle troops who wait around to
escort D. B. to the convention.
Int. Dining room: Full shot: The room
is full of commotion. ANN is running
out of the room, going after JOHN. Several
men bend over TED. D. B. glares toward
door, his face hardening. HAMMETT is
barking at him.
D. B. reaches under the table, lifts
up two phones. Hands one to HAMMETT.
Get the Bulletin !
He, himself, dials the other phone.
? 674 ?
I've always told you, D. B. you're playing
(calling to men)
Don't let that girl get away!
The butler rushes out.
Before he gets through tonight he'll
ruin us all!
You've got to stop him, D. B.!
I'll stop him! I'll stop him cold! Don't
worry, I've been ready for this!
Cut to: Ext. D. B.'s entrance—at gate.
Med. shot: As ANN runs alongside JOHN.
John! Oh, John, please listen to me!
Please—I can explain everything, John.
I didn't know what they were going to
do! Let me go with you, John! John,
JOHN gets into taxi—slams door—ANN runs
beside cab as it starts off.
Go ahead, driver! Ball park!
John, please let me go with you! Please,
Several troopers grab ANN.
Mr. Norton wants to see you.
As the men get a firmer grip on her
and ANN fights to get loose: Cut to:
Int. D. B.'s study: Med. shot: D. B.
is on the phone. The others pace around,
perturbedly. HAMMETT has the second
phone in his hand.
Listen to me, Mayor Lovett, you do as
I say. I want them both arrested. You
tell the police department to pick up
Connell. I've got the girl here.
(holds out phone)
I've got the Bulletin !
? 675 ?
I don't care what you charge them with!
If you're worried, let them go in the
morning, but keep them in jail over
He bangs up the receiver. Grabs another
phone from HAMMETT.
Hello, Bulletin ? Put Pop Dwyer on.
Dissolve to: Ext. entrance to ball park:
Med. shot: Over the entrance gate a
huge banner reads:
JOHN DOE CONVENTION
People come from all directions and
pour through the gates. Some carry umbrellas
over their heads, others have their
coat collars turned up. Women hold newspapers
over their heads to protect their hats.
It is a misty, drizzling rain.
Ext. ball park: Long shot: Shooting
from ANNOUNCER's view down at the Speaker's
platform which has been erected on "Home
Plate." On it, in the rear, is a brass
band. In front of it is a speaker's
table, over which dangles the microphone
of a public address system. Attached
to the table are several microphones
with names of broadcasting stations
Med. shot: Shooting toward audience.
They sing: "Oh, Susanna."
Med. shot: Toward people seated in grandstand.
They join in the singing.
Another angle: Toward a third section.
They also pick up the song.
Long shot: Taking in as many as possible.
Everyone sings, and the volume has risen
Med. shot: Shooting down an aisle. A
stream of people take up the song, as
they march to their seats.
Med. shot: At entrance to Park. Crowds
are coming in—and they, too, begin singing.
They are also joined by the policemen
posted at the gates.
Med. shot: A second entrance to Park.
Another crowd is entering, also singing.
Med. shot: Of BERT and SOURPUSS in the
foreground of a group on platform, all
of whom sing. BERT has a large rolled-up
scroll in his hand.
Close-up: Of the COLONEL. Sitting in
a corner somewhere, looking around speculatively,
with a stubborn mental reservation that
they are still all heelots.
Several close shots: Of small groups—with
their wet faces held high, singing lustily,
Long shot: Shooting from the platform
down toward the audience. The song finally
comes to a climax—and immediately, lusty
cheering starts, as they see JOHN coming
Med. shot: Toward platform. JOHN goes
to the microphone of the public address
? 676 ?
Three cheers for John Doe!
Listen, ladies and gentlemen!
Before he can go any further, the band
strikes up the strain of "AMERICA" and
immediately the large assembly begins
Close-up: Of JOHN. As his lips form
the words. His expression is solemn.
Various shots: Of groups, singing.
Long shot: As people sing. Finally the
song is ended, and an enthusiastic cheer
is emitted by the crowd.
