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                                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]
                         Fine! Fine! She ought to like this.
                         (to the guard)
                         Open the door.
                         (without moving)
                         Who's gonna take it in to her? You?
                         Oh, no.
                         Mullison! Come on!
                         The view widens to include Mullison, 
                         a waiter. His eye is decorated with 
                         a "shiner."
                         Not me, sir. She threw a ketchup bottle 
                         at me this morning.
                         Well, orders are orders! Somebody's 
                         gotta take it in.
                         (he turns to someone else)
                         The view moves to another waiter, who 
                         has a patch of bandage on his face.
                         Before I bring her another meal, I'll 
                         be put off the ship first.
                         STEWARD'S VOICE
                         The view moves over to a Frenchman.
                         No, Monsieur. When I leave the Ritz 
                         you do not say I have to wait on crazy 
                         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 ?
                         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 
                         (talking quickly—staccato)
                         What's up? What's up?
                         There is a fairly close picture of the 
                         GROUP featuring Lacey and the Steward.
                         These pigs! They're afraid to take her 
                         food in.
                         That's ridiculous! Afraid of a mere 
                         (he wheels on the steward)
                         Why didn't you do it yourself?
                         (more afraid than the others—stammering)
                         Why—I—well, I never thought about—
                         (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.
                         (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.
                         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 ?
                         (murmuring to himself)
                         On a hunger strike, huh?
                         (a grunt)
                         When'd she eat last?
                         She hasn't had a thing yesterday—or 
                         Been sending her meals in regularly?
                         Yessir. She refuses them all.
                         Why didn't you jam it down her throat?
                         It's not quite that simple.
                         (he shakes his head)
                         I've dealt with prisoners in my time, 
                         but this one—
                         All this fuss over a snip of a girl.
                         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.
                         This is dangerous business, Mr. Andrews. 
                         After all, kidnapping is no child's 
                         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.
                         What's this! What's happened here?
                         She refused another meal, sir.
                         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 ?
                         What do you want?
                         Andrews doesn't stir from the door.
                         What's this about not eating?
                         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.
                         Know what my next move is? No more cigarettes.
                         Why don't you put me in chains?
                         I might.
                         (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.
                         Come on, Ellie. Stop being silly. You 
                         know I'm going to have my way.
                         (moving away)
                         I won't stand for it! I won't stand 
                         for your running my life! Why do you 
                         insist on it!
                         (still tender)
                         You ought to know why. Because—
                         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—
                         (joining in)
                         Because marrying that fool King Westley 
                         ? 211 ?
                         You're wasting your time. I'm already 
                         married to him.
                         Not so far as I'm concerned, you're 
                         (they are interrupted by a knock at 
                         the door)
                         The door opens and several waiters parade 
                         in with trays of steaming food.
                         (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.
                         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?
                         No. Everything seems quite satisfactory. 
                         I may want some more of that delicious 
                         gravy. I'll ring.
                         Very good, Monsieur.
                         The waiters bow their way out as Andrews 
                         pecks at the food.
                         (making clucking noise)
                         Now Ellie appears in the foreground, 
                         with Andrews at the table in the background.
                         Smart, aren't you! So subtle.
                         ? 212 ?
                         (chewing on a mouthful of food)
                         If Gandhi had a chef like Paul, it would 
                         change the whole political situation 
                         in India.
                         You can't tempt me.
                         (shouting unnecessarily)
                         Do you hear? I won't eat!
                         Please. I can't fight on an empty stomach. 
                         Remember what Napoleon said.
                         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.
                         Most humiliating thing ever happened 
                         to me.
                         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.
                         (after a pause—strongly)
                         Where are you taking me?
                         South America.
                         South America!
                         We leave Miami in an hour. Soon's we 
                         get some supplies aboard.
                         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.
                         (buttering bread)
                         In that event, we won't need so many 
                         ? 213 ?
                         What do you expect to accomplish by 
                         all this? I'm already married!
                         I'll get it annulled.
                         You'll never do it! You can't do it!
                         (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!
                         (seen with her father)
                         What've you got against King Westley?
                         Nothing much. I just think he's a fake, 
                         that's all.
                         You only met him once .
                         That was enough. Do you mind handing 
                         me the ketchup?
                         You talk as if he were a gigolo—or something.
                         (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.
                         (seen closer now, with Andrews)
                         He's one of the best fliers in the country. 
                         Right now he's planning a trip to Japan.
                         You're going to finance him, I suppose.
                         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.
                         Your whole life is devoted to just one 
                         thing. To accumulate more money. At 
                         least there's romance in what he's doing.
                         He's no good, Ellie, and you know it. 
                         You married him only because I told 
                         you not to.
                         You've been telling me what not to do 
                         since I was old enough to remember.
                         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.
                         (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.
                         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
                         So there's no use being a stubborn idiot.
                         I come from a long line of stubborn 
                         (again seen with her; calmly)
                         A time will come when you'll thank me 
                         for this.
                         I won't thank you! I'll never thank 
                         ? 215 ?
                         Please don't shout.
                         I'll shout to my heart's content! I'll 
                         scream if I want to.
                         (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.
                         (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 
                         It's my daughter! Go after her.
                         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.
                         (to the fisherman)
                         (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.
                         (disappointed but proud)
                         Of course she got away—too smart for 
                         What a hell cat. No controlling these 
                         modern girls.
                         They're terrible!
                         Terrible! Nothing terrible about her. 
                         She's great! Marvelous youngster! Got 
                         a mind of her own. Knows just what she 
                         She's not going to get it though. She 
                         won't get very far. Has no money.
                         What about that diamond wrist watch 
                         she had on—she can raise some money 
                         on that?
                         (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!"
                         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 
                         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.
                         Oh, thank you. Thank you very much.
                         (she takes the ticket and change from 
                         the old lady, and hands her a bill)
                         OLD LADY
                         Oh, thank you. Thank you.
                         When does the bus leave?
                         OLD LADY
                         In about fifteen minutes.
                         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 
                         ? 218 ?
                         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.
                         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!—
                         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.
                         (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.
                         Say, listen, you wouldn't know a story 
                         if it reached up and kicked you in the 
                         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.
                         (again seen close at the phone)
                         That was free verse, you gashouse palooka!
                         (at the phone in the newspaper office)
                         Free verse, huh?
                         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 ?
                         (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 
                         (after a pause)
                         Yeah? What about my novel! When I get 
                         through with that—
                         (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)
                         Mr. Gordon—
                         (looking up)
                         Did you know he reversed the charges 
                         on that call?
                         (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.
                         (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 
                         Atta-boy, Peter. That's telling him, 
                         The gang is full of admiration for the 
                         courageous way he talked to the boss 
                         as Peter staggers out of the booth.
                         Give me any of his lip, will he? Huh! 
                         I guess he knows now what I think of 
                         his job!
                         Is my chariot ready?
                         ? 220 ?
                         FIRST MAN
                         Your chariot awaiteth withouteth, oh 
                         mighty King.
                         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.
                         (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)
                         (and with this he turns his back and 
                         enters the bus)
                         (in the same spirit)
                         Goodbye, Oh mighty King! Peace be with 
                         you, Courageous One!
                         ANNOUNCER'S VOICE
                         All aboard. Philadelphia, New York. 
                         All aboard.
                         Look out. Get back. Farewell. Farewell.
                         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.
                         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.
                         Whadda you want!
                         If you'll be good enough to remove those 
                         newspapers I'll have a seat.
                         Okay! Okay! Keep your shirt on, young 
                         (with which remark the driver turns 
                         away from him)
                         (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.
                         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.
                         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 
                         (coming forward)
                         What do you think you're doing!
                         The papers! The papers! Whadda you mean 
                         throwin' 'em out!
