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It Happened One Night (1934) script

by Robert Riskin
based on the short 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.

		STEWARD
	Fine! Fine! She ought to like this.
		(to the guard)
	Open the door.

		GUARD
		(without moving)
	Who's gonna take it in to her? You?

		STEWARD
	Oh, no.
		(turning)
	Mullison! Come on!

The view widens to include Mullison, a waiter. His eye is 
decorated with a "shiner."

		MULLISON
	Not me, sir. She threw a ketchup 
	bottle at me this morning.

		STEWARD
	Well, orders are orders! Somebody's 
	gotta take it in.
		(he turns to someone 
		else)
	Fredericks!

The view moves to another waiter, who has a patch of bandage 
on his face.

		FREDERICKS
	Before I bring her another meal, 
	I'll be put off the ship first.

		STEWARD'S VOICE
	Henri!

The view moves over to a Frenchman.

		HENRI
		(vehemently)
	No, Monsieur. When I leave the Ritz 
	you do not say I have to wait on 
	crazy womans.

The view moves back to include the Steward and the others 
grouped around him.

		ANOTHER WAITER (A COCKNEY)
	My wife was an angel compared to 
	this one, sir. And I walked out on 
	her.

		GUARD
		(impatiently)
	Come on! Make up your mind!

A petty officer approaches. He is blustering and officious, 
but the type that is feeble and ineffective. His name is 
Lacey.

		LACEY
		(talking quickly -- 
		staccato)
	What's up? What's up?

There is a fairly close picture of the GROUP featuring Lacey 
and the Steward.

		STEWARD
	These pigs! They're afraid to take 
	her food in.

		LACEY
	That's ridiculous! Afraid of a mere 
	girl!
		(he wheels on the 
		steward)
	Why didn't you do it yourself?

		STEWARD
		(more afraid than the 
		others -- stammering)
	Why -- I -- well, I never thought 
	about --

		LACEY
		(shoving him aside)
	I never heard of such a thing! Afraid 
	of a mere girl.
		(moving to the tray)
	I'll take it in myself.

They all stand around and watch him, much relieved. He picks 
up the tray and starts toward the door of the cabin.

		LACEY
		(as he walks -- 
		muttering)
	Can't get a thing done unless you do 
	it yourself.
		(as he approaches the 
		door)
	Open the door.

We see him at the CABIN DOOR as the guard quickly and gingerly 
unlocks it.

		LACEY
	Afraid of a mere girl! Ridiculous.

Lacey stalks in bravely, the tray held majestically in front 
of him, while the steward and waiters form a circle around 
the door, waiting expectantly. There is a short pause, 
following which Lacey comes hurling out backwards and lands 
on his back, the tray of food scattering all over him. The 
steward quickly bangs the door shut and turns the key as the 
waiters stare silently.

The scene dissolves to the MAIN DECK of the yacht, first 
affording a close view of a pair of well-shod masculine feet, 
as they pace agitatedly back and forth. Then as the scene 
draws back, the possessor of the pacing feet is discovered 
to be Alexander Andrews, immaculately groomed in yachting 
clothes. In front of him stands a uniformed Captain, but 
Andrews, brows wrinkled, deep in thought, continues his 
pacing.

		ANDREWS
		(murmuring to himself)
	On a hunger strike, huh?
		(a grunt)
	When'd she eat last?

		CAPTAIN
	She hasn't had a thing yesterday -- 
	or today.

		ANDREWS
	Been sending her meals in regularly?

		CAPTAIN
	Yessir. She refuses them all.

		ANDREWS
		(snappily)
	Why didn't you jam it down her throat?

		CAPTAIN
	It's not quite that simple.
		(he shakes his head)
	I've dealt with prisoners in my time, 
	but this one --

		ANDREWS
	Absurd!
		(muttering)
	All this fuss over a snip of a girl.
		(suddenly)
	I'm going down to see her myself.

He leaves with determination, followed by the Captain, and 
both are then seen walking in the direction of the cabin, 
Andrews grim.

		CAPTAIN
	This is dangerous business, Mr. 
	Andrews. After all, kidnapping is no 
	child's play.

But Andrews ignores him and merely stares grimly forward. 
They arrive in front of the cabin door, where Lacey is 
brushing himself off, and where a couple of waiters are 
picking up the last pieces of the broken dishes.

		ANDREWS
	What's this! What's happened here?

		LACEY
		(pathetically)
	She refused another meal, sir.

		ANDREWS
	Get another tray ready. Bring it 
	here at once.
		(to the guard)
	Open the door.

The Guard unlocks the door and Andrews enters. Then we get a 
view of the CABIN at the door, as Andrews enters and closes 
the door behind him. He looks around and his eyes light on 
his prisoner, following which the view swings over to ELLIE, 
a beautiful girl in her early twenties. At the moment, she 
holds a small vase over her head ready to heave it, and her 
eyes flash angrily. At sight of her new visitor, however, 
she lowers the vase and sets it on a small table.

		ELLIE
	What do you want?

Andrews doesn't stir from the door.

		ANDREWS
	What's this about not eating?

		ELLIE
		(sitting)
	I don't want to eat!
		(raising her voice)
	And there's one more thing I don't 
	want! Definitely! That's to see you.

She lights a cigarette. Andrews watches her a moment.

		ANDREWS
	Know what my next move is? No more 
	cigarettes.

		ELLIE
	Why don't you put me in chains?

		ANDREWS
	I might.

		ELLIE
		(now seen at close 
		range)
	All right! Put me in chains! Do 
	anything you want! But I'm not going 
	to eat a thing until you let me off 
	this boat!

She stares petulantly out at the blue sky, but Andrews comes 
over and sits beside her.

		ANDREWS
		(tenderly)
	Come on, Ellie. Stop being silly. 
	You know I'm going to have my way.

		ELLIE
		(moving away)
	I won't stand for it! I won't stand 
	for your running my life! Why do you 
	insist on it!

		ANDREWS
		(still tender)
	You ought to know why. Because --

		ELLIE
		(interrupting)
	Yes. I know.
		(she's heard it a 
		million times)
	Because I'm your daughter and you 
	love me. Because you don't want me 
	to make any mistakes. Because --

		ANDREWS
		(joining in)
	Because marrying that fool King 
	Westley is --

		ELLIE
		(snappily)
	You're wasting your time. I'm already 
	married to him.

		ANDREWS
		(sharply)
	Not so far as I'm concerned, you're 
	not.
		(they are interrupted 
		by a knock at the 
		door)
	Yes?

The door opens and several waiters parade in with trays of 
steaming food.

		ELLIE
		(starting for them; 
		threateningly)
	How many times have I told you not 
	to bring any food in here.

The waiters back up, frightened, but Andrews saves them.

		ANDREWS
	Wait a minute! Don't get excited! 
	This isn't for you.
		(to the waiters)
	Put it right here.

Ellie glares at her father, and wanders over to the window 
seat, while the waiters occupy themselves setting the table. 
Andrews putters around the food, lifting the lids from which 
tempting aromas emanate. He shuts his eyes, murmuring "oohs" 
and "ahs."

A close-up of ELLIE shows her, too, drinking in the inviting 
aromas; and for a moment she weakens. A close view of ANDREWS 
shows him glancing toward Ellie to see her reaction; whereupon 
Ellie's face (again appearing in a close-up) freezes. Then 
Andrews and the waiters come into view.

		FIRST WAITER
	Anything else, Monsieur?

		ANDREWS
	No. Everything seems quite 
	satisfactory. I may want some more 
	of that delicious gravy. I'll ring.

		WAITER
	Very good, Monsieur.

The waiters bow their way out as Andrews pecks at the food.

		ANDREWS
		(making clucking noise)
	Heavenly!

Now Ellie appears in the foreground, with Andrews at the 
table in the background.

		ELLIE
		(disdainfully)
	Smart, aren't you! So subtle.

		ANDREWS
		(chewing on a mouthful 
		of food)
	If Gandhi had a chef like Paul, it 
	would change the whole political 
	situation in India.

		ELLIE
	You can't tempt me.
		(shouting unnecessarily)
	Do you hear? I won't eat!

		ANDREWS
		(quietly)
	Please. I can't fight on an empty 
	stomach. Remember what Napoleon said.

		ELLIE
	I hope you're not comparing yourself 
	to Napoleon. He was a strategist. 
	Your idea of strategy is to use a 
	lead pipe.

Andrews eats silently while Ellie rants at him, walking around 
and puffing vigorously on her cigarette.

		ELLIE
		(muttering)
	Most humiliating thing ever happened 
	to me.
		(shuddering)
	A bunch of gorillas shoving me in a 
	car! That crowd outside the justice 
	of the peace -- must have thought I 
	was a criminal -- or something.

A close view of ANDREWS intercuts with part of Ellie's speech. 
At the end of her speech he smacks his lips, enjoying the 
food with too great a relish. Then the two are seen together.

		ELLIE
		(after a pause -- 
		strongly)
	Where are you taking me?

		ANDREWS
		(carelessly)
	South America.

		ELLIE
		(aghast)
	South America!

		ANDREWS
	We leave Miami in an hour. Soon's we 
	get some supplies aboard.

		ELLIE
		(threateningly)
	You'll have a corpse on your hands! 
	That what you'll have. I won't eat a 
	thing while I'm on this boat.

		ANDREWS
		(buttering bread)
	In that event, we won't need so many 
	supplies.

		ELLIE
		(exasperated)
	What do you expect to accomplish by 
	all this? I'm already married!

		ANDREWS
	I'll get it annulled.

		ELLIE
	You'll never do it! You can't do it!

		ANDREWS
		(now seen close as he 
		speaks between 
		snatches of food)
	I'll do it if it takes every penny 
	I've got. I'll do it if I have to 
	bribe that musical comedy Justice of 
	the Peace! I'll do it -- if I have 
	to prove that you were dragged in, 
	staggering drunk. You probably were.
		(he smacks his lips)
	Mmm -- mmm. This filet mignon is 
	divine!

		ELLIE
		(seen with her father)
	What've you got against King Westley?

		ANDREWS
	Nothing much. I just think he's a 
	fake, that's all.

		ELLIE
	You only met him once.

		ANDREWS
	That was enough. Do you mind handing 
	me the ketchup?

		ELLIE
	You talk as if he were a gigolo -- 
	or something.

		ANDREWS
		(rising -- reaching 
		for ketchup)
	Never mind -- I'll get it myself.
		(he falls back in his 
		chair)
	Gigolo? Why, you took the word right 
	out of my mouth. Thanks.

		ELLIE
		(seen closer now, 
		with Andrews)
	He's one of the best fliers in the 
	country. Right now he's planning a 
	trip to Japan.

		ANDREWS
	You're going to finance him, I 
	suppose.

		ELLIE
	Why not? Look what he's doing for 
	aviation. It takes courage to do 
	what he does. And character! At least 
	he's accomplished something 
	worthwhile. I suppose you'd like to 
	have me marry a business man. Well, 
	I hate business men -- particularly 
	if you're a shining example.

He grins, not at all offended, knowing she doesn't mean it.

		ELLIE
	Your whole life is devoted to just 
	one thing. To accumulate more money. 
	At least there's romance in what 
	he's doing.

		ANDREWS
		(unequivocally)
	He's no good, Ellie, and you know 
	it. You married him only because I 
	told you not to.

		ELLIE
		(strongly)
	You've been telling me what not to 
	do since I was old enough to remember.
		(screaming)
	I'm sick of it!

And as Andrews ignores her, she starts moving around the 
table toward him. -- Next she appears sitting on the edge of 
Andrews' chair, and she throws her arm around his shoulder.

		ELLIE
		(pleading sweetly)
	Aw, listen, Dad. Let's not fight 
	like this any more. I know you're 
	worried about me -- and want me to 
	be happy. And I love you for it. But 
	please try to understand. You're not 
	being fair, darling. This isn't just 
	a crazy impulse of mine. King and I 
	talked about it a lot before we 
	decided to get married. Look -- why 
	can't we give it a trial -- let's 
	say -- for a year or so. If it's 
	wrong, King and I will be the first 
	to know it. We can get a divorce, 
	can't we? Now, be a dear, and let me 
	off the boat. Keeping me prisoner 
	like this is so silly.

Andrews has been listening silently throughout the speech, 
giving no indication of his feelings in the matter.

		ANDREWS
		(unimpressed)
	You'll be set free when the marriage 
	is annulled.

A close-up of ELLIE, her eyes blazing angrily, shows her 
slowly edging away from her father, while he continues.

		ANDREWS' VOICE
		(carelessly)
	So there's no use being a stubborn 
	idiot.

		ELLIE
		(hissing)
	I come from a long line of stubborn 
	idiots!

		ANDREWS
		(again seen with her; 
		calmly)
	A time will come when you'll thank 
	me for this.

		ELLIE
		(wildly)
	I won't thank you! I'll never thank 
	you!

		ANDREWS
	Please don't shout.

		ELLIE
	I'll shout to my heart's content! 
	I'll scream if I want to.

		ANDREWS
		(reaching for it)
	Ah! Coconut layer cake. Nice and 
	gooey, too. Just the way I like it.

He is about to insert the first bite in his mouth when Ellie, 
her temper vanishing completely, overturns the small serving 
table, dumping its contents into her father's lap. The 
movement is so unexpected that Andrews, the fork still 
suspended near his mouth, stares at her stupefied. Then 
realizing what she has done, his eyes flash in anger. Dropping 
his fork, he rises and goes over to her, while she stands 
facing him defiantly. Without a word or warning, he slaps 
her a stinging blow across the cheek. For a moment she doesn't 
stir, her eyes widening in surprise, and staring at him 
unbelievingly. Then turning abruptly she bolts out of the 
door. Andrews remains motionless, his eyes shutting painfully; 
it is the first time he has struck her, and it hurts.

		ANDREWS
		(calling)
	Ellie!
		(and he starts for 
		the door)

Next on the DECK, at the open cabin door, Andrews is seen, 
staring off at something and an amazed, frightened look comes 
into his eyes. Then, as viewed from his position at the cabin 
door, Ellie appears standing on the rail; and with a 
professional dive, she leaps into the water. A full view of 
the DECK reveals the crew and the officers scurrying around, 
several of them shouting: "Somebody overboard!"

		ANDREWS
	It's my daughter! Go after her.

		CAPTAIN
		(shouting)
	Lower the boats!