Med. shot: On platform. JOHN again steps
toward the microphone and makes another
effort to speak, but the CLERGYMAN places
a detaining hand on his arm.
Just a moment, John. We begin with a
Longer shot: Shooting over the heads
of the audience toward the platform
in the background. Gradually the cheering
(speaking into public address system)
Quiet, please. Ladies and gentlemen—let
us have a moment of silent prayer for
the John Does all over the world . .
. many of whom are homeless and hungry.
Rise, please. Everybody rise.
The CLERGYMAN and JOHN, standing next
to him, immediately bow their heads.
Long shot: Shooting toward audience.
As far as the Camera eye can see, heads
are bowed in prayer. The reflection
on the wet umbrellas creates a strange
and mystic light.
Several close shots: Of small groups—in
Close-up: Of the COLONEL. Rather grudgingly,
he has his head lowered.
Close-up: Of JOHN. His eyes are shut—his
face wreathed in an expression of compassion.
Med. shot: At press section. They, too,
bow respectfully. The reporters are
quiet for the first time.
Ext. street: Long shot: Directly in
front of entrance to ball park. A stream
of news trucks pull up, filled with
newsboys—they immediately alight.
Ext. street: Med. shot: In front of
another entrance. More trucks arrive—packed
Ext. street: Med. shot: Shooting toward
entrance. As an army of newsboys, each
carrying a stack of newspapers, run
toward us yelling:
? 677 ?
Extry, extry! Read all about it!
Med. shot: Toward another entrance.
Another swarm of newsboys dash in, also
Extry! John Doe a fake!
Long shot: Of audience with their heads
still bowed. Slowly, they begin turning
around, puzzled, as from all directions
and down every aisle, boys are running,
waving papers in the air.
Here you are! John Doe a fake! Read
all about it! John Doe movement a racket!
Close shot: Of JOHN. He looks up, terror-stricken.
Med. shot: At press section. Great excitement
ANNOUNCER (JOHN B. HUGHES)
Newsboys! Hundreds of yelling newsboys
are swarming into the park like locusts!
They're yelling, "John Doe's a fake!
Med. shot: Of audience. As newsboys
are distributing papers to the baffled
Here you are! No charge! John Doe a
Med. shot: Of a second group. Some already
have papers and peer, unbelievingly,
at the headlines. Others grab papers
from newsboys' hands.
"Federal investigation urged by Chamber
Med. shot: Speaker's platform. SOURPUSS
and BERT, reading paper.
How could he be a fake?
It must be some kind of a gag.
A gag. A gag!
Ext. : Somewhere inside ball park: Long
shot: We hear the shrieking of sirens
and almost immediately a limousine,
escorted by Sheldon's motorcycle troops,
pulls up. Directly behind it is a string
? 678 ?
Med. shot: The door of the limousine
flies open and D. B. comes out. He immediately
heads for the platform.
Camera pans over and we see troopers
pouring out of the cars with TED SHELDON
Come on, come on, step on it! Step on
it! Step on it! You all know your places
now, so let's get going! Wait for the
Med. shot: DRUNK with a balloon. He
holds balloon up to TED, getting in
Hey, mister, will you autograph my balloon?
(and breaks balloon)
(pushing drunk aside)
Ext.: Park. Med. shot: At Speaker's
platform. JOHN is in front of the microphone
trying to make himself heard over thousands
of voices, all speaking at once.
Ladies and gentlemen! This is exactly
what I came down here to tell you about
tonight. Please, if you'll all just
be quiet for a few minutes I can explain
this whole thing to you. As you all
know, this paper is published by a man
by the name of D. B. Norton . . .
Med. shot: Shooting towards audience.
Down an aisle stalks D. B., his hand
waving in the air.
Don't listen to that man! He's a fake!
Camera pans with him as he hurries down
the aisle to the platform—all eyes turned
Close-up: Of JOHN. As he stares at D.
B. approaching, too flustered to know
what to do.
Med. shot: Toward platform. As D. B.
runs up the few steps and proceeds to
the microphone, troopers clearing the
way for him.
(drags John from mike)
Wait a minute! Everybody wait a minute!
Wait a minute, ladies and gentlemen!