                         Oh—the papers—
                         He slowly lowers his arms and deposits 
                         the suitcase on the floor.
                         (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.
                         Hey, whadda you tryin' to do—kid me?
                         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.
                         What're you gonna do about the papers? 
                         Somebody's gotta pick 'em up.
                         (turning to his suitcase)
                         It's okay with me. I'm not arguing.
                         Fresh guy, huh! What you need is a good 
                         sock on the nose.
                         (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 ?
                         (answering Peter; weakly)
                         Oh, yeah?
                         Now, that's a brilliant answer. Why 
                         didn't I think of it? Our conversation 
                         could have been over long ago.
                         Oh, yeah?
                         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.
                         (now at close range, with Ellie)
                         Excuse me, lady—
                         but that upon which you sit—is mine.
                         Ellie glances up at him—then down at 
                         her buttocks.
                         (eyes flashing)
                         I beg your pardon!
                         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)
                         (ignoring him—calling)
                         The driver, who has stopped to witness 
                         this new altercation, returns.
                         Are those seats reserved?
                         (pleased to discomfort Peter)
                         No. First come, first served.
                         (dismissing the whole thing)
                         Thank you.
                         (Peter, thwarted for a moment, just 
                         glares at her)
                         (also calling)
                         ? 224 ?
                         These seats accommodate two passengers, 
                         don't they?
                         (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 
                         Move over, lady. This is a "maybe they 
                         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 
                         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.
                         (an order)
                         Tell that man not to drive so fast.
                         (at which Peter just cocks his head 
                         Are you talking to me?
                         Yes. Tell that man to drive slowly.
                         Peter stares at her a moment, resenting 
                         her officious manner.
                         And much to her surprise, he sighs deeply 
                         and relaxes to his former position, 
                         shutting his eyes. She glares at him 
                         The scene dissolves to another view 
                         of the BUS, disclosing the driver, and 
                         suddenly the bus comes to a stop.
                         ? 225 ?
                         (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.
                         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.
                         I don't know what you're raving about, 
                         young man. And, furthermore, I'm not 
                         (taken aback)
                         Well—of all the—well—
                         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.
                         Oh, my heavens! It's gone!
                         ? 226 ?
                         Yeah. I knew you'd catch on eventually.
                         What happened?
                         That cadaverous-looking yegg[2] who 
                         sat in front of us, just up and took 
                         it. Boy, how that baby can run!
                         What am I going to do now?
                         Don't tell me your ticket was in it?
                         (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.
                         You can wire home for some money when 
                         we get to Jacksonville.
                         Why, no—I—
                         (catching herself)
                         Yes . . . I guess I will.
                         (starting out)
                         I'll report it to the driver. About 
                         your bag, I mean.
                         No. I'd rather you didn't.
                         Don't be a fool. You lost your bag. 
                         The company'll make good. What's your 
                         I don't want it reported!
                         Why, that's ridiculous! They're responsible 
                         for everything that—
                         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 
                         A close-up of PETER shows him glaring 
                         after her.
                         ? 227 ?
                         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.
                         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.
                         Oh, I'm sorry—
                         (feebly smiling)
                         Silly, isn't it?
                         She looks around, and her finding herself 
                         alone with Peter adds to her embarrassment.
                         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.
                         (realizing that he put it there)
                         Oh, thank you.
                         (she hands him his coat; ill at ease)
                         We're in Jacksonville, aren't we?
                         That was foolish of me. Why didn't you 
                         shove me away?
                         I hated to wake you up.
                         (she glances at him speculatively)
                         How about some breakfast?
                         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 
                         The scene cuts to the STAND as Ellie 
                         emerges from the bus. At the foot of 
                         the steps is the driver.
                         How much time have I?
                         About a half hour.
                         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 
                         ELLIE'S VOICE
                         You'll have to wait for me.
                         DRIVER'S VOICE
                         Wait for you!
                         A smile flits across Peter's face; then 
                         a wider view shows Ellie leaving the 
                         (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.
                         (now next to the Guard)
                         Where's the bus to New York?
                         Left twenty minutes ago.
                         Why, that's ridiculous! I was on that 
                         bus—I told them to wait!
                         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.
                         Good morning.
                         Peter is in the foreground, the guard 
                         is seen in the background. Ellie stares 
                         at Peter, perplexed.
                         Remember me? I'm the fellow you slept 
                         on last night.
                         Seems to me I've already thanked you 
                         for that.
                         (turning to guard)
                         What time is the next bus to New York?
                         ? 230 ?
                         Eight o'clock tonight.
                         Eight o'clock! Why, that's twelve hours!
                         Sorry, Miss.
                         The Guard leaves the scene, and Ellie's 
                         disappointment is apparent.
                         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 
                         Say, how old are you anyway? Don't you 
                         know these busses work on a schedule? 
                         You need a guardian.
                         (starting away)
                         What are you excited about? You missed 
                         the bus, too.
                         Peter looks at her a moment before replying.
                         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.
                         Don't tell me you did it on my account!
                         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.
                         You're doing a pretty sloppy job of 
                         (he reaches in his pocket)
                         Here's your ticket.
                         My ticket?
                         I found it on the seat.
                         (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:
                         You'll never get away with it, Miss 
                         (this is a shock to Ellie)
                         What are you talking about?
                         Just a spoiled brat of a rich man. You 
                         and Westley'll make an ideal team.
                         (bluffing it through)
                         Will you please tell me what you're 
                         raving about!
                         You'll never get away with it, Miss 
                         Andrews. Your father'll stop you before 
                         you get half way to New York.
                         You must have me confused with—
                         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.
                         (while she reads)
                         Take my advice—grab the first bus back 
                         to Miami. That guy's a phony.
                         (looking up at him)
                         I didn't ask for your advice.
                         (she hands the paper back)
                         That's right. You didn't.
                         You're not going to notify my father, 
                         are you?
                         (looking at her squarely)
                         What for?
                         If you play your cards right, you might 
                         get some money out of it.
                         (a disdainful expression crosses his 
                         I never thought of that.
                         ? 232 ?
                         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.
                         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.
                         You send telegrams here?
                         (recognizing him apparently, sarcastically)
                         I'm just fine thanks, and how are you?
                         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?
                         Go on. Go on send the telegram.
                         "How would you like to have the story, 
                         you big tub of—of—"
                         Mush. Mush.
                         ? 233 ?
                         "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.
                         Send it 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 
                         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.
                         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 
                         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.
                         You made no mistake sitting next to 
                         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.
                         (intending to freeze him)
                         Seems to me you're doing excellently 
                         without any assistance.
                         (this however only brings a guffaw from 
                         the drummer)
                         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 
                         Now Ellie and Shapeley are seen together, 
                         with Peter seen in the background.
                         ? 235 ?
                         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 
                         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.
                         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.
                         Not that I couldn't. For me it's always 
                         a cinch. I got a much better chance 
                         than the local talent.
                         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 
                         But take a bird like me—it's here today—and 
                         gone tomorrow. And what happens is nobody's 
                         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.
                         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)
                         Believe you me, you bore me to distraction.
                         ? 236 ?
                         (but Shapeley merely throws his head 
                         back and emits his characteristic guffaw)
                         Well, you're two up on me now.
                         (he holds up two fingers)
                         (approaching them)
                         Hey, you!
                         Shapeley's laugh dies down. He looks 
                         dumbly up at Peter, his two fingers 
                         still held in mid-air.
                         (indicating his own seat)
                         There's a seat over there for you.
                         What's the idea?
                         I'd like to sit with my—uh—wife—if you 
                         don't mind.
                         (at which Shapeley's face falls)
                         Yeah. Come on—come on!
                         Oh, excuse me.
                         (edging away)
                         I was just tryin'—you know—to make things 
                         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.
                         If you promise not to snap my head off, 
                         I'd like to thank you.