General excitement reigns; several of the crew dive into the 
water; others release the boat lines. Following this Ellie 
is seen swimming furiously against the giant waves. Next she 
appears as a small speck in the distance, while half a dozen 
of the crew are swimming in pursuit.

At the SIDE OF THE YACHT one of the boats has already been 
lowered, and two men jump in and grab the oars. The men seem 
to be gaining on Ellie. In the distance several small motor 
boats are anchored, and over the sides of the boats their 
owners are fishing. Ellie seems to be headed in their 
direction.

One of the motor boats appears closer. A middle-aged man 
sits on the stern, holding lazily to his line, his feet 
dangling in the water as the boat is tossed around by the 
turbulent waves. ELLIE is then again seen swimming. She looks 
back, and the next scene shows the men rowing toward her, 
and gaining on her. Thereupon we see Ellie ducking under the 
water.

The middle-aged fisherman is suddenly startled by Ellie's 
face which appears from under water, right between his legs. 
Ellie puts her finger up to her lips, warning him to shush, 
and he is too dumb-founded to say anything. As the pursuing 
boats come near, Ellie ducks under the water again and the 
boats scoot right by the fisherman. Then Ellie's head bobs 
up; she peers ahead of her, and seeing that her pursuers 
have passed her, she smiles victoriously.

		ELLIE
		(to the fisherman)
	Thanks.
		(and she starts 
		swimming toward shore)

The scene dissolves to the DECK of the YACHT as Ellie's 
pursuers clamber aboard, Andrews waiting for them.

		A MAN
	Sorry, sir. She got away.

		ANDREWS
		(disappointed but 
		proud)
	Of course she got away -- too smart 
	for you.

		CAPTAIN
	What a hell cat. No controlling these 
	modern girls.
		(murmuring)
	They're terrible!

		ANDREWS
		(resentfully)
	Terrible! Nothing terrible about 
	her. She's great! Marvelous youngster! 
	Got a mind of her own. Knows just 
	what she wants.
		(smiling)
	She's not going to get it though. 
	She won't get very far. Has no money.

		CAPTAIN
	What about that diamond wrist watch 
	she had on -- she can raise some 
	money on that?

		ANDREWS
		(his face falling)
	Holy Smoke! I forgot all about that.
		(to the officer by 
		his side)
	Send a wireless at once, "Lovington 
	Detective Agency. Daughter escaped 
	again. Watch all roads -- all 
	transports and railroad stations in 
	Miami. Have your New York office 
	keep tabs on King Westley. Intercept 
	all messages. Want her back at all 
	costs!"

		OFFICER
	Yessir.

The view draws in to afford a close-up of ANDREWS staring 
out at the sea, his face wreathed in a broad smile; then 
this fades out. 

The RAILROAD STATION of an active terminal in Miami fades 
in. The view moves down to the entrance gate to the trains, 
passengers hurrying through it; then picks out two men, 
obviously detectives, who have their eyes peeled on everyone 
passing through. Then the view affords a glimpse of ELLIE, 
who stands watching the detectives. This scene wiping off, 
we see an AIR TRANSPORT, with several planes tuning up in 
the background. As passengers file through, several detectives 
stand around in a watchful pose. This scene wiping off, the 
front of a WESTERN UNION OFFICE comes into view. Several 
people walk in and out. At the side of the door, two 
detectives are on the lookout.

This scene also wipes off, revealing the WAITING ROOM of a 
BUS STATION. Over the ticket window there is a sign reading 
"BUY BUS TICKETS HERE," and a line forms in front of it. 
Here too there are two detectives.

		FIRST DETECTIVE
	We're wastin' our time. Can you 
	picture Ellie Andrews ridin' on a 
	bus?

		SECOND DETECTIVE
	I told the old man it was the bunk.

The view moves from them to ELLIE, who stands behind a post 
and is watching the two detectives apprehensively. As the 
two (viewed from her position) stand by the ticket window, 
one of them turns toward her. Thereupon, we see her slipping 
behind a post, concealing herself. Just then a little old 
lady approaches her.

		OLD LADY
	Here's your ticket, ma'am.

		ELLIE
	Oh, thank you. Thank you very much.
		(she takes the ticket 
		and change from the 
		old lady, and hands 
		her a bill)
	Here.

		OLD LADY
	Oh, thank you. Thank you.

		ELLIE
	When does the bus leave?

		OLD LADY
	In about fifteen minutes.

		ELLIE
	Thank you.

She picks up a small overnight bag from the floor and hurries 
away. She crosses to the entrance of the waiting room and 
disappears through the doors. The view then wings over to a 
telephone booth near the entrance. Clustered around the booth 
are half a dozen men of varied appearance. The inside of the 
booth is lighted, and a young man, Peter Warne, waves his 
hands wildly as he shouts into the phone, although it is 
impossible to hear what he is saying. A close inspection of 
the men surrounding the booth (the scene contracting to a 
close view) reveals them as being slightly and happily 
intoxicated. A short man approaches the door of the booth.

		SHORTY
	Hey, what's going on here? I'd like 
	to use that phone.

		FIRST MAN
		(a reporter)
	Shh! Quiet. This is history in the 
	making.

		SHORTY
	What?

		FIRST MAN
	There's a man biting a dog in there.

		SECOND MAN
		(drunker than the 
		rest)
	Atta-boy, Petey, old boy! Atta-boy! --

		PETER'S VOICE
	I'm not going to stand for this any 
	longer. In a pig's eye, you will!--

		GROUP
	Is that so? That's telling him, Petey 
	old boy.

A close view of PETER WARNE in the telephone booth gives 
evidence of his having also imbibed freely.

		PETER
		(shouting into the 
		phone)
	Listen, monkey-face -- when you fired 
	me, you fired the best newshound 
	your filthy scandal sheet ever had.

And the scene cuts to a New York NEWSPAPER OFFICE where the 
night editor, Gordon, his sleeves rolled up, sits at his 
desk shrieking into the phone.

		GORDON
	Say, listen, you wouldn't know a 
	story if it reached up and kicked 
	you in the pants.
		(listening)
	Yeah? Sure, sure, I got your copy. 
	Why didn't you tell me you were going 
	to write it in Greek? I'd start a 
	new department.

		PETER
		(again seen close at 
		the phone)
	That was free verse, you gashouse 
	palooka!

		GORDON
		(at the phone in the 
		newspaper office)
	Free verse, huh?
		(shouting)
	What the dickens was free about it? 
	It cost this paper a gob of dough. 
	Well, I'm here to tell you, it's not 
	gonna cost us any more.

		PETER
		(in his phone booth)
	That's okay by me! 'Cause as far as 
	I'm concerned, I'm through with 
	newspapers! See? I'm through with 
	stupidity! I'll never write another 
	newspaper story, for you or anybody 
	else, if I have to starve.
		(after a pause)
	Yeah? What about my novel! When I 
	get through with that --

		GORDON
		(in his office)
	When you get through with that, I'll 
	have a beard down to my ankles.
		(at this point, 
		Gordon's secretary 
		enters)

		SECRETARY
	Mr. Gordon--

		GORDON
		(looking up)
	Huh?

		SECRETARY
	Did you know he reversed the charges 
	on that call?

		GORDON
	What!
		(into the phone)
	Say, listen you! When you get back 
	to New York, take my advice and stay 
	f-a-r away from this office -- unless 
	you don't care what happens to that 
	funny map of yours.
		(he bangs down the 
		receiver viciously 
		and glowers at the 
		phone)

In the PHONE BOOTH Peter reacts to the phone being hung up 
on him. But he goes right on for the benefit of the boys.

		PETER
		(into the dead phone)
	Oh, so you're changing your tune, 
	eh? Well, it's about time. But it's 
	going to do you no good, my tough 
	friend. It's a little too late for 
	apologies. I wouldn't go back to 
	work for you if you begged me on 
	your hands and knees! I hope this is 
	a lesson to you!

He snaps up the receiver with a great pretense of outraged 
pride, following which the view expands to include his public.

		MEN
	Atta-boy, Peter. That's telling him, 
	Peter.

The gang is full of admiration for the courageous way he 
talked to the boss as Peter staggers out of the booth.

		PETER
	Give me any of his lip, will he? 
	Huh! I guess he knows now what I 
	think of his job!
		(expansively)
	Is my chariot ready?

		FIRST MAN
	Your chariot awaiteth withouteth, oh 
	mighty King.

		MEN
	Make way for the King. Long live the 
	King. Make way.

With head held high, he struts majestically out of sight, 
followed by his admirers, following which the scene dissolves 
to the BUS STATION. His inebriated admirers stand around the 
entrance to a bus, while Peter stands on the steps, his 
suitcase in his hand.

		PETER
		(making a grand speech)
	That's right, my friends. Cling to 
	your jobs! Remain slaves the rest of 
	your lives! Scum of the earth! 
	Newspaper men! Not me! When I'm 
	basking in the glorious arms of the 
	Muse -- what'll you be doing? Chasing 
	news. You miserable worms. For what? 
	A mere pittance! My heart goes out 
	to you.
		(with arms extended 
		and in tremolo voice)
	Good-bye.
		(and with this he 
		turns his back and 
		enters the bus)

		MEN
		(in the same spirit)
	Goodbye, Oh mighty King! Peace be 
	with you, Courageous One!

		ANNOUNCER'S VOICE
	All aboard. Philadelphia, New York. 
	All aboard.

		GROUP
	Look out. Get back. Farewell. 
	Farewell.

		PETER
	Scram.

The scene cuts to the INTERIOR of the BUS as viewed from the 
front, the view moving forward, passing the conglomerate of 
unprepossessing human beings who occupy the seats. Every 
space is taken and the occupants seem hot and uncomfortable, 
which adds to their uninviting appearance. Mothers cling to 
crying babies. A Swedish farm hand and his young wife are 
already busy opening their basket of food prepared for the 
long journey. A surly-looking hoodlum traveling alone is 
slumped in his seat, his cap drawn carelessly over his eyes. 
The moving view passes these and other characters until it 
reaches one unoccupied seat in the car, unoccupied except 
for several bundles of newspapers.

Standing before the seat is Peter, his suitcase in his hand, 
speculating as to what disposition to make of the newspapers.

		PETER
		(calling)
	Hey, driver! How about clearing this 
	stuff away!

Several passengers (seen from his position in the back) crane 
their necks to scrutinize the intruder. Through a glass 
partition the driver can be seen receiving his last minute 
instructions from a superintendent, who stands on the running 
board, their voices indistinguishable.

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 fingernails, whereupon the 
driver turns and pulls the window down a few inches.

		DRIVER
		(annoyed)
	Whadda you want!

		PETER
		(pleasantly)
	If you'll be good enough to remove 
	those newspapers I'll have a seat.

		DRIVER
		(irritably)
	Okay! Okay! Keep your shirt on, young 
	feller.
		(with which remark 
		the driver turns 
		away from him)

		PETER
		(looking at the back 
		of the driver's neck 
		for a moment, then 
		confidentially)
	Just between you and me, I never 
	intended taking it off.

He wheels around uncertainly and swaggers jauntily down the 
aisle toward the empty seat. En route he bestows genial smiles 
upon several of his disgruntled fellow passengers, and he 
stops in front of a robust lady who at the moment is 
breastfeeding her baby while a lighted cigarette dangles 
from her lips.

		PETER
	Personally, I was raised on a bottle.
		(as the woman looks 
		up at him, perplexed)
	When I was a baby, I insisted on it. 
	You know why?
		(as the woman stares 
		up stupidly)
	I never liked the idea of getting 
	cigarette ashes in my eyes.

He moves forward, leaving the woman unable to make head or 
tail of it; and assuming that he's crazy, she shrugs her 
shoulders and turns her attention to the baby.

Now PETER arrives at his seat, and whistling softly, raises 
the window. Unhurriedly, he picks the newspaper bundles up 
one by one and flings them out of the window. They hit the 
sidewalk below with a dull thud. Thereupon a close view of 
the DRIVER shows him reacting violently to Peter's 
unprecedented cheek, and starting down from his seat.

PETER has now cleared the seat of all the newspaper bundles 
and still whistling his favorite melody, he picks up his 
suitcase preparatory to placing it in the rack overhead. At 
this point, the driver enters the side door of the bus.

		DRIVER
		(pugnaciously)
	Hey, wait a minute!

Peter, his arms holding the suitcase over his head, turns 
and glances at the driver, a quizzical look in his eyes.

		DRIVER
		(coming forward)
	What do you think you're doing!

		PETER
		(turning)
	Huh?

		DRIVER
		(bellowing)
	The papers! The papers! Whadda you 
	mean throwin' 'em out!

		PETER
	Oh -- the papers --

He slowly lowers his arms and deposits the suitcase on the 
floor.

		PETER
		(now seen close, with 
		the Driver)
	That's a long story, my friend. You 
	see, I don't like sitting on 
	newspapers. I did once and all the 
	headlines came off on my white pants.

		DRIVER
	Hey, whadda you tryin' to do -- kid 
	me?

		PETER
	Oh, I wouldn't kid you. On the level, 
	it actually happened. Nobody bought 
	a paper that day. They followed me 
	all over town and read the news from 
	the seat of my pants.

		DRIVER
	What're you gonna do about the papers? 
	Somebody's gotta pick 'em up.

		PETER
		(turning to his 
		suitcase)
	It's okay with me. I'm not arguing.

		DRIVER
		(pugnaciously)
	Fresh guy, huh! What you need is a 
	good sock on the nose.

		PETER
		(turning back to him)
	Look here, partner. You may not like 
	my nose. But I do. It's a good nose. 
	The only one I've got. I always keep 
	it out in the open where anybody can 
	take a sock at it. If you decide to 
	do it, make sure you don't miss.

During his speech, Ellie enters from the rear and plunks 
herself into Peter's seat. Unseen by Peter, she places her 
small bag beside her.

		DRIVER
		(answering Peter; 
		weakly)
	Oh, yeah?

		PETER
	Now, that's a brilliant answer. Why 
	didn't I think of it? Our conversation 
	could have been over long ago.

		DRIVER
	Oh, yeah?

		PETER
		(exhausted)
	You win!

Smiling, he turns to sit down. But the smile dies on his 
face when he finds his place occupied by Ellie, who stares 
out the window.

		PETER
		(now at close range, 
		with Ellie)
	Excuse me, lady --
		(slowly)
	-- but that upon which you sit -- is 
	mine.