My name is D. B. Norton . . . you all
know me! I accuse this man of being
a faker! We've been taken for a lot
of suckers! And I'm the biggest of the
? 679 ?
I spent a fortune backing this man in
what I believed to be a sincere and
worthy cause, just as you all did! And
now I find out it's nothing but a cheap
racket! Cooked up by him and two of
my employees for the sole purpose of
collecting dues from John Does all over
JOHN breaks away from the troopers and
gets to the mike.
That's a lie!
It's not a lie! Nickels and dimes! To
stuff into their own pockets! You can
read all about it in the newspapers
That's a lie! Listen—don't believe what
he says . . .
(overlapping above speech)
Let go of me! This man had no intention
of jumping off of the top of a building!
He was paid to say so!
(turning to John)
Do you deny that?
That's got nothing to do with it!
Were you paid for it—or weren't you?
Yes! I was paid! But the—
(over-lapping above speech)
And what about the suicide note? You
didn't write that, either!
What difference does that make?
Did you write it—or didn't you?
No, I didn't write it, but—
Ah, you bet your life you didn't! You
look in your papers, ladies and gentlemen,
and you'll find Miss Mitchell's signed
confession that she was the one that
Listen, folks, it's a fact that I didn't
write the letter, but this whole thing
? 680 ?
There! You see? He admits it! You're
a fake, John Doe! And for what you've
done to all these good people—they ought
to run you out of the country—and I
hope they do it!
He leaves the platform—followed by his
Several shots: Of groups as they stare
at JOHN, silent and stunned, waiting
for him to speak.
Full shot: The whole park full of people
wait in breathless anticipation. From
somewhere in the distance we hear a
single voice of a man.
Speak up, John! We believe you!
Med. shot: Under the platform. We see
several of D. B.'s troopers pulling
at the cables of the public address
Close shot: Of JOHN. He speaks into
Please listen, folks! Now that he's
through shooting off his face, I've
got a couple of things to tell you about—
Close shot: Under the platform. One
of the troopers disconnects the public
address system by cutting the cable.
Close-up: Of JOHN. He realizes the loud
speaker is dead, and looks around helplessly.
Med. shot: Somewhere in audience TED
SHELDON directs troopers.
Come on! The rest of you get in here
and riot! Break this crowd up! Come
Med. shot: Of a group of John Does.
They still stare uncertainly. Suddenly,
the head of one of SHELDON's troopers
appear—and cupping his hands over his
mouth, he yells toward platform.
John Doe's a fake! Boo! Boooooo!
Long shot: From ANNOUNCER's view. Shooting
toward audience. The crowd is all yelling
at once now.
I'm sorry, folks, but we can't hear
him any more. Something's gone wrong
with the loudspeaker.
Med. shot: Of JOHN. Trying to talk over
Say, they can't hear me! The thing's
? 681 ?
Ladies and gentlemen! Look—this thing's
bigger than whether I'm a fake—
(turns to BERT)
Look, Bert, you believe me, don't you?
Sure, I believe you. Walking my legs
off digging up five thousand signatures
for a phoney!
Suddenly, nervously, he begins tearing
up the petition in his hand.
Well, there you are, Mr. Doe!
(flinging crumpled petition at him)
Five thousand names asking you not to
jump off any roof!
He turns to leave.
Close shot: Of SOURPUSS, who, heartbroken,
It makes no difference, Bert—the ideas's
still good. We don't have to give up
Yeah? Well, you can have it!
Long shot: From ANNOUNCER's view. Crowd
is yelling wildly.
They're starting to throw things!
Somebody's going to get hurt!
Close-up: Of JOHN. He looks helplessly
down at the hostile crowd.
Int. police station: Full shot: ANN
and CONNELL are surrounded by several
policemen. A sergeant sits at his desk,
on which is a radio. ANN's face is haggard
and desperate as she listens to the
I'm afraid it'll be John Doe. Listen
to that mob!
Unable to stand it any longer, ANN suddenly
jumps out of her seat.
I've got to go to him!
Sorry, lady—I can't let you out.
? 682 ?