                         (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 ?
                         Here you are, folks. Candy—popcorn—cigarettes—magazines—
                         As Ellie and Peter are seen again, she 
                         turns and calls to the boy:
                         Here, boy!
                         (turning to her)
                         What'd you do? Wire one of your friends 
                         for money?
                         (rummaging in her purse)
                         No. It'd be useless. Father'd get the 
                         wire before they would.
                         (as he enters)
                         Yes, ma'am?
                         A box of chocolates, please.
                         (to the boy)
                         Never mind, son. She doesn't want it.
                         (he gestures with his thumb for the 
                         boy to leave)
                         But the lady says—
                         Of course I do. What do you mean—
                         (to the boy)
                         Beat it!
                         (and the boy, frightened by his voice, 
                         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.
                         A dollar sixty! . . . You had four dollars 
                         last night! How do you expect to get 
                         to New York at the rate you're going?
                         That's none of your business.
                         (with finality)
                         You're on a budget from now on.
                         ? 238 ?
                         (he flings her purse back at her and 
                         pockets the money)
                         Now, just a minute—you can't—
                         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.
                         What's up?
                         FIRST POLICEMAN
                         Bridge washed out—around Dawson.
                         Looks like we can't go through till 
                         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.
                         Yeah? Where?
                         FIRST POLICEMAN
                         Up yonder. See the lights?
                         FIRST POLICEMAN
                         That's it. Dyke's Auto Camp.
                         ? 239 ?
                         He dashes toward the bus. Then he appears 
                         at the side door of the bus.
                         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.
                         Are you talking to me!
                         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:
                         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.
                         (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 
                         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.
                         Darn clever, these Armenians.
                         (seen close as he turns)
                         Yeah. Yeah, it's a gift.
                         (but he finishes his hammering and turns 
                         to his suitcase)
                         (seen with Peter)
                         I just had the unpleasant sensation 
                         of hearing you referred to as my husband.
                         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)
                         Oh, you did? What am I expected to do—leap 
                         for joy?
                         I kind of half expected you to thank 
                         Your ego is colossal.
                         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 ?
                         (appearing in a close-up, her face disdainful)
                         Compared to you, my friend, Shapeley's 
                         an amateur.
                         Whatever gave you an idea you can get 
                         away with this! You're positively the 
                         most conceited—
                         PETER'S VOICE
                         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.
                         A headline? You're not a newspaper man, 
                         are you?
                         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.
                         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? 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 
                         (he goes back to the business of laying 
                         out his things)
                         (starting to leave)
                         Well, thank you. Thank you very much, 
                         but— you've been very kind.
                         (but the rain outside causes her to 
                         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.
                         That, I suppose, makes everything—uh—quite 
                         all right.
                         (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.
                         Do you mind joining the Israelites?
                         You're not really serious about this, 
                         are you?
                         (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 
                         (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 
                         PETER'S VOICE
                         I once knew a chap who kept his hat 
                         on until he was completely undressed.
                         Made a comical picture . . .
                         As the scene includes both of them, 
                         Peter spreads his shirt over his coat.
                         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.
                         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 
                         (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.
                         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 
                         You haven't got a trumpet by any chance, 
                         have you?
                         PETER gets the idea and smiles broadly.
                         Not even a mouth organ.
                         Pulling the covers back, he prepares 
                         to get into bed, humming as he does 
                         (humming to himself)
                         Who's afraid of the big bad wolf—
                         The big bad wolf, the big bad wolf.
                         She's afraid of the big bad wolf,
                         (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.
                         Do you mind putting out the light?
                         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 
                         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.
                         Oh, by the way—what's your name?
                         (seen close; turning his head toward 
                         What's that?
                         (both sides of the blanket coming into 
                         Who are you?
                         Who, me? Why, I'm the whippoorwill that 
                         cries in the night. I'm the soft morning 
                         breeze that caresses your lovely face.
                         ? 245 ?
                         You've got a name, haven't you?
                         Yeah. I got a name. Peter Warne.
                         Peter Warne? I don't like it.
                         Don't let it bother you. You're giving 
                         it back to me in the morning.
                         (flopping back on her pillow as she 
                         Pleased to meet you, Mr. Warne . . .
                         The pleasure is all mine.
                         There is silence between them for a 
                         few seconds.
                         I've been thinking about you.
                         ELLIE'S VOICE
                         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
                         I'll bet you're in an awful hurry to 
                         get back to New York, aren't you?
                         Goodnight, Mr. Warne.
                         (she turns over)
                         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
                         I said, the old man's screwy!
                         SECOND PILOT
                         (nodding his head in agreement)
                         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.
                         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, 
                         Any others?
                         (holding up stack of wires)
                         There's a report here from every State 
                         along the East coast. Want to hear them?
                         What do they say?
                         They're practically all the same, sir.
                         (he shrugs his shoulders to indicate 
                         there is no news)
                         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.
                         Yes, sir?
                         (seen in the cabin)
                         I thought I made it clear I was in a 
                         hurry to get to New York?
                         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.
                         (yelling into phone)
                         We've got her wide open, sir.
                         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.
                         I hope she's all right, sir.
                         Of course she's all right. What do you 
                         think can happen!
                         Nothing, sir!
                         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.
                         (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.
                         Hey—you not up yet? Come on—come on!
                         ELLIE'S VOICE
                         What time is it?
                         Eight o'clock.
                         He goes to the blanket which hangs between 
                         the two cots and throws something over 
                         it to Ellie.
                         (catching the package)
                         What is it?
                         (opening the package)
                         Why, it's a toothbrush! Thanks.
                         (noticing her dress hanging freshly 
                         You—you had it pressed.
                         (getting things ready for breakfast)
                         Come on! Hurry up! Breakfast'll be ready 
                         in no time.
                         Why, you sweet thing, you. Where'd you 
                         get it pressed?
                         (at this the view moves with him and 
                         he goes to the blanket)
                         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)
                         Why, you bully. I believe you would.
                         PETER'S VOICE
                         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.
                         You'll find the showers—and things—right 
                         back of the second cottage.
                         (at this Ellie sticks her head over 
                         the blanket)
                         Certainly, outside. All the best homes 
                         have 'em outside.
                         I can't go out like this.
                         Like what?
                         Like this. I have no robe.
                         Here—take mine.
                         He flings his robe over to her, and 
                         she disappears behind the blanket.
                         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.
                         Where'd you say the showers—and things—were?
                         (Peter turns; when he sees her he laughs)
                         Hey—you're little, aren't you?
                         Where is the shower?
                         Your hair's cute like that. You should 
                         never comb it.
                         (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 
                         Can't a body have some privacy around 
                         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
                         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 
                         Hello, sister.
                         Ellie ignores him, and walks toward 
                         her cabin. But Shapeley falls into step 
                         with her.
                         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 ?
                         Hey, what's this? Wearing Papa's things? 
                         Now that's cute. That's what I call 
                         real lovey-dovey. Yessir.
                         (stopping—her eyes blazing)
                         If you don't get out of here, I'll slap 
                         that fresh mouth of yours.
                         Sorry—I didn't mean to—
                         Get out!
                         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.
                         (without turning)
                         High time you got back.
                         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.
                         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.
                         Very outspoken, too. Said I looked funny. 
                         Wasn't that cute?
                         Hurry up and get dressed.
                         (sticking her head over blanket)
                         Why, Peter! Don't you want to hear about 
                         our lovely friends?
                         ? 252 ?
                         If you didn't waste so much time on 
                         that wise-cracking drummer—we'd have 
                         been through with breakfast by this 
                         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.
                         Well, I hope you're not going to dictate 
                         whom I can talk to.
                         I know a couple of truck drivers I'd 
                         like to have you meet sometime.
                         (setting a plate for her)
                         Come on, sit down.