Ellie glances up at him -- then down at her buttocks.

		ELLIE
		(eyes flashing)
	I beg your pardon!

		PETER
	Now, listen. I'm in a very ugly mood. 
	I put up a stiff battle for that 
	seat. So if it's just the same to 
	you --
		(gesturing with thumb)
	Scram.

		ELLIE
		(ignoring him -- 
		calling)
	Driver!

The driver, who has stopped to witness this new altercation, 
returns.

		ELLIE
	Are those seats reserved?

		DRIVER
		(pleased to discomfort 
		Peter)
	No. First come, first served.

		ELLIE
		(dismissing the whole 
		thing)
	Thank you.
		(Peter, thwarted for 
		a moment, just glares 
		at her)

		PETER
		(also calling)
	Driver!

		DRIVER
	Yeah?

		PETER
	These seats accommodate two 
	passengers, don't they?

		DRIVER
		(hating to give in)
	Maybe they do -- and maybe they don't.

Peter lifts Ellie's overnight bag off the seat and drops it 
on the floor. Part of her coat covers the small space by her 
side. This he sweeps across her lap.

		PETER
	Move over, lady. This is a "maybe 
	they do."

He plops into the seat, the other passengers around them 
heaving a sigh of relief. Ellie flashes him a devastating 
look and deliberately turns her back on him. But Peter 
suddenly looks down toward the floor, following which a close-
up AT THEIR FEET reveals that Ellie's bag on the floor annoys 
Peter. With his foot he slowly moves it over to her, and 
Ellie's foot is seen pushing it back, whereupon Peter 
viciously kicks it over to her side again. Next we see Ellie 
glaring at him, picking up her bag, and standing on the seat 
depositing it on the rack overhead. But just then the bus 
starts forward with a lurch which unbalances her, and she 
falls backward right in Peter's lap. Their noses almost touch. 
Their eyes meet, and they glare at each other hostilely. 
Ellie quickly scrambles off and gets back in her seat, turning 
her back on him.

		PETER
		(amused)
	Next time you drop in, bring your 
	folks.

This dissolves to a COUNTRY ROAD, and the bus sways perilously 
as it speeds through the night, following which the view 
dissolves to the INTERIOR of the BUS, revealing Peter slumped 
in his seat, his hat drawn over his eyes. Ellie has her head 
thrown back, trying to sleep. But the swaying bus causes her 
head to roll from side to side uncomfortably, and finally 
she gives up.

		ELLIE
		(an order)
	Tell that man not to drive so fast.
		(at which Peter just 
		cocks his head 
		slightly)

		PETER
	Are you talking to me?

		ELLIE
	Yes. Tell that man to drive slowly.

Peter stares at her a moment, resenting her officious manner.

		PETER
		(pleasantly)
	Okay.

And much to her surprise, he sighs deeply and relaxes to his 
former position, shutting his eyes. She glares at him 
crushingly.

The scene dissolves to another view of the BUS, disclosing 
the driver, and suddenly the bus comes to a stop.

		DRIVER
		(sticking his head in 
		to face the passengers)
	Rest station! Ten minutes!

The view draws back as some of the passengers rise. The men 
stretch their legs, and the women straighten out their skirts. 
A close view of Peter and Ellie then shows her rising. Peter 
accommodatingly shoves his feet aside for her to pass, and 
Ellie starts up the aisle. But she suddenly stops; looks 
back, first at her bag and then at Peter; decides to take 
her bag with her, and returns to take it. She reaches for it 
on the rack, Peter watching her, amused.

The scene dissolves to the outside of the REST STATION with 
several passengers walking briskly back and forth. The place 
is dimly lit by one or two lamp-posts, and Peter can be seen 
leaning against one of these posts, smoking a cigarette. The 
scene moving in, a close view of Peter shows him stealing a 
glance in the direction of Ellie. And a view, from his angle, 
reveals Ellie in the shadow of the bus, her bag at her feet. 
She slowly turns her head toward Peter and then quickly averts 
it.

PETER (seen close) speculates about her. He glances around 
the place, and the scene moves about, following his gaze. It 
takes in the other passengers, all obviously poor and 
uncultured. The moving view reaches Ellie. The contrast is 
perceptible. Thereupon, we see Peter reacting with 
comprehension: No doubt about it! She doesn't belong with 
these passengers. Then suddenly he sees something which 
startles him, and we see what it is: Directly in back of 
her, the young hoodlum passenger slyly lifts her overnight 
bag from the ground and starts running with it. Ellie is 
oblivious of his actions. PETER springs forward.

Ellie sees Peter coming toward her and is perceptibly 
startled. But Peter whizzes by her, and this amazes her even 
more. She shrugs her shoulders, perplexed, and resumes her 
smoking. In a few seconds Peter returns, puffing breathlessly.

		PETER
	He got away. I suddenly found myself 
	in the middle of the brush and not a 
	sign of the skunk.

ELLIE (seen close with PETER) doesn't know what he's talking 
about. She looks at him, puzzled.

		ELLIE
	I don't know what you're raving about, 
	young man. And, furthermore, I'm not 
	interested.

		PETER
		(taken aback)
	Well -- of all the -- well --
		(hard)
	Maybe you'll be interested to know 
	your bag's gone.

At this, Ellie wheels around and stares at the spot where 
her bag had been.

		ELLIE
	Oh, my heavens! It's gone!

		PETER
		(sarcastically)
	Yeah. I knew you'd catch on 
	eventually.

		ELLIE
	What happened?

		PETER
	That cadaverous-looking yegg who sat 
	in front of us, just up and took it. 
	Boy, how that baby can run!

		ELLIE
	What am I going to do now?

		PETER
	Don't tell me your ticket was in it?

		ELLIE
		(opening her purse)
	No, I've got that, all right. But my 
	money. All I have here is four 
	dollars. I've got to get to New York 
	with it.

		PETER
	You can wire home for some money 
	when we get to Jacksonville.

		ELLIE
	Why, no -- I --
		(catching herself)
	Yes... I guess I will.

		PETER
		(starting out)
	I'll report it to the driver. About 
	your bag, I mean.

		ELLIE
		(quickly)
	No. I'd rather you didn't.

		PETER
	Don't be a fool. You lost your bag. 
	The company'll make good. What's 
	your name?

		ELLIE
	I don't want it reported!

		PETER
	Why, that's ridiculous! They're 
	responsible for everything that --

		ELLIE
		(hotly)
	See here, can you understand English! 
	I don't want it reported!
		(she starts away)
	Please stay out of my affairs! I 
	want to be left alone.
		(with which she 
		disappears from the 
		scene)

A close-up of PETER shows him glaring after her.

		PETER
		(mumbling)
	Why, you ungrateful brat!

The scene dissolves to the BUS, where all the passengers are 
scattering back to their seats; Peter is already seated, 
when Ellie arrives. A close view then shows her standing 
uncertainly for a moment, speculating whether to cross over 
his legs to get her place by the window. Peter feels her 
presence by his side and glances up. She tosses her head and 
plants herself in the seat in front of him, vacated by the 
young man who stole her bag. Peter takes the affront with a 
shrug and slides over gratefully to the coveted spot near 
the window.

The scene dissolves to a close view of Ellie and a recently 
arrived fat man next to her. She has her head thrown back in 
an effort to sleep, but the fat man, his hands clasped over 
his protruding stomach, snores disgustingly, and the rumble 
of the flying bus accompanies him. Suddenly the bus careens, 
the fat man falls against Ellie, and she awakens with a start 
and pushes him back. The fat man's snoring goes on 
uninterrupted, and Ellie relaxes again; but in a few seconds 
the procedure is repeated, and Ellie is beside herself. She 
looks around for somewhere to flee.

PETER, seated in back of her, in his customary slumped 
position, opens his eyes slightly. It is apparent he has 
been watching her for some time, for he grins at her 
discomfiture. Ellie's head turns in his direction and the 
grin leaves Peter's face. He shuts his eyes and pretends to 
be asleep. Ellie glances at Peter to make certain he is 
asleep. The fat man falls against her again and it is all 
she can stand. She starts to rise. Peter sees her coming and 
deliberately puts his hand on the seat next to him, still 
pretending to be asleep. Just as Ellie starts to sit, she 
notices his hand and is embarrassed. Gingerly she picks up 
his limp hand and places it on his knee. She then slides 
into the seat, sighing with relief, whereupon Peter opens 
his eyes and is amused. Slowly his head turns -- and he 
scrutinizes her, soberly and appraisingly. Ellie slowly turns 
her head for a glimpse of Peter -- and is startled to find 
him gazing at her. She turns forward, her jaw set 
forbiddingly.

The scene dissolves to the view of a ROAD. It is dawn, and 
in the distance, against the horizon, the bus, a mere speck, 
makes its lone way over the deserted country. This dissolves 
to a large SIGN, reading "JACKSONVILLE," and then into the 
BUS affording a close view of ELLIE and PETER. They are both 
asleep, her head resting comfortably on his shoulder, Peter's 
topcoat thrown over her. Then the view draws back. The bus 
is empty except for Ellie and Peter, the last few passengers 
are just leaving.

PETER's eyes slowly open. He looks down at the head on his 
shoulder and grins. With a sigh, he shuts his eyes again and 
resumes his slumber. Next, at the front of the bus, the DRIVER 
stands staring at Peter and Ellie in this intimate position 
and his mouth twists knowingly.

		DRIVER
		(murmuring)
	Oh, yeah?

ELLIE stirs, squirms a little uncomfortably and with a sleepy 
grunt shifts her position. Just as she settles down, her 
eyes open. She stares out of the window with unseeing eyes, 
and then closes them dreamily, giving the impression that, 
still half conscious, she is trying to recall where she is. 
Apparently she does, for her eyes suddenly snap open and she 
lifts her head. Finally (in a scene including Peter), Ellie 
realizes that she has been sleeping on his shoulder, whereupon 
she straightens up, embarrassed.

		ELLIE
	Oh, I'm sorry --
		(feebly smiling)
	Silly, isn't it?

She looks around, and her finding herself alone with Peter 
adds to her embarrassment.

		ELLIE
	Everybody's gone.

She lifts her arms to adjust her hat and becomes conscious 
of his coat over her which slips. She stares at it 
thoughtfully for a moment -- then at Peter.

		ELLIE
		(realizing that he 
		put it there)
	Oh, thank you.
		(she hands him his 
		coat; ill at ease)
	We're in Jacksonville, aren't we?

		PETER
	Yes.

		ELLIE
		(nervously)
	That was foolish of me. Why didn't 
	you shove me away?

		PETER
	I hated to wake you up.
		(she glances at him 
		speculatively)
	How about some breakfast?

		ELLIE
	No, thank you.
		(she rises, anxious 
		to get away)
	Thank you so much.

Most uncomfortably, she edges away from him toward the front 
of the bus, Peter watching her leave, his interest definitely 
provoked.

The scene cuts to the STAND as Ellie emerges from the bus. 
At the foot of the steps is the driver.

		ELLIE
	How much time have I?

		DRIVER
	About a half hour.

		ELLIE
	I'm going over to the Windsor Hotel.

Peter appears in the door of the bus in the background, and 
a close view then shows him stopping to listen as he sees 
Ellie talking to the driver.

		DRIVER'S VOICE
	The Windsor! You'll never make it in 
	time.

		ELLIE'S VOICE
	You'll have to wait for me.

		DRIVER'S VOICE
		(aghast)
	Wait for you!

A smile flits across Peter's face; then a wider view shows 
Ellie leaving the driver.

		ELLIE
		(as she goes)
	Yes. I may be a few minutes late.

She disappears from sight, leaving the driver staring at 
her, dumbly; and Peter, standing in back of the driver, shakes 
his head in amazement.

The scene dissolves to the BUS STAND later that morning -- 
at the same spot where the bus had previously been. It is no 
longer there however. A huge crowd fills the space, and the 
view moving down through the crowd, singles Ellie out. She 
has just arrived and looks around helplessly. Finally she 
spots a uniformed terminal guard and approaches him.

		ELLIE
		(now next to the Guard)
	Where's the bus to New York?

		GUARD
	Left twenty minutes ago.

		ELLIE
	Why, that's ridiculous! I was on 
	that bus -- I told them to wait!

		GUARD
	Sorry, Miss. It's gone.
		(and he turns his 
		back on her)

Ellie's face clouds. The crowds surge about her. She looks 
around thoughtfully. Suddenly her eyes open in surprise at 
something she sees, and the view then moves over to Peter, 
who sits on his suitcase, looking toward Ellie.

		PETER
	Good morning.

Peter is in the foreground, the guard is seen in the 
background. Ellie stares at Peter, perplexed.

		PETER
	Remember me? I'm the fellow you slept 
	on last night.

		ELLIE
	Seems to me I've already thanked you 
	for that. 
		(turning to guard)
	What time is the next bus to New 
	York?

		GUARD
		(turning)
	Eight o'clock tonight.

		ELLIE
	Eight o'clock! Why, that's twelve 
	hours!

		GUARD
	Sorry, Miss.

The Guard leaves the scene, and Ellie's disappointment is 
apparent.

		PETER
		(sarcastically)
	What's the matter? Wouldn't the old 
	meanies wait for you?
		(Ellie glares at him, 
		disdaining to reply -- 
		this angers him, and 
		he continues hotly)
	Say, how old are you anyway? Don't 
	you know these busses work on a 
	schedule? You need a guardian.

		ELLIE
		(starting away)
	What are you excited about? You missed 
	the bus, too.

Peter looks at her a moment before replying.

		PETER
		(quietly)
	Yeah. I missed it, too.

There is a close view of the two. She turns to him. Her 
interest is provoked by his tone of voice. She glances up 
into his face.

		ELLIE
	Don't tell me you did it on my 
	account!
		(pause)
	I hope you're not getting any idea 
	that what happened last night is --
		(she interrupts herself)
	You needn't concern yourself about 
	me, young man. I can take care of 
	myself.

		PETER
	You're doing a pretty sloppy job of 
	it.
		(he reaches in his 
		pocket)
	Here's your ticket.

		ELLIE
		(surprised)
	My ticket?

		PETER
	I found it on the seat.

		ELLIE
		(taking it)
	Oh, thank you. Must have fallen out 
	of my pocket.

