IT HAPPENED ONE NIGHT
Written by Robert previous hit Riskin
based on a story by Samuel Hopkins Adams
The HARBOR at Miami Beach fades in,
providing quick views of yachts, aquaplanes,
and luxurious ship-craft lying at anchor
in the calm, tranquil waters of tropical
Florida. This dissolves to the NAME
PLATE on the side of a yacht, reading
"ELSPETH II," and this in turn to a
YACHT CORRIDOR where a steward is standing
in front of a cabin door, near a small
collapsible table upon which there is
a tray of steaming food. He lifts lids
and examines the contents. A heavy-set
sailor stands guard near the cabin door.[1]
STEWARD
Fine! Fine! She ought to like this.
(to the guard)
Open the door.
GUARD
(without moving)
Who's gonna take it in to her? You?
STEWARD
Oh, no.
(turning)
Mullison! Come on!
The view widens to include Mullison,
a waiter. His eye is decorated with
a "shiner."
MULLISON
Not me, sir. She threw a ketchup bottle
at me this morning.
STEWARD
Well, orders are orders! Somebody's
gotta take it in.
(he turns to someone else)
Fredericks!
The view moves to another waiter, who
has a patch of bandage on his face.
FREDERICKS
Before I bring her another meal, I'll
be put off the ship first.
STEWARD'S VOICE
Henri!
The view moves over to a Frenchman.
HENRI
(vehemently)
No, Monsieur. When I leave the Ritz
you do not say I have to wait on crazy
womans.
The view moves back to include the Steward
and the others grouped around him.
ANOTHER WAITER (A COCKNEY)
My wife was an angel compared to this
one, sir. And I walked out on her .
? 208 ?
GUARD
(impatiently)
Come on! Make up your mind!
A petty officer approaches. He is blustering
and officious, but the type that is
feeble and ineffective. His name is
Lacey.
LACEY
(talking quickly—staccato)
What's up? What's up?
There is a fairly close picture of the
GROUP featuring Lacey and the Steward.
STEWARD
These pigs! They're afraid to take her
food in.
LACEY
That's ridiculous! Afraid of a mere
girl!
(he wheels on the steward)
Why didn't you do it yourself?
STEWARD
(more afraid than the others—stammering)
Why—I—well, I never thought about—
LACEY
(shoving him aside)
I never heard of such a thing! Afraid
of a mere girl.
(moving to the tray)
I'll take it in myself.
They all stand around and watch him,
much relieved. He picks up the tray
and starts toward the door of the cabin.
LACEY
(as he walks—muttering)
Can't get a thing done unless you do
it yourself.
(as he approaches the door)
Open the door.
We see him at the CABIN DOOR as the
guard quickly and gingerly unlocks it.
LACEY
Afraid of a mere girl! Ridiculous.
Lacey stalks in bravely, the tray held
majestically in front of him, while
the steward and waiters form a circle
around the door, waiting expectantly.
There is a short pause, following which
Lacey comes hurling out backwards and
lands on his back, the tray of food
scattering all over him. The steward
quickly bangs the door shut and turns
the key as the waiters stare silently.
The scene dissolves to the MAIN DECK
of the yacht, first affording a close
view of a pair of well-shod masculine
feet, as they pace agitatedly back and
forth. Then as the scene draws back,
the possessor of the pacing feet is
discovered to be Alexander Andrews,
immaculately groomed in yachting clothes.
In front of him stands a uniformed Captain,
but Andrews, brows wrinkled, deep in
thought, continues his pacing.
? 209 ?
ANDREWS
(murmuring to himself)
On a hunger strike, huh?
(a grunt)
When'd she eat last?
CAPTAIN
She hasn't had a thing yesterday—or
today.
ANDREWS
Been sending her meals in regularly?
CAPTAIN
Yessir. She refuses them all.
ANDREWS
(snappily)
Why didn't you jam it down her throat?
CAPTAIN
It's not quite that simple.
(he shakes his head)
I've dealt with prisoners in my time,
but this one—
ANDREWS
Absurd!
(muttering)
All this fuss over a snip of a girl.
(suddenly)
I'm going down to see her myself.
He leaves with determination, followed
by the Captain, and both are then seen
walking in the direction of the cabin,
Andrews grim.
CAPTAIN
This is dangerous business, Mr. Andrews.
After all, kidnapping is no child's
play.
But Andrews ignores him and merely stares
grimly forward. They arrive in front
of the cabin door, where Lacey is brushing
himself off, and where a couple of waiters
are picking up the last pieces of the
broken dishes.
ANDREWS
What's this! What's happened here?
LACEY
(pathetically)
She refused another meal, sir.
ANDREWS
Get another tray ready. Bring it here
at once.
(to the guard)
Open the door.
The Guard unlocks the door and Andrews
enters. Then we get a view of the CABIN
at the door, as Andrews enters and closes
the door behind him. He looks around
and his eyes light on his prisoner,
following which the view swings over
to ELLIE, a beautiful girl in her early
twenties. At the moment, she holds a
small vase over her head ready to heave
it, and her eyes flash angrily. At sight
of her new visitor, however, she lowers
the vase and sets it on a small table.
? 210 ?
ELLIE
What do you want?
Andrews doesn't stir from the door.
ANDREWS
What's this about not eating?
ELLIE
(sitting)
I don't want to eat!
(raising her voice)
And there's one more thing I don't want!
Definitely! That's to see you.
She lights a cigarette. Andrews watches
her a moment.
ANDREWS
Know what my next move is? No more cigarettes.
ELLIE
Why don't you put me in chains?
ANDREWS
I might.
ELLIE
(now seen at close range)
All right! Put me in chains! Do anything
you want! But I'm not going to eat a
thing until you let me off this boat!
She stares petulantly out at the blue
sky, but Andrews comes over and sits
beside her.
ANDREWS
(tenderly)
Come on, Ellie. Stop being silly. You
know I'm going to have my way.
ELLIE
(moving away)
I won't stand for it! I won't stand
for your running my life! Why do you
insist on it!
ANDREWS
(still tender)
You ought to know why. Because—
ELLIE
(interrupting)
Yes. I know.
(she's heard it a million times)
Because I'm your daughter and you love
me. Because you don't want me to make
any mistakes. Because—
ANDREWS
(joining in)
Because marrying that fool King Westley
is—
? 211 ?
ELLIE
(snappily)
You're wasting your time. I'm already
married to him.
ANDREWS
(sharply)
Not so far as I'm concerned, you're
not.
(they are interrupted by a knock at
the door)
ANDREWS
Yes?
The door opens and several waiters parade
in with trays of steaming food.
ELLIE
(starting for them; threateningly)
How many times have I told you not to
bring any food in here.
The waiters back up, frightened, but
Andrews saves them.
ANDREWS
Wait a minute! Don't get excited! This
isn't for you.
(to the waiters)
Put it right here.
Ellie glares at her father, and wanders
over to the window seat, while the waiters
occupy themselves setting the table.
Andrews putters around the food, lifting
the lids from which tempting aromas
emanate. He shuts his eyes, murmuring
"oohs" and "ahs."
A close-up of ELLIE shows her, too,
drinking in the inviting aromas; and
for a moment she weakens. A close view
of ANDREWS shows him glancing toward
Ellie to see her reaction; whereupon
Ellie's face (again appearing in a close-up)
freezes. Then Andrews and the waiters
come into view.
FIRST WAITER
Anything else, Monsieur?
ANDREWS
No. Everything seems quite satisfactory.
I may want some more of that delicious
gravy. I'll ring.
WAITER
Very good, Monsieur.
The waiters bow their way out as Andrews
pecks at the food.
ANDREWS
(making clucking noise)
Heavenly!
Now Ellie appears in the foreground,
with Andrews at the table in the background.
ELLIE
(disdainfully)
Smart, aren't you! So subtle.
? 212 ?
ANDREWS
(chewing on a mouthful of food)
If Gandhi had a chef like Paul, it would
change the whole political situation
in India.
ELLIE
You can't tempt me.
(shouting unnecessarily)
Do you hear? I won't eat!
ANDREWS
(quietly)
Please. I can't fight on an empty stomach.
Remember what Napoleon said.
ELLIE
I hope you're not comparing yourself
to Napoleon. He was a strategist. Your
idea of strategy is to use a lead pipe.
Andrews eats silently while Ellie rants
at him, walking around and puffing vigorously
on her cigarette.
ELLIE
(muttering)
Most humiliating thing ever happened
to me.
(shuddering)
A bunch of gorillas shoving me in a
car! That crowd outside the justice
of the peace—must have thought I was
a criminal—or something.
A close view of ANDREWS intercuts with
part of Ellie's speech. At the end of
her speech he smacks his lips, enjoying
the food with too great a relish. Then
the two are seen together.
ELLIE
(after a pause—strongly)
Where are you taking me?
ANDREWS
(carelessly)
South America.
ELLIE
(aghast)
South America!
ANDREWS
We leave Miami in an hour. Soon's we
get some supplies aboard.
ELLIE
(threateningly)
You'll have a corpse on your hands!
That what You'll have. I won't eat a
thing while I'm on this boat.
ANDREWS
(buttering bread)
In that event, we won't need so many
supplies.
? 213 ?
ELLIE
(exasperated)
What do you expect to accomplish by
all this? I'm already married!
ANDREWS
I'll get it annulled.
ELLIE
You'll never do it! You can't do it!
ANDREWS
(now seen close as he speaks between
snatches of food)
I'll do it if it takes every penny I've
got. I'll do it if I have to bribe that
musical comedy Justice of the Peace!
I'll do it—if I have to prove that you
were dragged in, staggering drunk. You
probably were.
(he smacks his lips)
Mmm—mmm. This filet mignon is divine!
ELLIE
(seen with her father)
What've you got against King Westley?
ANDREWS
Nothing much. I just think he's a fake,
that's all.
ELLIE
You only met him once .
ANDREWS
That was enough. Do you mind handing
me the ketchup?
ELLIE
You talk as if he were a gigolo—or something.
ANDREWS
(rising—reaching for ketchup)
Never mind—I'll get it myself.
(he falls back in his chair)
Gigolo? Why, you took the word right
out of my mouth. Thanks.
ELLIE
(seen closer now, with Andrews)
He's one of the best fliers in the country.
Right now he's planning a trip to Japan.
ANDREWS
You're going to finance him, I suppose.
ELLIE
Why not? Look what he's doing for aviation.
It takes courage to do what he does.
And character! At least he's accomplished
something worthwhile. I suppose you'd
like to have me marry a business man.
Well, I hate business men—particularly
if you're a shining example.
? 214 ?
He grins, not at all offended, knowing
she doesn't mean it.
ELLIE
Your whole life is devoted to just one
thing. To accumulate more money. At
least there's romance in what he's doing.
ANDREWS
(unequivocally)
He's no good, Ellie, and you know it.
You married him only because I told
you not to.
ELLIE
(strongly)
You've been telling me what not to do
since I was old enough to remember.
(screaming)
I'm sick of it!
And as Andrews ignores her, she starts
moving around the table toward him.—Next
she appears sitting on the edge of Andrews'
chair, and she throws her arm around
his shoulder.
ELLIE
(pleading sweetly)
Aw, listen, Dad. Let's not fight like
this any more. I know you're worried
about me—and want me to be happy. And
I love you for it. But please try to
understand. You're not being fair, darling.
This isn't just a crazy impulse of mine.
King and I talked about it a lot before
we decided to get married. Look—why
can't we give it a trial—let's say—for
a year or so. If it's wrong, King and
I will be the first to know it. We can
get a divorce, can't we? Now, be a dear,
and let me off the boat. Keeping me
prisoner like this is so silly.
Andrews has been listening silently
throughout the speech, giving no indication
of his feelings in the matter.
ANDREWS
(unimpressed)
You'll be set free when the marriage
is annulled.
A close-up of ELLIE, her eyes blazing
angrily, shows her slowly edging away
from her father, while he continues.
ANDREWS' VOICE
(carelessly)
So there's no use being a stubborn idiot.
ELLIE
(hissing)
I come from a long line of stubborn
idiots!
ANDREWS
(again seen with her; calmly)
A time will come when you'll thank me
for this.
ELLIE
(wildly)
I won't thank you! I'll never thank
you!
? 215 ?
ANDREWS
Please don't shout.
ELLIE
I'll shout to my heart's content! I'll
scream if I want to.
ANDREWS
(reaching for it)
Ah! Coconut layer cake. Nice and gooey,
too. Just the way I like it.
He is about to insert the first bite
in his mouth when Ellie, her temper
vanishing completely, overturns the
small serving table, dumping its contents
into her father's lap. The movement
is so unexpected that Andrews, the fork
still suspended near his mouth, stares
at her stupefied. Then realizing what
she has done, his eyes flash in anger.
Dropping his fork, he rises and goes
over to her, while she stands facing
him defiantly. Without a word or warning,
he slaps her a stinging blow across
the cheek. For a moment she doesn't
stir, her eyes widening in surprise,
and staring at him unbelievingly. Then
turning abruptly she bolts out of the
door. Andrews remains motionless, his
eyes shutting painfully; it is the first
time he has struck her, and it hurts.
ANDREWS
(calling)
Ellie!
(and he starts for the door)
Next on the DECK, at the open cabin
door, Andrews is seen, staring off at
something and an amazed, frightened
look comes into his eyes. Then, as viewed
from his position at the cabin door,
Ellie appears standing on the rail;
and with a professional dive, she leaps
into the water.
A full view of the DECK reveals the
crew and the officers scurrying around,
several of them shouting: "Somebody
overboard!"
ANDREWS
It's my daughter! Go after her.
CAPTAIN
(shouting)
Lower the boats!
General excitement reigns; several of
the crew dive into the water; others
release the boat lines. Following this
Ellie is seen swimming furiously against
the giant waves. Next she appears as
a small speck in the distance, while
half a dozen of the crew are swimming
in pursuit.
At the SIDE OF THE YACHT one of the
boats has already been lowered, and
two men jump in and grab the oars. The
men seem to be gaining on Ellie. In
the distance several small motor boats
are anchored, and over the sides of
the boats their owners are fishing.
Ellie seems to be headed in their direction.
One of the motor boats appears closer.
A middle-aged man sits on the stern,
holding lazily to his line, his feet
dangling in the water as the boat is
tossed around by the turbulent waves.
ELLIE is then again seen swimming. She
looks back, and the next scene shows
the men rowing toward her, and gaining
on her. Thereupon we see Ellie ducking
under the water.
? 216 ?
The middle-aged fisherman is suddenly
startled by Ellie's face which appears
from under water, right between his
legs. Ellie puts her finger up to her
lips, warning him to shush, and he is
too dumb-founded to say anything. As
the pursuing boats come near, Ellie
ducks under the water again and the
boats scoot right by the fisherman.
Then Ellie's head bobs up; she peers
ahead of her, and seeing that her pursuers
have passed her, she smiles victoriously.
ELLIE
(to the fisherman)
Thanks.
(and she starts swimming toward shore)
The scene dissolves to the DECK of the
YACHT as Ellie's pursuers clamber aboard,
Andrews waiting for them.
A MAN
Sorry, sir. She got away.
ANDREWS
(disappointed but proud)
Of course she got away—too smart for
you.
CAPTAIN
What a hell cat. No controlling these
modern girls.
(murmuring)
They're terrible!
ANDREWS
(resentfully)
Terrible! Nothing terrible about her.
She's great! Marvelous youngster! Got
a mind of her own. Knows just what she
wants.
(smiling)
She's not going to get it though. She
won't get very far. Has no money.
CAPTAIN
What about that diamond wrist watch
she had on—she can raise some money
on that?
ANDREWS
(his face falling)
Holy Smoke! I forgot all about that.
(to the officer by his side)
Send a wireless at once, "Lovington
Detective Agency. Daughter escaped again.
Watch all roads—all transports and railroad
stations in Miami. Have your New York
office keep tabs on King Westley. Intercept
all messages. Want her back at all costs!"
OFFICER
Yessir.
The view draws in to afford a close-up
of ANDREWS staring out at the sea, his
face wreathed in a broad smile; then
this fades out.
Part Two
The RAILROAD STATION of an active terminal
in Miami fades in. The view moves down
to the entrance gate to the trains,
passengers hur-
? 217 ?
rying through it; then picks out two
men, obviously detectives, who have
their eyes peeled on everyone passing
through. Then the view affords a glimpse
of ELLIE, who stands watching the detectives.
This scene wiping off, we see an AIR
TRANSPORT, with several planes tuning
up in the background. As passengers
file through, several detectives stand
around in a watchful pose. This scene
wiping off, the front of a WESTERN UNION
OFFICE comes into view. Several people
walk in and out. At the side of the
door, two detectives are on the lookout.
This scene also wipes off, revealing
the WAITING ROOM of a BUS STATION. Over
the ticket window there is a sign reading
"BUY BUS TICKETS HERE," and a line forms
in front of it. Here too there are two
detectives.
FIRST DETECTIVE
We're wastin' our time. Can you picture
Ellie Andrews ridin' on a bus?
SECOND DETECTIVE
I told the old man it was the bunk.
The view moves from them to ELLIE, who
stands behind a post and is watching
the two detectives apprehensively. As
the two (viewed from her position) stand
by the ticket window, one of them turns
toward her. Thereupon, we see her slipping
behind a post, concealing herself. Just
then a little old lady approaches her.
OLD LADY
Here's your ticket, ma'am.
ELLIE
Oh, thank you. Thank you very much.
(she takes the ticket and change from
the old lady, and hands her a bill)
Here.
OLD LADY
Oh, thank you. Thank you.
ELLIE
When does the bus leave?
OLD LADY
In about fifteen minutes.
ELLIE
Thank you.
She picks up a small overnight bag from
the floor and hurries away. She crosses
to the entrance of the waiting room
and disappears through the doors. The
view then wings over to a telephone
booth near the entrance. Clustered around
the booth are half a dozen men of varied
appearance. The inside of the booth
is lighted, and a young man, Peter Warne,
waves his hands wildly as he shouts
into the phone, although it is impossible
to hear what he is saying. A close inspection
of the men surrounding the booth (the
scene contracting to a close view) reveals
them as being slightly and happily intoxicated.
A short man approaches the door of the
booth.
? 218 ?
SHORTY
Hey, what's going on here? I'd like
to use that phone.
FIRST MAN
(a reporter)
Shh! Quiet. This is history in the making.
SHORTY
What?
FIRST MAN
There's a man biting a dog in there.
SECOND MAN
(drunker than the rest)
Atta-boy, Petey, old boy! Atta-boy!—
PETER'S VOICE
I'm not going to stand for this any
longer. In a pig's eye, you will!—
GROUP
Is that so? That's telling him, Petey
old boy.
A close view of PETER WARNE in the telephone
booth gives evidence of his having also
imbibed freely.
PETER
(shouting into the phone)
Listen, monkey-face—when you fired me,
you fired the best newshound your filthy
scandal sheet ever had.
And the scene cuts to a New York NEWSPAPER
OFFICE where the night editor, Gordon,
his sleeves rolled up, sits at his desk
shrieking into the phone.
GORDON
Say, listen, you wouldn't know a story
if it reached up and kicked you in the
pants.
(listening)
Yeah? Sure, sure, I got your copy. Why
didn't you tell me you were going to
write it in Greek? I'd start a new department.
PETER
(again seen close at the phone)
That was free verse, you gashouse palooka!
GORDON
(at the phone in the newspaper office)
Free verse, huh?
(shouting)
What the dickens was free about it?
It cost this paper a gob of dough. Well,
I'm here to tell you, it's not gonna
cost us any more.
? 219 ?
PETER
(in his phone booth)
That's okay by me! 'Cause as far as
I'm concerned, I'm through with newspapers!
See? I'm through with stupidity! I'll
never write another newspaper story,
for you or anybody else, if I have to
starve.
(after a pause)
Yeah? What about my novel! When I get
through with that—
GORDON
(in his office)
When you get through with that, I'll
have a beard down to my ankles.
(at this point, Gordon's secretary enters)
SECRETARY
Mr. Gordon—
GORDON
(looking up)
Huh?
SECRETARY
Did you know he reversed the charges
on that call?
GORDON
What!
(into the phone)
Say, listen you! When you get back to
New York, take my advice and stay f-a-r
away from this office—unless you don't
care what happens to that funny map
of yours.
(he bangs down the receiver viciously
and glowers at the phone)
In the PHONE BOOTH Peter reacts to the
phone being hung up on him. But he goes
right on for the benefit of the boys.
PETER
(into the dead phone)
Oh, so you're changing your tune, eh?
Well, it's about time. But it's going
to do you no good, my tough friend.
It's a little too late for apologies.
I wouldn't go back to work for you if
you begged me on your hands and knees!
I hope this is a lesson to you!
He snaps up the receiver with a great
pretense of outraged pride, following
which the view expands to include his
public.
MEN
Atta-boy, Peter. That's telling him,
Peter.
The gang is full of admiration for the
courageous way he talked to the boss
as Peter staggers out of the booth.
PETER
Give me any of his lip, will he? Huh!
I guess he knows now what I think of
his job!
(expansively)
Is my chariot ready?
? 220 ?
FIRST MAN
Your chariot awaiteth withouteth, oh
mighty King.
MEN
Make way for the King. Long live the
King. Make way.
With head held high, he struts majestically
out of sight, followed by his admirers,
following which the scene dissolves
to the BUS STATION. His inebriated admirers
stand around the entrance to a bus,
while Peter stands on the steps, his
suitcase in his hand.
PETER
(making a grand speech)
That's right, my friends. Cling to your
jobs! Remain slaves the rest of your
lives! Scum of the earth! Newspaper
men! Not me! When I'm basking in the
glorious arms of the Muse—what'll you
be doing? Chasing news. You miserable
worms. For what? A mere pittance! My
heart goes out to you.
(with arms extended and in tremolo voice)
Good-bye.
(and with this he turns his back and
enters the bus)
MEN
(in the same spirit)
Goodbye, Oh mighty King! Peace be with
you, Courageous One!
ANNOUNCER'S VOICE
All aboard. Philadelphia, New York.
All aboard.
GROUP
Look out. Get back. Farewell. Farewell.
PETER
Scram.
The scene cuts to the INTERIOR of the
BUS as viewed from the front, the view
moving forward, passing the conglomerate
of unprepossessing human beings who
occupy the seats. Every space is taken
and the occupants seem hot and uncomfortable,
which adds to their uninviting appearance.
Mothers cling to crying babies. A Swedish
farm hand and his young wife are already
busy opening their basket of food prepared
for the long journey. A surly-looking
hoodlum traveling alone is slumped in
his seat, his cap drawn carelessly over
his eyes. The moving view passes these
and other characters until it reaches
one unoccupied seat in the car, unoccupied
except for several bundles of newspapers.
Standing before the seat is Peter, his
suitcase in his hand, speculating as
to what disposition to make of the newspapers.
PETER
(calling)
Hey, driver! How about clearing this
stuff away!
Several passengers (seen from his position
in the back) crane their necks to scrutinize
the intruder. Through a glass partition
the driver can be seen receiving his
last minute instructions from a superintendent,
who stands on the running board, their
voices in-
? 221 ?
distinguishable. In answer to Peter's
request, the driver glances back indifferently,
and continues talking to the superintendent.
A close view of PETER shows him arching
his eyebrows, an amused acknowledgment
of the disdainful attitude of the driver.
He drops his suitcase and starts forward.
Then we see him arriving at the glass
partition, and Peter taps playfully
on the pane with his finger-nails, whereupon
the driver turns and pulls the window
down a few inches.