Oh, let me go! Let me go to him! Oh,
please, please let me go! They're crucifying
him! I can help him!
Sorry, sister. We got orders to hold
Orders from who? Can't they see it's
She is still desperately struggling
to get free—when her mother comes hurrying
Oh, Mother! They won't let me go! They
won't let me go!
The police release her and she throws
herself into her mother's arms.
Ext.: Ball park. Close shot: Of JOHN.
He still attempts to get himself heard.
Listen, folks! You gotta listen to me,
Med. shot: Of a group of John Does.
(yelling toward JOHN)
Back to the jungle, you hobo!
Just another racket!
Stick to your clubs!
We've been fed baloney so long we're
getting used to it!
Close shot: Of JOHN. He disregards the
missiles that fly around his head.
The idea is still good! Believe me,
folks! . . .
Ext.: Ball park. Med. long shot: Toward
platform. The crowd pushes menacingly
around the platform, with policemen
struggling to control them. JOHN still
stands there, pathetic and helpless.
Missiles of all kinds fly into the scene.
The members of the band are scrambling
off the platform—as well as the others,
until John is left alone.
? 683 ?
Long shot: Shooting toward audience.
They still boo and yell.
Med. shot: Of the COLONEL. Fearful for
JOHN, he starts pushing his way through
the crowd toward him.
Med. shot: Of a group of people. Suddenly
a woman reaches into a lunch basket
she carries and takes out a tomato.
She reaches back to throw the tomato.
Close-up: Of JOHN. His voice is gone.
His eyes are glassy. He is making one
last effort to speak.
Listen . . . John Does . . .
You're the hope of the world . . .
As if in challenge to that statement,
the tomato flies in and strikes him
on the forehead. It seems to stun him.
He remains motionless, staring before
him with sightless eyes. The red smear
of the tomato trickles down his face.
Med. shot: Of the COLONEL, amidst the
crowd. He sees JOHN hit and winces.
Then, setting his jaw, he pushes people
violently aside, trying to reach JOHN.
Med. shot: On platform, JOHN stares
futilely before him. The COLONEL reaches
his side and glancing sympathetically
up at his face, starts to lead him off
the platform. A squadron of policemen
also rush to his rescue and precede
JOHN and the COLONEL.
Trucking shot: Down the aisle—as police
disperse the crowd who boo and threaten
JOHN from the sidelines.
Close shot: Of JOHN. He is oblivious
of the jeering, shouting mob—and of
the wet newspapers flung in his direction.
Med. shot: At dug-out exit—as the police
finally manage to get him safely out
of the park.
Med. shot: ANNOUNCER's booth.
JOHN B. HUGHES
The police finally manage to get him
out of the park! If that boy isn't hurt,
it'll be a miracle!
Int.: Police station. Med. shot: ANN
and her mother sit on a bench. A policeman
is in the background. ANN stares into
space. Her mother has an arm around
Ladies and gentlemen, this certainly
looks like the end of the John Doe movement.
A policeman snaps the radio off.
? 684 ?
(lifts glass of milk)
Well, boys, you can chalk up another
one to the Pontius Pilates.
Two shot: ANN and her mother.
I should have been there. I could have
He was so all alone!
Her MOTHER draws ANN consolingly to
her, and lays her head on her breast.
Ext.: A highway. Med. shot: Of BERT's
car on the way home.
Int.: Car. Close shot: BERT and SOURPUSS.
They both look depressed. After a silence,
A lot of us are going to be mighty ashamed
of ourselves after tonight. We certainly
didn't give that man much of a chance.
They lapse again into silence. BERT
stares grimly at the road.
Dissolve to: Ext.: Clearing under the
bridge. Close-up: Of JOHN. He sits on
a rock, his head bent low, tears streaming
shamelessly down his cheeks. Camera
draws back and we find the COLONEL before
the fire, boiling water in a small tin
Have some more coffee, Long John?
No, thanks, Colonel.
JOHN lifts his eyes skyward, stares
profoundly, a curious expression over
Dissolve to: A Montage. Long shot: Of
JOHN, a lonely figure, walking dejectedly.
As he walks, faces begin to appear one
by one, to taunt him. Their accusing
voices are heard.