While she is putting the ticket away in her purse, Peter 
speaks:

		PETER
	You'll never get away with it, Miss 
	Andrews.
		(this is a shock to 
		Ellie)

		ELLIE
		(weakly)
	What are you talking about?

		PETER
	Just a spoiled brat of a rich man. 
	You and Westley'll make an ideal 
	team.

		ELLIE
		(bluffing it through)
	Will you please tell me what you're 
	raving about!

		PETER
	You'll never get away with it, Miss 
	Andrews. Your father'll stop you 
	before you get half way to New York.

		ELLIE
	You must have me confused with --

		PETER
		(interrupting)
	Quit kidding! It's all over the front 
	pages, You know, I've always been 
	curious about the kind of a girl 
	that would marry King Westley.

He pulls a newspaper out of his pocket and hands it to her. 
Ellie glances at the headline hurriedly.

		PETER
		(while she reads)
	Take my advice -- grab the first bus 
	back to Miami. That guy's a phony.

		ELLIE
		(looking up at him)
	I didn't ask for your advice.
		(she hands the paper 
		back)

		PETER
	That's right. You didn't.

		ELLIE
	You're not going to notify my father, 
	are you?

		PETER
		(looking at her 
		squarely)
	What for?

		ELLIE
	If you play your cards right, you 
	might get some money out of it.

		PETER
		(a disdainful 
		expression crosses 
		his face)
	I never thought of that.

		ELLIE
		(frantically)
	Listen, if you'll promise not to do 
	it, I'll pay you. I'll pay you as 
	much as he will. You won't gain 
	anything by giving me away as long 
	as I'm willing to make it worth your 
	while. I've got to get to New York 
	without being stopped. It's terribly 
	important to me. I'd pay now, only 
	the only thing I had when I jumped 
	off the yacht was my wrist watch and 
	I had to pawn that to get these 
	clothes. I'll give you my address 
	and you can get in touch with me the 
	minute you get to New York.

		PETER
		(furious)
	Never mind. You know I had you pegged 
	right from the start, you're the 
	spoiled brat of a rich father. The 
	only way you can get anything is to 
	buy it. Now you're in a jam and all 
	you can think of is your money. It 
	never fails, does it? Ever hear of 
	the word "Humility"? No, you wouldn't. 
	I guess it never occurred to you to 
	just say, "Please mister, I'm in 
	trouble. Will you help me?" No; that'd 
	bring you down off your high horse 
	for a minute. Let me tell you 
	something; maybe it'd take a load 
	off your mind. You don't have to 
	worry about me. I'm not interested 
	in your money or your problems. You, 
	King Westley, your father, you're 
	all a lot of hooey to me.

He turns his back on her and leaves. A close-up of ELLIE 
shows her staring after him, her eyes blazing angrily.

In a TELEGRAPH OFFICE, Peter addresses a girl operator as he 
drops a telegram on the counter, which she reads.

		PETER
		(brusquely)
	You send telegrams here?

		OPERATOR
		(recognizing him 
		apparently, 
		sarcastically)
	I'm just fine thanks, and how are 
	you?
		(reading)
	To "Joe Gordon, care of New York 
	Mail, New York. Am I laughing. The 
	biggest scoop of the year just dropped 
	in my lap. I know where Ellen Andrews 
	is --"
		(looking up excitedly)
	No, do you really?

		PETER
		(impatiently)
	Go on. Go on send the telegram.

		OPERATOR
	"How would you like to have the story, 
	you big tub of -- of --"

		PETER
	Mush. Mush.

		OPERATOR
	"Tub of mush. Well try and get it. 
	What I said about never writing 
	another line for you still goes. Are 
	you burning? Peter Warne." Well, 
	that will be $2.60.

		PETER
	Send it collect.

		OPERATOR
	Collect?

		PETER
		(firmly)
	Collect.

As the clerk takes the wire from him, scene fades out.

The BUS TERMINAL fades in. It is night now, and the rain 
comes down in torrents. People scurry around to get into the 
buses as the voice of an announcer is heard:

		ANNOUNCER'S VOICE
	Bus for blah-blah-blah-blah -- 
	Charleston -- blah-blah-blah -- and 
	all points North to New York!

This dissolves to the interior of a BUS, which is practically 
filled. Peter is in his seat, reading a magazine, while Ellie 
enters hurriedly from the rear door and starts forward. As 
she approaches Peter, she hesitates a second, and deliberately 
passes him, plunking herself into a seat in the opposite 
aisle. Peter turns just as she gets seated. He glances at 
her indifferently.

A close view shows Ellie seated next to a man who sits reading 
a newspaper which covers his face. Her eyes are fixed forward, 
her lips set adamantly. A close-up of the MAN next to Ellie 
makes it plain that he is a typical drummer. At the moment 
he is absorbed in a serial story, but suddenly he becomes 
aware of something at his feet, and without lowering the 
newspaper, his gaze slowly shifts downward. At this, the 
view moves down until it reaches Ellie's trim ankles. Her 
feet beat a regular tattoo on the floor; her extreme agitation 
is evident. The view moves back slowly, taking in Ellie's 
shapely leg as far as the knee. Then we see ELLIE and the 
DRUMMER as his gaze is still fixed on her leg. Slowly his 
face breaks into a lascivious grin, he lowers his paper, and 
turns for a scrutiny of her face. What he sees apparently 
delights him, for he drops his paper completely -- and smiles 
broadly.

		DRUMMER
	Hi, sister -- All alone? My name's 
	Shapeley.
		(Ellie favors him 
		with a devastating 
		look which is wasted 
		on the drummer)
	Might as well get acquainted. It's 
	gonna be a long trip -- gets tiresome 
	later on. Specially for somebody 
	like you. You look like you got class.
		(he surveys her from 
		head to foot)
	Yessir! With a capital K.
		(he chuckles at his 
		own sally)
	And I'm a guy that knows class when 
	he sees it, believe you me.

A close-up of ELLIE, as Shapeley's voice continues, shows 
her glancing back at Peter, expecting him to come to her 
rescue.

		SHAPELEY'S VOICE
	Ask any of the boys. They'll tell 
	you. Shapeley sure knows how to pick 
	'em. Yessir. Shapeley's the name, 
	and that's the way I like 'em.

Ellie again looks toward Peter. But PETER seems to have found 
something of unusual interest in his magazine... and we again 
see the harassed ELLIE and the irrepressible SHAPELEY, who 
continues.

		SHAPELEY
	You made no mistake sitting next to 
	me.
		(confidentially)
	Just between us, the kinda muggs you 
	meet on a hop like this ain't nothing 
	to write home to the wife about. You 
	gotta be awful careful who you hit 
	up with, is what I always say, and 
	you can't be too particular, neither. 
	Once when I was comin' through North 
	Carolina, I got to gabbin' with a 
	good-lookin' mama. One of those young 
	ones, you know, and plenty classy, 
	too. Kinda struck my fancy. You know 
	how it is. Well, sir, you could'a 
	knocked me over with a Mack truck. I 
	was just warming up when she's yanked 
	offa the bus. Who do you think she 
	was? Huh? Might as well give up. The 
	girl bandit! The one the papers been 
	writin' about.
		(he pulls out a cigar, 
		and continues -- 
		awed by the 
		recollection)
	Yessir, you coulda knocked me over 
	with a Mack truck.
		(he lights his cigar, 
		takes a vigorous 
		puff, and turns to 
		her again)
	What's the matter, sister? You ain't 
	sayin' much.

		ELLIE
		(intending to freeze 
		him)
	Seems to me you're doing excellently 
	without any assistance.
		(this however only 
		brings a guffaw from 
		the drummer)

		SHAPELEY
	That's pretty good... Well, shut my 
	big nasty mouth!

A close-up shows ELLIE enduring more of this as Shapeley's 
voice continues:

		SHAPELEY'S VOICE
	...Looks like you're one up on me. 
	Nothin' I like better than to meet a 
	high-class mama that can snap 'em 
	back at you. 'Cause the colder they 
	are, the hotter they get, is what I 
	always say.

Now Ellie and Shapeley are seen together, with Peter seen in 
the background.

		SHAPELEY
	Take this last town I was in. I run 
	into a dame -- not a bad looker, 
	either -- but boy, was she an iceberg! 
	Every time I opened my kisser she 
	pulls a ten strike on me. It sure 
	looked like cold turkey for old man 
	Shapeley. I sell office supplies, 
	see? And this hotsy-totsy lays the 
	damper on me quick. She don't need a 
	thing -- and if she did she wouldn't 
	buy it from a fresh mugg like me. 
	Well, says I to myself -- Shapeley, 
	you better go to work. You're up 
	against a lulu. Well, I'm here to 
	tell you, sister, I opened up a line 
	of fast chatter that had that dame 
	spinnin' like a Russian dancer. Before 
	I got through she bought enough stuff 
	to last the firm a year. And did she 
	put on an act when I blew town!

Ellie has scarcely listened to him, and has divided her 
attention between glancing back at Peter and staring at 
Shapeley as if he were insane -- none of which bothers 
Shapeley. He goes on with his merry chatter, blowing rings 
of smoke in the direction of the ceiling.

		SHAPELEY
	Yessir. When a cold mama gets hot -- 
	boy, how she sizzles! She kinda 
	cramped my style, though. I didn't 
	look at a dame for three towns.
		(quickly)
	Not that I couldn't. For me it's 
	always a cinch. I got a much better 
	chance than the local talent.
		(confidentially)
	You see, they're kinda leery about 
	the local talent. Too close to home. 
	Know what I mean?

ELLIE has now reached the point where she could, without any 
compunction, strangle him.

		SHAPELEY'S VOICE
		(continuing over this 
		glimpse of her 
		desperation)
	But take a bird like me -- it's here 
	today -- and gone tomorrow. And what 
	happens is nobody's business.

At this time she turns helplessly toward Peter, but we Peter 
being deliberately oblivious of her presence, following which 
the three are seen, with Peter in the background.

		SHAPELEY
	But I don't go in for that kinda 
	stuff -- much. I like to pick my 
	fillies. Take you for instance. You're 
	my type. No kiddin' sister. I could 
	go for you in a big way. "Fun-on-the 
	side Shapeley" they call me, and the 
	accent is on the fun, believe you 
	me.
		(this is all Ellie 
		can stand)

		ELLIE
		(snappily)
	Believe you me, you bore me to 
	distraction.
		(but Shapeley merely 
		throws his head back 
		and emits his 
		characteristic guffaw)

		SHAPELEY
		(laughing)
	Well, you're two up on me now.
		(he holds up two 
		fingers)

		PETER
		(approaching them)
	Hey, you!

Shapeley's laugh dies down. He looks dumbly up at Peter, his 
two fingers still held in mid-air.

		SHAPELEY
	Huh?

		PETER
		(indicating his own 
		seat)
	There's a seat over there for you.

		SHAPELEY
	What's the idea?

		PETER
	I'd like to sit with my -- uh -- 
	wife -- if you don't mind.
		(at which Shapeley's 
		face falls)

		SHAPELEY
		(puzzled)
	Wife?

		PETER
	Yeah. Come on -- come on!

		SHAPELEY
		(rising)
	Oh, excuse me.
		(edging away)
	I was just tryin' -- you know -- to 
	make things pleasant.

And smiling sheepishly, he sidles over to Peter's seat, his 
two fingers still poised in air. Peter plants himself next 
to Ellie and totally ignoring her, opens his magazine, and 
resumes his reading. Then Ellie and Peter are seen close 
together. She looks up at him.

		ELLIE
	If you promise not to snap my head 
	off, I'd like to thank you.

		PETER
		(without turning)
	Forget it. I didn't do it for you. 
	His voice got on my nerves.

She feels herself crushed, and ventures no further comment 
as Peter resumes his interest in his magazine.

A full view of the BUS follows, and there is silence for a 
while as the bus slows down and comes to a stop. Almost 
simultaneously a boy makes his appearance, selling magazines 
and candy.

		BOY
	Here you are, folks. Candy -- popcorn -- 
	cigarettes -- magazines --

As Ellie and Peter are seen again, she turns and calls to 
the boy:

		ELLIE
	Here, boy!

		PETER
		(turning to her)
	What'd you do? Wire one of your 
	friends for money?

		ELLIE
		(rummaging in her 
		purse)
	No. It'd be useless. Father'd get 
	the wire before they would.

		BOY
		(as he enters)
	Yes, ma'am?

		ELLIE
	A box of chocolates, please.

		PETER
		(to the boy)
	Never mind, son. She doesn't want 
	it.
		(he gestures with his 
		thumb for the boy to 
		leave)

		BOY
		(puzzled)
	But the lady says --

		ELLIE
	Of course I do. What do you mean --

		PETER
		(to the boy)
	Beat it!
		(and the boy, 
		frightened by his 
		voice, leaves)

		ELLIE
		(resentfully)
	You have your nerve!
		(she starts to rise)
	Here, boy --!

Peter snatches the purse out of her hand and takes the money 
out. Ellie stares at him dumbfounded.

		PETER
	A dollar sixty!... You had four 
	dollars last night! How do you expect 
	to get to New York at the rate you're 
	going?

		ELLIE
		(vehemently)
	That's none of your business.

		PETER
		(with finality)
	You're on a budget from now on.
		(he flings her purse 
		back at her and 
		pockets the money)

		ELLIE
	Now, just a minute -- you can't --

		PETER
	Shut up!

He returns to his magazine, leaving her staring at him 
petulantly as the scene fades out. 

SOMEWHERE ON THE ROAD at night. This is apparently on the 
outskirts of a town. Two local policemen and our bus driver 
stand in the foreground near a police booth. The rain sweeps 
across their faces as they talk. The passengers in the bus, 
which stands in the background, stick their heads out, trying 
to hear what is going on.

		FIRST POLICEMAN
	You won't be able to pass till 
	morning.

		SECOND POLICEMAN
	Not even then, if this keeps up.

Peter approaches the group and is then seen with the officers 
and the driver.

		PETER
	What's up?

		FIRST POLICEMAN
	Bridge washed out -- around Dawson.

		DRIVER
	Looks like we can't go through till 
	morning.

		SECOND POLICEMAN
		(his only contribution)
	Not even then, if this keeps up.

		FIRST POLICEMAN
	Any of your passengers want a place 
	to sleep -- there's an auto camp up 
	yonder a piece.

		PETER
		(interested)
	Yeah? Where?