DRIVER
(annoyed)
Whadda you want!
PETER
(pleasantly)
If you'll be good enough to remove those
newspapers I'll have a seat.
DRIVER
(irritably)
Okay! Okay! Keep your shirt on, young
feller.
(with which remark the driver turns
away from him)
PETER
(looking at the back of the driver's
neck for a moment, then confidentially)
Just between you and me, I never intended
taking it off.
He wheels around uncertainly and swaggers
jauntily down the aisle toward the empty
seat. En route he bestows genial smiles
upon several of his disgruntled fellow
passengers, and he stops in front of
a robust lady who at the moment is breastfeeding
her baby while a lighted cigarette dangles
from her lips.
PETER
Personally, I was raised on a bottle.
(as the woman looks up at him, perplexed)
When I was a baby, I insisted on it.
You know why?
(as the woman stares up stupidly)
I never liked the idea of getting cigarette
ashes in my eyes.
He moves forward, leaving the woman
unable to make head or tail of it; and
assuming that he's crazy, she shrugs
her shoulders and turns her attention
to the baby.
Now PETER arrives at his seat, and whistling
softly, raises the window. Unhurriedly,
he picks the newspaper bundles up one
by one and flings them out of the window.
They hit the sidewalk below with a dull
thud. Thereupon a close view of the
DRIVER shows him reacting violently
to Peter's unprecedented cheek, and
starting down from his seat.
PETER has now cleared the seat of all
the newspaper bundles and still whistling
his favorite melody, he picks up his
suitcase preparatory to placing it in
the rack overhead. At this point, the
driver enters the side door of the bus.
DRIVER
(pugnaciously)
Hey, wait a minute!
? 222 ?
Peter, his arms holding the suitcase
over his head, turns and glances at
the driver, a quizzical look in his
eyes.
DRIVER
(coming forward)
What do you think you're doing!
PETER
(turning)
Huh?
DRIVER
(bellowing)
The papers! The papers! Whadda you mean
throwin' 'em out!
PETER
Oh—the papers—
He slowly lowers his arms and deposits
the suitcase on the floor.
PETER
(now seen close, with the Driver)
That's a long story, my friend. You
see, I don't like sitting on newspapers.
I did once and all the headlines came
off on my white pants.
DRIVER
Hey, whadda you tryin' to do—kid me?
PETER
Oh, I wouldn't kid you . On the level,
it actually happened. Nobody bought
a paper that day. They followed me all
over town and read the news from the
seat of my pants.
DRIVER
What're you gonna do about the papers?
Somebody's gotta pick 'em up.
PETER
(turning to his suitcase)
It's okay with me. I'm not arguing.
DRIVER
(pugnaciously)
Fresh guy, huh! What you need is a good
sock on the nose.
PETER
(turning back to him)
Look here, partner. You may not like
my nose. But I do. It's a good nose.
The only one I've got. I always keep
it out in the open where anybody can
take a sock at it. If you decide to
do it, make sure you don't miss.
During his speech, Ellie enters from
the rear and plunks herself into Peter's
seat. Unseen by Peter, she places her
small bag beside her.
? 223 ?
DRIVER
(answering Peter; weakly)
Oh, yeah?
PETER
Now, that's a brilliant answer. Why
didn't I think of it? Our conversation
could have been over long ago.
DRIVER
Oh, yeah?
PETER
(exhausted)
You win!
Smiling, he turns to sit down. But the
smile dies on his face when he finds
his place occupied by Ellie, who stares
out the window.
PETER
(now at close range, with Ellie)
Excuse me, lady—
(slowly)—
but that upon which you sit—is mine.
Ellie glances up at him—then down at
her buttocks.
ELLIE
(eyes flashing)
I beg your pardon!
PETER
Now, listen. I'm in a very ugly mood.
I put up a stiff battle for that seat.
So if it's just the same to you—
(gesturing with thumb)
scram.
ELLIE
(ignoring him—calling)
Driver!
The driver, who has stopped to witness
this new altercation, returns.
ELLIE
Are those seats reserved?
DRIVER
(pleased to discomfort Peter)
No. First come, first served.
ELLIE
(dismissing the whole thing)
Thank you.
(Peter, thwarted for a moment, just
glares at her)
PETER
(also calling)
Driver!
DRIVER
Yeah?
? 224 ?
PETER
These seats accommodate two passengers,
don't they?
DRIVER
(hating to give in)
Maybe they do—and maybe they don't.
Peter lifts Ellie's overnight bag off
the seat and drops it on the floor.
Part of her coat covers the small space
by her side. This he sweeps across her
lap.
PETER
Move over, lady. This is a "maybe they
do."
He plops into the seat, the other passengers
around them heaving a sigh of relief.
Ellie flashes him a devastating look
and deliberately turns her back on him.
But Peter suddenly looks down toward
the floor, following which a close-up
AT THEIR FEET reveals that Ellie's bag
on the floor annoys Peter. With his
foot he slowly moves it over to her,
and Ellie's foot is seen pushing it
back, whereupon Peter viciously kicks
it over to her side again. Next we see
Ellie glaring at him, picking up her
bag, and standing on the seat depositing
it on the rack overhead. But just then
the bus starts forward with a lurch
which unbalances her, and she falls
backward right in Peter's lap. Their
noses almost touch. Their eyes meet,
and they glare at each other hostilely.
Ellie quickly scrambles off and gets
back in her seat, turning her back on
him.
PETER
(amused)
Next time you drop in, bring your folks.
This dissolves to a COUNTRY ROAD, and
the bus sways perilously as it speeds
through the night, following which the
view dissolves to the INTERIOR of the
BUS, revealing Peter slumped in his
seat, his hat drawn over his eyes. Ellie
has her head thrown back, trying to
sleep. But the swaying bus causes her
head to roll from side to side uncomfortably,
and finally she gives up.
ELLIE
(an order)
Tell that man not to drive so fast.
(at which Peter just cocks his head
slightly)
PETER
Are you talking to me?
ELLIE
Yes. Tell that man to drive slowly.
Peter stares at her a moment, resenting
her officious manner.
PETER
(pleasantly)
Okay.
And much to her surprise, he sighs deeply
and relaxes to his former position,
shutting his eyes. She glares at him
crushingly.
The scene dissolves to another view
of the BUS, disclosing the driver, and
suddenly the bus comes to a stop.
? 225 ?
DRIVER
(sticking his head in to face the passengers)
Rest station! Ten minutes!
The view draws back as some of the passengers
rise. The men stretch their legs, and
the women straighten out their skirts.
A close view of Peter and Ellie then
shows her rising. Peter accommodatingly
shoves his feet aside for her to pass,
and Ellie starts up the aisle. But she
suddenly stops; looks back, first at
her bag and then at Peter; decides to
take her bag with her, and returns to
take it. She reaches for it on the rack,
Peter watching her, amused.
The scene dissolves to the outside of
the REST STATION with several passengers
walking briskly back and forth. The
place is dimly lit by one or two lamp-posts,
and Peter can be seen leaning against
one of these posts, smoking a cigarette.
The scene moving in, a close view of
Peter shows him stealing a glance in
the direction of Ellie. And a view,
from his angle, reveals Ellie in the
shadow of the bus, her bag at her feet.
She slowly turns her head toward Peter
and then quickly averts it.
PETER (seen close) speculates about
her. He glances around the place, and
the scene moves about, following his
gaze. It takes in the other passengers,
all obviously poor and uncultured. The
moving view reaches Ellie. The contrast
is perceptible. Thereupon, we see Peter
reacting with comprehension: No doubt
about it! She doesn't belong with these
passengers. Then suddenly he sees something
which startles him, and we see what
it is: Directly in back of her, the
young hoodlum passenger slyly lifts
her overnight bag from the ground and
starts running with it. Ellie is oblivious
of his actions. PETER springs forward.
Ellie sees Peter coming toward her and
is perceptibly startled. But Peter whizzes
by her, and this amazes her even more.
She shrugs her shoulders, perplexed,
and resumes her smoking. In a few seconds
Peter returns, puffing breathlessly.
PETER
He got away. I suddenly found myself
in the middle of the brush and not a
sign of the skunk.
ELLIE (seen close with PETER) doesn't
know what he's talking about. She looks
at him, puzzled.
ELLIE
I don't know what you're raving about,
young man. And, furthermore, I'm not
interested.
PETER
(taken aback)
Well—of all the—well—
(hard)
Maybe you'll be interested to know your
bag's gone.
At this, Ellie wheels around and stares
at the spot where her bag had been.
ELLIE
Oh, my heavens! It's gone!
? 226 ?
PETER
(sarcastically)
Yeah. I knew you'd catch on eventually.
ELLIE
What happened?
PETER
That cadaverous-looking yegg[2] who
sat in front of us, just up and took
it. Boy, how that baby can run!
ELLIE
What am I going to do now?
PETER
Don't tell me your ticket was in it?
ELLIE
(opening her purse)
No, I've got that, all right. But my
money. All I have here is four dollars.
I've got to get to New York with it.
PETER
You can wire home for some money when
we get to Jacksonville.
ELLIE
Why, no—I—
(catching herself)
Yes . . . I guess I will.
PETER
(starting out)
I'll report it to the driver. About
your bag, I mean.
ELLIE
(quickly)
No. I'd rather you didn't.
PETER
Don't be a fool. You lost your bag.
The company'll make good. What's your
name?
ELLIE
I don't want it reported!
PETER
Why, that's ridiculous! They're responsible
for everything that—
ELLIE
(hotly)
See here, can you understand English!
I don't want it reported!
(she starts away)
Please stay out of my affairs! I want
to be left alone.
(with which she disappears from the
scene)
A close-up of PETER shows him glaring
after her.
? 227 ?
PETER
(mumbling)
Why, you ungrateful brat!
The scene dissolves to the BUS, where
all the passengers are scattering back
to their seats; Peter is already seated,
when Ellie arrives. A close view then
shows her standing uncertainly for a
moment, speculating whether to cross
over his legs to get her place by the
window. Peter feels her presence by
his side and glances up. She tosses
her head and plants herself in the seat
in front of him, vacated by the young
man who stole her bag. Peter takes the
affront with a shrug and slides over
gratefully to the coveted spot near
the window.
The scene dissolves to a close view
of Ellie and a recently arrived fat
man next to her. She has her head thrown
back in an effort to sleep, but the
fat man, his hands clasped over his
protruding stomach, snores disgustingly,
and the rumble of the flying bus accompanies
him. Suddenly the bus careens, the fat
man falls against Ellie, and she awakens
with a start and pushes him back. The
fat man's snoring goes on uninterrupted,
and Ellie relaxes again; but in a few
seconds the procedure is repeated, and
Ellie is beside herself. She looks around
for somewhere to flee.
PETER, seated in back of her, in his
customary slumped position, opens his
eyes slightly. It is apparent he has
been watching her for some time, for
he grins at her discomfiture. Ellie's
head turns in his direction and the
grin leaves Peter's face. He shuts his
eyes and pretends to be asleep. Ellie
glances at Peter to make certain he
is asleep. The fat man falls against
her again and it is all she can stand.
She starts to rise. Peter sees her coming
and deliberately puts his hand on the
seat next to him, still pretending to
be asleep. Just as Ellie starts to sit,
she notices his hand and is embarrassed.
Gingerly she picks up his limp hand
and places it on his knee. She then
slides into the seat, sighing with relief,
whereupon Peter opens his eyes and is
amused. Slowly his head turns—and he
scrutinizes her, soberly and appraisingly.
Ellie slowly turns her head for a glimpse
of Peter—and is startled to find him
gazing at her. She turns forward, her
jaw set forbiddingly.
The scene dissolves to the view of a
ROAD. It is dawn, and in the distance,
against the horizon, the bus, a mere
speck, makes its lone way over the deserted
country. This dissolves to a large SIGN,
reading "JACKSONVILLE," and then into
the BUS affording a close view of ELLIE
and PETER. They are both asleep, her
head resting comfortably on his shoulder,
Peter's topcoat thrown over her. Then
the view draws back. The bus is empty
except for Ellie and Peter, the last
few passengers are just leaving.
PETER's eyes slowly open. He looks down
at the head on his shoulder and grins.
With a sigh, he shuts his eyes again
and resumes his slumber. Next, at the
front of the bus, the DRIVER stands
staring at Peter and Ellie in this intimate
position and his mouth twists knowingly.
DRIVER
(murmuring)
Oh, yeah?
ELLIE stirs, squirms a little uncomfortably
and with a sleepy grunt shifts her position.
Just as she settles down, her eyes open.
She stares out of the window with unseeing
eyes, and then closes them
? 228 ?
dreamily, giving the impression that,
still half conscious, she is trying
to recall where she is. Apparently she
does, for her eyes suddenly snap open
and she lifts her head. Finally (in
a scene including Peter), Ellie realizes
that she has been sleeping on his shoulder,
whereupon she straightens up, embarrassed.
ELLIE
Oh, I'm sorry—
(feebly smiling)
Silly, isn't it?
She looks around, and her finding herself
alone with Peter adds to her embarrassment.
ELLIE
Everybody's gone.
She lifts her arms to adjust her hat
and becomes conscious of his coat over
her which slips. She stares at it thoughtfully
for a moment—then at Peter.
ELLIE
(realizing that he put it there)
Oh, thank you.
(she hands him his coat; ill at ease)
We're in Jacksonville, aren't we?
PETER
Yes.
ELLIE
(nervously)
That was foolish of me. Why didn't you
shove me away?
PETER
I hated to wake you up.
(she glances at him speculatively)
How about some breakfast?
ELLIE
No, thank you.
(she rises, anxious to get away)
Thank you so much.
Most uncomfortably, she edges away from
him toward the front of the bus, Peter
watching her leave, his interest definitely
provoked.
The scene cuts to the STAND as Ellie
emerges from the bus. At the foot of
the steps is the driver.
ELLIE
How much time have I?
DRIVER
About a half hour.
ELLIE
I'm going over to the Windsor Hotel.
Peter appears in the door of the bus
in the background, and a close view
then shows him stopping to listen as
he sees Ellie talking to the driver.
? 229 ?
DRIVER'S VOICE
The Windsor! You'll never make it in
time.
ELLIE'S VOICE
You'll have to wait for me.
DRIVER'S VOICE
(aghast)
Wait for you!
A smile flits across Peter's face; then
a wider view shows Ellie leaving the
driver.
ELLIE
(as she goes)
Yes. I may be a few minutes late.
She disappears from sight, leaving the
driver staring at her, dumbly; and Peter,
standing in back of the driver, shakes
his head in amazement.
The scene dissolves to the BUS STAND
later that morning—at the same spot
where the bus had previously been. It
is no longer there, however. A huge
crowd fills the space, and the view
moving down through the crowd, singles
Ellie out. She has just arrived and
looks around helplessly. Finally she
spots a uniformed terminal guard and
approaches him.
ELLIE
(now next to the Guard)
Where's the bus to New York?
GUARD
Left twenty minutes ago.
ELLIE
Why, that's ridiculous! I was on that
bus—I told them to wait!
GUARD
Sorry, Miss. It's gone.
(and he turns his back on her)
Ellie's face clouds. The crowds surge
about her. She looks around thoughtfully.
Suddenly her eyes open in surprise at
something she sees, and the view then
moves over to Peter, who sits on his
suitcase, looking toward Ellie.
PETER
Good morning.
Peter is in the foreground, the guard
is seen in the background. Ellie stares
at Peter, perplexed.
PETER
Remember me? I'm the fellow you slept
on last night.
ELLIE
Seems to me I've already thanked you
for that.
(turning to guard)
What time is the next bus to New York?
? 230 ?
GUARD
(turning)
Eight o'clock tonight.
ELLIE
Eight o'clock! Why, that's twelve hours!
GUARD
Sorry, Miss.
The Guard leaves the scene, and Ellie's
disappointment is apparent.
PETER
(sarcastically)
What's the matter? Wouldn't the old
meanies wait for you?
(Ellie glares at him, disdaining to
reply—this angers him, and he continues
hotly)
Say, how old are you anyway? Don't you
know these busses work on a schedule?
You need a guardian.
ELLIE
(starting away)
What are you excited about? You missed
the bus, too.
Peter looks at her a moment before replying.
PETER
(quietly)
Yeah. I missed it, too.
There is a close view of the two. She
turns to him. Her interest is provoked
by his tone of voice. She glances up
into his face.
ELLIE
Don't tell me you did it on my account!
(pause)
I hope you're not getting any idea that
what happened last night is—
(she interrupts herself)
You needn't concern yourself about me,
young man. I can take care of myself.
PETER
You're doing a pretty sloppy job of
it.
(he reaches in his pocket)
Here's your ticket.
ELLIE
(surprised)
My ticket?
PETER
I found it on the seat.
ELLIE
(taking it)
Oh, thank you. Must have fallen out
of my pocket.
? 231 ?
While she is putting the ticket away
in her purse, Peter speaks:
PETER
You'll never get away with it, Miss
Andrews.
(this is a shock to Ellie)
ELLIE
(weakly)
What are you talking about?
PETER
Just a spoiled brat of a rich man. You
and Westley'll make an ideal team.
ELLIE
(bluffing it through)
Will you please tell me what you're
raving about!
PETER
You'll never get away with it, Miss
Andrews. Your father'll stop you before
you get half way to New York.
ELLIE
You must have me confused with—
PETER
(interrupting)
Quit kidding! It's all over the front
pages, You know, I've always been curious
about the kind of a girl that would
marry King Westley.
He pulls a newspaper out of his pocket
and hands it to her. Ellie glances at
the headline hurriedly.
PETER
(while she reads)
Take my advice—grab the first bus back
to Miami. That guy's a phony.
ELLIE
(looking up at him)
I didn't ask for your advice.
(she hands the paper back)
PETER
That's right. You didn't.
ELLIE
You're not going to notify my father,
are you?
PETER
(looking at her squarely)
What for?
ELLIE
If you play your cards right, you might
get some money out of it.
(a disdainful expression crosses his
face)
PETER
I never thought of that.
? 232 ?
ELLIE
(frantically)
Listen, if you'll promise not to do
it, I'll pay you. I'll pay you as much
as he will. You won't gain anything
by giving me away as long as I'm willing
to make it worth your while. I've got
to get to New York without being stopped.
It's terribly important to me. I'd pay
now, only the only thing I had when
I jumped off the yacht was my wrist
watch and I had to pawn that to get
these clothes. I'll give you my address
and you can get in touch with me the
minute you get to New York.
PETER
(furious)
Never mind. You know I had you pegged
right from the start, you're the spoiled
brat of a rich father. The only way
you can get anything is to buy it. Now
you're in a jam and all you can think
of is your money. It never fails, does
it? Ever hear of the word "Humility"?
No, you wouldn't. I guess it never occurred
to you to just say, "Please mister,
I'm in trouble. Will you help me?" No;
that'd bring you down off your high
horse for a minute. Let me tell you
something; maybe it'd take a load off
your mind. You don't have to worry about
me. I'm not interested in your money
or your problems. You, King Westley,
your father, you're all a lot of hooey
to me.
He turns his back on her and leaves.
A close-up of ELLIE shows her staring
after him, her eyes blazing angrily.
In a TELEGRAPH OFFICE, Peter addresses
a girl operator as he drops a telegram
on the counter, which she reads.
PETER
(brusquely)
You send telegrams here?
OPERATOR
(recognizing him apparently, sarcastically)
I'm just fine thanks, and how are you?
(reading)
To "Joe Gordon, care of New York Mail,
New York. Am I laughing. The biggest
scoop of the year just dropped in my
lap. I know where Ellen Andrews is—"
(looking up excitedly)
No, do you really?
PETER
(impatiently)
Go on. Go on send the telegram.
OPERATOR
"How would you like to have the story,
you big tub of—of—"
PETER
Mush. Mush.
? 233 ?
OPERATOR
"Tub of mush. Well try and get it. What
I said about never writing another line
for you still goes. Are you burning?
Peter Warne." Well, that will be $2.60.
PETER
Send it collect.
OPERATOR
Collect?
Peter
(firmly)
Collect.
As the clerk takes the wire from him,
scene fades out.
Part Three
The BUS TERMINAL fades in. It is night
now, and the rain comes down in torrents.
People scurry around to get into the
buses as the voice of an announcer is
heard:
ANNOUNCER'S VOICE
Bus for blah-blah-blah-blah—Charleston—blah-blah-blah—and
all points North to New York!
This dissolves to the interior of a
BUS, which is practically filled. Peter
is in his seat, reading a magazine,
while Ellie enters hurriedly from the
rear door and starts forward. As she
approaches Peter, she hesitates a second,
and deliberately passes him, plunking
herself into a seat in the opposite
aisle. Peter turns just as she gets
seated. He glances at her indifferently.
A close view shows Ellie seated next
to a man who sits reading a newspaper
which covers his face. Her eyes are
fixed forward, her lips set adamantly.
A close-up of the MAN next to Ellie
makes it plain that he is a typical
drummer.[3] At the moment he is absorbed
in a serial story, but suddenly he becomes
aware of something at his feet, and
without lowering the newspaper, his
gaze slowly shifts downward. At this,
the view moves down until it reaches
Ellie's trim ankles. Her feet beat a
regular tattoo on the floor; her extreme
agitation is evident. The view moves
back slowly, taking in Ellie's shapely
leg as far as the knee. Then we see
ELLIE and the DRUMMER as his gaze is
still fixed on her leg. Slowly his face
breaks into a lascivious grin, he lowers
his paper, and turns for a scrutiny
of her face. What he sees apparently
delights him, for he drops his paper
completely—and smiles broadly.
DRUMMER
Hi, sister—All alone? My name's Shapeley.
(Ellie favors him with a devastating
look which is wasted on the drummer)
Might as well get acquainted. It's gonna
be a long trip—gets tiresome later on.
Specially for somebody like you. You
look like you got class.
(he surveys her from head to foot)
Yessir! With a capital K.
(he chuckles at his own sally)
And I'm a guy that knows class when
he sees it, believe you me.
? 234 ?
A close-up of ELLIE, as Shapeley's voice
continues, shows her glancing back at
Peter, expecting him to come to her
rescue.
SHAPELEY'S VOICE
Ask any of the boys. They'll tell you.
Shapeley sure knows how to pick 'em.
Yessir. Shapeley's the name, and that's
the way I like 'em.
Ellie again looks toward Peter. But
PETER seems to have found something
of unusual interest in his magazine
. . . and we again see the harassed
ELLIE and the irrepressible SHAPELEY,
who continues.
SHAPELEY
You made no mistake sitting next to
me.
(confidentially)
Just between us, the kinda muggs you
meet on a hop like this ain't nothing
to write home to the wife about. You
gotta be awful careful who you hit up
with, is what I always say, and you
can't be too particular, neither. Once
when I was comin' through North Carolina,
I got to gabbin' with a good-lookin'
mama. One of those young ones, you know,
and plenty classy, too. Kinda struck
my fancy. You know how it is. Well,
sir, you could'a knocked me over with
a Mack truck. I was just warming up
when she's yanked offa the bus. Who
do you think she was? Huh? Might as
well give up. The girl bandit! The one
the papers been writin' about.
(he pulls out a cigar, and continues—awed
by the recollection)
Yessir, you coulda knocked me over with
a Mack truck.
(he lights his cigar, takes a vigorous
puff, and turns to her again)
What's the matter, sister? You ain't
sayin' much.
ELLIE
(intending to freeze him)
Seems to me you're doing excellently
without any assistance.
(this however only brings a guffaw from
the drummer)
SHAPELEY
That's pretty good . . . Well, shut
my big nasty mouth!