? 685 ?
Why don't you jump!
Christmas Eve at midnight!
(she laughs, sneeringly)
Dissolve to: Another shot: Of JOHN walking,
his expression immobile. Over the shot
appear several scenes through which
JOHN has lived:
1. BERT shaking hands with him, saying:
You're a wonderful man, Mr. Doe.
2. MRS. DELANEY kissing his hand and
May God bless you, my boy.
3. ANN in Broadcasting Station, kissing
Now, get in there and pitch!
4. D. B. issuing his tirade at JOHN:
You're a fake, John Doe, and I can prove
it! You're the big hero that's supposed
to jump off tall buildings and things.
You remember? What do you suppose your
precious John Does will say when they
find out that you never had any intention
of doing it—that you were being paid
to say so?
5. Again the girl who laughed appears:
Christmas Eve at midnight?
And again she laughs sneeringly.
Dissolve to: Ext.: City Hall tower—night.
Long shot: It is a picturesque scene
of the City Hall outlined in silhouette
against the sky. A peaceful mantle of
snow silently descends upon it. Over
the shot we hear the plaintive voices
of children singing "Holy Night."
Dissolve to: Ext.: Outside of D. B.'s
house: Med. shot: Outside D. B.'s Study—through
window. A group of eight young carolers
sing "Holy Night." It is a continuation
of the music from previous scene.
Cut to: Int. D. B.'s study. Med. shot:
In the dimly lit room, we see the lonely
figure of D. B., as he stands near a
window staring out, meditatively. The
voices of the children singing Christmas
carols are faintly heard.
? 686 ?
Close-up: Of D. B. He peers into the
night, enveloped by disturbing thoughts.
After a moment, he takes out his watch
and glances at it. Then, as if annoyed
by his own apprehension, he shoves it
violently back into his pocket.
Camera retreats in front of him as he
crosses, determinedly, to a humidor,
takes a cigar and shoves it into his
mouth. Just as he is about to light
it, he becomes aware of the signing,
and cocks his head, listening.
Wider shot: As he drops the match and
the unlighted cigar—and starts toward
door. Just then the BUTLER comes through.
Merry Christmas, sir.
Oh. Merry Christmas.
D. B. hands him a bill and nods toward
the children. The BUTLER exits.
Close-up: Of D. B. Staring out into
space moodily. We hear the voices of
the children saying, "Thank you, sir!
Merry Christmas!" D. B.'s mouth screws
up, unhappily. It is far from a "merry"
Christmas. It is a very lonely, conscience-stricken
Dissolve to: Int.: Police station. Med.
shot: A SERGEANT sits in front of his
desk. Opposite him is a POLICEMAN. Their
rummy game has been interrupted by a
phone call which the SERGEANT is now
Who? John Doe? Is that screwball still
Aw, that dame's been callin' all day.
Sure, sure, I know. Yeah. At midnight,
huh? Okay, lady. We'll have the place
surrounded with nets.
He hangs up the phone—twirls his finger
at his temple, shrugs—and reaches for
Cut to: Int.: ANN's bedroom. Close shot:
ANN is in bed. She looks wan. Her hand
still rests on the phone.
Camera pulls back to reveal a doctor
by her side and her mother at the foot
of the bed. They watch her—concerned.
Oh—they're laughing at me!
Impulsively, ANN picks up the receiver
and starts dialing again.
You're a sick girl, Ann. You'd better
take it easy.
? 687 ?
Whom are you calling now? You called
that number not ten minutes ago!
Hello. Mr. Connell? Have you seen him
yet? Have you—
Cut to: Int: Corridor of City Hall.
Med. shot: Toward a telephone booth.
CONNELL speaks into the phone.
Now listen, Ann—he can't possibly get
in without our seeing him. I'm watching
the side door and the Colonel's out
front, so stop worrying.
Int.: ANN's bedroom. Close shot:
She hangs up the receiver, despairingly.
Then, suddenly, she jumps out of bed
and runs to a clothes closet—grabbing
a coat and scarf.
Why, Ann! . . .
Ann, don't be foolish!