		FIRST POLICEMAN
		(pointing)
	Up yonder. See the lights?

		PETER
	Yeah.

		FIRST POLICEMAN
	That's it. Dyke's Auto Camp.

		PETER
	Thanks.

He dashes toward the bus. Then he appears at the side door 
of the bus.

		PETER
		(calling)
	Hey, Brat --!
		(he is about to enter 
		when he sees Ellie)

The view moves to the rear door of the bus. Ellie stands on 
the bottom step.

		ELLIE
		(haughtily)
	Are you talking to me!

		PETER
	Yeah. Come on -- we're stopping here 
	for the night.

He disappears inside the bus through the side door. With an 
independent toss of her head, Ellie turns and also enters 
the bus, but through the rear door.

The scene dissolves to DYKE'S AUTO CAMP. Ellie stands alone 
on the porch of a small bungalow, sheltered from the rain. 
Over her head is a sign reading:

OFFICE -- Dyke Auto Co. -- P. D. Dyke, Prop.

She looks about her restlessly, giving the impression that 
she has been waiting for someone. Suddenly she is attracted 
by something and gazes in its direction. Then, as seen by 
Ellie in a long view, there appears, about twenty yards away, 
a small cabin, lighted on the inside; and from it Peter 
emerges accompanied by a man -- presumably Mr. Dyke. We cannot 
hear what is being said; from their movements, however, it 
is apparent that an exchange of money is taking place. Dyke 
waves his hand in departure and starts toward Ellie. At the 
same time, Peter calls to her:

		PETER
		(shouting)
	Hey! Come on! We're all set.
		(saying which he enters 
		the cabin)

Ellie hesitates a moment, then starts toward the cabin. Now 
she is hurrying across the open space. En route she passes 
Dyke.

		DYKE
		(as they pass)
	Good evening. Hope you and your 
	husband rest comfortably.

Ellie keeps on running, but suddenly she stops dead and looks 
back at Dyke, following which a close-up of ELLIE shows her 
eyes opening wide with astonishment. Her impulse is to call 
Dyke back, to make him repeat what he said -- to make certain 
she heard him correctly. But Dyke is gone, and she turns and 
glances thoughtfully in the direction of the cabin. Then 
slowly the corners of her mouth screw up in an attitude of 
cynicism. So that's it, is it! He has given her no previous 
evidence of being "on the make"; yet now, with the first 
opportunity --. Her thoughts, however, are interrupted by 
Peter's voice:

		PETER'S VOICE
	Well, Brat -- what do you say!

As she doesn't stir, there appears a close-up view of PETER 
standing in the doorway of the cabin, looking toward Ellie.

		PETER
		(impatiently)
	Come on! Come on! What are you going 
	to do? Stand there all night?
		(he disappears inside)

For a long moment, ELLIE is lost in speculation as to how to 
proceed. Then, tossing her head defiantly, with her lips set 
grimly, she starts toward the cabin until she reaches it, 
stops in the doorway and peers in. As she does this, there 
is a view of the inside of the CABIN, as seen by her at the 
door. Except for two cots on either side of the room, a few 
sticks of cane furniture, a small table upon which stands an 
oil burner for cooking, the place is barren. At the moment 
Peter is attaching a clothes line across the center of the 
room. His suitcase is already open. And now Ellie steps 
inside, surveying the place contemptuously. But Peter, with 
his back to her, is oblivious of her presence; and as he 
works, he hums his favorite melody. Ellie finally breaks the 
silence.

		ELLIE
		(sarcastically)
	Darn clever, these Armenians.

		PETER
		(seen close as he 
		turns)
	Yeah. Yeah, it's a gift.
		(but he finishes his 
		hammering and turns 
		to his suitcase)

		ELLIE
		(seen with Peter)
	I just had the unpleasant sensation 
	of hearing you referred to as my 
	husband.

		PETER
		(carelessly)
	Oh, I forgot to tell you. I registered 
	as Mr. and Mrs.
		(the matter-of-fact 
		way in which he says 
		this causes her 
		eyebrows to lift)

		ELLIE
	Oh, you did? What am I expected to 
	do -- leap for joy?

		PETER
	I kind of half expected you to thank 
	me.

		ELLIE
	Your ego is colossal.

		PETER
		(blithely)
	Yeah. Yeah, not bad. How's your's?

There is silence for a moment, and Peter proceeds with the 
unpacking of his suitcase. As she watches him, Ellie's mood 
changes from one of anger to that of sarcasm.

		ELLIE
		(appearing in a close-
		up, her face 
		disdainful)
	Compared to you, my friend, Shapeley's 
	an amateur.
		(sharply)
	Whatever gave you an idea you can 
	get away with this! You're positively 
	the most conceited --

		PETER'S VOICE
		(interrupting)
	Hey, wait a minute!
		(appearing beside her)
	Let's get something straightened out 
	right now. If you've any peculiar 
	ideas that I'm interested in you, 
	forget it. You're just a headline to 
	me.

		ELLIE
		(frightened)
	A headline? You're not a newspaper 
	man, are you?

		PETER
	Chalk up one for your side. Now 
	listen, you want to get to King 
	Westley, don't you? All right, I'm 
	here to help you. What I want is 
	your story, exclusive. A day-to-day 
	account. All about your mad flight 
	to happiness. I need that story. 
	Just between you and me I've got to 
	have it.

		ELLIE
	Now isn't that just too cute? There's 
	a brain behind that face of yours, 
	isn't there? You've got everything 
	nicely figured out, for yourself, 
	including this.

		PETER
	This? Oh, that's a matter of simple 
	mathematics. These cabins cost two 
	bucks a night and I'm very sorry to 
	inform you, wifey dear, but the family 
	purse won't stand for our having 
	separate establishments.
		(he goes back to the 
		business of laying 
		out his things)

		ELLIE
		(starting to leave)
	Well, thank you. Thank you very much, 
	but -- you've been very kind.
		(but the rain outside 
		causes her to hesitate)

		PETER
	Oh, yeah? It's all right with me. Go 
	on out in the storm, but I'm going 
	to follow you, see? Yeah. And if you 
	get tough I'll just have to turn you 
	over to your old man right now. Savvy? 
	Now that's my whole plot in a 
	nutshell. A simple story for simple 
	people. Now if you behave yourself, 
	I'll see that you get to King Westley; 
	if not, I'll just have to spill the 
	beans to papa. Now which of these 
	beds do you prefer? This one? All 
	right.

While he speaks he has taken the extra blanket from the cot 
and hung it over the clothes line. This manages to divide 
the room in half.

A close view at the door shows Ellie watching him with 
interest.

		ELLIE
		(sarcastically)
	That, I suppose, makes everything -- 
	uh -- quite all right.

		PETER
		(the previous scene 
		returning)
	Oh, this? -- I like privacy when I 
	retire. I'm very delicate in that 
	respect. Prying eyes annoy me.
		(he has the blanket 
		spread out now)
	Behold the walls of Jericho! Maybe 
	not as thick as the ones that Joshua 
	blew down with his trumpet, but a 
	lot safer. You see, I have no trumpet.
		(taking out pajamas)
	Now just to show you my heart's in 
	the right place, I'll give you my 
	best pair of pajamas.

He flings them over to her, and she catches them and throws 
them on her cot. Throughout the scene she hasn't budged from 
the door, but Peter now prepares to undress.

		PETER
	Do you mind joining the Israelites?

		ELLIE
	You're not really serious about this, 
	are you?

		PETER
		(seen at close range, 
		going about the job 
		of undressing very 
		diffidently)
	All right, don't join the Israelites. 
	Perhaps you're interested in how a 
	man undresses.
		(and he hangs his 
		coat over the chair)
	Funny thing about that. Quite a study 
	in psychology. No two men do it alike.
		(now his shirt is 
		coming off)

A close view of ELLIE shows her standing stubbornly.

		PETER'S VOICE
	I once knew a chap who kept his hat 
	on until he was completely undressed.
		(chuckling)
	Made a comical picture...

As the scene includes both of them, Peter spreads his shirt 
over his coat.

		PETER
	Years later his secret came out. He 
	wore a toupee.

He lights a cigarette diffidently while she remains brazenly 
watching him, her eyes flashing defiantly.

		PETER
	I have an idiosyncrasy all my own. 
	You'll notice my coat came first -- 
	then the tie -- then the shirt -- 
	now, according to Hoyle, the pants 
	should come next. But that's where 
	I'm different.
		(he bends over)
	I go for the shoes first. After that 
	I --

		ELLIE
		(unable to stand it 
		any longer)
	Smart aleck!

And thoroughly exasperated, she goes behind the blanket, and 
plops on the cot. She sits on the edge, debating what to do, 
feeling herself trapped. Her impulse is to leave, if only to 
show this smart aleck he's not dealing with a child, and she 
rises impetuously and moves to the window.

A close view at the WINDOW shows her looking out. The downpour 
has not abated one bit, and the heavy raindrops clatter 
against the window pane in a sort of challenge to Ellie, 
whose jaw drops. She turns slowly back to the room, and as 
she does so her eyes light on the cot. It looks most inviting; 
after all, she hasn't had any rest for two nights. She falls 
on the cot again, her shoulders sagging wearily. Following 
this, the view reveals both sides of the blanket. Peter is 
already in his pajamas.

		PETER
	Still with me, Brat?
		(there is no answer 
		from Ellie)
	Don't be a sucker. A night's rest'll 
	do you a lot of good. Besides, you've 
	got nothing to worry about. The Walls 
	of Jericho will protect you from the 
	big bad wolf.

A close view shows ELLIE glancing over at the blanket. Despite 
herself, the suggestion of a smile flits across her face.

		ELLIE
	You haven't got a trumpet by any 
	chance, have you?

PETER gets the idea and smiles broadly.

		PETER
	Not even a mouth organ.

Pulling the covers back, he prepares to get into bed, humming 
as he does so.

		PETER
		(humming to himself)
	Who's afraid of the big bad wolf -- 
	The big bad wolf, the big bad wolf.
		(louder)
	She's afraid of the big bad wolf, 
	Tra-la-la-la-la --
		(he springs into bed)

Ellie smiles, and wearily she pulls her hat off her head. 
She sits this way a moment, thoughtfully; then, determined, 
she looks up.

		ELLIE
	Do you mind putting out the light?

		PETER
	Not at all.
		(he leans over and 
		snaps it off)

The room is thrown into darkness except for a stream of light 
coming in the window from the night-light outside the camp. 
Visible are Peter's face and arms as he stares ceilingward, 
while on Ellie's side all we can see of her is her silhouette, 
except for such times as she gets in direct line with the 
window. There are glimpses of her as she moves around in the 
process of undressing, and we see, or rather sense, her dress 
dropping to the floor. She now stands in her chemise; this 
being white silk, it stands out more prominently against the 
darkness. She picks up the pajamas and backs into a corner, 
following which a close-up of her head and shoulders shows 
her glancing apprehensively toward Peter's side of the room; 
and holding the pajamas in front of her with one hand, with 
the other she slips the strap off her shoulders. She flings 
her "slip" over the blanket.

PETER, on his side of the room, looks toward the blanket, 
and reacts to the "slip" coming into sight. Then other 
undergarments join the "slip" on the blanket.

		PETER
		(hoarsely)
	Do you mind taking those things off 
	the Walls of Jericho?
		(a pause)
	It's tough enough as it is.

		ELLIE'S VOICE
	Oh, excuse me.
		(and we see the 
		underthings flipped 
		off the blanket.)

Ellie's side of the room appears, showing her crawling quickly 
into bed, pulling the covers over her and glancing 
apprehensively in Peter's direction -- following which a 
close view shows PETER being very conscious of her proximity. 
The situation is delicate and dangerous; the room is atingle 
with sex. He turns his gaze toward the blanket. The view 
moves to the BLANKET, remaining on it a moment. It is a frail 
barrier. The view then moves back to Peter, whose eyes are 
still on the blanket, his face expressionless. A close view 
of ELLIE, next shows that she, too, has her eyes glued on 
the blanket, a little fearfully. She turns her head and gazes 
at the ceiling for a moment. Then suddenly her eyes widen -- 
and she sits up abruptly.

		ELLIE
		(seriously)
	Oh, by the way -- what's your name?

		PETER
		(seen close; turning 
		his head toward her)
	What's that?

		ELLIE
		(both sides of the 
		blanket coming into 
		view)
	Who are you?

		PETER
	Who, me? Why, I'm the whippoorwill 
	that cries in the night. I'm the 
	soft morning breeze that caresses 
	your lovely face.

		ELLIE
		(interrupting)
	You've got a name, haven't you?

		PETER
	Yeah. I got a name. Peter Warne.

		ELLIE
	Peter Warne? I don't like it.

		PETER
	Don't let it bother you. You're giving 
	it back to me in the morning.

		ELLIE
		(flopping back on her 
		pillow as she mumbles)
	Pleased to meet you, Mr. Warne...

		PETER
	The pleasure is all mine.

There is silence between them for a few seconds.

		PETER
	I've been thinking about you.

		ELLIE'S VOICE
	Yes?

		PETER
	You've had a pretty tough break at 
	that. Twice a Missus and still 
	unkissed.

Ellie doesn't like the implication, and glares in his 
direction as Peter's voice continues:

		PETER'S VOICE
		(meaningly)
	I'll bet you're in an awful hurry to 
	get back to New York, aren't you?

		ELLIE
		(hard)
	Goodnight, Mr. Warne.
		(she turns over)

		PETER
	Goodnight.

He also turns his head toward the wall, and the scene fades 
out. 

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!

		SECOND PILOT
		(who can't hear him)
	What's 'at?

		FIRST PILOT
		(louder)
	I said, the old man's screwy!

		SECOND PILOT
		(nodding his head in 
		agreement)
	Yeah!

		FIRST PILOT
		(cupping his mouth)
	The dame's too smart for him.

		SECOND PILOT
		(nodding again, then 
		leaning over)
	How'd you like to be married to a 
	wild cat like that?

The First Pilot grimaces in disgust, grabs his nose between 
his fingers, and goes through the motion of ducking under 
water. And as they both laugh, the scene cuts to the CABIN 
of the plane, a privately built plane which has all the 
equipment of a passenger ship. Andrews and one of his 
secretaries, a conservative-appearing man of middle age, 
lean over a table. This being a closed cabin, the roar of 
the motors scarcely interferes with the dialogue.