A close-up shows ELLIE enduring more
of this as Shapeley's voice continues:
SHAPELEY'S VOICE
. . . Looks like you're one up on me.
Nothin' I like better than to meet a
high-class mama that can snap 'em back
at you. 'Cause the colder they are,
the hotter they get, is what I always
say.
Now Ellie and Shapeley are seen together,
with Peter seen in the background.
? 235 ?
SHAPELEY
Take this last town I was in. I run
into a dame—not a bad looker, either—but
boy, was she an iceberg! Every time
I opened my kisser she pulls a ten strike
on me. It sure looked like cold turkey
for old man Shapeley. I sell office
supplies, see? And this hotsy-totsy
lays the damper on me quick. She don't
need a thing—and if she did she wouldn't
buy it from a fresh mugg like me. Well,
says I to myself—Shapeley, you better
go to work. You're up against a lulu.
Well, I'm here to tell you, sister,
I opened up a line of fast chatter that
had that dame spinnin' like a Russian
dancer. Before I got through she bought
enough stuff to last the firm a year.
And did she put on an act when I blew
town!
Ellie has scarcely listened to him,
and has divided her attention between
glancing back at Peter and staring at
Shapeley as if he were insane—none of
which bothers Shapeley. He goes on with
his merry chatter, blowing rings of
smoke in the direction of the ceiling.
SHAPELEY
Yessir. When a cold mama gets hot—boy,
how she sizzles! She kinda cramped my
style, though. I didn't look at a dame
for three towns.
(quickly)
Not that I couldn't. For me it's always
a cinch. I got a much better chance
than the local talent.
(confidentially)
You see, they're kinda leery about the
local talent. Too close to home. Know
what I mean?
ELLIE has now reached the point where
she could, without any compunction,
strangle him.
SHAPELEY'S VOICE
(continuing over this glimpse of her
desperation)
But take a bird like me—it's here today—and
gone tomorrow. And what happens is nobody's
business.
At this time she turns helplessly toward
Peter, but we see PETER being deliberately
oblivious of her presence, following
which the three are seen, with Peter
in the background.
SHAPELEY
But I don't go in for that kinda stuff—much.
I like to pick my fillies. Take you,
for instance. You're my type. No kiddin'
sister. I could go for you in a big
way. "Fun-on-the-side Shapeley" they
call me, and the accent is on the fun,
believe you me.
(this is all Ellie can stand)
ELLIE
(snappily)
Believe you me, you bore me to distraction.
? 236 ?
(but Shapeley merely throws his head
back and emits his characteristic guffaw)
SHAPELEY
(laughing)
Well, you're two up on me now.
(he holds up two fingers)
PETER
(approaching them)
Hey, you!
Shapeley's laugh dies down. He looks
dumbly up at Peter, his two fingers
still held in mid-air.
SHAPELEY
Huh?
PETER
(indicating his own seat)
There's a seat over there for you.
SHAPELEY
What's the idea?
PETER
I'd like to sit with my—uh—wife—if you
don't mind.
(at which Shapeley's face falls)
SHAPELEY
(puzzled)
Wife?
PETER
Yeah. Come on—come on!
SHAPELEY
(rising)
Oh, excuse me.
(edging away)
I was just tryin'—you know—to make things
pleasant.
And smiling sheepishly, he sidles over
to Peter's seat, his two fingers still
poised in air. Peter plants himself
next to Ellie and totally ignoring her,
opens his magazine, and resumes his
reading. Then Ellie and Peter are seen
close together. She looks up at him.
ELLIE
If you promise not to snap my head off,
I'd like to thank you.
PETER
(without turning)
Forget it. I didn't do it for you. His
voice got on my nerves.
She feels herself crushed, and ventures
no further comment as Peter resumes
his interest in his magazine.
A full view of the BUS follows, and
there is silence for a while as the
bus slows down and comes to a stop.
Almost simultaneously a boy makes his
appearance, selling magazines and candy.
? 237 ?
BOY
Here you are, folks. Candy—popcorn—cigarettes—magazines—
As Ellie and Peter are seen again, she
turns and calls to the boy:
ELLIE
Here, boy!
PETER
(turning to her)
What'd you do? Wire one of your friends
for money?
ELLIE
(rummaging in her purse)
No. It'd be useless. Father'd get the
wire before they would.
BOY
(as he enters)
Yes, ma'am?
ELLIE
A box of chocolates, please.
PETER
(to the boy)
Never mind, son. She doesn't want it.
(he gestures with his thumb for the
boy to leave)
BOY
(puzzled)
But the lady says—
ELLIE
Of course I do. What do you mean—
PETER
(to the boy)
Beat it!
(and the boy, frightened by his voice,
leaves)
ELLIE
(resentfully)
You have your nerve!
(she starts to rise)
Here, boy—!
Peter snatches the purse out of her
hand and takes the money out. Ellie
stares at him dumbfounded.
PETER
A dollar sixty! . . . You had four dollars
last night! How do you expect to get
to New York at the rate you're going?
ELLIE
(vehemently)
That's none of your business.
PETER
(with finality)
You're on a budget from now on.
? 238 ?
(he flings her purse back at her and
pockets the money)
ELLIE
Now, just a minute—you can't—
PETER
Shut up!
He returns to his magazine, leaving
her staring at him petulantly as the
scene fades out.
Part Four
SOMEWHERE ON THE ROAD at night. This
is apparently on the outskirts of a
town. Two local policemen and our bus
driver stand in the foreground near
a police booth. The rain sweeps across
their faces as they talk. The passengers
in the bus, which stands in the background,
stick their heads out, trying to hear
what is going on.
FIRST POLICEMAN
You won't be able to pass till morning.
SECOND POLICEMAN
Not even then, if this keeps up.
Peter approaches the group and is then
seen with the officers and the driver.
PETER
What's up?
FIRST POLICEMAN
Bridge washed out—around Dawson.
DRIVER
Looks like we can't go through till
morning.
SECOND POLICEMAN
(his only contribution)
Not even then, if this keeps up.
FIRST POLICEMAN
Any of your passengers want a place
to sleep—there's an auto camp up yonder
a piece.
PETER
(interested)
Yeah? Where?
FIRST POLICEMAN
(pointing)
Up yonder. See the lights?
PETER
Yeah.
FIRST POLICEMAN
That's it. Dyke's Auto Camp.
PETER
Thanks.
? 239 ?
He dashes toward the bus. Then he appears
at the side door of the bus.
PETER
(calling)
Hey, Brat—!
(he is about to enter when he sees Ellie)
The view moves to the rear door of the
bus. Ellie stands on the bottom step.
ELLIE
(haughtily)
Are you talking to me!
PETER
Yeah. Come on—we're stopping here for
the night.
He disappears inside the bus through
the side door. With an independent toss
of her head, Ellie turns and also enters
the bus, but through the rear door.
The scene dissolves to DYKE'S AUTO CAMP.
Ellie stands alone on the porch of a
small bungalow, sheltered from the rain.
Over her head is a sign reading:
OFFICE-Dyke Auto Co.—P. D. Dyke, Prop.
She looks about her restlessly, giving
the impression that she has been waiting
for someone. Suddenly she is attracted
by something and gazes in its direction.
Then, as seen by Ellie in a long view,
there appears, about twenty yards away,
a small cabin, lighted on the inside;
and from it Peter emerges accompanied
by a man—presumably Mr. Dyke. We cannot
hear what is being said; from their
movements, however, it is apparent that
an exchange of money is taking place.
Dyke waves his hand in departure and
starts toward Ellie. At the same time,
Peter calls to her:
PETER
(shouting)
Hey! Come on! We're all set.
(saying which he enters the cabin)
Ellie hesitates a moment, then starts
toward the cabin. Now she is hurrying
across the open space. En route she
passes Dyke.
DYKE
(as they pass)
Good evening. Hope you and your husband
rest comfortably.
Ellie keeps on running, but suddenly
she stops dead and looks back at Dyke,
following which a close-up of ELLIE
shows her eyes opening wide with astonishment.
Her impulse is to call Dyke back, to
make him repeat what he said—to make
certain she heard him correctly. But
Dyke is gone, and she turns and glances
thoughtfully in the direction of the
cabin. Then slowly the corners of her
mouth screw up in an attitude of cynicism.
So that's it, is it! He has given her
no previous evidence of being "on the
make"; yet now, with the first opportunity—.
Her thoughts, however, are interrupted
by Peter's voice:
PETER'S VOICE
Well, Brat—what do you say!
? 240 ?
As she doesn't stir, there appears a
close-up view of PETER standing in the
doorway of the cabin, looking toward
Ellie.
PETER
(impatiently)
Come on! Come on! What are you going
to do?
Stand there all night?
(he disappears inside)
For a long moment, ELLIE is lost in
speculation as to how to proceed. Then,
tossing her head defiantly, with her
lips set grimly, she starts toward the
cabin until she reaches it, stops in
the doorway and peers in. As she does
this, there is a view of the inside
of the CABIN, as seen by her at the
door. Except for two cots on either
side of the room, a few sticks of cane
furniture, a small table upon which
stands an oil burner for cooking, the
place is barren. At the moment Peter
is attaching a clothes line across the
center of the room. His suitcase is
already open. And now Ellie steps inside,
surveying the place contemptuously.
But Peter, with his back to her, is
oblivious of her presence; and as he
works, he hums his favorite melody.
Ellie finally breaks the silence.
ELLIE
(sarcastically)
Darn clever, these Armenians.
PETER
(seen close as he turns)
Yeah. Yeah, it's a gift.
(but he finishes his hammering and turns
to his suitcase)
ELLIE
(seen with Peter)
I just had the unpleasant sensation
of hearing you referred to as my husband.
PETER
(carelessly)
Oh, I forgot to tell you. I registered
as Mr. and Mrs.
(the matter-of-fact way in which he
says this causes her eyebrows to lift)
ELLIE
Oh, you did? What am I expected to do—leap
for joy?
PETER
I kind of half expected you to thank
me.
ELLIE
Your ego is colossal.
PETER
(blithely)
Yeah. Yeah, not bad. How's your's?
There is silence for a moment, and Peter
proceeds with the unpacking of his suitcase.
As she watches him, Ellie's mood changes
from one of anger to that of sarcasm.
? 241 ?
ELLIE
(appearing in a close-up, her face disdainful)
Compared to you, my friend, Shapeley's
an amateur.
(sharply)
Whatever gave you an idea you can get
away with this! You're positively the
most conceited—
PETER'S VOICE
(interrupting)
Hey, wait a minute!
(appearing beside her)
Let's get something straightened out
right now. If you've any peculiar ideas
that I'm interested in you, forget it.
You're just a headline to me.
ELLIE
(frightened)
A headline? You're not a newspaper man,
are you?
PETER
Chalk up one for your side. Now listen,
you want to get to King Westley, don't
you? All right, I'm here to help you.
What I want is your story, exclusive.
A day-to-day account. All about your
mad flight to happiness. I need that
story. Just between you and me I've
got to have it.
ELLIE
Now isn't that just too cute? There's
a brain behind that face of yours, isn't
there? You've got everything nicely
figured out, for yourself, including
this.
PETER
This? Oh, that's a matter of simple
mathematics. These cabins cost two bucks
a night and I'm very sorry to inform
you, wifey dear, but the family purse
won't stand for our having separate
establishments.
(he goes back to the business of laying
out his things)
ELLIE
(starting to leave)
Well, thank you. Thank you very much,
but— you've been very kind.
(but the rain outside causes her to
hesitate)
PETER
Oh, yeah? It's all right with me. Go
on out in the storm, but I'm going to
follow you, see? Yeah. And if you get
tough I'll just have to turn you over
to your old man right now. Savvy? Now
that's my whole plot in a nutshell.
A simple story for simple people. Now
if you behave yourself, I'll see that
you get to King Westley; if not, I'll
just have to spill the beans to papa.
Now which of these beds do you prefer?
This one? All right.
While he speaks he has taken the extra
blanket from the cot and hung it over
the clothes line. This manages to divide
the room in half.
? 242 ?
A close view at the door shows Ellie
watching him with interest.
ELLIE
(sarcastically)
That, I suppose, makes everything—uh—quite
all right.
PETER
(the previous scene returning)
Oh, this?—I like privacy when I retire.
I'm very delicate in that respect. Prying
eyes annoy me.
(he has the blanket spread out now)
Behold the walls of Jericho![4] Maybe
not as thick as the ones that Joshua
blew down with his trumpet, but a lot
safer. You see, I have no trumpet.
(taking out pajamas)
Now just to show you my heart's in the
right place, I'll give you my best pair
of pajamas.
He flings them over to her, and she
catches them and throws them on her
cot. Throughout the scene she hasn't
budged from the door, but Peter now
prepares to undress.
PETER
Do you mind joining the Israelites?
ELLIE
You're not really serious about this,
are you?
PETER
(seen at close range, going about the
job of undressing very diffidently)
All right, don't join the Israelites.
Perhaps you're interested in how a man
undresses.
(and he hangs his coat over the chair)
Funny thing about that. Quite a study
in psychology. No two men do it alike.
(now his shirt is coming off)
A close view of ELLIE shows her standing
stubbornly.
PETER'S VOICE
I once knew a chap who kept his hat
on until he was completely undressed.
(chuckling)
Made a comical picture . . .
As the scene includes both of them,
Peter spreads his shirt over his coat.
PETER
Years later his secret came out. He
wore a toupee.
He lights a cigarette diffidently while
she remains brazenly watching him, her
eyes flashing defiantly.
PETER
I have an idiosyncrasy all my own. You'll
notice my coat came first—then the tie—then
the shirt—now, according to Hoyle,[5]
the pants should come next. But that's
where I'm different.
? 243 ?
(he bends over)
I go for the shoes first. After that
I—
ELLIE
(unable to stand it any longer)
Smart aleck!
And thoroughly exasperated, she goes
behind the blanket, and plops on the
cot. She sits on the edge, debating
what to do, feeling herself trapped.
Her impulse is to leave, if only to
show this smart aleck he's not dealing
with a child, and she rises impetuously
and moves to the window.
A close view at the WINDOW shows her
looking out. The downpour has not abated
one bit, and the heavy raindrops clatter
against the window pane in a sort of
challenge to Ellie, whose jaw drops.
She turns slowly back to the room, and
as she does so her eyes light on the
cot. It looks most inviting; after all,
she hasn't had any rest for two nights.
She falls on the cot again, her shoulders
sagging wearily. Following this, the
view reveals both sides of the blanket.
Peter is already in his pajamas.
PETER
Still with me, Brat?
(there is no answer from Ellie)
Don't be a sucker. A night's rest'll
do you a lot of good. Besides, you've
got nothing to worry about. The Walls
of Jericho will protect you from the
big bad wolf.
A close view shows ELLIE glancing over
at the blanket. Despite herself, the
suggestion of a smile flits across her
face.
ELLIE
You haven't got a trumpet by any chance,
have you?
PETER gets the idea and smiles broadly.
PETER
Not even a mouth organ.
Pulling the covers back, he prepares
to get into bed, humming as he does
so.
PETER
(humming to himself)
Who's afraid of the big bad wolf—
The big bad wolf, the big bad wolf.
(louder)
She's afraid of the big bad wolf,
Tra-la-la-la-la—
(he springs into bed)
Ellie smiles, and wearily she pulls
her hat off her head. She sits this
way a moment, thoughtfully; then, determined,
she looks up.
ELLIE
Do you mind putting out the light?
PETER
Not at all.
? 244 ?
(he leans over and snaps it off)
The room is thrown into darkness except
for a stream of light coming in the
window from the night-light outside
the camp. Visible are Peter's face and
arms as he stares ceilingward, while
on Ellie's side all we can see of her
is her silhouette, except for such times
as she gets in direct line with the
window. There are glimpses of her as
she moves around in the process of undressing,
and we see, or rather sense, her dress
dropping to the floor. She now stands
in her chemise; this being white silk,
it stands out more prominently against
the darkness. She picks up the pajamas
and backs into a corner, following which
a close-up of her head and shoulders
shows her glancing apprehensively toward
Peter's side of the room; and holding
the pajamas in front of her with one
hand, with the other she slips the strap
off her shoulders. She flings her "slip"
over the blanket.
PETER, on his side of the room, looks
toward the blanket, and reacts to the
"slip" coming into sight. Then other
undergarments join the "slip" on the
blanket.
PETER
(hoarsely)
Do you mind taking those things off
the Walls of Jericho?
(a pause)
It's tough enough as it is.
ELLIE'S VOICE
Oh, excuse me.
(and we see the underthings flipped
off the blanket.)
Ellie's side of the room appears, showing
her crawling quickly into bed, pulling
the covers over her and glancing apprehensively
in Peter's direction—following which
a close view shows PETER being very
conscious of her proximity. The situation
is delicate and dangerous; the room
is atingle with sex. He turns his gaze
toward the blanket. The view moves to
the BLANKET, remaining on it a moment.
It is a frail barrier. The view then
moves back to Peter, whose eyes are
still on the blanket, his face expressionless.
A close view of ELLIE, next shows that
she, too, has her eyes glued on the
blanket, a little fearfully. She turns
her head and gazes at the ceiling for
a moment. Then suddenly her eyes widen—and
she sits up abruptly.
ELLIE
(seriously)
Oh, by the way—what's your name?
PETER
(seen close; turning his head toward
her)
What's that?
ELLIE
(both sides of the blanket coming into
view)
Who are you?
PETER
Who, me? Why, I'm the whippoorwill that
cries in the night. I'm the soft morning
breeze that caresses your lovely face.
? 245 ?
ELLIE
(interrupting)
You've got a name, haven't you?
PETER
Yeah. I got a name. Peter Warne.
ELLIE
Peter Warne? I don't like it.
PETER
Don't let it bother you. You're giving
it back to me in the morning.
ELLIE
(flopping back on her pillow as she
mumbles)
Pleased to meet you, Mr. Warne . . .
PETER
The pleasure is all mine.
There is silence between them for a
few seconds.
PETER
I've been thinking about you.
ELLIE'S VOICE
Yes?
PETER
You've had a pretty tough break at that.
Twice a Missus and still unkissed.
Ellie doesn't like the implication,
and glares in his direction as Peter's
voice continues:
PETER'S VOICE
(meaningly)
I'll bet you're in an awful hurry to
get back to New York, aren't you?
ELLIE
(hard)
Goodnight, Mr. Warne.
(she turns over)
PETER
Goodnight.
He also turns his head toward the wall,
and the scene fades out.
Part Five
A long view of the SKY, in the early
morning, fades in. In the dim distance
there is a speck, which, as it comes
nearer, turns out to be an airplane.
The drone of its motors becomes louder
and louder. Then the view cuts to the
CONTROL COCKPIT of the PLANE revealing
TWO PILOTS.
FIRST PILOT
(shouting to other)
The old man's screwy!
? 246 ?
SECOND PILOT
(who can't hear him)
What's 'at?
FIRST PILOT
(louder)
I said, the old man's screwy!
SECOND PILOT
(nodding his head in agreement)
Yeah!
FIRST PILOT
(cupping his mouth)
The dame's too smart for him.
SECOND PILOT
(nodding again, then leaning over)
How'd you like to be married to a wild
cat like that?
The First Pilot grimaces in disgust,
grabs his nose between his fingers,
and goes through the motion of ducking
under water. And as they both laugh,
the scene cuts to the CABIN of the plane,
a privately built plane which has all
the equipment of a passenger ship. Andrews
and one of his secretaries, a conservative-appearing
man of middle age, lean over a table.
This being a closed cabin, the roar
of the motors scarcely interferes with
the dialogue.
SECRETARY
Here's another wire, sir. This one's
from Charleston.
(as there is a close view of the two)
"Checking every northbound train. Also
assigned twenty operatives to watch
main highways. No success yet. Will
continue to do everything possible."
Signed: Lovington Detective Agency,
Charleston.
ANDREWS
Any others?
SECRETARY
Yessir.
(holding up stack of wires)
There's a report here from every State
along the East coast. Want to hear them?
ANDREWS
(impatiently)
What do they say?
SECRETARY
They're practically all the same, sir.
(he shrugs his shoulders to indicate
there is no news)
ANDREWS
(muttering)
Amateurs!
SECRETARY
They're the finest detective agency
in the country, sir.
? 247 ?
Andrews doesn't answer him. He puffs
furiously on his cigar, glances out
of the window, and turns irritably to
a phone by his side. He snaps up the
receiver and presses a button, following
which the scene cuts to the CONTROL
COCKPIT, where a light flashes on the
instrument board, and the pilot picks
up the receiver.
PILOT
Yes, sir?
ANDREWS
(seen in the cabin)
I thought I made it clear I was in a
hurry to get to New York?
(bellowing)
What are we crawling for!
In the control cockpit, the pilot reacts
to the complaint and glances at his
speed indicator. We then see the SPEED
INDICATOR registering 180 miles an hour.
The pilot looks aghast.
PILOT
(yelling into phone)
We've got her wide open, sir.
ANDREWS
(irascibly)
Well, step on it! Step on it!
He bangs up the receiver and stares
moodily out of the window. It is plain
that he is worried. The view then includes
his secretary, Henderson.
HENDERSON
I hope she's all right, sir.
ANDREWS
(sharply)
Of course she's all right. What do you
think can happen!
HENDERSON
(intimidated)
Nothing, sir!
ANDREWS
Then shut up about it!
Thereupon the view cuts to a close-up
of an airplane motor in rapid motion,
and this dissolves to the AUTO CAMP
CABIN next morning, a close view showing
ELLIE peacefully sleeping. But the drone
of the plane overhead disturbs her,
and she moves restlessly.
ELLIE
(murmuring in her sleep)
Darn planes—
She squirms around uncomfortably, and
finding it impossible to resume her
slumber, opens her eyes. The sun pouring
in through the window causes her to
squint. She sits up and stares outside,
puzzled. Then remembering where she
is she looks toward the other side of
the cabin, listening for some sign of
life. But there is none
? 248 ?
and she relaxes. She falls back on the
pillow, pulling the covers over her.
Now PETER enters from the outside with
an armful of foodstuffs, which he dumps
on the table. He looks toward Ellie.
PETER
Hey—you not up yet? Come on—come on!
ELLIE'S VOICE
What time is it?
PETER
Eight o'clock.
He goes to the blanket which hangs between
the two cots and throws something over
it to Ellie.
PETER
Here—
ELLIE
(catching the package)
What is it?
(opening the package)
Why, it's a toothbrush! Thanks.
(noticing her dress hanging freshly
pressed)
You—you had it pressed.
PETER
(getting things ready for breakfast)
Come on! Hurry up! Breakfast'll be ready
in no time.
ELLIE
Why, you sweet thing, you. Where'd you
get it pressed?
(at this the view moves with him and
he goes to the blanket)
PETER
Listen, Brat—I'm going to count to ten.
If you're not out of bed by then I'm
going to yank you out myself.
A close view of ELLIE shows her being
stubborn, but alarmed.
PETER'S VOICE
(counting quickly)
One—two—three—four—five
ELLIE
(panic-stricken)
Why, you bully. I believe you would.
PETER'S VOICE
—six—seven—eight—nine—
ELLIE
(screaming)
I'm out! I'm out!
? 249 ?
And she jumps out of bed, throwing the
cover around herself, following which
Peter is seen going back to the table.
PETER
You'll find the showers—and things—right
back of the second cottage.
(at this Ellie sticks her head over
the blanket)
ELLIE
(aghast)
Outside!
PETER
Certainly, outside. All the best homes
have 'em outside.
ELLIE
I can't go out like this.