                         Thank you.
                         (sitting down to the table; referring 
                         to the food)
                         My, my! Scrambled eggs.
                         Egg. One egg—doughnuts—black coffee. 
                         That's your ration till lunch. Any complaints?
                         Nope. No complaints.
                         I'd have gotten you some cream but it 
                         meant buying a whole pint.
                         Why, you don't have to apologize, Mr. 
                         Warne. You'll never know how much I 
                         appreciate all this.
                         What makes you so disgustingly cheerful 
                         this morning?
                         Must be the Spring.
                         I thought maybe—uh—"believe you me" 
                         told you a couple of snappy stories.
                         He apologized for last night.
                         Said he didn't know we were married.
                         ? 253 ?
                         (passing her a doughnut)
                         Just shows you how wrong a guy can be. 
                         You think this whole business is silly, 
                         don't you? I mean running away and everything.
                         No. No. It's too good a story.
                         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!
                         It's a wonder I'm not panic stricken.
                         Um. You're doing all right.
                         Thanks. Nurses, governesses, chaperones, 
                         even body-guards. Oh, it's been a lot 
                         of fun.
                         One consolation; you can never be lonesome.
                         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?
                         Santa Claus?
                         King—King Westley was in it.
                         Oh. Is that how you met him?
                         ? 254 ?
                         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)
                         Say, where did you learn to dunk, in 
                         finishing school?
                         Aw, now, don't you start telling me 
                         I shouldn't dunk.
                         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.
                         Thanks, professor.
                         Just goes to show you. Twenty millions 
                         and you don't know how to dunk.
                         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.
                         (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 
                         FIRST DETECTIVE
                         Show him your credentials, Mac. I'll 
                         look around.
                         At this, Peter closes the door and turns 
                         to Ellie.
                         That's Father at work, What'll I do?
                         (appealingly, to him)
                         Peter, what'll I do?
                         Don't look at me. I didn't marry King 
                         ? 255 ?
                         Ellie runs around the room picking up 
                         her stuff and murmuring, "Oh, my goodness!" 
                         She reaches the window.
                         (now seen close, at the window)
                         Maybe I could jump out of the window.
                         Do you think they'd see me?
                         PETER'S VOICE
                         Come here, you little fool!
                         She starts toward him. We then see him 
                         plunking her in a chair:
                         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.
                         (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.
                         (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.
                         (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 
                         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.
                         (very sweet, calling to Peter)
                         There's a man here to see you, Sweetheart.
                         PETER'S VOICE
                         (appearing from behind the blankets; 
                         Want to see me?
                         (who hasn't taken his eyes off Ellie)
                         What's your name?
                         Are you addressing me?
                         Yeah. What's your name?
                         (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?
                         We're looking for somebody.
                         Well, look your head off—but don't come 
                         bustin' in here. This isn't a public 
                         While Peter has been speaking, the second 
                         detective and Dyke have entered. They 
                         walk over to Peter, the First Detective, 
                         and Ellie.
                         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.
                         These men are detectives, Mr. Warne.
                         ? 257 ?
                         I wouldn't care if they were the whole 
                         police department. They can't come in 
                         here and start shooting questions at 
                         my wife!
                         (appearing very domestic)
                         Don't get excited, Peter. They just 
                         asked a civil question.
                         (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?
                         (sharply; entering into the spirit of 
                         the pretense)
                         Well, you don't have to lose your temper!
                         (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—
                         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
                         Oh, no! I saw him! He kept pawing you 
                         all over the dance floor!
                         ELLIE'S VOICE
                         He didn't! You were drunk!
                         (now seen with Ellie)
                         Oh, so now I was drunk!
                         Well, you were!
                         I'm sorry I didn't take another sock 
                         at him.
                         Yeah, and gotten yourself arrested!
                         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 ?
                         (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 
                         Now look what you've done!
                         FIRST DETECTIVE
                         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.
                         (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 
                         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.
                         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 ?
                         Say, you were pretty good. Jumping in 
                         like that. Got a brain, haven't you?
                         You weren't so bad yourself.
                         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]
                         Next week "East Lynne."
                         After that "The Three Musketeers."
                         (he strikes a pose)
                         I'd make a great D'Artagnan.
                         How about Cinderella—or a real hot love 
                         No mushy stuff. I'm running this troupe.
                         Oh, you are! Who made you the manager?
                         I did! It was my idea, wasn't it?
                         You always want to run everything.
                         If you don't like it, you can resign 
                         from the company.
                         I refuse to resign!
                         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.
                         Your bus leaves in five minutes.
                         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 ?
                         Here's another wire from Peter Warne.
                         Throw it in the basket.
                         (as the secretary starts to do so)
                         What's it say?
                         "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.
                         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:
                         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!
                         We can't do the impossible, Mr. Andrews.
                         What I'm asking isn't impossible. My 
                         daughter is somewhere between here and 
                         Miami. I want her found!
                         I've put extra men on, all along the 
                         It's not enough!
                         Are you certain she's not with King 
                         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 
                         ? 261 ?
                         (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
                         (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.
                         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.
                         (in a trembling voice)
                         What'sa matter, Ma? Don't you feel all 
                         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.
                         (touching Peter's arm)
                         (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.
                         (again seen with Peter; sympathetically)
                         I better go over and see her.
                         Don't be silly. Nothing you can do. 
                         Must be tough on an old woman—a trip 
                         like this.
                         We see the other passengers around Ellie 
                         and Peter enjoying themselves. One of 
                         them pokes her.
                         Hey, Galli-Curci,[9] come on—get onto 
                         (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
                         "O-o-o-oh—He flies through the air with 
                         greatest of ease—
                         This daring young man on the flying 
                         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.
                         (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:
                         "She flies through the air with the 
                         greatest of ease.
                         This darin' young maid on the flying 
                         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.
                         (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.
                         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, 
                         That's better. You're all right now. 
                         Just took a little nose-dive, that's 
                         He assists her in sitting up. The boy's 
                         wailing is heard, and he now rushes 
                         over and throws his arms around his 
                         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.
                         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.
                         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.
                         We ain't ate nothin' since yestidday.
                         What happened to your money?
                         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.
                         Going without food is bad business, 
                         son. Why didn't you ask somebody?
                         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.
                         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.
                         Here, boy—first town we come to, buy 
                         some food.
                         ? 265 ?
                         (Peter glances at the empty hand and 
                         then at Ellie)
                         I shouldn't oughta take this. Ma'll 
                         be angry.
                         Just don't tell her anything about it. 
                         You don't want her to get sick again, 
                         do you?
                         (a sob in his voice)
                         No-o. But I shouldn't oughta take the 
                         (to Peter)
                         You might need it.
                         Me? Forget it, son.
                         (rumples his hair—smiling)
                         I got millions.
                         (also smiling)
                         (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.
                         That storm sure made a mess outa these 
                         (appearing, and seeing the trouble)
                         Holy Smokes! You'll never get out yourself! 
                         Better phone for some help.
                         Phone for help?
                         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.
                         (as Peter approaches)
                         What's up?
                         ? 266 ?
                         Looks like we're going to be stuck for 
                         a long time.
                         (he starts away)
                         (calling to him)
                         Say, Buddy–
                         Peter turns, and looks at him quizzically, 
                         and the two are then seen close together.
                         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.
                         Travelin' like this, you kinda lose 
                         track of what's goin' on in the world.
                         (he glances from the newspaper to Shapeley, 
                         wondering how much he suspects)
                         If you wanna get anywhere nowadays, 
                         you gotta keep in touch with all the 
                         news, is what I always say.
                         (eyeing him expectantly)
                         That's right.
                         (pointing to paper)
                         Take that story there, for instance. 
                         Be kinda sweet if we could collect that 
                         ten thousand smackers.