		SECRETARY
	Here's another wire, sir. This one's 
	from Charleston.
		(as there is a close 
		view of the two)
	"Checking every northbound train. 
	Also assigned twenty operatives to 
	watch main highways. No success yet. 
	Will continue to do everything 
	possible." Signed: Lovington Detective 
	Agency, Charleston.

		ANDREWS
	Any others?

		SECRETARY
	Yessir.
		(holding up stack of 
		wires)
	There's a report here from every 
	State along the East coast. Want to 
	hear them?

		ANDREWS
		(impatiently)
	What do they say?

		SECRETARY
	They're practically all the same, 
	sir.
		(he shrugs his 
		shoulders to indicate 
		there is no news)

		ANDREWS
		(muttering)
	Amateurs!

		SECRETARY
	They're the finest detective agency 
	in the country, sir.

Andrews doesn't answer him. He puffs furiously on his cigar, 
glances out of the window, and turns irritably to a phone by 
his side. He snaps up the receiver and presses a button, 
following which the scene cuts to the CONTROL COCKPIT, where 
a light flashes on the instrument board, and the pilot picks 
up the receiver.

		PILOT
	Yes, sir?

		ANDREWS
		(seen in the cabin)
	I thought I made it clear I was in a 
	hurry to get to New York?
		(bellowing)
	What are we crawling for!

In the control cockpit, the pilot reacts to the complaint 
and glances at his speed indicator. We then see the SPEED 
INDICATOR registering 180 miles an hour. The pilot looks 
aghast.

		PILOT
		(yelling into phone)
	We've got her wide open, sir.

		ANDREWS
		(irascibly)
	Well, step on it! Step on it!

He bangs up the receiver and stares moodily out of the window. 
It is plain that he is worried. The view then includes his 
secretary, Henderson.

		HENDERSON
	I hope she's all right, sir.

		ANDREWS
		(sharply)
	Of course she's all right. What do 
	you think can happen!

		HENDERSON
		(intimidated)
	Nothing, sir!

		ANDREWS
	Then shut up about it!

Thereupon the view cuts to a close-up of an airplane motor 
in rapid motion, and this dissolves to the AUTO CAMP CABIN 
next morning, a close view showing ELLIE peacefully sleeping. 
But the drone of the plane overhead disturbs her, and she 
moves restlessly.

		ELLIE
		(murmuring in her 
		sleep)
	Darn planes --

She squirms around uncomfortably, and finding it impossible 
to resume her slumber, opens her eyes. The sun pouring in 
through the window causes her to squint. She sits up and 
stares outside, puzzled. Then remembering where she is she 
looks toward the other side of the cabin, listening for some 
sign of life. But there is none and she relaxes. She falls 
back on the pillow, pulling the covers over her.

Now PETER enters from the outside with an armful of 
foodstuffs, which he dumps on the table. He looks toward 
Ellie.

		PETER
	Hey -- you not up yet? Come on -- 
	come on!

		ELLIE'S VOICE
	What time is it?

		PETER
	Eight o'clock.

He goes to the blanket which hangs between the two cots and 
throws something over it to Ellie.

		PETER
	Here --

		ELLIE
		(catching the package)
	What is it?
		(opening the package)
	Why, it's a toothbrush! Thanks.
		(noticing her dress 
		hanging freshly 
		pressed)
	You -- you had it pressed.

		PETER
		(getting things ready 
		for breakfast)
	Come on! Hurry up! Breakfast'll be 
	ready in no time.

		ELLIE
	Why, you sweet thing, you. Where'd 
	you get it pressed?
		(at this the view 
		moves with him and 
		he goes to the blanket)

		PETER
	Listen, Brat -- I'm going to count 
	to ten. If you're not out of bed by 
	then I'm going to yank you out myself.

A close view of ELLIE shows her being stubborn, but alarmed.

		PETER'S VOICE
		(counting quickly)
	One -- two -- three -- four -- five

		ELLIE
		(panic-stricken)
	Why, you bully. I believe you would.

		PETER'S VOICE
	-- six -- seven -- eight -- nine --

		ELLIE
		(screaming)
	I'm out! I'm out!

And she jumps out of bed, throwing the cover around herself, 
following which Peter is seen going back to the table.

		PETER
	You'll find the showers -- and things -- 
	right back of the second cottage.
		(at this Ellie sticks 
		her head over the 
		blanket)

		ELLIE
		(aghast)
	Outside!

		PETER
	Certainly, outside. All the best 
	homes have 'em outside.

		ELLIE
	I can't go out like this.

		PETER
	Like what?

		ELLIE
	Like this. I have no robe.

		PETER
	Here -- take mine.

He flings his robe over to her, and she disappears behind 
the blanket.

		PETER
	But make it snappy.

Now Ellie has got into his robe, and appears on his side. 
The robe is too large for her and she makes a comical figure. 
As she enters, she tries to maintain her customary dignity.

		ELLIE
		(dignifiedly)
	Where'd you say the showers -- and 
	things -- were?
		(Peter turns; when he 
		sees her he laughs)

		PETER
		(appraisingly)
	Hey -- you're little, aren't you?

		ELLIE
	Where is the shower?

		PETER
	Your hair's cute like that. You should 
	never comb it.

		ELLIE
		(leaving haughtily)
	I'll find it myself.

She slams the door viciously, but Peter rushes over to the 
window to watch her; and as viewed by him, Ellie appears 
next walking to the showers outside the cabin. She holds her 
head high and struggles valiantly to maintain as much dignity 
as she can muster under the circumstances. Then in the cabin, 
at the window, Peter watching Ellie, chuckles at her, shaking 
his head in amusement. He starts toward the table, and the 
scene cuts to a moving view outside the cabins, with Ellie 
walking past several cottages on her way to the showers. 
Several people stop to stare at her until she reaches her 
destination. There are two wooden shacks adjoining, each 
having a sign on them; one reads, "Showers -- Men" -- the 
other, "Showers -- Women." In front of the women's shower 
there are several unappetizing-looking fat women waiting, 
and with them is a small girl. Ellie crosses over to the 
women's shower and disappears inside, the waiting women 
staring at her, puzzled. A moment elapses and Ellie backs 
out, being pushed by a woman, part of whose naked body is 
visible, and whose voice is heard in protest:

		WOMAN
	Can't a body have some privacy around 
	here?

The women who are waiting chuckle at Ellie's embarrassment 
as she stands aside. They certainly are making a monkey out 
of her decorum. The little girl keeps eyeing Ellie, 
fascinated.

		LITTLE GIRL
		(pointing)
	Don't she look funny, Mama?

Ellie, wheeling on the little girl, crushes her with a 
devastating look, so that the little girl cringes against 
her mother's skirt. Ellie goes to the end of the line to 
await her turn, following which close-ups show the LITTLE 
GIRL slowly turning her head to look at Ellie, and ELLIE 
noticing the little girl staring at her, whereupon Ellie 
sticks her tongue out at her. And, in a scene which includes 
both, the little girl retaliates by sticking her tongue out 
also.

This dissolves to a view of ELLIE coming out of the showers. 
At the same time Shapeley comes out of the men's shower, and 
upon seeing Ellie, his face lights up.

		SHAPELEY
	Hello, sister.

Ellie ignores him, and walks toward her cabin. But Shapeley 
falls into step with her.

		SHAPELEY
	Sorry about last night. Didn't know 
	you were married to that guy. Shoulda 
	told me about it right off.
		(he chuckles)
	There I was, gettin' myself all primed 
	for a killin', and you turn out to 
	be an old married woman.

The scene cuts to the door of PETER'S CABIN as Peter comes 
out, stands in the doorway, and is surprised to see Ellie 
and Shapeley, who are then seen (from his angle) talking. 
Thereupon PETER is seen again as his lip curls up a little 
jealously; he returns to the cabin, following which we again 
see Ellie and Shapeley walking. He notices the robe she is 
wearing, and he looks down toward her feet, the view moving 
down to show Ellie's legs and feet. The pajama legs are seen 
protruding below the robe, the cuffs of which she has turned 
up. Then the view moving back up to Ellie and Shapeley, he 
lifts her robe playfully.

		SHAPELEY
	Hey, what's this? Wearing Papa's 
	things? Now that's cute. That's what 
	I call real loveydovey. Yessir.

		ELLIE
		(stopping -- her eyes 
		blazing)
	If you don't get out of here, I'll 
	slap that fresh mouth of yours.

		SHAPELEY
		(startled)
	Sorry -- I didn't mean to --

		ELLIE
		(sharply)
	Get out!

		SHAPELEY
	Okay. I was just trying to make 
	conversation.

Ellie leaves him abruptly, and the scene cuts to the CABIN, 
where Peter is now busy setting the small table. Ellie enters 
after a moment, while Peter has his back to the door.

		PETER
		(without turning)
	High time you got back.

		ELLIE
	I met some very interesting women at 
	the showers. We got to chatting about 
	this and that. You know how time 
	flies.

She disappears behind the blanket, following which we see 
Peter's side of the cabin, while Ellie's voice continues 
from behind the blanket.

		ELLIE'S VOICE
	We must come back to this place often. 
	You meet the nicest people!

Her head bobs up over the blanket now and again as she 
dresses.

		ELLIE
	I saw the little Pussinfoos girl. 
	She's turned out quite a charming 
	creature.

Peter ignores her chatter, except for an annoyed glance once 
in a while.

		ELLIE
	Very outspoken, too. Said I looked 
	funny. Wasn't that cute?

		PETER
	Hurry up and get dressed.

		ELLIE
		(sticking her head 
		over blanket)
	Why, Peter! Don't you want to hear 
	about our lovely friends?

		PETER
	If you didn't waste so much time on 
	that wise-cracking drummer -- we'd 
	have been through with breakfast by 
	this time.

A close view shows ELLIE in the process of buttoning her 
dress. She looks up, having recognized a tinge of jealousy 
in his voice, which intrigues her. She starts to the other 
side of the blanket. Then we see her joining Peter in his 
part of the cabin.

		ELLIE
	Well, I hope you're not going to 
	dictate whom I can talk to.

		PETER
	I know a couple of truck drivers I'd 
	like to have you meet sometime.
		(setting a plate for 
		her)
	Come on, sit down.

		ELLIE
	Thank you.
		(sitting down to the 
		table; referring to 
		the food)
	My, my! Scrambled eggs.

		PETER
	Egg. One egg -- doughnuts -- black 
	coffee. That's your ration till lunch. 
	Any complaints?

		ELLIE
		(cheerily)
	Nope. No complaints.

		PETER
	I'd have gotten you some cream but 
	it meant buying a whole pint.

		ELLIE
		("sweetly")
	Why, you don't have to apologize, 
	Mr. Warne. You'll never know how 
	much I appreciate all this.

		PETER
		(gruffly)
	What makes you so disgustingly 
	cheerful this morning?

		ELLIE
	Must be the Spring.

		PETER
	I thought maybe -- uh -- "believe 
	you me" told you a couple of snappy 
	stories.

		ELLIE
	He apologized for last night.
		(carelessly)
	Said he didn't know we were married.

		PETER
		(passing her a doughnut)
	Just shows you how wrong a guy can 
	be. Doughnut?

		ELLIE
	Thanks.
		(embarrassed)
	You think this whole business is 
	silly, don't you? I mean running 
	away and everything.

		PETER
		(easily)
	No. No. It's too good a story.

		ELLIE
	Yes, you do. You think I'm a fool 
	and a spoiled brat. Perhaps I am, 
	although I don't see how I can be. 
	People who are spoiled are accustomed 
	to having their own way. I never 
	have. On the contrary, I've always 
	been told what to do and how to do 
	it and where and with whom. Would 
	you believe it? This is the first 
	time I've ever been alone with a 
	man!

		PETER
	Yeah?

		ELLIE
	It's a wonder I'm not panic stricken.

		PETER
	Um. You're doing all right.

		ELLIE
	Thanks. Nurses, governesses, 
	chaperones, even body-guards. Oh, 
	it's been a lot of fun.

		PETER
	One consolation; you can never be 
	lonesome.

		ELLIE
	It has its moments. It got to be a 
	sort of game to try to outwit father's 
	detectives. I -- I did it once; 
	actually went shopping without a 
	bodyguard. It was swell. I felt 
	absolutely immoral. But it didn't 
	last long. They caught up with me in 
	a department store. I was so mad I 
	ran out the back way and jumped into 
	the first car I saw. Guess who was 
	in it?

		PETER
	Santa Claus?

		ELLIE
	King -- King Westley was in it.

		PETER
	Oh. Is that how you met him?

		ELLIE
	Um-hm. We rode around all afternoon. 
	Father was frantic. By 6 o'clock he 
	was having all the rivers dragged.
		(she has been "dunking" 
		her doughnut 
		throughout this, 
		Peter watching her)

		PETER
	Say, where did you learn to dunk, in 
	finishing school?

		ELLIE
		(indignantly)
	Aw, now, don't you start telling me 
	I shouldn't dunk.

		PETER
	Of course you shouldn't. You don't 
	know how to do it. Dunking's an art. 
	Don't let it soak so long. A dip and 
	plop, into your mouth. If you let it 
	soak so long, it'll get soft and 
	fall off. It's all a matter of timing. 
	I ought to write a book about it.

		ELLIE
	Thanks, professor.

		PETER
	Just goes to show you. Twenty millions 
	and you don't know how to dunk.

		ELLIE
	I'd change places with a plumber's 
	daughter any day.

But before he can answer, they are interrupted by voices 
directly outside their window, and the view moves with Peter 
as he goes to the door, which he opens slightly. Thereupon 
Dyke is seen in conversation with two men outside the CABIN.

		DYKE
		(protesting loudly)
	You can't go around bothering my 
	tenants. I tell you, there's no girl 
	by that name here. Besides, how do I 
	know you're detectives?

		FIRST DETECTIVE
	Show him your credentials, Mac. I'll 
	look around.

At this, Peter closes the door and turns to Ellie.

		PETER
	Detectives!

		ELLIE
		(petrified)
	That's Father at work. What'll I do?
		(appealingly, to him)
	Peter, what'll I do?

		PETER
	Don't look at me. I didn't marry 
	King Westley.

Ellie runs around the room picking up her stuff and murmuring, 
"Oh, my goodness!" She reaches the window.

		ELLIE
		(now seen close, at 
		the window)
	Maybe I could jump out of the window.
		(tremulously)
	Do you think they'd see me?