PETER
Like what?
ELLIE
Like this. I have no robe.
PETER
Here—take mine.
He flings his robe over to her, and
she disappears behind the blanket.
PETER
But make it snappy.
Now Ellie has got into his robe, and
appears on his side. The robe is too
large for her and she makes a comical
figure. As she enters, she tries to
maintain her customary dignity.
ELLIE
(dignifiedly)
Where'd you say the showers—and things—were?
(Peter turns; when he sees her he laughs)
PETER
(appraisingly)
Hey—you're little, aren't you?
ELLIE
Where is the shower?
PETER
Your hair's cute like that. You should
never comb it.
ELLIE
(leaving haughtily)
I'll find it myself.
She slams the door viciously, but Peter
rushes over to the window to watch her;
and as viewed by him, Ellie appears
next walking to the showers outside
the cabin. She holds her head high and
struggles valiantly to maintain as much
dignity as she can muster under the
circumstances. Then in the cabin, at
the window, Peter watching Ellie, chuckles
at her, shaking his head in amusement.
He starts toward the table, and the
scene cuts to a moving view outside
? 250 ?
the cabins, with Ellie walking past
several cottages on her way to the showers.
Several people stop to stare at her
until she reaches her destination. There
are two wooden shacks adjoining, each
having a sign on them; one reads, "Showers—Men"—the
other, "Showers—Women." In front of
the women's shower there are several
unappetizing-looking fat women waiting,
and with them is a small girl. Ellie
crosses over to the women's shower and
disappears inside, the waiting women
staring at her, puzzled. A moment elapses
and Ellie backs out, being pushed by
a woman, part of whose naked body is
visible, and whose voice is heard in
protest:
WOMAN
Can't a body have some privacy around
here?
The women who are waiting chuckle at
Ellie's embarrassment as she stands
aside. They certainly are making a monkey
out of her decorum. The little girl
keeps eyeing Ellie, fascinated.
LITTLE GIRL
(pointing)
Don't she look funny, Mama?
Ellie, wheeling on the little girl,
crushes her with a devastating look,
so that the little girl cringes against
her mother's skirt. Ellie goes to the
end of the line to await her turn, following
which close-ups show the LITTLE GIRL
slowly turning her head to look at Ellie,
and ELLIE noticing the little girl staring
at her, whereupon Ellie sticks her tongue
out at her. And, in a scene which includes
both, the little girl retaliates by
sticking her tongue out also.
This dissolves to a view of ELLIE coming
out of the showers. At the same time
Shapeley comes out of the men's shower,
and upon seeing Ellie, his face lights
up.
SHAPELEY
Hello, sister.
Ellie ignores him, and walks toward
her cabin. But Shapeley falls into step
with her.
SHAPELEY
Sorry about last night. Didn't know
you were married to that guy. Shoulda
told me about it right off.
(he chuckles)
There I was, gettin' myself all primed
for a killin', and you turn out to be
an old married woman.
The scene cuts to the door of PETER'S
CABIN as Peter comes out, stands in
the doorway, and is surprised to see
Ellie and Shapeley, who are then seen
(from his angle) talking. Thereupon
PETER is seen again as his lip curls
up a little jealously; he returns to
the cabin, following which we again
see Ellie and Shapeley walking. He notices
the robe she is wearing, and he looks
down toward her feet, the view moving
down to show Ellie's legs and feet.
The pajama legs are seen protruding
below the robe, the cuffs of which she
has turned up. Then the view moving
back up to Ellie and Shapeley, he lifts
her robe playfully.
? 251 ?
SHAPELEY
Hey, what's this? Wearing Papa's things?
Now that's cute. That's what I call
real lovey-dovey. Yessir.
ELLIE
(stopping—her eyes blazing)
If you don't get out of here, I'll slap
that fresh mouth of yours.
SHAPELEY
(startled)
Sorry—I didn't mean to—
ELLIE
(sharply)
Get out!
SHAPELEY
Okay. I was just trying to make conversation.
Ellie leaves him abruptly, and the scene
cuts to the CABIN, where Peter is now
busy setting the small table. Ellie
enters after a moment, while Peter has
his back to the door.
PETER
(without turning)
High time you got back.
ELLIE
I met some very interesting women at
the showers. We got to chatting about
this and that. You know how time files.
She disappears behind the blanket, following
which we see Peter's side of the cabin,
while Ellie's voice continues from behind
the blanket.
ELLIE'S VOICE
We must come back to this place often.
You meet the nicest people!
Her head bobs up over the blanket now
and again as she dresses.
ELLIE
I saw the little Pussinfoos girl. She's
turned out quite a charming creature.
Peter ignores her chatter, except for
an annoyed glance once in a while.
ELLIE
Very outspoken, too. Said I looked funny.
Wasn't that cute?
PETER
Hurry up and get dressed.
ELLIE
(sticking her head over blanket)
Why, Peter! Don't you want to hear about
our lovely friends?
? 252 ?
PETER
If you didn't waste so much time on
that wise-cracking drummer—we'd have
been through with breakfast by this
time.
A close view shows ELLIE in the process
of buttoning her dress. She looks up,
having recognized a tinge of jealousy
in his voice, which intrigues her. She
starts to the other side of the blanket.
Then we see her joining Peter in his
part of the cabin.
ELLIE
Well, I hope you're not going to dictate
whom I can talk to.
PETER
I know a couple of truck drivers I'd
like to have you meet sometime.
(setting a plate for her)
Come on, sit down.
ELLIE
Thank you.
(sitting down to the table; referring
to the food)
My, my! Scrambled eggs.
PETER
Egg. One egg—doughnuts—black coffee.
That's your ration till lunch. Any complaints?
ELLIE
(cheerily)
Nope. No complaints.
PETER
I'd have gotten you some cream but it
meant buying a whole pint.
ELLIE
("sweetly")
Why, you don't have to apologize, Mr.
Warne. You'll never know how much I
appreciate all this.
PETER
(gruffly)
What makes you so disgustingly cheerful
this morning?
ELLIE
Must be the Spring.
PETER
I thought maybe—uh—"believe you me"
told you a couple of snappy stories.
ELLIE
He apologized for last night.
(carelessly)
Said he didn't know we were married.
? 253 ?
PETER
(passing her a doughnut)
Just shows you how wrong a guy can be.
Doughnut?
ELLIE
Thanks.
(embarrassed)
You think this whole business is silly,
don't you? I mean running away and everything.
PETER
(easily)
No. No. It's too good a story.
ELLIE
Yes, you do. You think I'm a fool and
a spoiled brat. Perhaps I am, although
I don't see how I can be. People who
are spoiled are accustomed to having
their own way. I never have. On the
contrary, I've always been told what
to do and how to do it and where and
with whom. Would you believe it? This
is the first time I've ever been alone
with a man!
PETER
Yeah?
ELLIE
It's a wonder I'm not panic stricken.
PETER
Um. You're doing all right.
ELLIE
Thanks. Nurses, governesses, chaperones,
even body-guards. Oh, it's been a lot
of fun.
PETER
One consolation; you can never be lonesome.
ELLIE
It has its moments. It got to be a sort
of game to try to outwit father's detectives.
I—I did it once; actually went shopping
without a body-guard. It was swell.
I felt absolutely immoral. But it didn't
last long. They caught up with me in
a department store. I was so mad I ran
out the back way and jumped into the
first car I saw. Guess who was in it?
PETER
Santa Claus?
ELLIE
King—King Westley was in it.
PETER
Oh. Is that how you met him?
? 254 ?
ELLIE
Um-hm. We rode around all afternoon.
Father was frantic. By 6 o'clock he
was having all the rivers dragged.
(she has been "dunking" her doughnut
throughout this, Peter watching her)
PETER
Say, where did you learn to dunk, in
finishing school?
ELLIE
(indignantly)
Aw, now, don't you start telling me
I shouldn't dunk.
PETER
Of course you shouldn't. You don't know
how to do it. Dunking's an art. Don't
let it soak so long. A dip and plop,
into your mouth. If you let it soak
so long, it'll get soft and fall off.
It's all a matter of timing. I ought
to write a book about it.
ELLIE
Thanks, professor.
PETER
Just goes to show you. Twenty millions
and you don't know how to dunk.
ELLIE
I'd change places with a plumber's daughter
any day.
But before he can answer, they are interrupted
by voices directly outside their window,
and the view moves with Peter as he
goes to the door, which he opens slightly.
Thereupon Dyke is seen in conversation
with two men outside the CABIN.
DYKE
(protesting loudly)
You can't go around bothering my tenants.
I tell you, there's no girl by that
name here. Besides, how do I know you're
detectives?
FIRST DETECTIVE
Show him your credentials, Mac. I'll
look around.
At this, Peter closes the door and turns
to Ellie.
PETER
Detectives!
ELLIE
(petrified)
That's Father at work, What'll I do?
(appealingly, to him)
Peter, what'll I do?
PETER
Don't look at me. I didn't marry King
Westley.
? 255 ?
Ellie runs around the room picking up
her stuff and murmuring, "Oh, my goodness!"
She reaches the window.
ELLIE
(now seen close, at the window)
Maybe I could jump out of the window.
(tremulously)
Do you think they'd see me?
PETER'S VOICE
(suddenly)
Come here, you little fool!
She starts toward him. We then see him
plunking her in a chair:
PETER
Sit down!
He rumples her hair and sticks a few
hairpins in her mouth. He now stands
aside and deliberately talks loud enough
to be heard outside.
PETER
(practically shouting)
Yeah. I got a letter from Aunt Betty.
She says if we don't stop over at Wilkes-Barre
she'll never forgive us.
ELLIE
(a close-up showing her staring at him
in bewilderment)
What are you talking about?
At this, Peter rushes over to her and
clamps his hand over her mouth.
PETER
(with his hand over her mouth)
The baby is due next month—and they
want us to come.
Ellie looks up at him, and realizes
what he's doing, she nods to him that
it's all right, whereupon he removes
his hand from her mouth. And now one
of the detectives approaches the FRONT
DOOR of the cabin. When he hears Peter's
voice, he stops to listen.
PETER'S VOICE
She says she saw your sister Ethel the
other day, and she's looking swell.
The detective knocks on the door. At
this we again see inside of the cabin
as Peter whispers to Ellie to say "Come
in."
ELLIE
(calling)
Come in!
The moment she does, Peter rushes behind
the hanging blanket. He has his head
stuck over it, waiting for the detective
to enter, and the moment the door opens
Peter ducks. The detective takes a step
inside the room.
? 256 ?
PETER'S VOICE
(from behind blanket)
I hope Aunt Betty has a boy, don't you?
She's always wanted a boy. I think we'll
stop over in Wilkes-Barre this trip,
darling. Give the family a treat.
A close view shows Ellie and the detective.
They have been staring at each other.
ELLIE
(very sweet, calling to Peter)
There's a man here to see you, Sweetheart.
PETER'S VOICE
Who—me?
(appearing from behind the blankets;
pleasantly)
Want to see me?
DETECTIVE
(who hasn't taken his eyes off Ellie)
What's your name?
ELLIE
(innocently)
Are you addressing me?
DETECTIVE
Yeah. What's your name?
PETER
(stepping in front of him)
Hey, wait a minute! You're talking to
my wife! You can't walk in here and—what
do you want, anyway?
DETECTIVE
We're looking for somebody.
PETER
Well, look your head off—but don't come
bustin' in here. This isn't a public
park.
While Peter has been speaking, the second
detective and Dyke have entered. They
walk over to Peter, the First Detective,
and Ellie.
PETER
I got a good mind to sock you right
in the nose.
FIRST DETECTIVE
Take it easy, son. Take it easy.
SECOND DETECTIVE
(crowding forward)
What's up?
The Second Detective's eyes fall on
Ellie and he stops to stare at her suspiciously.
He takes a photograph out of his pocket
which he inspects.
DYKE
(explains)
These men are detectives, Mr. Warne.
? 257 ?
PETER
(shouting)
I wouldn't care if they were the whole
police department. They can't come in
here and start shooting questions at
my wife!
ELLIE
(appearing very domestic)
Don't get excited, Peter. They just
asked a civil question.
PETER
(turning on her; very sarcastic)
There you go again! How many times did
I tell you to stop butting in when I
have an argument?
ELLIE
(sharply; entering into the spirit of
the pretense)
Well, you don't have to lose your temper!
PETER
(mimicking her)
You don't have to lose your temper!
(in his own voice)
That's what you told me the last time
too. Every time I step in to protect
you. At the Elk's dance[7] when that
big Swede made a pass at you—
ELLIE
He didn't make a pass at me! I told
you a million times!
The two detectives and Dyke are seen
watching the other two, who are now
out of sight.
PETER'S VOICE
(screaming)
Oh, no! I saw him! He kept pawing you
all over the dance floor!
ELLIE'S VOICE
He didn't! You were drunk!
PETER
(now seen with Ellie)
Oh, so now I was drunk!
ELLIE
Well, you were!
PETER
I'm sorry I didn't take another sock
at him.
ELLIE
Yeah, and gotten yourself arrested!
PETER
Aw, nuts! You're just like your old
man! Once a plumber always a plumber!
There isn't an ounce of brains in your
whole family!
? 258 ?
ELLIE
(starting to cry)
Peter Warne, you've gone far enough.
I won't stand being insulted like this
another minute.
Ellie goes over to her cot, and starts
picking up her hat and things, whereupon
Dyke, very much affected, turns to the
detectives.
DYKE
Now look what you've done!
FIRST DETECTIVE
(apologetically)
Sorry, Mr. Warne. But you see, we're
supposed to check up on everybody.
SECOND DETECTIVE
We're looking for a girl by the name
of Ellen Andrews. You know—the daughter
of the big Wall Street mug.
A close-up of ELLIE appears as their
voices are heard.
FIRST DETECTIVE'S VOICE
Your wife sure looks like her. Don't
she, Mac?
SECOND DETECTIVE'S VOICE
She sure does.
PETER
(the entire group coming into view)
Well, I hope you find her.
(to Ellie)
Quit bawling! Quit bawling!
The detectives start out, accompanied
by Dyke, who is still concerned about
the disturbing of his tenants. As they
disappear out the door, we hear Dyke's
voice:
DYKE'S VOICE
I told you they were a perfectly nice
married couple.
Their voices die. Peter stands in the
middle of the room watching them go.
From her side, where she has been stalling,
Ellie peers out of the window until
the detectives vanish. She starts toward
Peter. Then they appear together, both
staring out until the detectives are
well out of sight. Finally, Peter closes
the door and turns to her.
PETER
(seriously)
It'll be a dirty trick on Aunt Betty
if it turns out to be a girl after all.
This brings laughter from them both.
But Peter suddenly sobers, and he looks
at her thoughtfully.
? 259 ?
PETER
Say, you were pretty good. Jumping in
like that. Got a brain, haven't you?
ELLIE
You weren't so bad yourself.
PETER
We could start a two-person stock company.
If things get tough—we can play some
small town auditoriums. We'll call this
one "The Great Deception."[8]
ELLIE
Next week "East Lynne."
PETER
After that "The Three Musketeers."
(he strikes a pose)
I'd make a great D'Artagnan.
ELLIE
How about Cinderella—or a real hot love
story?
PETER
No mushy stuff. I'm running this troupe.
ELLIE
(fighting)
Oh, you are! Who made you the manager?
PETER
I did! It was my idea, wasn't it?
ELLIE
You always want to run everything.
PETER
If you don't like it, you can resign
from the company.
ELLIE
I refuse to resign!
PETER
Then I'll fire you. I'll do all the
parts myself.
They are interrupted by the door being
flung open. Dyke sticks his head in
the door.
DYKE
Your bus leaves in five minutes.
PETER
Holy jumping—! We haven't started to
pack yet!
And they both scurry around, throwing
things carelessly into Peter's suitcase,
as the scene fades out.
Part Six
GORDON'S OFFICE fades in, and Gordon
is at his desk as his secretary enters.
? 260 ?
SECRETARY
Here's another wire from Peter Warne.
GORDON
Throw it in the basket.
(as the secretary starts to do so)
What's it say?
(reading)
"Have I got a story! It's getting hotter
and hotter. Hope you're the same."
Gordon snatches the wire out of her
hand and tears it viciously into bits.
GORDON
Collect?
SECRETARY
Yes.
GORDON
Don't accept any more.
The scene dissolves to ANDREWS' NEW
YORK OFFICE—a richly appointed place,
awe-inspiring in its dignified furnishings,
which shriek of wealth. Andrews paces
back and forth in back of his desk.
Sitting before him is a man of fifty,
with very rugged features. He is Lovington,
head of the detective agency bearing
his name. When the scene opens, Andrews
is holding forth:
ANDREWS
Three days! Three whole days! And what
have you accomplished!—
(in a close view at the desk)
All you've shown me is a stack of feeble
reports from those comical detectives
of yours. I want action, Lovington!
LOVINGTON
We can't do the impossible, Mr. Andrews.
ANDREWS
What I'm asking isn't impossible. My
daughter is somewhere between here and
Miami. I want her found!
LOVINGTON
I've put extra men on, all along the
way.
ANDREWS
It's not enough!
(suddenly)
Are you certain she's not with King
Westley?
LOVINGTON
No. He's been trailed twenty-four hours
a day since this thing started. He can't
even get a phone call we don't know
about.
? 261 ?
ANDREWS
(who has been pressing several buttons
on his desk)
I'm worried, Lovington. After all, something
might have happened to her.
(he is interrupted by the entrance of
several employees)
ONE OF THEM
Yessir?
ANDREWS
(seeing them)
Oh, Clark—want you to arrange for a
radio broadcast—right away—coast to
coast hook-up! Offer a reward of ten
thousand dollars for any information
leading to her whereabouts.
CLARK
(leaving)
Yessir.
ANDREWS
Brown—
BROWN
Yessir?
ANDREWS
Send the story out to the newspapers.
(he rips a picture of Ellie on the desk
out of its frame)
Some of the out of town papers may not
have a picture of her. Here—wire this
to them—I want it to break right away.
As he hands the picture to Brown, the
view moves in to a close-up of the PICTURE
which dissolves to a close-up of the
same picture in a newspaper, and as
the view draws slowly back we see the
headline over it, which reads
"DAUGHTER OF BANKER DISAPPEARS
TEN THOUSAND DOLLARS REWARD"
The view then draws back to reveal SHAPELEY
reading the newspaper. He stares long
and absorbedly at the picture. Then
slowly he turns his head toward the
rear of the bus, and the view following
his gaze passes a group of men singing
"The Man On the Flying Trapeze." They
are huddled together, and accompanied
by a man who plays a guitar. Then the
view continues moving until it reaches
Peter and Ellie who join in the song,
and a close-up of ELLIE shows her eyes
sparkling as she sings gaily.
SHAPELEY looks back at Ellie, and apparently
comes to the conclusion that his suspicions
are correct, for he quickly folds the
newspaper, casting a surreptitious glance
around to make certain he is not being
watched. A diabolical smirk spreads
over his face.
A full view of the interior of the bus
shows most of the occupants joining
in the fun, singing. They seem unmindful
of the discomfiture caused by the rocking
of the bus, which throws them against
each other. Then the view draws in to
a front seat in which sit a woman and
a small boy of ten. The woman's face
is haggard and she sways
? 262 ?
uncertainly, her eyes half closed. Her
small son's frightened face peers up
at her.
BOY
(in a trembling voice)
What'sa matter, Ma? Don't you feel all
right?
The woman struggles valiantly to recover
her composure. She presses her son's
small hand in a feeble effort at assurance.
A close view of Ellie and Peter shows
ELLIE singing more boisterously than
the rest, doing the comical song with
exaggerated gestures. But suddenly her
face clouds, at something she sees.
ELLIE
(touching Peter's arm)
Peter!
(as he turns)
There's something the matter with that
woman. She looks ill.
Peter follows her gaze, whereupon we
see the WOMAN. Her head rolls weakly,
a pained expression on her face.
ELLIE
(again seen with Peter; sympathetically)
I better go over and see her.
PETER
Don't be silly. Nothing you can do.
Must be tough on an old woman—a trip
like this.
ELLIE
(worried)
Yes.
We see the other passengers around Ellie
and Peter enjoying themselves. One of
them pokes her.
MAN
Hey, Galli-Curci,[9] come on—get onto
it!
(poking Peter)
You, too, McCormack.
Ellie and Peter snap into it; they are
just in time for the long wail which
precedes the chorus:
ELLIE AND PETER
(singing)
"O-o-o-oh—He flies through the air with
the
greatest of ease—
This daring young man on the flying
trapeze—"
At this the scene cuts to the ROAD.
The bus is caught in a muddy road, full
of ruts, and at the moment wavers dangerously
at an angle. The left front wheel is
stuck in a deep hole, and the engine
roars and clatters as the driver feeds
the gas. Finally the bus moves forward,
extricating the wheel; but just as it
does, the right front wheel falls into
another mud hole on the other side,
and this time the bus seems hopelessly
stuck, a close-up of the RIGHT WHEEL
showing it revolving desperately, but
in vain. The mud splashes in all directions,
and the wheel seems to sink deeper and
deeper. Thereupon this view cuts to
the inside of the BUS. The bus
? 263 ?
is tilted over at an extreme angle,
which has thrown Ellie into a corner
on the floor, where she now crouches
in an undignified position. She looks
like a turtle, her head being invisible.
ELLIE
(sticking her head out)
Thank the man for me, Peter. This is
the first comfortable position I've
had all night.
Peter, amused, is assisting her to her
feet. The guitarist has continued his
playing uninterrupted, and as Peter
lifts Ellie, he sings:
PETER
(singing)
"She flies through the air with the
greatest of ease.
This darin' young maid on the flying
trapeze—
(grunting)
Her movements are graceful—all men does
she please—"
A close view of the WOMAN and the LITTLE
BOY now shows the latter terrifiedly
watching his mother, whose head sags
wearily. Finally she topples forward
in a swoon.
BOY
(with a moan)
Ma! Ma! What'sa matter with you?
(tears stream down his cheeks)
Somebody help me! Somethin's happened
to her!
The music stops abruptly. Everyone looks
up, startled. Ellie starts forward,
followed by Peter. Passengers closely
group around the woman and chatter.
"She's fainted. Look how pale she is."
Peter and Ellie step up.
PETER.
Get some water, somebody.
(to the boy)
Let me get in here, son.
Ellie goes out of sight to get water.
The boy cries audibly, terror-stricken,
but gets out of Peter's way, and Peter
lifts the woman up and stretches her
across the seat. Ellie comes back with
water which she silently hands to Peter,
who administers to the woman and when
she slowly opens her eyes, makes her
drink the water. The woman looks around,
bewildered.
PETER
(consolingly)
That's better. You're all right now.
Just took a little nose-dive, that's
all.
He assists her in sitting up. The boy's
wailing is heard, and he now rushes
over and throws his arms around his
mother.
BOY
(crying)
Ma—oh, gee, Ma—!
? 264 ?
His mother clings to him, but still
feeling faint, her head sways. Peter
looks up at Ellie and gives her a sign
to sit down beside the woman. ELLIE
sits down beside her. Peter takes the
boy by the shoulders.
PETER
Come on, son. Better give your mother
a chance to snap out of it.
(as the boy emits a heart-breaking sob)
It's all right, son. She'll be okay
in a couple of minutes.
He leads the boy away, while Ellie places
her arm around the woman.
ELLIE
You'd better rest. It's been a hard
trip, hasn't it?
The scene cuts to a close view of SHAPELEY
who has his eye peeled on Peter, watching
him, and we next see Peter and the boy,
who is still sobbing quietly. They are
now standing away from the other passengers.