                         Yeah—wouldn't it?
                         It's a lotta dough. If I was to run 
                         across that dame, you know what I'd 
                         I'd go fifty-fifty with you .
                         ? 267 ?
                         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.
                         What's on your mind?
                         Five G's—or I crab the works.
                         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.
                         Lucky thing, my running into you. Just 
                         the man I need.
                         (smiling broadly)
                         You're not making any mistake, believe 
                         you me.
                         I can use a smart guy like you.
                         Say listen, when you're talkin' to old 
                         man Shapeley, you're talking to—
                         Do you pack a gat?[11]
                         A close view of the TWO shows the smile 
                         dying on Shapeley's face. He looks up 
                         A gat! A gat!
                         (feeling him)
                         Got any fireworks on you?
                         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.
                         (finally finding his voice)
                         The Killer?
                         (seen with Shapeley; watching the latter 
                         to gauge the effect of his words)
                         Yeah—the "big boy"—the Boss of the outfit.
                         You're not kidnapping her, are you?
                         What else, stupid! You don't think we're 
                         after that penny-ante reward, do you?
                         Ten thousand bucks? Chicken feed! We're 
                         holding her for a million smackers.
                         Say, look! I didn't know it was anything 
                         like this, see—and—
                         What's the matter with you! Gettin' 
                         (raising his voice, pleadingly)
                         But I'm a married man. I got a couple 
                         of kids. I can't get mixed up with—
                         (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.
                         (frightened out of his wits)
                         I won't say anything. Honest, I won't.
                         ? 269 ?
                         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.
                         (breaking down)
                         You can trust me, Mister. I'll keep 
                         my mouth shut.
                         (he glares at Shapeley a moment silently, 
                         as if making up his mind)
                         What's your name?
                         Oscar Shapeley.
                         Where do you live?
                         Orange, New Jersey.
                         Got a couple of kids, huh?
                         Yeah. Just babies.
                         You love them, don't you?
                         (sensing the threat; horrified)
                         Oh, gee, Mister—you wouldn't—you ain't 
                         thinkin' about—
                         You'll keep your trap shut, all right.
                         Sure—sure—I'll keep my trap shut. you 
                         can depend on me, Mister.
                         If you don't—Ever hear of Bugs Dooley?
                         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)
                         Gee! That musta been terrible.
                         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.
                         Okay. Just remember that. Now beat it.
                         (grabbing Peter's hand and shaking it 
                         Oh, thanks, thanks, Mister. I always 
                         knew you guys were kind-hearted.
                         (putting his hand away)
                         Come on, scram! And stay away from that 
                         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 
                         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.
                         Poor old Shapeley. You shouldn't have 
                         frightened him like that.
                         At the rate he started, he's probably 
                         passed two state lines by this time. 
                         The exercise is good for him.
                         Yes, I noticed he was getting a little 
                         fat lately.
                         (she grabs her side)
                         What's the matter?
                         I was never built for these moonlight 
                         Why did we have to leave the bus?
                         ? 271 ?
                         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.
                         First town we hit in the morning, you 
                         better wire your father.
                         Not as long as I'm alive.
                         Okay with me, if you can stand the starvation 
                         What do you mean—starvation?
                         It takes money to buy food.
                         Why, haven't you—?
                         Not a sou. I had some before the fainting 
                         You didn't give that boy all your money?
                         I didn't give him anything . You were 
                         the big-hearted gal. How about wiring 
                         your father now?
                         Never! I'll get to New York if I have 
                         to starve all the way.
                         (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?
                         To New York?
                         I'm following you.
                         Aren't you afraid of me?
                         ? 272 ?
                         (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.
                         I wish you'd stop being playful.
                         (thereupon holding the shoes out at 
                         a safe distance)
                         (Peter takes several more laborious 
                         steps before either of them speaks)
                         It's the first time I've ridden "piggy-back" 
                         in years.
                         This isn't "piggy-back."
                         Of course it is.
                         You're crazy.
                         (after a silence for several seconds)
                         I remember distinctly Father taking 
                         me for a "piggy-back" ride—
                         And he carried you like this, I suppose.
                         (with finality)
                         Your father didn't know beans about 
                         "piggy-back" riding.
                         (another silence before she speaks again)
                         My uncle—Mother's brother—had four children 
                         . . . and I've seen them ride "piggy-back."
                         ? 273 ?
                         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" 
                         That's silly.
                         To be a "piggy-backer" it takes complete 
                         relaxation—a warm heart—and a loving 
                         And rich people have none of those qualifications, 
                         I suppose.
                         Not a one.
                         You're prejudiced.
                         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."
                         Where do you get off with your stuffed-shirt 
                         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:
                         Aw, nuts!
                         He proceeds on his way, walking faster 
                         than before. They continue this way 
                         silently for some time. Finally Ellie 
                         breaks the silence.
                         My father was a great "piggy-backer."
                         Peter raises his eyes heavenward in 
                         thorough disgust, then calmly hands 
                         his suitcase to her.
                         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.
                         (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.
                         (to himself)
                         This looks like the best spot.
                         We're not going to sleep out here, are 
                         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 
                         (after a pause; coyly)
                         (as a close view shows him still arranging 
                         her bed; grumbling)
                         ELLIE'S VOICE
                         I'm hungry.
                         (without looking up)
                         Just your imagination.
                         (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.
                         Well, I am.
                         (as both he and Ellie are seen in their 
                         respective places)
                         If you're scared it scares the hunger 
                         out of you.
                         Not if you're more hungry than scared.
                         All right. You win. Let's forget it.
                         ? 275 ?
                         (after a pause)
                         I can't forget it. I'm still hungry.
                         (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.
                         (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.
                         I'll get my clothes all wrinkled.
                         Well, take them off.
                         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.
                         (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 
                         If being with me is so distasteful to 
                         you, you can leave.
                         You can leave any time you see fit. 
                         Nobody's keeping you her.
                         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.
                         (murmuring, frightened)
                         (there is a pause while she listens, 
                         but nothing stirs, and there is more 
                         apprehension in her voice)
                         Real terror comes into her face, and 
                         she is ready to cry. She gets to her 
                         (with a terrified outcry)
                         At this he comes running into the scene; 
                         under his arm he has a watermelon.
                         What's the matter?
                         Oh, Peter—
                         (she throws her arms around his neck 
                         and sobs freely)
                         What's got into you?
                         (clinging to him)
                         Oh, Peter! I was so scared.
                         With his free hand he removes her arm 
                         from around his neck and starts away.
                         (setting the watermelon down)
                         I wasn't gone more than a minute. Just 
                         went out to find you something to eat.
                         (a sob still in her voice)
                         I know—but—
                         ? 277 ?
                         (kicking the melon over to her)
                         Here. Eat your head off.
                         I don't want it now.
                         Thought you were hungry!
                         I was—but—
                         But what!
                         I was so scared—that it scared—
                         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.
                         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 
                         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.
                         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.
                         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.
                         From yourself, mostly. 'Cause you're 
                         miserable. You hate yourself. The world's 
                         full of people like you. Don't know 
                         what they want.
                         Do you know?
                         (after a pause)
                         Nothing you'd give two cents for.
                         ? 279 ?
                         (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 
                         (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 
                         (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 
                         You sound like a hobo.
                         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?
                         Doesn't sound very exciting.
                         PETER, seen close, looks at her for 
                         a long time before speaking:
                         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.
                         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.
                         What are you thinking about?
                         By a strange coincidence, I was thinking 
                         of you.
                         ? 280 ?
                         Yeah. I was just wondering what makes 
                         dames like you so dizzy.
                         What'd you say we're supposed to be 
                         Well, you've given me a very good example 
                         of the hiking—
                         where does the hitching come in?
                         (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.
                         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?
                         No. But I've got a penknife.