		PETER'S VOICE
		(suddenly)
	Come here, you little fool!

She starts toward him. We then see him plunking her in a 
chair:

		PETER
	Sit down!

He rumples her hair and sticks a few hairpins in her mouth. 
He now stands aside and deliberately talks loud enough to be 
heard outside.

		PETER
		(practically shouting)
	Yeah. I got a letter from Aunt Betty. 
	She says if we don't stop over at 
	Wilkes-Barre she'll never forgive 
	us.

		ELLIE
		(a close-up showing 
		her staring at him 
		in bewilderment)
	What are you talking about?

At this, Peter rushes over to her and clamps his hand over 
her mouth.

		PETER
		(with his hand over 
		her mouth)
	The baby is due next month -- and 
	they want us to come.

Ellie looks up at him, and realizes what he's doing, she 
nods to him that it's all right, whereupon he removes his 
hand from her mouth. And now one of the detectives approaches 
FRONT DOOR of the cabin. When he hears Peter's voice, he 
stops to listen.

		PETER'S VOICE
	She says she saw your sister Ethel 
	the other day, and she's looking 
	swell.

The detective knocks on the door. At this we again see inside 
of the cabin as Peter whispers to Ellie to say "Come in."

		ELLIE
		(calling)
	Come in!

The moment she does, Peter rushes behind the hanging blanket. 
He has his head stuck over it, waiting for the detective to 
enter, and the moment the door opens Peter ducks. The 
detective takes a step inside the room.

		PETER'S VOICE
	(from behind blanket) I hope Aunt 
	Betty has a boy, don't you? She's 
	always wanted a boy. I think we'll 
	stop over in Wilkes-Barre this trip, 
	darling. Give the family a treat.

A close view shows Ellie and the detective. They have been 
staring at each other.

		ELLIE
		(very sweet, calling 
		to Peter)
	There's a man here to see you, 
	Sweetheart.

		PETER'S VOICE
	Who -- me?
		(appearing from behind 
		the blankets; 
		pleasantly)
	Want to see me?

		DETECTIVE
		(who hasn't taken his 
		eyes off Ellie)
	What's your name?

		ELLIE
		(innocently)
	Are you addressing me?

		DETECTIVE
	Yeah. What's your name?

		PETER
		(stepping in front of 
		him)
	Hey, wait a minute! You're talking 
	to my wife! You can't walk in here 
	and -- what do you want, anyway?

		DETECTIVE
	We're looking for somebody.

		PETER
	Well, look your head off -- but don't 
	come bustin' in here. This isn't a 
	public park.

While Peter has been speaking, the second detective and Dyke 
have entered. They walk over to Peter, the First Detective, 
and Ellie.

		PETER
	I got a good mind to sock you right 
	in the nose.

		FIRST DETECTIVE
	Take it easy, son. Take it easy.

		SECOND DETECTIVE
		(crowding forward)
	What's up?

The Second Detective's eyes fall on Ellie and he stops to 
stare at her suspiciously. He takes a photograph out of his 
pocket which he inspects.

		DYKE
		(explains)
	These men are detectives, Mr. Warne.

		PETER
		(shouting)
	I wouldn't care if they were the 
	whole police department. They can't 
	come in here and start shooting 
	questions at my wife!

		ELLIE
		(appearing very 
		domestic)
	Don't get excited, Peter. They just 
	asked a civil question.

		PETER
		(turning on her; very 
		sarcastic)
	There you go again! How many times 
	did I tell you to stop butting in 
	when I have an argument?

		ELLIE
		(sharply; entering 
		into the spirit of 
		the pretense)
	Well, you don't have to lose your 
	temper!

		PETER
		(mimicking her)
	You don't have to lose your temper!
		(in his own voice)
	That's what you told me the last 
	time too. Every time I step in to 
	protect you. At the Elk's dance when 
	that big Swede made a pass at you --

		ELLIE
	He didn't make a pass at me! I told 
	you a million times!

The two detectives and Dyke are seen watching the other two, 
who are now out of sight.

		PETER'S VOICE
		(screaming)
	Oh, no! I saw him! He kept pawing 
	you all over the dance floor!

		ELLIE'S VOICE
	He didn't! You were drunk!

		PETER
		(now seen with Ellie)
	Oh, so now I was drunk!

		ELLIE
	Well, you were!

		PETER
	I'm sorry I didn't take another sock 
	at him.

		ELLIE
	Yeah, and gotten yourself arrested!

		PETER
	Aw, nuts! You're just like your old 
	man! Once a plumber always a plumber! 
	There isn't an ounce of brains in 
	your whole family!

		ELLIE
		(starting to cry)
	Peter Warne, you've gone far enough. 
	I won't stand being insulted like 
	this another minute.

Ellie goes over to her cot, and starts picking up her hat 
and things, whereupon Dyke, very much affected, turns to the 
detectives.

		DYKE
	Now look what you've done!

		FIRST DETECTIVE
		(apologetically)
	Sorry, Mr. Warne. But you see, we're 
	supposed to check up on everybody.

		SECOND DETECTIVE
	We're looking for a girl by the name 
	of Ellen Andrews. You know -- the 
	daughter of the big Wall Street mug.

A close-up of ELLIE appears as their voices are heard.

		FIRST DETECTIVE'S VOICE
	Your wife sure looks like her. Don't 
	she, Mac?

		SECOND DETECTIVE'S VOICE
	She sure does.

		PETER
		(the entire group 
		coming into view)
	Well, I hope you find her.
		(to Ellie)
	Quit bawling! Quit bawling!

The detectives start out, accompanied by Dyke, who is still 
concerned about the disturbing of his tenants. As they 
disappear out the door, we hear Dyke's voice:

		DYKE'S VOICE
	I told you they were a perfectly 
	nice married couple.

Their voices die. Peter stands in the middle of the room 
watching them go. From her side, where she has been stalling, 
Ellie peers out of the window until the detectives vanish. 
She starts toward Peter. Then they appear together, both 
staring out until the detectives are well out of sight. 
Finally, Peter closes the door and turns to her.

		PETER
		(seriously)
	It'll be a dirty trick on Aunt Betty 
	if it turns out to be a girl after 
	all.

This brings laughter from them both. But Peter suddenly 
sobers, and he looks at her thoughtfully.

		PETER
	Say, you were pretty good. Jumping 
	in like that. Got a brain, haven't 
	you?

		ELLIE
	You weren't so bad yourself.

		PETER
	We could start a two-person stock 
	company. If things get tough -- we 
	can play some small town auditoriums. 
	We'll call this one "The Great 
	Deception."

		ELLIE
	Next week "East Lynne."

		PETER
	After that "The Three Musketeers."
		(he strikes a pose)
	I'd make a great D'Artagnan.

		ELLIE
	How about Cinderella -- or a real 
	hot love story?

		PETER
	No mushy stuff. I'm running this 
	troupe.

		ELLIE
		(fighting)
	Oh, you are! Who made you the manager?

		PETER
	I did! It was my idea, wasn't it?

		ELLIE
	You always want to run everything.

		PETER
	If you don't like it, you can resign 
	from the company.

		ELLIE
	I refuse to resign!

		PETER
	Then I'll fire you. I'll do all the 
	parts myself.

They are interrupted by the door being flung open. Dyke sticks 
his head in the door.

		DYKE
	Your bus leaves in five minutes.

		PETER
	Holy jumping --! We haven't started 
	to pack yet!

And they both scurry around, throwing things carelessly into 
Peter's suitcase, as the scene fades out.

GORDON'S OFFICE fades in, and Gordon is at his desk as his 
secretary enters.

		SECRETARY
	Here's another wire from Peter Warne.

		GORDON
	Throw it in the basket.
		(as the secretary 
		starts to do so)
	What's it say?
		(reading)
	"Have I got a story! It's getting 
	hotter and hotter. Hope you're the 
	same."

Gordon snatches the wire out of her hand and tears it 
viciously into bits.

		GORDON
	Collect?

		SECRETARY
	Yes.

		GORDON
	Don't accept any more.

The scene dissolves to ANDREWS' NEW YORK OFFICE -- a richly 
appointed place, awe-inspiring in its dignified furnishings, 
which shriek of wealth. Andrews paces back and forth in back 
of his desk. Sitting before him is a man of fifty, with very 
rugged features. He is Lovington, head of the detective agency 
bearing his name. When the scene opens, Andrews is holding 
forth:

		ANDREWS
	Three days! Three whole days! And 
	what have you accomplished! --
		(in a close view at 
		the desk)
	All you've shown me is a stack of 
	feeble reports from those comical 
	detectives of yours. I want action, 
	Lovington!

		LOVINGTON
	We can't do the impossible, Mr. 
	Andrews.

		ANDREWS
	What I'm asking isn't impossible. My 
	daughter is somewhere between here 
	and Miami. I want her found!

		LOVINGTON
	I've put extra men on, all along the 
	way.

		ANDREWS
	It's not enough!
		(suddenly)
	Are you certain she's not with King 
	Westley?

		LOVINGTON
	No. He's been trailed twenty-four 
	hours a day since this thing started. 
	He can't even get a phone call we 
	don't know about.

		ANDREWS
		(who has been pressing 
		several buttons on 
		his desk)
	I'm worried, Lovington. After all, 
	something might have happened to 
	her.
		(he is interrupted by 
		the entrance of 
		several employees)

		ONE OF THEM
	Yessir?

		ANDREWS
		(seeing them)
	Oh, Clark -- want you to arrange for 
	a radio broadcast -- right away -- 
	coast to coast hook-up! Offer a reward 
	of ten thousand dollars for any 
	information leading to her 
	whereabouts.

		CLARK
		(leaving)
	Yessir.

		ANDREWS
	Brown --

		BROWN
	Yessir?

		ANDREWS
	Send the story out to the newspapers.
		(he rips a picture of 
		Ellie on the desk 
		out of its frame)
	Some of the out of town papers may 
	not have a picture of her. Here -- 
	wire this to them -- I want it to 
	break right away.

As he hands the picture to Brown, the view moves in to a 
close-up of the PICTURE which dissolves to a close-up of the 
same picture in a newspaper, and as the view draws slowly 
back we see the headline over it, which reads "DAUGHTER OF 
BANKER DISAPPEARS TEN THOUSAND DOLLARS REWARD" The view then 
draws back to reveal SHAPELEY reading the newspaper. He stares 
long and absorbedly at the picture. Then slowly he turns his 
head toward the rear of the bus, and the view following his 
gaze passes a group of men singing "The Man On the Flying 
Trapeze." They are huddled together, and accompanied by a 
man who plays a guitar. Then the view continues moving until 
it reaches Peter and Ellie who join in the song, and a close-
up of ELLIE shows her eyes sparkling as she sings gaily.

SHAPELEY looks back at Ellie, and apparently comes to the 
conclusion that his suspicions are correct, for he quickly 
folds the newspaper, casting a surreptitious glance around 
to make certain he is not being watched. A diabolical smirk 
spreads over his face.

A full view of the interior of the bus shows most of the 
occupants joining in the fun, singing. They seem unmindful 
of the discomfiture caused by the rocking of the bus, which 
throws them against each other. Then the view draws in to a 
front seat in which sit a woman and a small boy of ten. The 
woman's face is haggard and she sways uncertainly, her eyes 
half closed. Her small son's frightened face peers up at 
her.

		BOY
		(in a trembling voice)
	What'sa matter, Ma? Don't you feel 
	all right?

The woman struggles valiantly to recover her composure. She 
presses her son's small hand in a feeble effort at assurance.

A close view of Ellie and Peter shows ELLIE singing more 
boisterously than the rest, doing the comical song with 
exaggerated gestures. But suddenly her face clouds, at 
something she sees.

		ELLIE
		(touching Peter's arm)
	Peter!
		(as he turns)
	There's something the matter with 
	that woman. She looks ill.

Peter follows her gaze, whereupon we see the WOMAN. Her head 
rolls weakly, a pained expression on her face.

		ELLIE
		(again seen with Peter; 
		sympathetically)
	I better go over and see her.

		PETER
	Don't be silly. Nothing you can do. 
	Must be tough on an old woman -- a 
	trip like this.

		ELLIE
		(worried)
	Yes.

We see the other passengers around Ellie and Peter enjoying 
themselves. One of them pokes her.

		MAN
	Hey, Galli-Curci, come on -- get 
	onto it!
		(poking Peter)
	You, too, McCormack.

Ellie and Peter snap into it; they are just in time for the 
long wail which precedes the chorus:

		ELLIE AND PETER
		(Singing)
	"O-o-o-oh--He flies through the air 
	with the greatest of ease -- This 
	daring young man on the flying trapeze --
	"

At this the scene cuts to the ROAD. The bus is caught in a 
muddy road, full of ruts, and at the moment wavers dangerously 
at an angle. The left front wheel is stuck in a deep hole, 
and the engine roars and clatters as the driver feeds the 
gas. Finally the bus moves forward, extricating the wheel; 
but just as it does, the right front wheel falls into another 
mud hole on the other side, and this time the bus seems 
hopelessly stuck, a close-up of the RIGHT WHEEL showing it 
revolving desperately, but in vain. The mud splashes in all 
directions, and the wheel seems to sink deeper and deeper. 
Thereupon this view cuts to the inside of the BUS. The bus 
is tilted over at an extreme angle, which has thrown Ellie 
into a corner on the floor, where she now crouches in an 
undignified position. She looks like a turtle, her head being 
invisible.

		ELLIE
		(sticking her head 
		out)
	Thank the man for me, Peter. This is 
	the first comfortable position I've 
	had all night.

Peter, amused, is assisting her to her feet. The guitarist 
has continued his playing uninterrupted, and as Peter lifts 
Ellie, he sings:

		PETER
		(singing)
	"She flies through the air with the 
	greatest of ease. This darin' young 
	maid on the flying trapeze --
		(grunting)
	Her movements are graceful -- all 
	men does she please --"

A close view of the WOMAN and the LITTLE BOY now shows the 
latter terrifiedly watching his mother, whose head sags 
wearily. Finally she topples forward in a swoon.

		BOY
		(with a moan)
	Ma! Ma! What'sa matter with you?
		(tears stream down 
		his cheeks)
	Somebody help me! Somethin's happened 
	to her!