Dissolve to: Insert: The City Hall tower
clock registers 11:45.
Cut to: Ext.: Highway. Med. shot: BERT's
car driving in the snow.
Int.: Car. Full shot: BERT HANSEN drives.
In the car with him are his wife, SOURPUSS
and several others.
If this isn't the craziest, the battiest,
the looniest wild goose chase I ever
Oh, shut up. Bert. Sourpuss is right.
Yeah? Well, if he is, I'm a banana split!
That man is gonna be on that roof. Don't
ask me how I know. I just know. And
you know it as well as I do.
Sure, sure. I'd like to believe in fairy
tales, but a guy that's fake isn't gonna
jump off any roof.
I don't think he was any fake—not with
that face. And, anyway, what he stood
for wasn't a fake.
? 688 ?
Okay, honey, okay.
Cut to: Int: Main floor corridor, City
Hall. Full shot: It is vast and empty,
except for a colored porter, scrubbing.
Med. shot: At entrance. As ANN enters
from outside. Determinedly, she starts
Close shot: At elevator. ANN pushes
button impatiently. She feels weak,
and has to brace herself to stay on
her feet. Suddenly, she is startled
by the COLONEL'S voice.
Elevators ain't running.
Camera pans over to the COLONEL, who
sits on the stairs, next to the elevator.
Med. shot: ANN walks over to him, her
face lighting up hopefully.
You shouldn't have gotten out of bed,
Has he been here?
Have you seen him?
I ain't seen him for a week.
He's watching the other door.
Oh. Gee, you're swell! Oh.
ANN stares at him a moment, then, impulsively,
she starts to pass him to go up the
No sense in going up there! I been here
for hours. He ain't here!
(pulls away from him)
Oh, let me go, will you!
? 689 ?
(calling after her)
Now, that's crazy. It's fourteen floors!
But ANN vanishes. The COLONEL shakes
his head and resumes his post.
Med. shot: At entrance. As the MAYOR,
followed by D. B., HAMMETT, and the
others, enters. Camera pans with them
as they go toward the elevator.
Med. shot: They arrive at the elevator.
The MAYOR takes out his keys and unlocks
the elevator door.
Close shot: Of the COLONEL. He watches
them, puzzled. Can't figure out what
they are doing here.
Cut to: Insert: Of elevator dial—as
the light flicks on to number 14, indicating
14th floor. Camera pans down to elevator
door, which opens and the men come out.
This is as far as the elevator goes.
We've got to walk up to the tower.
He indicates the stairway.
Cut to: Wider shot: As they cross to
Dissolve to: Ext.: City Hall roof. Full
shot: The men enter. They glance around
searchingly—and then slowly move toward
the edge of the parapet.
Closer shot: The men look obviously
self-conscious. No one speaks for a
(breaking the silence)
That tramp is probably full of Christmas
cheer and asleep in some flop house.
There is again silence. After a few
minutes, the MAYOR speaks.
Let's go. I've got to decorate my tree.
Cut to: Int.: Corridor—14th floor. Med.
shot: Outside Men's Washroom. JOHN comes
out, and as camera pans with him he
proceeds to letter chute next to elevator.
We see that it is the top of the chute,
and from the elevator being there, we
know it is the 14th floor. JOHN drops
the letter into the chute.
Ext.: City Hall roof. Full shot: The
place is silent except for occasional
scraping of feet as several of the men
move around. They continually refer
to their watches. Finally, D. B. gives
Well, I give up. I don't know what gave
us the idea that he—he'd attempt anything
I guess you're right. I'm afraid the
joke's on us. Let's go.
? 690 ?
I hope nobody finds out we've been here.
They all start to exit, when suddenly
D. B. stops. He puts his hand out, and
they all stop to listen. They hear footsteps,
and back into the shadows.
Med. shot: Shooting toward stairs. JOHN
appears around the bend and mounts the
last few steps.
Med. shot: Of the huddled group. They
watch breathlessly. In the darkness,
their eyes dominate the scene.
Med. shot: Over their shoulders. As
JOHN, expressionless, his cigarette
in his hand, crosses to the parapet,
and looks out. He takes a puff of his
cigarette and exhales the smoke.