                         (he extracts one from his pocket which 
                         he snaps open)
                         Hay—in my teeth.
                         She points to her front teeth, and Peter 
                         flicks the hay out of her teeth.
                         There it is. Better swallow it. We're 
                         not going to have any breakfast.
                         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?
                         Uh-huh. Want one?
                         ? 281 ?
                         (as Peter smacks his lips with satisfaction)
                         It's a wonder you couldn't get me something 
                         I can eat.
                         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!
                         I hate the horrid stuff.
                         While she speaks a car roars by at terrific 
                         speed. Peter and Ellie both jump up.
                         I wish you wouldn't talk too much. We 
                         let a car get away.
                         (Ellie goes back to her rock, despondently)
                         What if nobody stops for us?
                         Oh, they'll stop, all right. It's a 
                         matter of knowing how to hail them.
                         You're an expert, I suppose.
                         Expert! Going to write a book on it. 
                         Called the "Hitch-Hikers Hail."
                         There's no end to your accomplishments.
                         You think it's simple, huh?
                         Oh, no!
                         Well, it is simple. It's all in the 
                         thumb, see? A lot of people do it—
                         like this.
                         (he shakes his head sadly)
                         But they're all wrong. Never get anywhere.
                         Tch! Tch! I'm sorry for the poor things.
                         ? 282 ?
                         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?
                         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]
                         You figured that all out yourself, huh?
                         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—
                         —with a follow through.
                         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.
                         Here comes a car!
                         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.
                         I'm still watching your thumb.
                         Peter is still looking after the car.
                         ? 283 ?
                         Something must have gone wrong. I guess 
                         I'll try number two.
                         When you get up to a hundred, wake me 
                         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.
                         I guess maybe I won't write that book 
                         after all.
                         Yes. But look at all the fun you had.
                         (as he glares at her)
                         Mind if I try?
                         You! Don't make me laugh.
                         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 
                         What're you going to do?
                         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.
                         You might give me a little credit.
                         What for?
                         ? 284 ?
                         I proved once and for all that the limb 
                         is mightier than the thumb.
                         Why didn't you take all your clothes 
                         off? You could have stopped forty cars.
                         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.
                         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.
                         "Hiking down the highway of love on 
                         a honeymoon.
                         Hitch-hiking down—
                         Down-down-down the highway
                         Ellie and Peter in the back of the car 
                         react to the noise Danker makes.
                         Hey, hey, aren't you afraid you'll burn 
                         out a tonsil?
                         Tonsil? Me? No! Me burn a tonsil?
                         "My tonsils won't burn—
                         As life's corners I . . .
                         (giving up)
                         All right, let it go.
                         (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.
                         How about a bite to eat?
                         ? 285 ?
                         Why, I think that would be—
                         (stopping her)
                         No, thanks. We're not hungry.
                         Oh, I see, young people in love are 
                         never hungry.
                         (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.
                         What were you going to do? Gold dig 
                         him for a meal?[13]
                         Why not? I'm hungry.
                         Eat a carrot.
                         (she starts out of car)
                         I'm going in and ask him—
                         (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.
                         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 
                         ? 286 ?
                         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.
                         (a note of great relief in her voice)
                         Oh, Peter! What happened? Are you all 
                         Come on—get in.
                         (noticing a gash in his cheek)
                         Oh, you've been hurt! There's a cut 
                         Come on! come on!
                         (at this she runs around to get in the 
                         other side)
                         (as she runs)
                         What happened?
                         (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)
                         What'd you give him for the car?
                         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.
                         (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.
                         You don't have to eat the carrots.
                         (as she looks her surprise)
                         Just passed a pond with some ducks in 
                         (with a cry of joy)
                         ? 287 ?
                         She reaches up and kisses his cheek, 
                         and Peter beams happily.
                         (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 
                         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.
                         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?
                         You've made that quite evident—with 
                         all your threats of annulment.
                         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.
                         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.
                         Haven't slept one night this week. If 
                         I don't find her, I'll go crazy.
                         I might have been able to help if it 
                         weren't for you. I've been watched so 
                         closely, I—
                         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 ?
                         Why should she? After all—
                         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?
                         If you really mean it, I will.
                         Of course I mean it! I don't care whom 
                         she's married to—
                         —as long as I can get her back.
                         (he starts out)
                         As Andrews opens the door, a number 
                         of reporters enter.
                         Come in, boys. This is my—uh—this is 
                         King Westley.
                         (Westley rises)
                         He has a statement to make.
                         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 
                         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 
                         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.
                         (as she scrambles out of the car just 
                         as Peter comes up to her)
                         Any luck?
                         Yeah. He finally agreed to let us have 
                         a room.
                         ? 289 ?
                         What about money?
                         Talked him out of it. He thinks we're 
                         going to stay a week. I'll have to think 
                         of something before morning.
                         That's swell!
                         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 
                         I couldn't arrive in New York at three 
                         in the morning. Everybody's in bed.
                         (after a pause)
                         (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.
                         There you go—trustin' people again. 
                         How many times did I tell you—
                         He looked like an upright young feller 
                         to me, Ma.
                         Yeah. They're all upright till they 
                         walk out on you.
                         Said he was gonna stay a week.
                         Worst comes to the worst, we got his 
                         car for security.
                         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 ?
                         (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.
                         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.
                         (in a still, small voice)
                         Yes. You'll have a great story, won't 
                         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 
                         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 
                         (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.
                         Thank you.
                         (there is silence while Peter starts 
                         Am I going to see you in New York?
                         ? 291 ?
                         Why not?
                         PETER glances up at the "Walls of Jericho" 
                         and after a speculative pause, speaks 
                         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.
                         No harm in your coming to see us.
                         PETER'S VOICE
                         Not interested.
                         (at this Ellie's face falls, this is 
                         a definite rebuff)
                         Won't I ever see you again?
                         PETER (seen close) is now getting into 
                         his pajamas.
                         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.
                         Peter, have you ever been in love?
                         PETER crawls into bed.
                         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.
                         Haven't you ever wanted to fall in love?
                         ? 292 ?
                         Yes. Haven't you thought about it at 
                         all? Seems to me you could make some 
                         girl wonderfully happy.
                         (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.
                         (seen close)
                         I've even been sucker enough to make 
                         (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 
                         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 
                         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 
                         ? 293 ?
                         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.
                         (after a long pause; hoarsely)
                         Better go back to your bed.
                         I love you.
                         (arguing with himself)
                         You're forgetting you're married.
                         I don't care. I love you. Nothing else 
                         matters. We can run away. Everything'll 
                         take care of itself.
                         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.
                         (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 
                         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 ?
                         (softly calling)
                         Hey, Brat—!
                         (a pause)
                         Did you mean that? Would you really 
                         (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.
                         All I'm asking is enough gas to get 
                         me to New York. The bag's worth twenty-five 
                         Yeah, but I got a bag. My wife gave 
                         me one for Christmas.
                         ("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?
                         (looking at Peter's hat)
                         I ain't got a hat—
                         I ain't got a hat.
                         (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 
                         Fine! That's fine, Tony. Now get me 
                         a drink and make sure nobody disturbs 
                         me for half an hour.
                         (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 
                         (rumpling her hair)
                         Hello, Agnes.
                         Better not go in. He'll shoot you on 
                         I haven't been shot at for days.
                         In GORDON'S OFFICE, Gordon is at his 
                         desk. He looks up when Peter enters.
                         (rising to his full height menacingly)
                         Get out of here!
                         Wait a minute, Gordon—I—
                         Get out!
                         Peter reaches his side, and grabs him 
                         by the arms.
                         Joe, listen—
                         Don't "Joe" me.
                         ? 296 ?
                         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.
                         You mean about the Andrews' kid?
                         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.
                         A thousand dollars!