BOY
We ain't ate nothin' since yestidday.
PETER
What happened to your money?
BOY
Ma spent it all for the tickets. She
didn't know it was gonna be so much.
(with a new outburst)
We shouldn'a come, I guess, but Ma said
there's a job waitin' for her in New
York—and if we didn't go, she might
lose it.
PETER
Going without food is bad business,
son. Why didn't you ask somebody?
BOY
I was gonna do it, but Ma wouldn't let
me. She was ashamed, I guess.
Peter reaches into his pocket for a
bill, just as Ellie approaches them.
ELLIE
She'll be all right, soon's she gets
something to eat.
Peter has extracted a single bill and
dips in his pocket for a smaller one.
Before he can find anything, however,
Ellie takes the one he has in his hand
and gives it to the boy.
ELLIE
Here, boy—first town we come to, buy
some food.
? 265 ?
(Peter glances at the empty hand and
then at Ellie)
BOY
I shouldn't oughta take this. Ma'll
be angry.
ELLIE
(confidentially)
Just don't tell her anything about it.
You don't want her to get sick again,
do you?
BOY
(a sob in his voice)
No-o. But I shouldn't oughta take the
money.
(to Peter)
You might need it.
PETER
Me? Forget it, son.
(rumples his hair—smiling)
I got millions.
BOY
(also smiling)
Thanks.
ELLIE
(her arm around the boy)
Come on. Let's go back to your mother.
She leaves with the boy, Peter watching
her a moment, impressed by her display
of humanness, before turning and leaving
the scene, following which a close-up
shot of SHAPELEY watching Peter, then
also rising and starting out.
On the ROAD, the driver is now standing
in front of the mud-hole, staring at
the sunken wheel dolefully, as several
people stray into the scene.
DRIVER
That storm sure made a mess outa these
roads.
PETER
(appearing, and seeing the trouble)
Holy Smokes! You'll never get out yourself!
Better phone for some help.
DRIVER
Phone for help?
(unhappily)
We're right in the middle of nowhere.
There isn't a town within ten miles
of here.
Shapeley is just entering the outskirts
of the group. He stops, looks in the
direction of Peter speculatively. He
has the newspaper stuck in his pocket,
which he caresses tenderly. The scene
expanding, Peter is then seen leaving
the group.
SHAPELEY
(as Peter approaches)
What's up?
? 266 ?
PETER
Looks like we're going to be stuck for
a long time.
(he starts away)
SHAPELEY
(calling to him)
Say, Buddy–
Peter turns, and looks at him quizzically,
and the two are then seen close together.
SHAPELEY
Like to have a look at my paper?
He has taken it out and has it opened
as he hands it to Peter. The headlines
concerning Ellie and her picture shriek
out at Peter. This startles him for
a moment, but he manages to recover
his poise.
SHAPELEY
Travelin' like this, you kinda lose
track of what's goin' on in the world.
PETER
(guardedly)
Thanks.
(he glances from the newspaper to Shapeley,
wondering how much he suspects)
SHAPELEY
If you wanna get anywhere nowadays,
you gotta keep in touch with all the
news, is what I always say.
PETER
(eyeing him expectantly)
That's right.
SHAPELEY
(pointing to paper)
Take that story there, for instance.
Be kinda sweet if we could collect that
ten thousand smackers.
PETER
(non-committally)
Yeah—wouldn't it?
SHAPELEY
It's a lotta dough. If I was to run
across that dame, you know what I'd
do?
PETER
What?
SHAPELEY
I'd go fifty-fifty with you .
PETER
Why?
? 267 ?
SHAPELEY
Cause I'm a guy that don't believe in
hoggin' it, see? A bird that figures
that way winds up behind the eight ball,[10]
is what I always say.
PETER
What's on your mind?
SHAPELEY
(hard)
Five G's—or I crab the works.
PETER
You're a pretty shrewd baby.
(looking around)
We better get away from this gang. Talk
this thing over privately.
And the view moves with them as Peter
leads the way toward a clump of bushes
off the side of the road, Shapeley following.
They are concealed from the rest of
the passengers.
PETER
Lucky thing, my running into you. Just
the man I need.
SHAPELEY
(smiling broadly)
You're not making any mistake, believe
you me.
PETER
I can use a smart guy like you.
SHAPELEY
(expansively)
Say listen, when you're talkin' to old
man Shapeley, you're talking to—
PETER
(suddenly)
Do you pack a gat?[11]
A close view of the TWO shows the smile
dying on Shapeley's face. He looks up
quickly.
SHAPELEY
Huh?
PETER
A gat! A gat!
(feeling him)
Got any fireworks on you?
SHAPELEY
(weakly)
Why—no—
PETER
(carelessly)
That's all right. I got a couple of
machine guns in my suitcase. I'll let
you have one of them.
? 268 ?
(Shapeley is beginning to realize he
is in for something he hadn't bargained
for, and stares speechlessly at Peter,
who continues blandly)
Expect a little trouble up North. May
have to shoot it out with cops.
The perspiration starts appearing on
Shapeley's brow (as we see him in a
close-up). Peter's voice continues:
PETER'S VOICE
(with emphasis)
If you come through all right, your
five G's are in the bag. Maybe more.
I'll talk to the "Killer"—see that he
takes care of you.
SHAPELEY
(finally finding his voice)
The Killer?
PETER
(seen with Shapeley; watching the latter
to gauge the effect of his words)
Yeah—the "big boy"—the Boss of the outfit.
SHAPELEY
(shakily)
You're not kidnapping her, are you?
PETER
(tough)
What else, stupid! You don't think we're
after that penny-ante reward, do you?
(contemptuously)
Ten thousand bucks? Chicken feed! We're
holding her for a million smackers.
SHAPELEY
(stammering)
Say, look! I didn't know it was anything
like this, see—and—
PETER
What's the matter with you! Gettin'
yellow?
SHAPELEY
(raising his voice, pleadingly)
But I'm a married man. I got a couple
of kids. I can't get mixed up with—
PETER
(gripping his arm)
Sh-sh-sh—! Soft pedal, you mug!—before
I— What're you trying to do? Tell the
whole world about it!
(low and menacingly)
Now listen, you're in this thing—and
you're staying in! Get me? You know
too much.
SHAPELEY
(frightened out of his wits)
I won't say anything. Honest, I won't.
? 269 ?
PETER
Yeah ?—How do I know?
(he reaches into his coat threateningly)
I gotta good mind to plug you.
(arguing with himself)
I shouldn't take any chances on you.
SHAPELEY
(breaking down)
You can trust me, Mister. I'll keep
my mouth shut.
PETER.
Yeah?
(he glares at Shapeley a moment silently,
as if making up his mind)
What's your name?
SHAPELEY
Oscar Shapeley.
PETER
Where do you live?
SHAPELEY
Orange, New Jersey.
PETER
Got a couple of kids, huh?
SHAPELEY
Yeah. Just babies.
PETER
You love them, don't you?
SHAPELEY
(sensing the threat; horrified)
Oh, gee, Mister—you wouldn't—you ain't
thinkin' about—
PETER
(threateningly)
You'll keep your trap shut, all right.
SHAPELEY
(quickly)
Sure—sure—I'll keep my trap shut. you
can depend on me, Mister.
PETER
If you don't—Ever hear of Bugs Dooley?
SHAPELEY
No.
PETER
Nice guy. Just like you. But he made
a big mistake, one day. Got kind of
talkative. Know what happened? His kid
was found in the bottom of the
? 270 ?
river. A rock tied around its neck.
Poor Bugs! He couldn't take it. Blew
his brains out.
(Shapeley can't stand much more of this.
He is ready to keel over)
SHAPELEY
Gee! That musta been terrible.
(righteously)
I guess he had it coming to him though.
But don't you worry about me. I don't
talk. I never talk. Take my word for
it. Gee, I wouldn't want anything to
happen to my kids.
PETER
Okay. Just remember that. Now beat it.
SHAPELEY
(grabbing Peter's hand and shaking it
gratefully)
Oh, thanks, thanks, Mister. I always
knew you guys were kind-hearted.
PETER
(putting his hand away)
Come on, scram! And stay away from that
bus.
SHAPELEY
Sure. Anything you say.
As he says this, he backs away from
Peter, following which a close-up of
PETER shows a twinkle in his eye and
then, as seen by Peter, Shapeley appears
walking hurriedly away. When he thinks
the distance is safe he starts running.
He slips and falls in the mud, picks
himself up, and continues his race for
life.
The scene dissolves to the ROAD, at
night, with Ellie and Peter walking
along. It is apparent they have been
trudging like this for a long time.
ELLIE
Poor old Shapeley. You shouldn't have
frightened him like that.
PETER
At the rate he started, he's probably
passed two state lines by this time.
The exercise is good for him.
ELLIE
Yes, I noticed he was getting a little
fat lately.
(she grabs her side)
Ouch!
PETER
What's the matter?
ELLIE
(grimacing)
I was never built for these moonlight
strolls.
(protesting)
Why did we have to leave the bus?
? 271 ?
PETER
I don't trust that chatterbox.
The scene dissolves to the banks of
a narrow STREAM at night. Peter is bending
over, removing his shoes, and we see
the two closer as they talk.
PETER
First town we hit in the morning, you
better wire your father.
ELLIE
Not as long as I'm alive.
PETER
Okay with me, if you can stand the starvation
diet.
ELLIE
What do you mean—starvation?
PETER
It takes money to buy food.
ELLIE
Why, haven't you—?
PETER
(interrupting)
Not a sou. I had some before the fainting
scene.
ELLIE
You didn't give that boy all your money?
PETER
I didn't give him anything . You were
the big-hearted gal. How about wiring
your father now?
ELLIE
Never! I'll get to New York if I have
to starve all the way.
PETER
(rising—uttering a deep sigh)
Must be some strange power Westley has
over you women.
(he now has his shoes off and ties them
to each other)
How do you expect to get there?
ELLIE
To New York?
PETER
Yeah.
ELLIE
I'm following you.
PETER
Aren't you afraid of me?
? 272 ?
ELLIE
(confidently)
No.
PETER
(looking at her)
Okay. Hang on to these.
As he bends down in front of Ellie,
he gets a firm grip around her legs
and throws her over his shoulder like
a sack. She squeals, terrified, but
Peter ignores this; and with his right
hand, which is free, he lifts the suitcase
and starts walking across the stream.
Ellie's first fright is gone and she
now rather enjoys the sensation of being
carried by Peter. She lets herself go
completely limp, still clinging to his
shoes, which she carries by the string.
As they walk, the dangling shoes keep
hitting Peter's backside.
PETER
I wish you'd stop being playful.
ELLIE
(thereupon holding the shoes out at
a safe distance)
Sorry.
(Peter takes several more laborious
steps before either of them speaks)
ELLIE
It's the first time I've ridden "piggy-back"
in years.
PETER
This isn't "piggy-back."
ELLIE
Of course it is.
PETER
You're crazy.
ELLIE
(after a silence for several seconds)
I remember distinctly Father taking
me for a "piggy-back" ride—
PETER
And he carried you like this, I suppose.
ELLIE
Yes.
PETER
(with finality)
Your father didn't know beans about
"piggy-back" riding.
ELLIE
(another silence before she speaks again)
My uncle—Mother's brother—had four children
. . . and I've seen them ride "piggy-back."
? 273 ?
PETER
I don't think there's a "piggy-back"
rider in your whole family. I never
knew a rich man yet who was a good "piggy-back"
rider.
ELLIE
That's silly.
PETER
To be a "piggy-backer" it takes complete
relaxation—a warm heart—and a loving
nature.
ELLIE
And rich people have none of those qualifications,
I suppose.
PETER
Not a one.
ELLIE
You're prejudiced.
PETER
Show me a good "piggy-back" rider and
I'll show you somebody that's human.
Take Abraham Lincoln, for instance—a
natural "piggy-backer."
(contemptuously)
Where do you get off with your stuffed-shirt
family?
(turning)
Why, your father knew so much about
"piggy-back" riding that he—
In his excitement he wheels around to
speak to her, forgetting that as he
turns she goes with him. Not finding
her at his right, he swings around to
his left. Naturally he takes Ellie with
him—and realizing his mistake he mutters:
PETER
Aw, nuts!
He proceeds on his way, walking faster
than before. They continue this way
silently for some time. Finally Ellie
breaks the silence.
ELLIE
(persistently)
My father was a great "piggy-backer."
Peter raises his eyes heavenward in
thorough disgust, then calmly hands
his suitcase to her.
PETER
Hold this a minute.
Ellie takes the suitcase from him, and
his hand now free, he delivers a resounding
smack on her backside, so that Ellie
lets out a yelp.
PETER
(taking the suitcase)
Thank you.
? 274 ?
The scene dissolves to the edge of a
cow PASTURE, at night, and Ellie and
Peter are revealed climbing under a
barbed wire fence, following which the
scene dissolves to a HAYSTACK, in front.
Peter sets his bag down and surveys
the layout, Ellie watching him.
PETER
(to himself)
This looks like the best spot.
ELLIE
We're not going to sleep out here, are
we?
PETER
I don't know about you, but I'm going
to give a fairly good imitation of it.
And he busies himself laying out a bed
for her, pulling hay from the stack
and spreading it out on the ground.
Ellie wanders aim-lessly and then moves
to a rock, where she sits and watches
Peter.
ELLIE
(after a pause; coyly)
Peter—
PETER
(as a close view shows him still arranging
her bed; grumbling)
What?
ELLIE'S VOICE
I'm hungry.
PETER
(without looking up)
Just your imagination.
ELLIE
(seen at the rock, while Peter is out
of sight)
No, it isn't. I'm hungry and—and scared.
PETER'S VOICE
You can't be hungry and scared at the
same time.
ELLIE
(insisting)
Well, I am.
PETER
(as both he and Ellie are seen in their
respective places)
If you're scared it scares the hunger
out of you.
ELLIE
(argumentatively)
Not if you're more hungry than scared.
PETER
(impatiently)
All right. You win. Let's forget it.
? 275 ?
ELLIE
(after a pause)
I can't forget it. I'm still hungry.
PETER
(tearing his hair; screaming)
Holy Smokes! Why did I ever get mixed
up with you!
This brings silence, and he goes on
building a bed for her. Then a close-up
of Ellie shows her watching him. Her
eyes soften. A very definite interest
in him is slowly but surely blossoming,
and the fact that he is making her bed
adds to the intimacy of the scene. A
close view of PETER shows him concentrating
on his task, but he pauses a moment
and turns to glance at her. It is a
devouring look, which he quickly dispels
by working more feverishly on her bed.
PETER
(muttering while he works)
If I had any sense, I'd have been in
New York by this time.
(he emphasizes his feelings by yanking
viciously at the hay as both of them
are now seen)
Taking a married woman back to her husband.
Hunh! What a prize sucker I turned out
to be.
(He has her bed ready; without glancing
at her)
Come on—your bed's all ready.
She, watches him a moment, then rising
slowly, starts toward Peter. Then she
stands over her bed, surveying it speculatively.
ELLIE
I'll get my clothes all wrinkled.
PETER
(sharply)
Well, take them off.
ELLIE
(shocked)
What!
PETER
(shouting)
All right! Don't take them off. Do whatever
you please. But shut up about it.
She flashes him a petulant, offended
glance but it is lost on Peter, who
has his back to her, and meticulously,
she slips to her knees and proceeds
to stretch out on the hay. The hay bed
is bumpy and hard and she has quite
a difficult time getting comfortable;
her efforts to do so are accompanied
by painful sighs. A close view shows
PETER stopping to watch her, and his
look is sympathetic and solicitous.
Then while Ellie groans and sighs and
pounds the hay with her palm, Peter
steps out of sight. Ellie is unaware
of his departure, so busily occupied
is she with her makeshift bedding. She
squirms around unhappily and finally
stretches out, deciding to make the
best of it. She lies on her back, her
hands clasped under her head, looking
up at the stars.
ELLIE
(seen close, as she is lying back on
hay bed)
You're becoming terribly disagreeable
lately. Snap my head off every time
I open my mouth.
? 276 ?
(she waits for a reply, but receives
none)
If being with me is so distasteful to
you, you can leave.
(independently)
You can leave any time you see fit.
Nobody's keeping you her.
(martyr-like)
I can get along.
She waits a second and then turns to
see what effect this has on him. The
fact that Peter is gone doesn't quite
register at first. She looks around
calmly, then is puzzled, and finally
she becomes panicky. She sits up with
a start.
ELLIE
(murmuring, frightened)
Peter—
(there is a pause while she listens,
but nothing stirs, and there is more
apprehension in her voice)
Peter!
Real terror comes into her face, and
she is ready to cry. She gets to her
feet.
ELLIE
(with a terrified outcry)
Peter!!
At this he comes running into the scene;
under his arm he has a watermelon.
PETER
What's the matter?
ELLIE
(relieved)
Oh, Peter—
(she throws her arms around his neck
and sobs freely)
PETER
(hoarsely)
What's got into you?
ELLIE
(clinging to him)
Oh, Peter! I was so scared.
With his free hand he removes her arm
from around his neck and starts away.
PETER
(setting the watermelon down)
I wasn't gone more than a minute. Just
went out to find you something to eat.
ELLIE
(a sob still in her voice)
I know—but—
? 277 ?
PETER
(kicking the melon over to her)
Here. Eat your head off.
ELLIE
I don't want it now.
PETER
(vehemently)
Thought you were hungry!
ELLIE
I was—but—
PETER
But what!
ELLIE
I was so scared—that it scared—
PETER
(exasperatedly)
Holy Jumping Catfish! You can drive
a guy crazy.
He kicks the melon viciously out of
sight, and without any particular preparation
or fuss, he flops down on his bed, following
which Ellie goes to her bed and lies
down, too. Then a close view of ELLIE
appears, and at the moment she looks
far removed from the spoiled, pampered,
self-reliant brat of Alexander Andrews.
Instead, she is a helpless baby, clinging
to Peter's protective wing. She'd be
ever so grateful right now for a little
civility on his part, for a little tenderness
and understanding, and she glances over
at him, hopefully. PETER, however, stares
up at the stars, dreamily; and we then
see ELLIE turning away from him, disappointed.
Still, the minute Ellie turns her head,
Peter looks at her out of the corner
of his eye, and it's a long and steady
gaze. Then suddenly he gets an idea
and rises. He finds his topcoat and
goes to her.
PETER
Might get chilly later on.
(he spreads it over her)
Better use this.
As he bends down to tuck her in, their
faces are seen in close proximity. Ellie,
tremulous and fearful, has her eyes
peeled on him. The situation is imminent
with danger; anything is likely to happen
at this moment; and she is frightened
and expectant—she knows how weak she
would be, if he suddenly crushed her
in his arms. Peter avoids her gaze.
He, too, is a bit shaky. The temptation
is there and his resistance is waning.
He tucks her in and quickly turns away.
Ellie's eyes, however, never leave him.
Immediate danger has vanished, and it
leaves her a little regretful.
A close view of PETER, as he walks over
to a rock and sits down, shows him nervously
taking out a cigarette and lighting
it.
PETER
You've had a lot of men crazy about
you, haven't you?
ELLIE doesn't respond. She has the scrutinizing,
speculative look of a girl who feels
herself falling in love with someone
who is practically a stranger to her,
as a result of which she is
? 278 ?
frightened. Then a wider view includes
both of them and we see that Peter,
too, fights valiantly against a mounting
interest in this girl, who epitomizes
everything he dislikes. He creates the
impression in the following scene that
in his analysis of her he is trying
to dissuade himself from something he
is bound to regret. His attack on her,
consequently, is overly vicious.
PETER
I guess you've pretty much had your
own way with them. That's your trouble
mostly. You've always had your own way.
That's why you're such a mess now.
He pauses a second, waiting for a protest,
but Ellie offers none; she is too much
absorbed in her own confusing emotions.
A close view then shows PETER taking
a long puff on his cigarette and exhaling
the smoke, watching it vanish before
he speaks.
PETER
(suddenly)
You know what generally happens to people
like you? You get your values all mixed
up. You attach all the importance to
the wrong things. Right now, for instance,
there's only one thought in your mind—to
get back to king Westley.
He waits for a reaction, but a close
view shows ELLIE absorbed, and she remains
silent. Peter's voice continues.
PETER'S VOICE
Comical part of it is, it isn't what
you want at all. In a couple of weeks
you'll be looking for the nearest exit
. . .
(now seen with her)
People like you spend all your life
on a merry-go-round. I guess that's
what makes you so dizzy.
(he rises and paces a few moments)
You're always chasing after something.
At least you think you are. Truth is,
you're just running away.
(emphatically)
From yourself, mostly. 'Cause you're
miserable. You hate yourself. The world's
full of people like you. Don't know
what they want.
ELLIE
Do you know?
PETER
Sure.
ELLIE
What?
PETER
(flatly)
Nothing.
(after a pause)
Nothing you'd give two cents for.
? 279 ?
ELLIE
(seen close)
Try me.
PETER'S VOICE
I just want to be let alone, that's
all. Life's swell if you don't try too
hard. Most people want to get a strangle-hold
on it. They're not living. They're just
feverish.
(now appearing with her)
If they didn't get themselves all balled
up with a lot of manufactured values,
they'd find what they want. Peace and
calm. When you get right down to it,
what's all the shootin' for, will you
tell me? After all, you can only eat
three meals a day, only sleep in one
bed—
(looking up)
Right now, that hay feels pretty good
to you, doesn't it? Sure it does. 'Cause
you were tired—and it's the only thing
around.
ELLIE
You sound like a hobo.
PETER
I am. I only work when I have to. Two
years ago I got a notion and went to
China. There was a war going on. Swell!
After a while it got stale. I went down
to Tahiti. Just lay on the beach for
six months. What could be sweeter?
ELLIE
Doesn't sound very exciting.
PETER, seen close, looks at her for
a long time before speaking:
PETER
I guess not. I'd have given odds it
wouldn't mean anything to you.
(he goes over and flops down on his
own side of hay)
There were moments when I had hopes.
When I—aw, I'm wasting time—You're destined
to be a dope the rest of your life.
(contemptuously)
I pity you. Goodnight.
He turns over with a finality that precludes
any further discussion, following which
a close-up of ELLIE reveals that her
eyes are wide open, staring thoughtfully
up at the sky. The scene fades out slowly.
Part Seven
A ROAD fades in. It is day now, and
Peter and Ellie are trundling along.
Ellie limps, and wears an unhappy expression
on her face.
ELLIE
What are you thinking about?
PETER
By a strange coincidence, I was thinking
of you.
? 280 ?
ELLIE
(pleased)
Really?
PETER
Yeah. I was just wondering what makes
dames like you so dizzy.
ELLIE
What'd you say we're supposed to be
doing?
PETER
Hitch-hiking.
ELLIE
Well, you've given me a very good example
of the hiking—
(strongly)
where does the hitching come in?
PETER
(amused at her)
A little early yet. No cars out yet.
She spies a rock and heads for it. Then
we see her seated on the rock.
ELLIE
If it's just the same to you, we'll
sit right here till they come.
(Peter comes over, sets his bag down,
and prepares to wait)
Got a toothpick?
PETER
No. But I've got a penknife.
(he extracts one from his pocket which
he snaps open)
ELLIE
Hay—in my teeth.
She points to her front teeth, and Peter
flicks the hay out of her teeth.
PETER
There it is. Better swallow it. We're
not going to have any breakfast.
ELLIE
Needn't rub it in.
(Peter takes a carrot out of his coat
pocket and starts nibbling on it; Ellie
looks up at this)
What're you eating?