Med. shot: Of the huddled group. The
MAYOR is for stepping forward, but D.
B. with an extended hand stops him,
indicating for them to wait and see
Close-up: Of JOHN. He takes the envelope
out of his pocket and examines it.
Close shot: Of the group. Their eyes
glued on him tensely.
Close shot: Of JOHN. He stares at the
Insert: Of envelope. On it is written:
"TO JOHN DOES EVERYWHERE".
Close-up: Of JOHN. He replaces the envelope
in his pocket.
Int.: Tower. Close shot: The group.
Their eyes riveted on JOHN. They feel
the moment has come. Several of them
glance toward D. B.
Wider shot: To include them all, and
JOHN. He drops his cigarette on the
ground, and bending over, crushes it
with his foot. Just as he straightens
out again, D. B. speaks.
I wouldn't do that if I were you, John.
Close-up: Of JOHN. As he turns sharply,
startled. He stares blankly at the five
Med. shot: Of the group. They move slightly
forward and stop.
It'll do you no good.
Close-up: Of JOHN. He continues to stare
at them, strangely.
Wider shot: To include them all.
The Mayor has policemen downstairs with
instructions to remove all marks of
identification you may have on your
person. You'll be buried in Potter's
Field and you will have accomplished
Close shot: Of JOHN. After a moment,
? 691 ?
(in a sepulchral voice)
I've taken care of that. I've already
mailed a copy of this letter to Mr.
Med. shot: Of the group. Amazed that
he thought of this. They feel themselves
helpless. D. B. tries taking an authoritative
(his throat is dry)
John, why don't you forget this foolishness?
He steps forward as he speaks.
Stop right where you are, Mr. Norton,
if you don't want to go overboard with
Close-up: Of JOHN's face. His eyes have
a wild, maniacal look in them.
Close-up: Of D. B. He stares into JOHN's
eyes and a terrified expression covers
Wider shot: As D. B. instinctively backs
I'm glad you gentlemen are here. You've
killed the John Doe movement, all right,
but you're going to see it born all
over again. Now, take a good look, Mr.
Int.: Landing to tower. Med. shot: As
ANN practically has to pull herself
up to the last step. Her face is wet
from fever and exhaustion.
Int.: Tower. Full shot: As everyone,
startled by the outcry, turns. ANN staggers
She rushes and throws her arms around
Oh, John, darling. No! No!
Close shot: JOHN and ANN. He stares
down at her, blankly. ANN clutches him,
her head buried in his shoulder.
I won't let you. I love you, darling.
? 692 ?
Med. shot: Of the group. They remain
Close shot: JOHN and ANN. She emits
wracking sobs, then lifts her eyes up
(in a desperate plea)
John. Please, John, listen to me. We'll
start all over again, just you and I.
It isn't too late. The John Doe movement
isn't dead yet.
Suddenly she becomes conscious of the
others present, and she turns her head.
Camera pans over to what she sees. The
group of men watching, silently.
Camera pans back to ANN. Her eyes widen
slowly. She looks from them to JOHN
and back again, and her face takes on
an excited, breathless look, as the
reason for their being there becomes
comprehensible to her.
See, John! It isn't dead, or they wouldn't
be here! It's alive in them . They kept
it alive. By being afraid of it. That's
why they came up here.
Close shot: ANN and JOHN. He continues
to stand with his hands at his sides,
looking at her, while she clings to
him desperately. While she speaks, he
turns his face from her and stares at
Oh, darling. Sure, it should have been
killed before. It was dishonest.
Close-up: Of JOHN. He is staring strangely
at the group of men—as slowly, gradually,
the curtain is being lifted from his
But we can start clean now. Just you
and I. It'll grow again, John. It'll
grow big. And it'll be strong, because
it'll be honest!
Close-up: Of ANN. Her strength is fast
ebbing away. She clings to JOHN more
(last bit of effort)
Oh, darling, if it's worth dying for,
it's worth living for. Oh, please, John
. . .