                         Get out of this office before I throw 
                         you out bodily.
                         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.
                         What's the thousand bucks for?
                         To tear down the Walls of Jericho.
                         Never mind . . . Listen—suppose I should 
                         tell you that Ellen Andrews is going 
                         to have her marriage annulled.
                         That she's going to marry somebody else.
                         You're drunk.
                         Would an exclusive story like that be 
                         worth a thousand bucks to you?
                         If it's on the level.
                         Well, I got it, Joe.
                         ? 297 ?
                         Who's she gonna marry?
                         (taking out the story from his pocket)
                         It's all right here. Give me the thousand 
                         and it's yours.
                         I wouldn't trust you as far as I could 
                         throw that desk.
                         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!
                         I'd put you there myself.
                         Sure. I wouldn't blame you, either.
                         Who's the guy she's gonna marry?
                         I am, Joe.
                         (his eyes widening)
                         Now I know you're drunk.
                         (he grabs his hat)
                         I'm going home. Don't annoy me any more.
                         (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.
                         I met her on a bus coming from Miami. 
                         Been with her every minute.
                         I'm in love with her, Joe.
                         Well, I'll be—
                         ? 298 ?
                         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.
                         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.
                         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 
                         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.
                         I told you! I told you, you couldn't 
                         trust him! He's gone!
                         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 
                         See that. They're gone!
                         Looks like it, don't it?
                         (suddenly he sees Ellie)
                         Here's the woman, ma.
                         (full of fight—glaring at Ellie)
                         ? 299 ?
                         (in a close view at Ellie's Bed as the 
                         owner and his wife come up to her; timidly—sitting 
                         What's the matter?
                         Where's your husband, young lady—
                         Yes—if he is your husband.
                         Isn't he here?
                         No, he ain't! And the car's gone, too.
                         Why, he'll be back.
                         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?
                         (snapping out of her trance)
                         (the three now seen together)
                         Then—you'll have to git !
                         Yeah, you'll have to git .
                         Why, you can't put me out in the middle 
                         of the—
                         ? 300 ?
                         Serves you right. Oughta be careful 
                         who you take up with on the road. You 
                         can't go plyin' your trade in my camp.
                         But can't you wait until morning—
                         Ain't gonna wait a minute.
                         Not a minute!
                         Better start gettin' into your clothes.
                         (glaring at him)
                         (he looks up startled)
                         Yes, Ma.
                         As Zeke leaves, the Wife plunks herself 
                         in a chair, grimly determined to wait 
                         until Ellie gets dressed and out.
                         Can I use your telephone? I want to 
                         talk to New York.
                         You ain't gonna stick me for no phone 
                         calls. You can go down to the Sheriff's 
                         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.
                         (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.
                         Thanks, Pal. You saved my life.
                         ? 301 ?
                         (waving the story)
                         Okay, pete.
                         (he drops the story on the desk and 
                         escorts peter out, his arm around his 
                         For my dough,
                         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.
                         S'long, kid. And good luck.
                         Outside GORDON'S OFFICE, peter kisses 
                         the secretary as he passes through.
                         'Bye, Agnes. You're beautiful. All women 
                         are beautiful!
                         (he goes out)
                         Gordon is immediately electrified into 
                         Oh, boy! What a yarn! What a yarn!
                         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.
                         (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:
                         (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 
                         (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.
                         What!—Ellen Andrews! You're crazy!
                         This cuts to a TELEPHONE BOOTH where 
                         a reporter is seen speaking excitedly.
                         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.
                         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.
                         (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 
                         He picks up Peter's story and flings 
                         it viciously into the wastebasket.
                         (starting out)
                         (two re-write men come in, passing Agnes)
                         You want us?
                         (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 ?
                         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.
                         I knew she was safe.
                         Certainly gave us a run for our money.
                         (but Andrews is too overwhelmed with 
                         joy to listen to any of this)
                         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.
                         "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 
                         (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.
                         (to his Ford)
                         Come on, Dobbin, old boy. We got a police 
                         ? 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.
                         (seen close; to the car—with exaggerated 
                         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.
                         Will you make a statement Miss Andrews? 
                         Was it an exciting experience? How did 
                         you travel?
                         (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.
                         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.
                         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"
                         "LOVE TRIUMPHS AGAIN"
                         "PARENTAL OBJECTION REMOVED IN FAVOR 
                         OF LOVERS"
                         "CANNOT THWART LOVE SAYS FATHER OF ELLEN 
                         "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.
                         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.
                         Gordon's out back some place.
                         (seeing the money, she looks up, surprised)
                         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.
                         You can't get a thing done around her 
                         Peter Warne was just in.
                         Huh? What?
                         Left this money. Said to tell you he 
                         was just kidding.
                         ? 306 ?
                         (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.
                         Hello, Joe. Sorry. Just a little gag 
                         of mine. Thought I'd have some fun with 
                         Yeah. Sure. Had me going for a while.
                         Wouldn't have made a bad story, would 
                         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.
                         (smiling wryly)
                         Yeah, where am I?
                         (slipping a bill in his coat pocket)
                         When you sober up—come in and see me.
                         (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.
                         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.
                         Why; naturally, I—
                         (with vehemence)
                         You're going to become a partner in 
                         a big institution. It's one of the largest 
                         in the world.
                         You talk as if—
                         Someday perhaps, you might even take 
                         A close view of ANDREWS shows him looking 
                         around his study despairingly.
                         The thought of it makes me shudder.
                         KING'S VOICE
                         You might be surprised.
                         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 
                         KING'S VOICE
                         What's that?
                         My daughter.
                         (the two now seen again; lightly)
                         Ellie? Oh, she's no responsibility.
                         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.
                         What would you like to have me do?
                         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?
                         It's quite an assignment—
                         Try. Do me a favor. Try. It's your only 
                         chance. And hers, too. Do that for me—and 
                         maybe we'll be friends—
                         (he holds out his hand)
                         Do we understand each other?
                         (taking his hand—rising)
                         Yes, sir.
                         (dismissing him)
                         Fine. I'll see you at the reception.
                         He withdraws his hand, which he looks 
                         at disgustedly—the result of a jellyfish 
                         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.
                         You thought that up all by yourself, 
                         Why, it'll make all the front pages. 
                         A spectacular thing like that—
                         ? 309 ?
                         Personally, I think it's stupid!
                         (humoring a child)
                         But go ahead. Have a good time. As long 
                         as Ellie doesn't object.
                         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)
                         (but Andrews turns his back on him)
                         We've done that already.
                         Yes, of course.
                         He turns and leaves; Andrews watching 
                         him go, shaking his head sadly.
                         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:
                         Yes, sir?
                         How is she?
                         Why—uh—she's all right, sir.
                         What's the matter? Anything wrong?
                         Oh, no, sir. No different than—
                         Yes. I know. Still in the dumps, huh?
                         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.
                         (after a pause)
                         (jumping up with a start)
                         Oh, hello, Dad.
                         (a close view as he goes over to her)
                         I knocked several times.
                         Sorry. Must have been day-dreaming.
                         (to hide her confusion, she reaches 
                         for a cigarette)
                         (with forced lightness)
                         Well, everything's set. Creating quite 
                         a furor, too. Great stunt King's going 
                         to pull.
                         (in a faraway voice)
                         Landing on the lawn in an autogyro.
                         Oh, yes. I heard.
                         (noting her listlessness)
                         Yes. Personally, I think it's silly, 
                         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)
                         (turning and looking at him blankly)
                         (it just penetrates)
                         Oh—the gown—
                         Yes, it's beautiful.
                         ? 311 ?
                         What's the matter, Ellie? What's wrong?
                         (she walks over to table and crushes 
                         her cigarette)
                         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?
                         (too quickly)
                         Oh, no.
                         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.
                         (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.