PETER
Carrots.
ELLIE
Raw?
PETER
Uh-huh. Want one?
? 281 ?
ELLIE
(emphatically)
No!!
(as Peter smacks his lips with satisfaction)
It's a wonder you couldn't get me something
I can eat.
PETER
You don't think I'm going around panhandling
for you.
(he takes a bite)
Best thing in the world for you—carrots.
Had a tough time getting them. If that
farmer ever caught me—goodnight!
ELLIE
I hate the horrid stuff.
While she speaks a car roars by at terrific
speed. Peter and Ellie both jump up.
PETER
I wish you wouldn't talk too much. We
let a car get away.
(Ellie goes back to her rock, despondently)
ELLIE
What if nobody stops for us?
PETER
Oh, they'll stop, all right. It's a
matter of knowing how to hail them.
ELLIE
You're an expert, I suppose.
PETER
Expert! Going to write a book on it.
Called the "Hitch-Hikers Hail."
ELLIE
There's no end to your accomplishments.
PETER
You think it's simple, huh?
ELLIE
(exaggeratedly)
Oh, no!
PETER
Well, it is simple. It's all in the
thumb, see? A lot of people do it—
(waving)
like this.
(he shakes his head sadly)
But they're all wrong. Never get anywhere.
ELLIE
Tch! Tch! I'm sorry for the poor things.
? 282 ?
PETER
But the thumb always works. Different
ways to do it, though. Depends on how
you feel. For instance, number one is
a short, jerky movement—
(he demonstrates)
That shows independence. You don't care
if they stop or not. 'Cause you got
some money in your pocket, see?
ELLIE
Clever.
PETER
Number two is a wider movement—a smile
goes with that one—like this.
(he demonstrates)
That means you got a couple of brand
new stories about the farmer's daughter.[12]
ELLIE
You figured that all out yourself, huh?
PETER
Oh, that's nothing. Now take number
three, for instance. That's a pip. It's
the pathetic one. When you're broke—and
hungry—and everything looks black. It's
a long movement like this—
(demonstrating)
—with a follow through.
ELLIE
Amazing.
PETER
Hm? Yeah, but it's no good if you haven't
got a long face with it.
In the distance a car is heard approaching,
and Ellie looks up quickly.
ELLIE
(excitedly)
Here comes a car!
PETER
(alert)
Now watch me. I'm going to use Number
One. Keep your eye on that thumb, baby,
and see what happens.
Peter steps forward into the road and
does his thumb movement. The car approaches,
but speeds right by, spreading a cloud
of dust in Peter's face, leaving him
staring at the departing car, nonplussed.
Thereupon ELLIE (seen close) glances
up at him, a satirical expression on
her face.
ELLIE
(sarcastically)
I'm still watching your thumb.
Peter is still looking after the car.
? 283 ?
PETER
Something must have gone wrong. I guess
I'll try number two.
ELLIE
When you get up to a hundred, wake me
up.
Another car is heard coming, and Peter
steps forward, prepared to hail it.
Then this dissolves to a long view of
the ROAD as a stream of cars of every
description speeds forward ("toward
the camera") and vanishes. The view
moving in to the side of the road, Peter
is seen still in the same spot. He waves
his arms, jerks his thumb, indulges
in all sorts of gyrations, while Ellie
remains slumped on her rock, completely
worn out.
Now Ellie watches Peter out of the corner
of her eye, her face expressionless.
Peter continues his arm waving—but slows
down like a mechanical toy which has
run out. He finally gets down to just
thumbing his nose at the passing vehicles;
and then thoroughly wearied, he flops
down on a rock near Ellie.
PETER
I guess maybe I won't write that book
after all.
ELLIE
Yes. But look at all the fun you had.
(as he glares at her)
Mind if I try?
PETER
(contemptuously)
You! Don't make me laugh.
ELLIE
You're such a smart aleck! Nobody can
do anything but you. I'll show you how
to stop a car—and I won't use my thumb.
The scene widens as she rises and steps
forward.
PETER
What're you going to do?
ELLIE
Mind your own business.
She lifts her skirt to above her knees
and pretends to be fixing her garter.
Her very attractive leg is in full display.
Almost instantly, we hear the screaming
and grinding of quickly applied brakes,
and Peter looks up astonished.
The scene wiping off, we then get a
closer view of Ellie and Peter sitting
in the back of an open Ford. It is a
broken-down, rickety affair of the 1920
vintage. Ellie grins victoriously up
at Peter, who stares ahead of him, glumly.
ELLIE
You might give me a little credit.
PETER
What for?
? 284 ?
ELLIE
I proved once and for all that the limb
is mightier than the thumb.
PETER
Why didn't you take all your clothes
off? You could have stopped forty cars.
ELLIE
We don't need forty cars.
Peter glares at her, and Ellie's eyes
twinkle mischievously, following which
we get a wider view which includes the
driver of the car, Danker. He is a man
of about thirty, a heavy set, loose
chinned person; at the moment he is
singing an aria from some opera. He
suddenly stops, turning to Ellie and
Peter in the back seat.
DANKER
So you've just been married, huh? Well,
that's pretty good. If I was young,
that's just the way I'd spend my honeymoon—hitch-hiking.
Y-e-s s-i-r!
And for no reason except that he cued
himself into it, he bursts forth into
song gustily.
DANKER
(singing)
"Hiking down the highway of love on
a honeymoon.
Hitch-hiking down—
Down-down-down the highway
Down—."
Ellie and Peter in the back of the car
react to the noise Danker makes.
PETER
Hey, hey, aren't you afraid you'll burn
out a tonsil?
DANKER
Tonsil? Me? No! Me burn a tonsil?
(singing)
"My tonsils won't burn—
As life's corners I . . .
PETER
(giving up)
All right, let it go.
DANKER
(completing his last line)
. . . turn."
The scene dissolves to the front of
a LUNCH WAGON on a deserted road, and
Danker's car drives into the scene and
stops. Then we see Danker turning to
Ellie and Peter.
DANKER
How about a bite to eat?
? 285 ?
ELLIE
(quickly)
Why, I think that would be—
PETER
(stopping her)
No, thanks. We're not hungry.
DANKER
(sentimentally)
Oh, I see, young people in love are
never hungry.
PETER
No.
DANKER
(singing as he leaves them)
"Young people in love
Are very seldom hungry.
People in love
Are very seldom hungry . . ."
When he is out of sight, Peter glares
at Ellie.
PETER
What were you going to do? Gold dig
him for a meal?[13]
ELLIE
(defiantly)
Why not? I'm hungry.
PETER
Eat a carrot.
ELLIE
Never!
(she starts out of car)
I'm going in and ask him—
PETER
(grabbing her arm)
If you do, I'll break your neck.
She looks up at his glowering face,
realizes he means it, and wilts under
his dominant gaze.
PETER
Let's get out and stretch our legs.
Peter gets out, followed by Ellie, and
they walk away from the car. Both are
silent. At the DOOR of the LUNCH WAGON,
then, Danker comes out and looks around
furtively. Ellie and Peter, as seen
by him, appear, walking away, following
which the view moves over to the Ford
and drops down to a close-up of Peter's
suitcase. Now Danker looks about quickly
and starts toward his car. He springs
into the car, steps on the starter,
and is off.
ELLIE and PETER hear the motor. They
wheel around, and their eyes widen in
surprise.
? 286 ?
PETER
Hey!
He flings his coat at Ellie and dashes
after the Ford. He is then seen running
after it when the car turns around a
bend in the road. Peter continues the
pursuit. This scene wiping off, the
FORD now makes its appearance around
the bend, and as it approaches, Peter
is seen at the wheel. He looks like
he's just been through a fight. And
as Peter rides in, Ellie comes running
toward him.
ELLIE
(a note of great relief in her voice)
Oh, Peter! What happened? Are you all
right?
PETER
Come on—get in.
ELLIE
(noticing a gash in his cheek)
Oh, you've been hurt! There's a cut
on—
PETER
(impatiently)
Come on! come on!
(at this she runs around to get in the
other side)
ELLIE
(as she runs)
What happened?
PETER
(as we see them closer)
Just a road thief. Picks people up and
runs off with their stuff. What a racket!
(by this time she is in the car)
ELLIE
What'd you give him for the car?
PETER
A black eye.
(thereupon the car moves out of sight)
A close view shows Peter and Ellie driving
along in the Ford. Peter looks ahead,
uncommunicatively. Ellie glances up
at him, and it is plain that something's
on her mind.
ELLIE
(a little self-consciously)
Look—uh—how are the—uh—carrots holding
out? Any left?
Peter glances at her. He knows what
a concession this is on her part, and
he smiles sympathetically.
PETER
(tenderly)
You don't have to eat the carrots.
(as she looks her surprise)
Just passed a pond with some ducks in
it.
ELLIE
(with a cry of joy)
Darling!
? 287 ?
She reaches up and kisses his cheek,
and Peter beams happily.
PETER
(looking worried)
Haven't much gas left in this thing.
Got to start promoting some.
(throwing her his coat)
Better take the things out of the pocket
of that coat. Ought to be good for ten
gallons.
The scene fades out.
Part Eight
ANDREWS' STUDY fades in, affording a
close view of King Westley. He answers
every description we have had of him.
He is a stiff, handsome, stuffed-shirt
gigolo. He sits in a chair, leaning
on a cane, his gloves loosely in his
hand. The view then moves back to reveal
Andrews, who, from the opening of the
scene, is speaking as he paces around
the room.
ANDREWS
I haven't changed my mind, Westley,
I want you to understand that! I don't
like you! I never have! I never will!
That's clear enough, isn't it?
KING
You've made that quite evident—with
all your threats of annulment.
(confident)
Well, it hasn't bothered me for a minute.
Ellie and I got married because we love
each other. And she's proving it; as
far as I'm concerned there's going to
be no annulment.
ANDREWS
(hard)
You've got a good thing and you're hanging
on to it, huh?
(Andrews smiles in a very superior manner)
All right, You win. I'll just have to
get used to you. I admit I'm licked.
But only because I'm worried. I've had
detectives all over the country searching
for her. I've seen thousands of photographs.
Fortune tellers, nuts, every crank in
the country has written me.
(quietly)
Haven't slept one night this week. If
I don't find her, I'll go crazy.
WESTLEY
I might have been able to help if it
weren't for you. I've been watched so
closely, I—
ANDREWS
(impatiently)
Yes. I know. Well, you can help now.
I issued a statement yesterday that
I've withdrawn my objections. Begging
her to come home. I haven't heard from
her. Apparently she doesn't trust me.
? 288 ?
WESTLEY
Why should she? After all—
ANDREWS
(interrupting)
All right. That's why I sent for you.
(pointing to next room)
There's a room full of reporters out
there. I want you to make a statement—that
you've had a talk with me—that we've
reached an understanding—that if Ellen
comes home, I won't interfere with your
marriage. Will you do that?
WESTLEY
If you really mean it, I will.
ANDREWS
(strongly)
Of course I mean it! I don't care whom
she's married to—
(softly)
—as long as I can get her back.
(he starts out)
As Andrews opens the door, a number
of reporters enter.
ANDREWS
Come in, boys. This is my—uh—this is
King Westley.
(Westley rises)
He has a statement to make.
REPORTERS
Hello, Westley . . . How do you do.
(they group around him)
The scene dissolves to the side of a
lonely ROAD at night. First there is
a close-up of a newspaper headline,
which reads.
ANDREWS WITHDRAWS OBJECTION
Magnate and Aviator Reconciled "Everything
all right. Come home, darling," says
Westley.
Then the view draws back revealing that
the newspaper is in the hands of Ellie,
who sits in the car alone, gazing at
the headlines. Then Peter's voice is
heard.
PETER'S VOICE
All right, Brat.
At the sound of his voice, she is startled,
and she quickly folds the paper and
throws it out of sight. She starts to
get out of the car.
ELLIE
(as she scrambles out of the car just
as Peter comes up to her)
Any luck?
PETER
Yeah. He finally agreed to let us have
a room.
? 289 ?
ELLIE
What about money?
PETER
Talked him out of it. He thinks we're
going to stay a week. I'll have to think
of something before morning.
ELLIE
That's swell!
PETER
I'm glad you think so. If you ask me,
it's foolish. I told you there's no
sense in our staying here tonight. We
could make New York in less than three
hours.
ELLIE
I couldn't arrive in New York at three
in the morning. Everybody's in bed.
PETER
(after a pause)
Okay.
(with a wave of his hand)
Cottage Number Three.
As they start toward it, the scene cuts
to the OWNER'S CABIN. The owner of the
auto camp and his wife are standing
at window, looking out. She is a hatchet-faced
shrew. He is meek and docile.
WIFE
There you go—trustin' people again.
How many times did I tell you—
OWNER
He looked like an upright young feller
to me, Ma.
WIFE
Yeah. They're all upright till they
walk out on you.
OWNER
Said he was gonna stay a week.
WIFE
Mebbe.
OWNER
Worst comes to the worst, we got his
car for security.
WIFE
(unconvinced)
I don't trust him.
The scene cuts to the inside of a CABIN
not unlike the previous auto camp cabin
in which Peter and Ellie spent a night.
Peter's opened suitcase is on a chair,
over which he leans. Ellie walks around,
puffing at a cigarette.
? 290 ?
PETER
(without looking up)
Well, here we are on the last lap.
Ellie crosses to the window and stares
out moodily. Peter removes several things
from his suitcase and lays them on the
bed. There is a strained silence between
them, as both are lost in their own
thoughts. A close view of PETER as he
putters abstractedly with the contents
of his bag creates the impression that
he empties it tonight rather ruefully.
It somehow spells finis to their adventure.
PETER
(strangely)
Tomorrow morning, you'll be in the arms
of your husband.
ELLIE (seen close) turns away from the
window and looks at Peter. She stares
this way for a long moment before speaking.
ELLIE
(in a still, small voice)
Yes. You'll have a great story, won't
you?
PETER
(dryly)
Yeah, swell.
Peter takes the rope out of his bag.
It is the one used for the "Walls of
Jericho" previously. He lays it aside
and then, remembering, retrieves it.
For a moment he holds it in his hand,
speculatively; then turning, proceeds
to tack it up. The noise of the tacking
attracts Ellie's attention, and Ellie
(again seen close) turns and looks toward
Peter.
ELLIE
Is that the Walls of Jericho going up?
PETER'S VOICE
Yep! The Walls of Jericho.
(at which she turns back to the window)
PETER (also seen close) stretches the
rope across the room and tacks the other
side.
PETER
(then reaching for blanket)
We certainly outsmarted your father.
(he throws the blanket over the rope)
I guess you ought to be happy.
There is no response from her, a close
view revealing that she quite obviously
isn't happy. They are now separated
by the blanket, and Peter gets her pajamas
from his suitcase and throws them over
the blanket.
ELLIE
Thank you.
(there is silence while Peter starts
undressing)
ELLIE
(suddenly)
Am I going to see you in New York?
? 291 ?
PETER
(laconically)
Nope.
ELLIE
Why not?
PETER glances up at the "Walls of Jericho"
and after a speculative pause, speaks
quietly.
PETER
I don't make it a policy to run around
with married women.
A close-up of Ellie, disclosing only
her neck and shoulders, shows her slipping
out of her clothes. She pauses—then
looks up.
ELLIE
No harm in your coming to see us.
PETER'S VOICE
Not interested.
(at this Ellie's face falls, this is
a definite rebuff)
ELLIE
(weakly)
Won't I ever see you again?
PETER (seen close) is now getting into
his pajamas.
PETER
What do you want to see me for? I've
served my purpose. I brought you back
to King Westley, didn't I?
(his mouth screws up bitterly)
That's what you wanted, wasn't it?
ELLIE is already in bed, staring up
at the ceiling.
ELLIE
Peter, have you ever been in love?
PETER crawls into bed.
PETER
I probably did the world a great favor
at that. Got two pinheads out of circulation.
(he reaches over and lights a cigarette)
Cupid thinks he's doing something when
he brings two lovers together. What
good's that? I'm bringing two pains-in-the-neck
together. I think I'll start an institution—hang
out a shingle.
The view now widens to include both
sides of the blanket. Ellie doesn't
hear a word of Peter's attack. She is
too intent on her own thoughts.
ELLIE
Haven't you ever wanted to fall in love?
PETER
Me?
? 292 ?
ELLIE
Yes. Haven't you thought about it at
all? Seems to me you could make some
girl wonderfully happy.
PETER
(disdainfully)
Maybe.
(after a pause)
Sure—sure, I've thought about it. Who
hasn't? If I ever met the right sort
of a girl, I'd—
(interrupting himself)
Yeah, but where you going to find her—somebody
that's real—somebody that's alive? They
don't come that way any more.
ELLIE'S disappointment is apparent.
PETER
(seen close)
I've even been sucker enough to make
plans.
(a long puff on his cigarette)
I saw an island in the Pacific once.
Never been able to forget it. That's
where I'd like to take her. But she'd
have to be the sort of a girl that'd
jump in the surf with me on moonlight
nights—and love it as much as I did.
(he loses himself in his romantic contemplations)
You know, those nights when you and
the moon and the water all become one—when
something comes over you—and you feel
that you're part of something big and
marvelous.
(sighing)
Those are the only places to live. Where
the stars are so close over your head
that you feel you could reach right
up and stir them around.
A close-up of ELLIE at this point shows
that she is affected by his stirring
description of a heaven—from which she
is excluded, as she listens to him continuing.
PETER'S VOICE
Certainly I've been thinking about it.
Boy, if I could ever find a girl who's
hungry for those things—
PETER (again seen close) has disposed
of his cigarette and now stares dreamily
heavenward.
PETER
I'm going to Swim in the surf with her—I'm
going to reach up and grab stars for
her—I'm going to laugh with her—and
cry with her. I'm going to kiss her
wet lips—and—
Suddenly stopping, he turns his head
slowly, sensing Ellie's nearness; and
the view, drawing back to include Ellie,
shows her standing at his bedside, looking
down at him yearningly.
Then we see them close together: Peter's
face is immobile. Ellie drops to her
knees.
? 293 ?
ELLIE
(fervently)
Take me with you, Peter. Take me to
your island. I want to do all those
things you talked about.
Peter stares at her lovely face. His
heart cries out with an impulse to crush
her in his arms.
PETER
(after a long pause; hoarsely)
Better go back to your bed.
ELLIE
(simply)
I love you.
PETER
(arguing with himself)
You're forgetting you're married.
ELLIE
(tensely)
I don't care. I love you. Nothing else
matters. We can run away. Everything'll
take care of itself.
(begging)
Please, Peter. You can't go out of my
life now. I couldn't live without you.
(in a choked voice)
Oh, Peter—
Sobbing, she lays her head on his breast
and throws her arms around him. All
is quiet for a moment as Ellie's head
rests on his breast, while Peter struggles
with an overwhelming urge to pour out
his heart to her.
PETER
(scarcely audible)
Better go back to your bed.
There is a lengthy pause, neither of
them stirs. Then Ellie slowly raises
her tear-stained face and gets to her
feet.
ELLIE
(whispering)
I'm sorry.
She turns and disappears behind the
blanket. Peter remains motionless. Then
a close view shows Ellie, as she gets
into bed, sobbing quietly. She hides
her face in the pillow to suppress her
sobs. It is the first time in her life
that she has been so deeply hurt. A
close view next shows Peter reaching
over for a cigarette, which he lights.
All his movements are thoughtful, meditative.
He leans back and stares at the ceiling,
until we see only the cigarette in his
mouth as it emits slowly rising puffs
of smoke. This dissolving, the cigarette
is seen to be burnt three quarters down,
a long, frail ash hanging perilously
on. Peter is then seen as he removes
the cigarette from his mouth and crushes
it in a tray. He leans back on the pillow
and for a moment he is quiet. Then glancing
over in Ellie's direction, he calls
to her:
? 294 ?
PETER
(softly calling)
Hey, Brat—!
(a pause)
Did you mean that? Would you really
go?
(he waits for a response, but none comes.
He tries again)
Hey, Brat—
He listens—all is quiet. He slips his
covers off and crosses to the blanket,
and peers over it. She is asleep. Her
tear-stained face rests on the pillow,
her arm extends over her head. It is
a childlike posture.
PETER is watching her tenderly. He speculates
whether to awaken her and decides against
it. He starts away. Peter tiptoes around
the room for a few moments, deep in
thought. Then as an idea which he has
been turning over in his mind begins
to take form, he hastily begins dressing.
The scene dissolving, Peter is seen
completely clothed and starting for
the door when he thinks of something.
He turns back, grabs his suitcase, stops
to throw a kiss to Ellie, and goes out
into the night. Thereupon the scene
wipes off, disclosing a Gas Station
along the road at night. Here Peter
is talking to a station attendant.
PETER
All I'm asking is enough gas to get
me to New York. The bag's worth twenty-five
dollars.
MAN
(hesitatingly)
Yeah, but I got a bag. My wife gave
me one for Christmas.
PETER
("high-pressuring" him)
Listen, man—I'll tell you what I'll
do. When I come back in the morning,
I'll buy it back from you and give you
ten dollars profit? What do you say?
MAN
(looking at Peter's hat)
I ain't got a hat—
PETER
What?
MAN
I ain't got a hat.
PETER
(promptly putting it on his head)
Well, you got one now. —Come on, fill
'er up.
While he is still talking the scene
dissolves to a view of Peter driving
furiously, a broad, happy grin on his
face, following which several scenes
wipe off in succession (denoting the
passage of time) —scenes of Peter driving
at high speed, causing several cows
to amble out of the way; of the CAR
driving into the Holland Tunnel, and
of the BACK ROOM of a SPEAKEASY where
Peter stands in
? 295 ?
front of a small desk upon which there
is a typewriter. Near him is a swarthy
Italian.
PETER
Fine! That's fine, Tony. Now get me
a drink and make sure nobody disturbs
me for half an hour.
ITALIAN
(going out)
Sure. Sure, Pete.
As Peter plants himself in front of
the machine, the scene dissolves to
a close-up of the typewriter carriage
upon which are typed the words:
"—and that's the full and exclusive
story of Ellen Andrews' adventures on
the road. As soon as her marriage to
King Westley is annulled, she and Peter
Warne, famous newspaperman—and undoubtedly
the most promising young novelist of
the present era—will be married."
The view drawing back, Peter re-reads
the last sentence, smiles contentedly,
and as he yanks out the sheet, the scene
wipes off disclosing the outside of
GORDON'S OFFICE, the sign on the door
reading: "Office—Mr. Gordon." Gordon's
secretary is at her desk as Peter breezes
in.
PETER
(rumpling her hair)
Hello, Agnes.
AGNES
Better not go in. He'll shoot you on
sight.
PETER
(entering)
I haven't been shot at for days.
In GORDON'S OFFICE, Gordon is at his
desk. He looks up when Peter enters.
GORDON
(rising to his full height menacingly)
Get out of here!
PETER
(advancing)
Wait a minute, Gordon—I—
GORDON
(quietly)
Get out!
Peter reaches his side, and grabs him
by the arms.
PETER
Joe, listen—
GORDON
Don't "Joe" me.
? 296 ?
PETER
Okay, Joe. Listen—you know I've always
liked you. Anytime I could do you a
great turn—anytime I ran into a story
that looked good—I always came running
to you, didn't I? Well, I got one now.
Those wires I sent you were on the level.
It's the biggest scoop of the year.
I'm giving it to you, Joe.
GORDON
You mean about the Andrews' kid?
PETER
That's it.
(tapping his pocket)
I got it all written up. Ready to go.