She looks up at his face, seeking some
sign of his relenting-but she finds
Close-up: Of ANN, who still clinging
to him, lays her cheek on his chest—and
lifts her eyes heavenward.
(a murmured prayer)
Oh, please, God—help me!
? 693 ?
Flash: Of the men—as they stare transfixed,
Med. shot: At entrance. BERT, SOURPUSS
and others appear—having run up the
stairs breathlessly. Their eyes are
filled with apprehension. CONNELL and
the COLONEL are with them. When they
see the scene before them, they stop,
Close-up: Of ANN. Suddenly she stares
before her—as a divine inspiration comes
to her. Her eyes light up with a wide,
Two shot: ANN and JOHN. ANN turns and
glances up at JOHN's face.
She takes his face in her two hands
and turns it to her.
John, look at me. You want to be honest,
don't you? Well, you don't have to die
to keep the John Doe idea alive! Someone
already died for that once! The first
John Doe. And He's kept that idea alive
for nearly two thousand years.
Close shot: BERT, his WIFE and SOURPUSS.
The cynical expression on BERT's face
begins to soften.
(with sincere conviction)
It was He who kept it alive in them
—and He'll go on keeping it alive for
ever and always! For every John Doe
movement these men kill, a new one will
Two shot: ANN and JOHN. JOHN remains
grimly unmoved. ANN continues.
That's why those bells are ringing,
John! They're calling to us—not to give
up—but to keep on fighting! To keep
on pitching! Oh, don't you see, darling?
This is no time to give up!
Several flashes: To intercut with ANN's
speech—one of BERT; his WIFE; CONNELL;
Med. shot: Toward ANN and JOHN. ANN's
strength is slowly waning.
You and I, John, we can—
No, John, if you die, I want to die,
Oh, I love you so—
Her strength leaves her—and as her eyelids
slowly shut, she collapses limply in
Med. shot: Of BERT's group, as they
react to this. BERT stares, profoundly
? 694 ?
Med. shot: JOHN and ANN—as he stares
bewildered, at ANN at his feet. Mechanically,
he reaches down and lifts her in his
Mr. Doe . . .
JOHN vaguely becomes aware of BERT's
presence and glances toward him.
Med. shot: BERT, his WIFE and SOURPUSS.
(his voice choked—haltingly)
You don't have to—Why, we're with you,
Mr. Doe. We just lost our heads and
acted like a mob. Why, we . . .
What Bert's trying to say is—well—we
need you, Mr. Doe. There were a lot
of us didn't believe what that man said.
Close-up: Of JOHN—as he listens to her,
We were going to start up our John Doe
Club again whether we saw you or not.
Med. shot: BERT, his WIFE and SOURPUSS.
Weren't we, Bert?
And there were a lot of others that
were going to do the same thing. Why,
Mr. Sourpuss even got a letter from
his cousin in Toledo, and . . .
Yeah, I got it right here, Mr. Doe!
Close-up: Of JOHN. The bewildered look
in his eyes has vanished. It is now
replaced by an expression of softness
Only—only it'll be a lot easier with
you. Please—please come with us, Mr.
JOHN remains standing, thoughtful.
Med. shot: Of BERT's group. They all
look supplicatingly at him.
Close-up: Of JOHN. He stares at BERT's
group and, shifting his gaze, looks
at D. B. and his crowd. Then, turning
back to BERT, his eyes light up and
something of a warm smile appears on
Full shot: As JOHN, having decided on
his course, starts forward with ANN
in his arms. The church bells chime
loud and victoriously.
? 695 ?
Med. shot: Around BERT. Their eyes brighten
ecstatically as JOHN walks toward them.
They all speak at once.
She'll be all right!
We've got a car downstairs . . .
They follow JOHN out, chattering excitedly.
Only CONNELL and the COLONEL remain.
Close-up: Of CONNELL. He glares at D.
Close-up: Of D. B. awe-stricken by the
scene he has witnessed.
Med. shot: CONNELL and the COLONEL.
(to D. B.—defiantly)
There you are, Norton! The people! Try
and lick that! Come on, Colonel.
They exit, arm in arm, as the music
swells—suggesting emergence from darkness
and confusion to light and understanding.