                         Ellie—what is it? Aren't you happy, 
                         At this point she finally breaks, and 
                         impulsively buries her face on his breast.
                         (after a pause, hoarsely)
                         I thought so. I knew there was something 
                         on your mind.
                         (there are audible sobs from Ellie)
                         They remain thus quietly for some time. 
                         Finally Andrews breaks the silence.
                         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 ?
                         (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.
                         I haven't seen you cry since you were 
                         a baby. This must be serious.
                         (Ellie is silent)
                         Where'd you meet him?
                         On the road.
                         (trying to cheer her)
                         Now, don't tell me you fell in love 
                         with a bus driver!
                         Who is he?
                         I don't know very much about him.
                         (in a whisper)
                         Except that I love him.
                         (the great executive)
                         Well, if it's as serious as all that—we'll 
                         move heaven and earth to—
                         It'll do no good.
                         He despises me.
                         Oh, come now—
                         He despises everything I stand for. 
                         He thinks I'm spoiled and pampered, 
                         and selfish, and thoroughly insincere.
                         He doesn't think so much of you either.
                         ? 313 ?
                         (his eyes widening)
                         He blames you for everything that's 
                         wrong about me. Thinks you raised me 
                         Fine man to fall in love with.
                         He's marvelous!
                         Well, what are we going to do about 
                         it? Where is he?
                         I don't know.
                         I'd like to have a talk with him.
                         It's no use, Dad. I practically threw 
                         myself at him.
                         (she shrugs futilely)
                         Well, under the circumstances, don't 
                         you think we ought to call this thing 
                         No, I'll go through with it.
                         But that's silly, child. Seeing how 
                         you feel, why—
                         It doesn't matter.
                         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.
                         You've changed, Ellie.
                         ? 314 ?
                         (seen with Andrews; sighing)
                         Yes, I guess I have.
                         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?
                         I'll never see Peter again.
                         Is that his name?
                         Yes. Peter Warne.
                         She starts to walk away when she is 
                         attracted by her father's surprise at 
                         the mention of the name.
                         Peter Warne!
                         (his hand has instinctively gone to 
                         his inside pocket)
                         (noticing this)
                         Why? Do you know him?
                         (but Andrews withdraws his hand. Apparently 
                         he has changed his mind)
                         Oh, no—no.
                         (suddenly anxious)
                         You haven't heard from him, have you, 
                         (obviously guilty)
                         Why, no . . . Don't be silly.
                         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 
                         ? 315 ?
                         (her voice strident)
                         Looks like that was his only interest 
                         in me. The reward.
                         (taking the note from her)
                         I'm sorry you read it.
                         Are you going to see him?
                         I suppose so.
                         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.
                         Thanks, Mary. That's just what I need.
                         (she pours herself a cocktail)
                         Mr. King Westley is on his way up.
                         Fine—Fine! Have him come in.
                         I'll be going.
                         (he goes out behind Mary)
                         Ellie swallows her drink and starts 
                         pouring herself another, as King enters.
                         (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.
                         How are you, Ellie?
                         (he gives her a kiss, which she accepts 
                         perfunctorily—but he insists upon being 
                         Are you happy?
                         (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?
                         You bet we did.
                         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.
                         Whatever you say, darling.
                         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 
                         "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.
                         (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 ?
                         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.
                         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 
                         (seen in his office)
                         You needn't see anybody. You can come 
                         directly to my study. I'd appreciate 
                         it very much if—
                         (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.
                         (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 
                         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.
                         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.
                         (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 ?
                         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.
                         Mr. Warne?
                         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.
                         (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.
                         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—
                         for the love of it?
                         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.
                         Oh, she does, huh? Isn't that sweet 
                         of her! You don't , I suppose.
                         I don't know. I'd have to see on what 
                         you base your claim. I presume you feel 
                         you're justified in—
                         (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' 
                         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
                         3 shirts
                         Andrews looks up from the paper. This 
                         is a twist he hadn't anticipated, and 
                         he doesn't quite know how to handle 
                         (now seen closer with Andrews)
                         I sold some drawers and socks, too; 
                         I'm throwing those in.
                         And this is what you want—thirty-nine 
                         dollars and sixty cents?
                         Why not? I'm not charging you for the 
                         time I wasted.
                         Yes, I know—but—
                         What's the matter? Isn't it cheap enough? 
                         A trip like that would cost you a thousand 
                         Let me get this straight. You want this 
                         thirty-nine sixty in addition to the 
                         ten thousand dollars?
                         What ten thousand?
                         The reward.
                         Who said anything about a reward!
                         I'm afraid I'm a little confused. You 
                         see, I assumed you were coming here 
                         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.
                         You're a peculiar chap.
                         ? 320 ?
                         We'll go into that some other time.
                         The average man would go after the reward. 
                         All you seem to—
                         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.
                         You were taken for a buggy ride?
                         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.
                         (he opens a checkbook and writes it 
                         While Andrews writes, Peter wanders 
                         around the room in an attitude of bitter 
                         contempt. Andrews rises and goes to 
                         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?
                         (evasively, while folding the check)
                         A guy that'd fall in love with your 
                         daughter should have his head examined.
                         That's an evasion.
                         (putting the check into a wallet)
                         She grabbed herself a perfect running 
                         mate. King Westley! The pill of the 
                         (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!
                         If you had half the brains you're supposed 
                         to have, you'd have done it yourself—long 
                         ? 321 ?
                         Do you love her?
                         (going for his hat as he replies)
                         A normal human being couldn't live under 
                         the same roof with her, without going 
                         (going to the door)
                         She's my idea of nothing!
                         I asked you a question. Do you love 
                         (snapping it out)
                         (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.
                         (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.
                         I hope you got your money.
                         You bet I did.
                         Same to you.
                         Why don't you stay and watch the fun? 
                         You'll enjoy it immensely.
                         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.
                         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.
                         I just had a long talk with him.
                         (her voice breaking)
                         I'm not interested.
                         Now, wait a minute, Ellie—
                         I don't want to hear anything about 
                         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 
                         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.
                         (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 
                         ? 323 ?
                         That guy Warne is O.K. He didn't want 
                         the reward.
                         Ellie keeps her eyes glued in front 
                         of her, remaining expressionless.
                         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 
                         A close view of a GROUP OF GUESTS shows 
                         two girls looking enviously in the direction 
                         of the bride.
                         A YOUNG GIRL
                         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.
                         He loves you, Ellie. Told me so.
                         This brings a definite reaction, which 
                         she quickly covers up.
                         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.
                         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.
                         (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?
                         I will.
                         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 
                         (calling after her)
                         He starts to go after her—but finds 
                         Andrews in his way while the outcries 
                         of the guests rise in chorus.
                         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.
                         What happened?
                         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 ?
                         (as he picks up the phone that has started 
                         Don't want to talk to—don't want to 
                         talk to anybody. Don't want to see anybody.
                         But it's King Westley on the phone.
                         (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.
                         (placing a telegram on the desk)
                         There's another wire from Peter, sir. 
                         They're in Glen Falls, Michigan.
                         (reading it)
                         "What's holding up the annulment, you 
                         slow poke? The Walls of Jericho are 
                         (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.
                         Funny couple, ain't they?
                         If you ask me, I don't believe they're 
                         They're married all right. I just seen 
                         the license.
                         They made me get 'em a rope and a blanket, 
                         on a night like this.
                         ? 326 ?
                         What do you reckon that's for?
                         Blamed if I know. I just brung 'em a 
                         A trumpet?
                         Yeah. You know, one of those toy things. 
                         They sent me to the store to get it.
                         But what in the world do they want a 
                         trumpet for?
                         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

It Happened One Night

Writers :   Samuel Hopkins Adams  Robert Riskin
Genres :   Romance  Comedy

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