All I want is a thousand dollars.
Upon hearing this GORDON is ready to
jump out of his skin.
GORDON
A thousand dollars!
(furiously)
Get out of this office before I throw
you out bodily.
PETER
Don't get sore, Joe. This is something
you got to do for me. I need a thousand
dollars—and I need it quick. I'm in
a jam.
GORDON
(softening)
What's the thousand bucks for?
PETER
To tear down the Walls of Jericho.
GORDON
What!
PETER
Never mind . . . Listen—suppose I should
tell you that Ellen Andrews is going
to have her marriage annulled.
GORDON
Huh?
PETER
That she's going to marry somebody else.
GORDON
You're drunk.
PETER
Would an exclusive story like that be
worth a thousand bucks to you?
GORDON
If it's on the level.
PETER
Well, I got it, Joe.
? 297 ?
GORDON
Who's she gonna marry?
PETER
(taking out the story from his pocket)
It's all right here. Give me the thousand
and it's yours.
GORDON
(skeptically)
I wouldn't trust you as far as I could
throw that desk.
PETER
Wait a minute, Joe. Use your bean. I
couldn't afford to hand you a phoney
yarn, like that. I'd be crazy. There
isn't a newspaper in the country'd give
me a job after that! I could go to jail!
GORDON
I'd put you there myself.
PETER
Sure. I wouldn't blame you, either.
GORDON
Who's the guy she's gonna marry?
PETER
I am, Joe.
GORDON
(his eyes widening)
You!
PETER
Yeah.
GORDON
Now I know you're drunk.
(he grabs his hat)
I'm going home. Don't annoy me any more.
PETER
(running after Gordon as the latter
starts out)
For heaven's sake, Joe—stop being an
editor for just a minute.
(he grabs his arm)
We've been friends for a long time,
haven't we? You ought to know when I'm
serious. This is on the level.
Gordon is affected by the sincere note
in Peter's voice.
PETER
I met her on a bus coming from Miami.
Been with her every minute.
(hoarsely)
I'm in love with her, Joe.
GORDON
Well, I'll be—
? 298 ?
PETER
Listen, Pal—you've got to get this money
for me. Now. Minutes count. She's waiting
for me in an auto camp outside of Philadelphia.
I've got to get right back. You see,
she doesn't know I'm gone.
(self-consciously)
A guy can't propose to a girl without
a cent in the world, can he?
While Peter has been speaking Gordon
stares into space thoughtfully.
GORDON
What a story!
(picturing it)
On her way to join her husband, Ellen
Andrews falls in love with—
(alert—grabbing paper out of Peter's
hand)
Lemme see that a minute.
He moves to his desk excitedly, and
Peter, a gleam of hope in his eyes,
joins him, following which the scene
cuts to the SHACK of the camp owner
and wife in the early morning. The owner
is suddenly startled out of his sleep
by the voice of his wife calling, "zeke!
zeke!" He looks up, just as she rushes
into the room.
WIFE
I told you! I told you, you couldn't
trust him! He's gone!
OWNER
Who?
WIFE
That feller last night, that's who!
He was gonna stay a week, huh? Well,
he's skipped. Took the car with him,
too. We wouldn't have known a thing
about it until morning if I hadn't took
that magnesia.
(pulling at him)
Come on, get up, don't lay there. Let's
do something about it.
Thereupon the scene cuts to the AUTO
CAMP CABIN affording a close view of
ELLIE tossing restlessly in her sleep.
Suddenly there is a loud banging on
the door, and Ellie, startled, awakens.
The pounding continuing, Ellie looks
around, frightened. The door suddenly
bursts open, and the owner and wife
enter. They both glance over at Peter's
side.
WIFE
See that. They're gone!
OWNER
(timidly)
Looks like it, don't it?
(suddenly he sees Ellie)
Here's the woman, ma.
WIFE
(full of fight—glaring at Ellie)
Oh!!
? 299 ?
ELLIE
(in a close view at Ellie's Bed as the
owner and his wife come up to her; timidly—sitting
up)
What's the matter?
WIFE
Where's your husband, young lady—
ELLIE
Husband?
WIFE
Yes—if he is your husband.
ELLIE
Isn't he here?
WIFE
No, he ain't! And the car's gone, too.
ELLIE
(bewildered)
Why, he'll be back.
WIFE
Yeah? What makes you think so! He took
his suitcase and everything.
(Ellie is perceptibly startled by this
piece of news)
Kinda surprised, huh? It's just like
I told you, Zeke. They ain't married
a'tall . . .
There is a close view of ELLIE as the
wife's voice continues uninterruptedly:
WIFE'S VOICE
. . . could tell she was a hussy just
from the looks of her.
Ellie is lost in thought, trying to
adjust herself to the idea of Peter's
leaving her like this. She scarcely
hears what is being said.
OWNER'S VOICE
Hey! You! Got any money?
ELLIE
(snapping out of her trance)
Why—no.
WIFE
(the three now seen together)
Then—you'll have to git !
OWNER
Yeah, you'll have to git .
ELLIE
Why, you can't put me out in the middle
of the—
? 300 ?
WIFE
Serves you right. Oughta be careful
who you take up with on the road. You
can't go plyin' your trade in my camp.
ELLIE
But can't you wait until morning—
WIFE
Ain't gonna wait a minute.
OWNER
Not a minute!
WIFE
Better start gettin' into your clothes.
OWNER
Yeah.
WIFE
(glaring at him)
Zeke.
(he looks up startled)
Git!
OWNER
(disappointed)
Yes, Ma.
As Zeke leaves, the Wife plunks herself
in a chair, grimly determined to wait
until Ellie gets dressed and out.
ELLIE
Can I use your telephone? I want to
talk to New York.
WIFE
You ain't gonna stick me for no phone
calls. You can go down to the Sheriff's
office.
The scene thereupon cuts to the EXTERIOR
of the AUTO CABIN as Ellie emerges,
the Wife standing in the doorway. In
the foreground several people are scattered
around the courtyard. One woman washes
stockings under a pump. A man is changing
the tire on his car. Ellie comes down
the steps and crosses the courtyard.
WIFE
(shouting to her)
And listen, next time better keep away
from here. I run a respectable place.
Ellie does not turn, but walks straight
forward, trying to maintain her poise.
The people in the courtyard turn to
stare at her, and one of them snickers.
The scene dissolves to GORDON'S OFFICE
as Peter is pocketing the money. Gordon
is fondling the story.
PETER
Thanks, Pal. You saved my life.
? 301 ?
GORDON
(waving the story)
Okay, pete.
(he drops the story on the desk and
escorts peter out, his arm around his
shoulder)
For my dough,
(smiling)
you're still the best newspaperman in
the business.
They reach the door, which peter opens.
Then they appear at the DOORWAY. Through
the open door the secretary stares dumbfounded
at their friendliness.
GORDON
S'long, kid. And good luck.
Outside GORDON'S OFFICE, peter kisses
the secretary as he passes through.
PETER
'Bye, Agnes. You're beautiful. All women
are beautiful!
(he goes out)
Gordon is immediately electrified into
action.
GORDON
Oh, boy! What a yarn! What a yarn!
(suddenly)
Get me Hank on the phone. Gotta hold
up the morning edition.
While he speaks he dashes back to his
desk. We then see him in his office.
SECRETARY'S VOICE
There's Hank.
GORDON
(grabbing phone)
Hank! Listen. Hold the morning edition.
Break down the front page. Gonna have
a completely new layout—Send a couple
of re-write men in here. Don't do a
thing—I got a story that'll make your
hair curl.
During his speech, his other phone has
been ringing persistently. He has ignored
it until now. He picks up receiver:
GORDON
(into the second phone)
Yeah. Yeah. Don't annoy me. I'm busy.
(he bangs up receiver, and turns back
to the first phone)
Listen, Hank! Dig out all the Andrews
pictures. Get Healy out of bed. I want
a cartoon right away.
(the second phone rings impatiently,
but Gordon ignores it)
With King Westley in it. He's waiting
at the church. Big tears streaming down
his face. His bride hasn't shown up.
Old Man Andrews is there,
? 302 ?
too. Laughing his head off. Everything
exaggerated. You know—Now snap into
it!
(he bangs up the receiver, and grabs
the second phone, speaking into it impatiently)
Yeah. Yeah. What is it?
A close view of GORDON, as he listens,
shows his eyes widening with amazement.
GORDON
What!—Ellen Andrews! You're crazy!
This cuts to a TELEPHONE BOOTH where
a reporter is seen speaking excitedly.
REPORTER
Yeah. She just phoned her father from
an auto camp to come and get her. He's
getting a police escort. Westley's going
along, too. She's been traveling by
bus. The moment she read that her father
and Westley made up, she phoned in.
Back in GORDON'S OFFICE Gordon is seen
still at the phone.
GORDON
You sure that's right! Say, you haven't
been drinking, have you! Okay—grab a
car—and stay with them.
(he hangs up the receiver and grabs
the first phone)
Put Hank on.
(shouting)
Agnes!
(as the secretary hurries in)
Get me a doctor. I'm about to have a
nervous breakdown.
(she stares at him dumbly as he speaks
into the phone)
Hank—forget everything I just told you.
I was just having a nightmare!
(he hangs up—and turns to Agnes)
Call up the police department! Tell
'em to find Peter Warne. Send out a
general alarm. I want the dirty crook
pinched.
He picks up Peter's story and flings
it viciously into the wastebasket.
AGNES
(starting out)
Yessir.
(two re-write men come in, passing Agnes)
MEN
You want us?
GORDON
(wheeling around)
Yeah. Shove everything off the front
page. Ellen Andrews just phoned her
father—she's coming home. The moment
she heard the old man withdrew his objections,
she gave herself up. Spread it all over
the place. Here's your lead: "Love Triumphant!"
Step on it!
? 303 ?
MEN
(leaving)
Yessir.
Gordon goes to his desk, mumbling to
himself. His eye lights on the waste
basket containing Peter's story, and
he is about to kick it when he stops.
He stares at it thoughtfully, reaches
down, lifts it out—runs through it hastily—and
then stares into space, deep in thought.
The scene dissolves to an open ROAD,
in the morning, as Peter flies over
it in his Ford. He beams happily. He
passes a gasoline truck and waves cheerily
to the driver. This dissolves to a close-up
of an AUTO SIREN accompanied by a prolonged
wail, then to a ROAD, that morning,
as four motorcycles, two abreast, speed
forward, followed by a luxurious limousine,
which in turn is trailed by a car filled
with reporters. Next, in the LIMOUSINE,
Andrews is seen in the back seat. He
is accompanied by King Westley—Henderson—Lovington,
and a police inspector.
HENDERSON
I knew she was safe.
LOVINGTON
(sighing)
Certainly gave us a run for our money.
(but Andrews is too overwhelmed with
joy to listen to any of this)
ANDREWS
(anxiously)
Can't you get them to go any faster?
(at this the Inspector leans over to
talk to chauffeur)
This dissolves to a deserted ROAD, Peter
at the wheel of his car. His high spirits
find expression in his efforts to sing.
PETER
(singing)
"I found a million dollar baby—"
He is interrupted by the song of a meadowlark,
whistling its strange melody. Peter
listens to it a second time, then answers
its call by imitating it. The meadowlark
whistles again, and peter is highly
amused.
PETER
(waving his hand—to the meadowlark)
Okay, pal. Be seein' you.
Just then the sound of sirens is heard
in the distance. Peter glances back,
and as the sirens come nearer, he pulls
over to the side of the road. There
follows a full view of the ROAD, with
peter in the foreground at the side
as the police cavalcade whizzes by accompanied
by the shrieking sirens. Thereupon PETER
(seen close) gets an idea.
PETER
(to his Ford)
Come on, Dobbin, old boy. We got a police
escort.
? 304 ?
He applies the gas and shoots out of
sight, following which a full view of
the road shows Peter's car trying to
catch up with the parade. It outdistances
him, however, and we see PETER in the
Ford pressing his body forward to help
the car make time. His foot pushes the
accelerator down to the floor. But the
police cars are now out of sight, and
Peter gives up.
PETER
(seen close; to the car—with exaggerated
dramatics)
Dobbin, me lad. You failed muh. I'm
afraid you're gittin' old.
Thereupon the scene dissolves to a small
town ROAD, where at the door of a Sheriff's
office a policeman is standing on guard.
The reporters hang around in front of
him. Several yokels look on. The limousine
and motor cycles are at the curb. And
now, in a closer view, at the DOOR the
policeman on guard steps aside as the
door opens and Ellie, her father, and
King Westley emerge. King has his arm
around her. The moment they appear in
the doorway, cameras click and several
reporters surround them.
REPORTERS
Will you make a statement Miss Andrews?
Was it an exciting experience? How did
you travel?
ANDREWS
(brushing them aside)
Later, boys, later. See her at home.
They cross the sidewalk—to the waiting
limousine, as cameras click.
The scene dissolves to a ROAD, with
Peter still driving. He is, however,
as before, in excellent form, and is
singing lustily. Suddenly, however,
his eyes widen and he pulls on his brake;
the car screeches and moans—and comes
to a stop.
PETER
Take it easy, Dobbin. Remember your
blood pressure.
We find Peter directly in front of a
slow moving freight train. Several hoboes
stick their heads out of a car, and
Peter waves to them. The hoboes look
puzzled for a minute and then wave back.
The view then swings over to an opening
between the cars affording a flash of
the police parade on the other side,
apparently on its way back.
PETER amuses himself by talking to an
old flagman.
PETER
Better get that toy train out of here.
I'm in a hurry.
The Flagman grins at him in reply. By
this time the last car is in sight,
and Peter gets all set to move. He stops,
however, to wave to a couple of brakemen
on the rear platform.
In the meantime, the motorcycles have
started forward, and the sirens begin
their low, moaning wail. Peter, attracted,
turns, and over Peter's shoulder we
see the parade starting. As the limousine
? 305 ?
passes, we get a glimpse of the inside.
Ellie lies back on King Westley's shoulder.
He has his arm around her as they pass
out of sight. Thereupon a close view
of PETER shows him reacting to what
he saw. He turns his head quickly to
stare at the disappearing car, a look
of astonishment and bewilderment in
his eyes. Slowly he turns his head forward,
staring ahead of him blankly; he can't
quite make it out. Then gradually the
significance of it all strikes him—and
his mouth curls up bitterly.
The scene wiping off, a series of NEWSPAPER
HEADLINES come into view:
"ELLEN ANDREWS RETURNS HOME."
"MARRIAGE HALTED BY FATHER TO BE RESUMED"
"ELLEN ANDREWS AND AVIATOR TO HAVE CHURCH
WEDDING"
"LOVE TRIUMPHS AGAIN"
"PARENTAL OBJECTION REMOVED IN FAVOR
OF LOVERS"
"CANNOT THWART LOVE SAYS FATHER OF ELLEN
ANDREWS"
"GLAD TO BE HOME SAYS ELLEN"
This dissolves to the anteroom of a
NEWSPAPER OFFICE. The place is alive
with activity, and copies of newspapers
are lying around, bearing headlines
relating to the Andrews story. Peter,
a bewildered, stunned expression on
his face, enters and crosses funereally
toward Gordon's office. Several people
standing around look up.
PEOPLE
Hi, Pete—Didya see this? Ellen Andrews
is back. Gonna marry that Westley guy
after all—What a dame! What a dame!
Peter pays no attention to any of this.
He reaches Gordon's door, which is open.
He walks directly past Agnes and enters
the office. She looks up at him, puzzled.
Then in GORDON'S OFFICE, Peter walks
to Gordon's desk and lays the roll of
bills on it. Agnes enters, watching
him anxiously.
AGNES
Gordon's out back some place.
(seeing the money, she looks up, surprised)
PETER
See that he gets that, will you, Agnes?
Tell him I was just kidding.
(he goes out)
As Agnes stares after him, puzzled,
Gordon dashes in from a back door.
GORDON
You can't get a thing done around her
unless—
AGNES
Peter Warne was just in.
GORDON
Huh? What?
AGNES
Left this money. Said to tell you he
was just kidding.
? 306 ?
GORDON
(looking at the money)
Where is he?
The scene cuts to the OUTER OFFICE and
CORRIDOR, as seen over Gordon's shoulder
through the open door. Peter is seen
walking out. Gordon hurries after him.
GORDON'S VOICE
Hey, Pete!
At the sound of Gordon's voice, Peter
turns, and Gordon comes over to him.
PETER
Hello, Joe. Sorry. Just a little gag
of mine. Thought I'd have some fun with
you.
GORDON
(understanding)
Yeah. Sure. Had me going for a while.
PETER
Wouldn't have made a bad story, would
it?
GORDON
Great! But that's the way things go.
You think you got a swell yarn—then
something comes along—messes up the
finish—and there you are.
PETER
(smiling wryly)
Yeah, where am I?
GORDON
(slipping a bill in his coat pocket)
When you sober up—come in and see me.
PETER
(a whisper)
Thanks, Joe.
He leaves, Gordon watching him sympathetically,
and the scene fades out.
Part Nine
The LAWN of the ANDREWS ESTATE fades
in. It is morning and at the moment
the place is a beehive of activity.
Dozens of butlers and maids hustle around
setting tables. Floral decorations are
being hung by men on ladders. In the
background on a platform, a twenty-piece
orchestra is getting ready, accompanied
by the scraping of chairs, adjusting
of music stands, unpacking of instruments.
The scene cuts to ANDREWS' STUDY: King
Westley is seated, and Andrews walks
around him. They are both dressed in
striped trousers, frock coat, etc.
ANDREWS
Well, here we are; it's all set. You're
finally going to be married properly.
(he waves toward the window)
With all the fanfare and everything.
? 307 ?
(shaking his head)
I still don't know how it happened—but
you're going to be my son-in-law whether
I like it or not. I guess you're pleased.
KING
Why; naturally, I—
ANDREWS
(drily)
Naturally.
(with vehemence)
You're going to become a partner in
a big institution. It's one of the largest
in the world.
KING
You talk as if—
ANDREWS
Someday perhaps, you might even take
charge.
A close view of ANDREWS shows him looking
around his study despairingly.
ANDREWS
(murmuring)
The thought of it makes me shudder.
KING'S VOICE
(confidently)
You might be surprised.
ANDREWS
I hope so. However, that'll take care
of itself.
(taking a new tack)
There's another responsibility you're
taking on. One that I'm really concerned
about.
KING'S VOICE
What's that?
ANDREWS
My daughter.
KING
(the two now seen again; lightly)
Ellie? Oh, she's no responsibility.
ANDREWS
No? Say, listen—I've devoted a whole
lifetime trying to tame that wildcat.
Toughest job I ever tackled. Ever hear
of J.P. Clarkson? Biggest man in the
country, isn't he? Well, I tamed him
. Got him eating out of the palm of
my hand. I've browbeaten financiers,
statesmen, foreign ministers—some of
the most powerful people in the world—but
I've never been able to do a thing with
her. She's been too much for me. I'm
glad you think it's easy.
? 308 ?
(he bends over him)
Now listen—if you'll do what I tell
you, perhaps I might develop a little
respect for you. You never can tell.
KING
What would you like to have me do?
ANDREWS
Sock her!
A close view of KING shows him looking
up, surprised, as Andrews' voice continues.
ANDREWS' VOICE
Sock her at least once a day. Do it
on general principles. Make her know
you're the boss and never let her forget
it. Think you can do that?
KING
It's quite an assignment—
ANDREWS
Try. Do me a favor. Try. It's your only
chance. And hers, too. Do that for me—and
maybe we'll be friends—
(muttering)
Maybe.
(he holds out his hand)
Do we understand each other?
KING
(taking his hand—rising)
Yes, sir.
ANDREWS
(dismissing him)
Fine. I'll see you at the reception.
He withdraws his hand, which he looks
at disgustedly—the result of a jellyfish
handshake.
KING
Oh, by the way, Mr Andrews, I thought
of a great stunt for the reception.
(as Andrews looks at him quizzically)
I'm going to land on the lawn in an
autogyro.[14] What do you think of that!
A close view of ANDREWS shows him staring
off at King in complete disgust.
ANDREWS
You thought that up all by yourself,
huh?
KING
(unabashed)
Why, it'll make all the front pages.
A spectacular thing like that—
? 309 ?
ANDREWS
(hard)
Personally, I think it's stupid!
(humoring a child)
But go ahead. Have a good time. As long
as Ellie doesn't object.
KING
Oh, no. She'll be crazy about it. Well,
see you later. I'm going out on the
lawn and arrange for landing space.
(holding out his hand)
Goodbye.
(but Andrews turns his back on him)
ANDREWS
We've done that already.
KING
(smiling)
Yes, of course.
He turns and leaves; Andrews watching
him go, shaking his head sadly.
ANDREWS
Autogyro! I hope he breaks his leg.
Andrews starts out, and the scene cuts
to the HALLWAY as Andrews enters from
the study. A maid coming down the stairs,
he calls to her:
ANDREWS
Oh—Mary—
MARY
Yes, sir?
ANDREWS
How is she?
MARY
(hesitantly)
Why—uh—she's all right, sir.
ANDREWS
What's the matter? Anything wrong?
MARY
Oh, no, sir. No different than—
ANDREWS
Yes. I know. Still in the dumps, huh?
MARY
Yessir. If you'll excuse me, sir—she
sent me for a drink.
(she leaves)
Andrews stands a moment thoughtfully
and then starts up the stairs, following
which the scene dissolves to the UPSTAIRS
CORRIDOR in front of Ellie's door. Andrews
enters and knocks several times. Receiving
no response, he gingerly opens the door.
? 310 ?
Next Andrews enters ELLIE'S BEDROOM
and looks around. The view swings around
the room, following his gaze. It focuses
on Ellie, who reclines on a sofa, in
her bridal outfit, her head resting
on the back. She stares moodily, unhappily
up at the ceiling. The view then expanding
to include both father and daughter,
Andrews is seen staring at her a moment
sympathetically. He senses something
is wrong.
ANDREWS
(after a pause)
Ellie—
ELLIE
(jumping up with a start)
Oh, hello, Dad.
ANDREWS
(a close view as he goes over to her)
I knocked several times.
ELLIE
Sorry. Must have been day-dreaming.
(to hide her confusion, she reaches
for a cigarette)
ANDREWS
(with forced lightness)
Well, everything's set. Creating quite
a furor, too. Great stunt King's going
to pull.
ELLIE
(in a faraway voice)
Stunt?
ANDREWS
Landing on the lawn in an autogyro.
ELLIE
Oh, yes. I heard.
ANDREWS
(noting her listlessness)
Yes. Personally, I think it's silly,
too.
As he continues talking, the view moves
with Ellie, who wanders over to a window
overlooking the lawn and stares out,
lost in thought.
ANDREWS' VOICE
(he goes over the Ellie)
You look lovely. Are you pleased with
the gown?
(as Ellie does not seem to hear him,
he becomes worried)
Ellie!
ELLIE
(turning and looking at him blankly)
Huh?
(it just penetrates)
Oh—the gown—
(distantly)
Yes, it's beautiful.
? 311 ?
ANDREWS
(tenderly)
What's the matter, Ellie? What's wrong?
ELLIE
Nothing.
(she walks over to table and crushes
her cigarette)
ANDREWS
You've been acting so strangely since
you returned. I'm—I'm worried. I haven't
bothered to ask you any questions—I—
(waving his hand toward the lawn)
Isn't all this what you wanted?
(receiving no answer from Ellie)
You haven't changed your mind about
King, have you?
ELLIE
(too quickly)
Oh, no.
ANDREWS
If you have, it isn't too late. You
know how I feel about him. But I want
to make you happy. You gave me such
a scare—I—when I couldn't find you.
(smiling feebly—meaning his heart)
You know, the old pump isn't what it
used to be.
ELLIE
(her hand on his arm)
Sorry, Dad. I wouldn't hurt you for
the world. You know that.
She moves away from him and sits on
the sofa, and Andrews watches her a
moment and crosses over to her. He sits
beside her, placing an arm affectionately
around her shoulder.
ANDREWS
(tenderly)
Ellie—what is it? Aren't you happy,
child?
At this point she finally breaks, and
impulsively buries her face on his breast.
ANDREWS
(after a pause, hoarsely)
I thought so. I knew there was something
on your mind.
(there are audible sobs from Ellie)
There—there!
They remain thus quietly for some time.
Finally Andrews breaks the silence.
ANDREWS
What is it, darling?
(receiving no answer)
You haven't fallen in love with somebody
else, have you?
As this brings an audible sob from Ellie,
Andrews lifts up her chin.
? 312 ?
ANDREWS
(looking into her eyes)
Have you?
(Ellie turns her head away, a little
ashamed of her tears)
Ellie now rises and walks miserably
away from him, dabbing her eyes. Andrews,
watching her, realizes he has hit upon
the truth. He walks over to her.
ANDREWS
I haven't seen you cry since you were
a baby. This must be serious.
(Ellie is silent)
Where'd you meet him?
ELLIE
On the road.
ANDREWS
(trying to cheer her)
Now, don't tell me you fell in love
with a bus driver!
ELLIE
(smiling)
No.
ANDREWS
Who is he?
ELLIE
I don't know very much about him.
(in a whisper)
Except that I love him.
ANDREWS
(the great executive)
Well, if it's as serious as all that—we'll
move heaven and earth to—
ELLIE
(quickly)
It'll do no good.
(wryly)
He despises me.
ANDREWS
Oh, come now—
ELLIE
He despises everything I stand for.
He thinks I'm spoiled and pampered,
and selfish, and thoroughly insincere.
ANDREWS
Ridiculous!
ELLIE
He doesn't think so much of you either.
? 313 ?
ANDREWS
(his eyes widening)
Well!
ELLIE
He blames you for everything that's
wrong about me. Thinks you raised me
stupidly.
ANDREWS
(smiling)
Fine man to fall in love with.
ELLIE
(whispering)
He's marvelous!
ANDREWS
Well, what are we going to do about
it? Where is he?
ELLIE
(sadly)
I don't know.
ANDREWS
I'd like to have a talk with him.
ELLIE
It's no use, Dad. I practically threw
myself at him.
(she shrugs futilely)
ANDREWS
Well, under the circumstances, don't
you think we ought to call this thing
off?
ELLIE
No, I'll go through with it.
ANDREWS
But that's silly, child. Seeing how
you feel, why—
ELLIE
It doesn't matter.
(tired)
I don't want to stir up any more trouble.
I've been doing it all my life. I've
been such a burden to you—made your
life so miserable—and mine, too. I'm
tired, Dad. Tired of running around
in circles. He's right, that's what
I've been doing ever since I can remember.
A close-up of ANDREWS shows him watching
Ellie, as her voice continues.
ELLIE'S VOICE
I've got to settle down. It really doesn't
matter how—or where—or with whom.
ANDREWS
(seriously—impressed)
You've changed, Ellie.
? 314 ?
ELLIE
(seen with Andrews; sighing)
Yes, I guess I have.
(sincerely)
I don't want to hurt anybody any more.
I want to get away from all this front
page publicity. It suddenly strikes
me as being cheap and loathsome. I can't
walk out on King now. It'll make us
all look so ridiculous.
(she shrugs resignedly)
Besides, what difference does it make?
(inaudibly)
I'll never see Peter again.
ANDREWS
Is that his name?
ELLIE
Yes. Peter Warne.
She starts to walk away when she is
attracted by her father's surprise at
the mention of the name.
ANDREWS
Peter Warne!
(his hand has instinctively gone to
his inside pocket)
ELLIE
(noticing this)
Why? Do you know him?
(but Andrews withdraws his hand. Apparently
he has changed his mind)
ANDREWS
(evasively)
Oh, no—no.
ELLIE
(suddenly anxious)
You haven't heard from him, have you,
Dad?
ANDREWS
(obviously guilty)
Why, no . . . Don't be silly.
ELLIE
Oh, please, Dad—
She has reached into his pocket and
has extracted a letter, which she hurriedly
opens and reads, following which we
see a LETTER in Peter's handwriting.
It is addressed to: "Alexander Andrews,
11 Wall Street." It reads:
"Dear Sir:
I should like to have a talk with you
about a financial matter in connection
with your daughter.
Peter Warne."
Ellie is then seen reading and re-reading
the note. Her face clouds and then slowly
changes to an expression of complete
disillusionment.
? 315 ?
ELLIE
(her voice strident)
Looks like that was his only interest
in me. The reward.
ANDREWS
(taking the note from her)
I'm sorry you read it.
ELLIE
Are you going to see him?
ANDREWS
I suppose so.
ELLIE
(hard)
Certainly! Pay him off. He's entitled
to it. He did an excellent job. Kept
me thoroughly entertained. It's worth
every penny he gets.
She paces agitatedly, Andrews watching
her silently. He knows what an awful
blow to her pride this must be. Mary
now enters with a cocktail tray which
she sets on the table.
ELLIE
Thanks, Mary. That's just what I need.
(she pours herself a cocktail)
MARY
Mr. King Westley is on his way up.
ELLIE
Fine—Fine! Have him come in.
ANDREWS
(mumbling)
I'll be going.
(he goes out behind Mary)
Ellie swallows her drink and starts
pouring herself another, as King enters.
ELLIE
(upon seeing him)
Well, if it isn't the groom himself!
You're just in time, King.
A close view of the Two shows King taking
her in his arms.
KING
How are you, Ellie?
(he gives her a kiss, which she accepts
perfunctorily—but he insists upon being
ardent)
Are you happy?
ELLIE
(releasing herself)
Happy? Why shouldn't I be happy? I'm
getting the handsomest man in captivity.
(handing him a drink)
Here you are, King. Let's drink.
(she holds her glass out)
Let's drink to us .
? 316 ?
(she drains the glass; pouring another,
as she continues)
We finally made it, didn't we?
KING
You bet we did.
ELLIE
It's up to you now. I want our life
to be full of excitement, King. We'll
never let up, will we? Never a dull
moment. We'll get on a merry-go-round
and never get off. Promise you'll never
let me get off? It's the only way to
live, isn't it? No time to think. We
don't want to stop to think, do we?
Just want to keep going.
KING
Whatever you say, darling.
ELLIE
I heard about your stunt. That's swell,
King. Just think of it—the groom lands
on the lawn with a plane. It's a perfect
beginning for the life we're going to
lead. It sets just the right tempo.
(handing him a drink)
Come on, King. You're lagging.
(they both drink)
In ANDREWS' STUDY, Andrews walks around
the room, perceptibly affected by his
visit with Ellie. He keeps turning Peter's
letter over in his hand, apparently
debating in his mind what to do with
it. He finally gets an idea—and determinedly
crosses to the phone. Then the scene
cuts to a HOTEL ROOM. First there is
a close-up of a NEWSPAPER—a tabloid
bearing a heading which reads: "LOVE
TRIUMPHANT."
"Interrupted Romance of Ellen Andrews
and King Westley Resumed, as Father
Yields. Wedding Reception to be Held
on Andrews' Lawn."
Below this is a page of pictures, and
the view turns to each photograph. The
first picture is of Ellie and King on
a beach. The title over the picture
reads: "Where they met." The second
picture shows them in the cockpit of
a plane, the heading reading: "Where
they romanced." The next picture is
of a small frame house with a shingle
on it reading: "Justice of the Peace."
Over the photograph is a caption: "Where
they were married." The next picture
is of the Andrews Yacht, and the title
reads: "Where she was taken." Finally,
the view moves down to the bottom of
the page to a picture of Ellie and King,
with her father between them, in front
of Sheriff's office. Caption reads:
"Where love triumphed." Over these pictures
the phone bell has been ringing.
And now PETER is seen staring, expressionless,
at the newspaper. Suddenly he becomes
conscious of the phone ringing; he looks
up—then goes to it.
PETER
(into the phone)
Hello . . . Yes? . . . Who? . . . Oh
. . . Why can't I see you at your office?
The scene cuts to ANDREWS' STUDY, affording
a close view of ANDREWS at the phone.
? 317 ?
ANDREWS
I leave for Washington tonight. May
be gone several weeks. Thought perhaps
you'd like to get this thing settled.
This cuts to the HOTEL ROOM where PETER
is at the phone.
PETER
Yeah, but I don't like the idea of walking
in on your jamboree . . . Just between
you and me—those things give me a stiff
pain.
ANDREWS
(seen in his office)
You needn't see anybody. You can come
directly to my study. I'd appreciate
it very much if—
PETER
(at his phone)
No—no. What the deuce do I want to—
His eyes fall on something, and there
follows a close view of a tabloid newspaper,
featuring the heading: "Love Triumphant"
and containing the pictures of Ellie
and King. The view then moves down to
feature headline reading "Groom to Land
on Bride's Lawn."
"King Westley plans to drop in an autogyro
on the lawn of Andrews estate . . ."
Peter's mouth screws up disdainfully.
PETER
(into the phone)
Yeah, wait a minute. Maybe I will come
over. I'd like to get a load of that
three-ring circus you're pulling. I
want to see what love looks like when
it's triumphant. I haven't had a good
laugh in a week.
(he is still at the phone as the scene
dissolves)
Then the LAWN of the ANDREWS ESTATE
dissolves in. It is now filled with
guests, who wander around, chattering
gaily. The orchestra plays. A captain
of waiters in the foreground instructs
his men.
CAPTAIN
I want everything to be just so. When
the ceremony starts, you stand on the
side—still . No moving around—no talking,
comprenez ?
The view cuts to a ROADWAY leading to
the estate, and Peter is seen driving
up in his Ford and squeezing in between
two Rolls-Royces. The uniformed chauffeurs
glare at him. But Peter springs nonchalantly
out of his car.
PETER
(blithely, as he passes them)
Keep your eye on my car when you're
backing up, you guys.
And as he goes, the chauffeurs look
at each other, surprised. The scene
dissolves to ANDREWS' STUDY, where a
butler stands in front of Andrews who
is seated at his desk.
? 318 ?
ANDREWS
Show him in.
The Butler leaving, a close view shows
ANDREWS reaching over and snapping on
a dictograph concealed somewhere on
his desk. The office coming into view
again, we see Andrews rising and awaiting
Peter's entrance. After a moment Peter
comes in, removes his soft felt hat,
and tucks it under his arm.
ANDREWS
Mr. Warne?
PETER
Yeah.
ANDREWS
Come in. Sit down.
Peter advances into the room, looking
around curiously. His air is frigid,
contemptuous as Andrews studies him,
and he makes no move to sit. Andrews
waves to a chair and sits down himself.
Peter flops into the nearest chair.
ANDREWS
(seen close with Peter; after a pause)
I was surprised to get your note. My
daughter hadn't told me anything about
you. About your helping her.
PETER
That's typical of your daughter. Takes
those things for granted.
(too restless to sit, he jumps up)
Why does she think I lugged her all
the way from Miami—
(vehemently)
for the love of it?
ANDREWS
Please understand me. When I say she
didn't tell me anything about it, I
mean not until a little while ago. She
thinks you're entitled to anything you
can get.
PETER
(bitterly)
Oh, she does, huh? Isn't that sweet
of her! You don't , I suppose.
ANDREWS
(shrugging)
I don't know. I'd have to see on what
you base your claim. I presume you feel
you're justified in—
PETER
(seen close now)
If I didn't I wouldn't be here!
(he reaches into his pocket)
I've got it all itemized.
? 319 ?
(and he throws the paper on Andrews'
desk)
ANDREWS picks up the paper and glances
at it. After a moment, he looks at Peter,
studying him interestedly; then he returns
to the paper, and reads its contents:
"Cash outlay
8.60
Topcoat
15.00
Suitcase
7.50
Hat
4.00
3 shirts
4.50
Total
39.60"
Andrews looks up from the paper. This
is a twist he hadn't anticipated, and
he doesn't quite know how to handle
it.
PETER
(now seen closer with Andrews)
I sold some drawers and socks, too;
I'm throwing those in.
ANDREWS
And this is what you want—thirty-nine
dollars and sixty cents?
PETER
Why not? I'm not charging you for the
time I wasted.
ANDREWS
Yes, I know—but—
PETER
What's the matter? Isn't it cheap enough?
A trip like that would cost you a thousand
dollars!
ANDREWS
Let me get this straight. You want this
thirty-nine sixty in addition to the
ten thousand dollars?
PETER
What ten thousand?
ANDREWS
The reward.
PETER
(sharply)
Who said anything about a reward!
ANDREWS
(smiling)
I'm afraid I'm a little confused. You
see, I assumed you were coming here
for—
PETER
(impatiently)
All I want is thirty-nine sixty. If
you'll give me a check I'll get out
of this place. It gives me the jitters.
ANDREWS
You're a peculiar chap.
? 320 ?
PETER
(irritably)
We'll go into that some other time.
ANDREWS
The average man would go after the reward.
All you seem to—
PETER
Listen, did anybody ever make a sucker
out of you? This is a matter of principle.
Something you probably wouldn't understand.
(he burns at the thought)
When somebody takes me for a buggy ride
I don't like the idea of having to pay
for the privilege.
ANDREWS
You were taken for a buggy ride?
PETER
Yeah—with all the trimmings. Now, how
about the check. Do I get it?
A close-up indicates that ANDREWS has
been studying Peter throughout the scene.
He is now completely won over.
ANDREWS
(smiling)
Certainly.
(he opens a checkbook and writes it
out)
While Andrews writes, Peter wanders
around the room in an attitude of bitter
contempt. Andrews rises and goes to
him.
ANDREWS
Here you are.
(as Peter takes the check)
Do you mind if I ask you something frankly?
(Peter just looks at him without responding)
Do you love my daughter?
PETER
(evasively, while folding the check)
A guy that'd fall in love with your
daughter should have his head examined.
ANDREWS
That's an evasion.
PETER
(putting the check into a wallet)
She grabbed herself a perfect running
mate. King Westley! The pill of the
century!
(pocketing wallet)
What she needs is a guy that'd take
a sock at her every day—whether it's
coming to her or not.
A close view of the TWO shows Andrews
smiling: Here is a man!
PETER
If you had half the brains you're supposed
to have, you'd have done it yourself—long
ago.
? 321 ?
ANDREWS
Do you love her?
PETER
(going for his hat as he replies)
A normal human being couldn't live under
the same roof with her, without going
nuts.
(going to the door)
She's my idea of nothing!
ANDREWS
I asked you a question. Do you love
her?
PETER
(snapping it out)
Yes!
(as Andrews smiles)
But don't hold that against me. I'm
a little screwy myself.
He snaps the door open and goes out,
following which ANDREWS is seen watching
the door, his eyes twinkling, and the
scene cuts to the DOWNSTAIRS HALLWAY
as Peter comes through, moving on to
the front door. But just as he reaches
it, Ellie enters, accompanied by half
a dozen men and holding a cocktail in
her hand. They see each other almost
simultaneously, and both stop, glaring.
PETER
(looking her over contemptuously)
Perfect! Now you look natural.
At this Ellie leaves her group and comes
toward Peter, and a close view shows
them together, glaring at each other.
ELLIE
(icily)
I hope you got your money.
PETER
You bet I did.
ELLIE
Congratulations.
PETER
Same to you.
ELLIE
Why don't you stay and watch the fun?
You'll enjoy it immensely.
PETER
I would. But I've got a weak stomach.
He wheels around and goes through the
door, Ellie looking after him, her eyes
blazing. The drone of a plane motor
outside is heard, and several people
rush down the stairs, all excited.
GUESTS
Here comes King! He's just coming down!
Hurry up, everybody! Come on, Ellie!
? 322 ?
Immediately there is a general excitement,
as guests hurry through the hallway
on the way to the lawn. But Ellen does
not move—she remains staring blankly
at the door through which Peter went
until Andrews enters from his study.
ANDREWS
I just had a long talk with him.
ELLEN
(her voice breaking)
I'm not interested.
ANDREWS
Now, wait a minute, Ellie—
ELLIE
(sharply)
I don't want to hear anything about
him!
She walks away from him, and Andrews,
frustrated, looks at her helplessly.
Thereupon the scene dissolves to a full
view of the LAWN. The orchestra is playing
Mendelssohn's Wedding March. The lawn
is crowded with guests. In the background
we see the autogyro idling. A closer
view shows a small platform, serving
as an altar. Over it there is an arbor
of roses. Back of the altar stands a
minister, ready. A reverse view reveals
a long, narrow, carpeted pathway leading
to the house. Both sides are lined with
guests, who are murmuring excitedly.
At the moment, King Westley and his
best man are marching solemnly toward
the altar. Back of the altar we see
a high platform upon which are several
newsreel men who are grinding their
cameras.
The guests, of whom close glimpses are
caught, are now peering over each other's
shoulders. King and his best man have
reached the altar, and the music of
the wedding march comes to a stop. The
orchestra leader is looking around,
apparently waiting for a signal. At
the DOOR of the HOUSE a very "prissy"
middle-aged man waves his handkerchief
and nods his head to the orchestra leader.
The orchestra leader acknowledges the
signal by nodding his head—turns to
his men—waves his baton, and the orchestra
starts playing, "Here Comes the Bride."—The
guests whisper to each other excitedly.
A great deal of stirring takes place.
The door of the house slowly opens—and
a parade of small flower girls emerges.
They march, taking each step carefully,
while they strew flowers along the path.
They are well out of the way when Ellie,
on the arm of her father, appears in
the doorway. A view of the guests shows
that they cannot contain themselves.
Murmurs of "Here she comes," and "Doesn't
she look beautiful?" are heard. The
newsreel men on their platform behind
the altar bestir themselves. This is
what they've been waiting for!
ELLIE and her FATHER (seen close) now
make their way to the altar. Ellie's
face is solemn, and her jaws set.
ANDREWS
(whispering out of the side of his mouth)
You're a sucker to go through with this.
Ellie glances at him out of the corner
of her eye—and quickly turns forward
again.
? 323 ?
ANDREWS
That guy Warne is O.K. He didn't want
the reward.
Ellie keeps her eyes glued in front
of her, remaining expressionless.
ANDREWS
All he asked for was thirty-nine dollars
and sixty cents . . . that's what he
spent on you. It was a matter of principle
with him—says you took him for a ride.
This registers on Ellie and she raises
her eyes—but her reaction is only slightly
perceptible.
A close view of a GROUP OF GUESTS shows
two girls looking enviously in the direction
of the bride.
A YOUNG GIRL
(whispering)
I wish I were in her shoes.
SECOND GIRL
Yes. She certainly is lucky.
ELLIE and her FATHER are seen again,
and ANDREWS is still whispering to her.
ANDREWS
He loves you, Ellie. Told me so.
This brings a definite reaction, which
she quickly covers up.
ANDREWS
You don't want to be married to a mug
like Westley.
At this there is a close view of Westley—there
is a satisfied smirk on his face.
ANDREWS
I can buy him off for a pot of gold,
and you can make an old man happy, and
you wouldn't do so bad for yourself.
If you change your mind, your car's
waiting at the back gate.
Ellie gives no indication of her intentions.
Her face remains immobile. And now Ellie
and her father have reached the altar.
The "prissy" man is placing them in
position. The big moment has arrived.
The guests are all atwitter. But a close
view of ELLIE shows that she realizes
that her fate is closing in on her.
She looks around for a means of escape.
MINISTER
(starting the ceremony)
Dearly beloved, we are gathered together
here in the sight of God and in the
face of this company to join together
this man and this woman in holy matrimony.
If any man can show just cause why they
may not lawfully be joined together,
let him speak now or else hereafter
forever hold his
? 324 ?
peace. King, wilt thou have this woman
to be thy wedded wife? So long as ye
both shall live?
KING
I will.
MINISTER
Ellen, wilt thou have this man to be
thy wedded husband so long as ye both
shall live?
Then, seen at the ALTAR, Ellie makes
her decision. She reaches down, takes
a firm hold on her train and, pushing
several people aside, runs out of the
scene. Those at the altar look up, surprised,
and the most startled of all is KING
himself.
KING
(calling after her)
Ellie!
He starts to go after her—but finds
Andrews in his way while the outcries
of the guests rise in chorus.
GUESTS
What's happened? Where's she going?
On the platform, the newsreel men, a
look of astonishment on their faces,
decide to follow Ellie.
A MAN
Get her, Mac! She's ducking!
And, as viewed by the newsreel men,
Ellie is seen in the distance dashing
through the gates. The guests stare
dumbfounded. Following this, Andrews
and King are seen together in the crowd.
KING
(helplessly)
What happened?
ANDREWS
(blandly)
I haven't the slightest idea.
But his mouth twitches as he tries to
keep from smiling. As King runs out
of sight Andrews gets out a cigar and
lights it—a happy smile on his face
which he now doesn't try to conceal.
Outside the FRONT GATE Ellie is seen
in a fast roadster, as she starts away
with a plunge. Her eyes sparkle. A crowd
of people dash up, headed by King. They
stop dead when they see the car disappear.
On the LAWN the commotion runs high,
and the guests chatter their amazement.
A close view of ANDREWS shows him smiling
with satisfaction.
The scene dissolves to ANDREWS' OFFICE,
where Andrews is regaling himself with
a whiskey and soda. He is in a pleasantly
inebriated mood when his SECRETARY enters.
? 325 ?
ANDREWS
(as he picks up the phone that has started
ringing)
Don't want to talk to—don't want to
talk to anybody. Don't want to see anybody.
SECRETARY
But it's King Westley on the phone.
ANDREWS
Ooooooh.
(into the phone)
Hello my would-be ex-son-in-law. I've
sent you a check for a hundred thousand.
Yes. That's the smartest thing you ever
did, Westley, not to contest that annulment.
That's satisfactory, isn't it? Yeah.
Well, it ought to be. Oh I'm not complaining.
It was dirt cheap.
(as he hangs up)
Don't fall out of any windows.
SECRETARY
(placing a telegram on the desk)
There's another wire from Peter, sir.
They're in Glen Falls, Michigan.
ANDREWS
(reading it)
"What's holding up the annulment, you
slow poke? The Walls of Jericho are
toppling."
(to the Secretary)
Send him a telegram right away. Just
say: "Let 'em topple."
This dissolves to the exterior of an
AUTO CAMP very much like the other camps
at which Peter and Ellie stayed. The
owner's wife is talking to her husband.
WIFE
Funny couple, ain't they?
MAN
Yeah.
WIFE
If you ask me, I don't believe they're
married.
MAN
They're married all right. I just seen
the license.
WIFE
They made me get 'em a rope and a blanket,
on a night like this.
MAN
Yeah?
? 326 ?
WIFE
What do you reckon that's for?
MAN
Blamed if I know. I just brung 'em a
trumpet.
WIFE
(puzzled)
A trumpet?
MAN
Yeah. You know, one of those toy things.
They sent me to the store to get it.
WIFE
But what in the world do they want a
trumpet for?
MAN
I dunno.
The scene moves to the cabin occupied
presumably by Peter and Ellie. The windows
are lighted. There is a blast from a
trumpet, and as the lights go out a
blanket is seen dropping to the floor,
and the scene fades out.
THE END
|