The music stops abruptly. Everyone looks up, startled. Ellie 
starts forward, followed by Peter. Passengers closely group 
around the woman and chatter. "She's fainted. Look how pale 
she is."

Peter and Ellie step up.

		PETER
	Get some water, somebody.
		(to the boy)
	Let me get in here, son.

Ellie goes out of sight to get water. The boy cries audibly, 
terror-stricken, but gets out of Peter's way, and Peter lifts 
the woman up and stretches her across the seat. Ellie comes 
back with water which she silently hands to Peter, who 
administers to the woman and when she slowly opens her eyes, 
makes her drink the water. The woman looks around, bewildered.

		PETER
		(consolingly)
	That's better. You're all right now. 
	Just took a little nose-dive, that's 
	all.

He assists her in sitting up. The boy's wailing is heard, 
and he now rushes over and throws his arms around his mother.

		BOY
		(crying)
	Ma -- oh, gee, Ma --!

His mother clings to him, but still feeling faint, her head 
sways. Peter looks up at Ellie and gives her a sign to sit 
down beside the woman. ELLIE sits down beside her. Peter 
takes the boy by the shoulders.

		PETER
	Come on, son. Better give your mother 
	a chance to snap out of it.
		(as the boy emits a 
		heart-breaking sob)
	It's all right, son. She'll be okay 
	in a couple of minutes.

He leads the boy away, while Ellie places her arm around the 
woman.

		ELLIE
	You'd better rest. It's been a hard 
	trip, hasn't it?

The scene cuts to a close view of SHAPELEY who has his eye 
peeled on Peter, watching him, and we next see Peter and the 
boy, who is still sobbing quietly. They are now standing 
away from the other passengers.

		BOY
	We ain't ate nothin' since yestidday.

		PETER
	What happened to your money?

		BOY
	Ma spent it all for the tickets. She 
	didn't know it was gonna be so much.
		(with a new outburst)
	We shouldn'a come, I guess, but Ma 
	said there's a job waitin' for her 
	in New York -- and if we didn't go, 
	she might lose it.

		PETER
	Going without food is bad business, 
	son. Why didn't you ask somebody?

		BOY
	I was gonna do it, but Ma wouldn't 
	let me. She was ashamed, I guess.

Peter reaches into his pocket for a bill, just as Ellie 
approaches them.

		ELLIE
	She'll be all right, soon's she gets 
	something to eat.

Peter has extracted a single bill and dips in his pocket for 
a smaller one. Before he can find anything, however, Ellie 
takes the one he has in his hand and gives it to the boy.

		ELLIE
	Here, boy -- first town we come to, 
	buy some food.
		(Peter glances at the 
		empty hand and then 
		at Ellie)

		BOY
	I shouldn't oughta take this. Ma'll 
	be angry.

		ELLIE
		(confidentially)
	Just don't tell her anything about 
	it. You don't want her to get sick 
	again, do you?

		BOY
		(a sob in his voice)
	No-o. But I shouldn't oughta take 
	the money.
		(to Peter)
	You might need it.

		PETER
	Me? Forget it, son.
		(rumples his hair -- 
		smiling)
	I got millions.

		BOY
		(also smiling)
	Thanks.

		ELLIE
		(her arm around the 
		boy)
	Come on. Let's go back to your mother.

She leaves with the boy, Peter watching her a moment, 
impressed by her display of humanness, before turning and 
leaving the scene, following which a close-up shot of SHAPELEY 
watching Peter, then also rising and starting out.

On the ROAD, the driver is now standing in front of the mud-
hole, staring at the sunken wheel dolefully, as several people 
stray into the scene.

		DRIVER
	That storm sure made a mess outa 
	these roads.

		PETER
		(appearing, and seeing 
		the trouble)
	Holy Smokes! You'll never get out 
	yourself! Better phone for some help.

		DRIVER
	Phone for help?
		(unhappily)
	We're right in the middle of nowhere. 
	There isn't a town within ten miles 
	of here.

Shapeley is just entering the outskirts of the group. He 
stops, looks in the direction of Peter speculatively. He has 
the newspaper stuck in his pocket, which he caresses tenderly. 
The scene expanding, Peter is then seen leaving the group.

		SHAPELEY
		(as Peter approaches)
	What's up?

		PETER
	Looks like we're going to be stuck 
	for a long time.
		(he starts away)

		SHAPELEY
		(calling to him)
	Say, Buddy --

Peter turns, and looks at him quizzically, and the two are 
then seen close together.

		SHAPELEY
	Like to have a look at my paper?

He has taken it out and has it opened as he hands it to Peter. 
The headlines concerning Ellie and her picture shriek out at 
Peter. This startles him for a moment, but he manages to 
recover his poise.

		SHAPELEY
	Travelin' like this, you kinda lose 
	track of what's goin' on in the world.

		PETER
		(guardedly)
	Thanks.
		(he glances from the 
		newspaper to Shapeley, 
		wondering how much 
		he suspects)

		SHAPELEY
	If you wanna get anywhere nowadays, 
	you gotta keep in touch with all the 
	news, is what I always say.

		PETER
		(eyeing him expectantly)
	That's right.

		SHAPELEY
		(pointing to paper)
	Take that story there, for instance. 
	Be kinda sweet if we could collect 
	that ten thousand smackers.

		PETER
		(non-committally)
	Yeah -- wouldn't it?

		SHAPELEY
	It's a lotta dough. If I was to run 
	across that dame, you know what I'd 
	do?

		PETER
	What?

		SHAPELEY
	I'd go fifty-fifty with you.

		PETER
	Why?

		SHAPELEY
	Cause I'm a guy that don't believe 
	in hoggin' it, see? A bird that 
	figures that way winds up behind the 
	eight ball, is what I always say.

		PETER
	What's on your mind?

		SHAPELEY
		(hard)
	Five G's -- or I crab the works.

		PETER
	You're a pretty shrewd baby.
		(looking around)
	We better get away from this gang. 
	Talk this thing over privately.

And the view moves with them as Peter leads the way toward a 
clump of bushes off the side of the road, Shapeley following. 
They are concealed from the rest of the passengers.

		PETER
	Lucky thing, my running into you. 
	Just the man I need.

		SHAPELEY
		(smiling broadly)
	You're not making any mistake, believe 
	you me.

		PETER
	I can use a smart guy like you.

		SHAPELEY
		(expansively)
	Say listen, when you're talkin' to 
	old man Shapeley, you're talking to --

		PETER
		(suddenly)
	Do you pack a gat?

A close view of the TWO shows the smile dying on Shapeley's 
face. He looks up quickly.

		SHAPELEY
	Huh?

		PETER
	A gat! A gat!
		(feeling him)
	Got any fireworks on you?

		SHAPELEY
		(weakly)
	Why -- no --

		PETER
		(carelessly)
	That's all right. I got a couple of 
	machine guns in my suitcase. I'll 
	let you have one of them.
		(Shapeley is beginning 
		to realize he is in 
		for something he 
		hadn't bargained 
		for, and stares 
		speechlessly at Peter, 
		who continues blandly)
	Expect a little trouble up North. 
	May have to shoot it out with cops.

The perspiration starts appearing on Shapeley's brow (as we 
see him in a close-up). Peter's voice continues:

		PETER'S VOICE
		(with emphasis)
	If you come through all right, your 
	five G's are in the bag. Maybe more. 
	I'll talk to the "Killer" -- see 
	that he takes care of you.

		SHAPELEY
		(finally finding his 
		voice)
	The Killer?

		PETER
		(seen with Shapeley; 
		watching the latter 
		to gauge the effect 
		of his words)
	Yeah -- the "big boy" -- the Boss of 
	the outfit.

		SHAPELEY
		(shakily)
	You're not kidnapping her, are you?

		PETER
		(tough)
	What else, stupid! You don't think 
	we're after that penny-ante reward, 
	do you?
		(contemptuously)
	Ten thousand bucks? Chicken feed! 
	We're holding her for a million 
	smackers.

		SHAPELEY
		(stammering)
	Say, look! I didn't know it was 
	anything like this, see -- and --

		PETER
	What's the matter with you! Gettin' 
	yellow?

		SHAPELEY
		(raising his voice, 
		pleadingly)
	But I'm a married man. I got a couple 
	of kids. I can't get mixed up with --

		PETER
		(gripping his arm)
	Sh-sh-sh --! Soft pedal, you mug! -- 
	before I -- What're you trying to 
	do? Tell the whole world about it!
		(low and menacingly)
	Now listen, you're in this thing -- 
	and you're staying in! Get me? You 
	know too much.

		SHAPELEY
		(frightened out of 
		his wits)
	I won't say anything. Honest, I won't.

		PETER
	Yeah? -- How do I know?
		(he reaches into his 
		coat threateningly)
	I gotta good mind to plug you.
		(arguing with himself)
	I shouldn't take any chances on you.

		SHAPELEY
		(breaking down)
	You can trust me, Mister. I'll keep 
	my mouth shut.

		PETER
	Yeah?
		(he glares at Shapeley 
		a moment silently, 
		as if making up his 
		mind)
	What's your name?

		SHAPELEY
	Oscar Shapeley.

		PETER
	Where do you live?

		SHAPELEY
	Orange, New Jersey.

		PETER
	Got a couple of kids, huh?

		SHAPELEY
	Yeah. Just babies.

		PETER
	You love them, don't you?

		SHAPELEY
		(sensing the threat; 
		horrified)
	Oh, gee, Mister -- you wouldn't -- 
	you ain't thinkin' about --

		PETER
		(threateningly)
	You'll keep your trap shut, all right.

		SHAPELEY
		(quickly)
	Sure -- sure -- I'll keep my trap 
	shut. you can depend on me, Mister.

		PETER
	If you don't -- Ever hear of Bugs 
	Dooley?

		SHAPELEY
	No.

		PETER
	Nice guy. Just like you. But he made 
	a big mistake, one day. Got kind of 
	talkative. Know what happened? His 
	kid was found in the bottom of the 
	river. A rock tied around its neck. 
	Poor Bugs! He couldn't take it. Blew 
	his brains out.
		(Shapeley can't stand 
		much more of this. 
		He is ready to keel 
		over)

		SHAPELEY
	Gee! That musta been terrible.
		(righteously)
	I guess he had it coming to him 
	though. But don't you worry about 
	me. I don't talk. I never talk. Take 
	my word for it. Gee, I wouldn't want 
	anything to happen to my kids.

		PETER
	Okay. Just remember that. Now beat 
	it.

		SHAPELEY
		(grabbing Peter's 
		hand and shaking it 
		gratefully)
	Oh, thanks, thanks, Mister. I always 
	knew you guys were kind-hearted.

		PETER
		(putting his hand 
		away)
	Come on, scram! And stay away from 
	that bus.

		SHAPELEY
	Sure. Anything you say.

As he says this, he backs away from Peter, following which a 
close-up of PETER shows a twinkle in his eye and then, as 
seen by Peter, Shapeley appears walking hurriedly away. When 
he thinks the distance is safe he starts running. He slips 
and falls in the mud, picks himself up, and continues his 
race for life.

The scene dissolves to the ROAD, at night, with Ellie and 
Peter walking along. It is apparent they have been trudging 
like this for a long time.

		ELLIE
	Poor old Shapeley. You shouldn't 
	have frightened him like that.

		PETER
	At the rate he started, he's probably 
	passed two state lines by this time. 
	The exercise is good for him.

		ELLIE
	Yes, I noticed he was getting a little 
	fat lately.
		(she grabs her side)
	Ouch!

		PETER
	What's the matter?

		ELLIE
		(grimacing)
	I was never built for these moonlight 
	strolls.
		(protesting)
	Why did we have to leave the bus?

		PETER
	I don't trust that chatterbox.

The scene dissolves to the banks of a narrow STREAM at night. 
Peter is bending over, removing his shoes, and we see the 
two closer as they talk.

		PETER
	First town we hit in the morning, 
	you better wire your father.

		ELLIE
	Not as long as I'm alive.

		PETER
	Okay with me, if you can stand the 
	starvation diet.

		ELLIE
	What do you mean -- starvation?

		PETER
	It takes money to buy food.

		ELLIE
	Why, haven't you --?

		PETER
		(interrupting)
	Not a sou. I had some before the 
	fainting scene.

		ELLIE
	You didn't give that boy all your 
	money?

		PETER
	I didn't give him anything. You were 
	the bighearted gal. How about wiring 
	your father now?

		ELLIE
	Never! I'll get to New York if I 
	have to starve all the way.

		PETER
		(rising -- uttering a 
		deep sigh)
	Must be some strange power Westley 
	has over you women.
		(he now has his shoes 
		off and ties them to 
		each other)
	How do you expect to get there?

		ELLIE
	To New York?

		PETER
	Yeah.

		ELLIE
	I'm following you.

		PETER
	Aren't you afraid of me?

		ELLIE
		(confidently)
	No.

		PETER
		(looking at her)
	Okay. Hang on to these.

As he bends down in front of Ellie, he gets a firm grip around 
her legs and throws her over his shoulder like a sack. She 
squeals, terrified, but Peter ignores this; and with his 
right hand, which is free, he lifts the suitcase and starts 
walking across the stream. Ellie's first fright is gone and 
she now rather enjoys the sensation of being carried by Peter. 
She lets herself go completely limp, still clinging to his 
shoes, which she carries by the string. As they walk, the 
dangling shoes keep hitting Peter's backside.

		PETER
	I wish you'd stop being playful.

		ELLIE
		(thereupon holding 
		the shoes out at a 
		safe distance)
	Sorry.
		(Peter takes several 
		more laborious steps 
		before either of 
		them speaks)
	It's the first time I've ridden "piggy-
	back" in years.

		PETER
	This isn't "piggy-back."

		ELLIE
	Of course it is.

		PETER
	You're crazy.

		ELLIE
		(after a silence for 
		several seconds)
	I remember distinctly Father taking 
	me for a "piggy-back" ride --

		PETER
	And he carried you like this, I 
	suppose.

		ELLIE
	Yes.

		PETER
		(with finality)
	Your father didn't know beans about 
	"piggy-back" riding.

		ELLIE
		(another silence before 
		she speaks again)
	My uncle -- Mother's brother -- had 
	four children... and I've seen them 
	ride "piggy-back."

		PETER
	I don't think there's a "piggy-back" 
	rider in your whole family. I never 
	knew a rich man yet who was a good 
	"piggy-back" rider.

		ELLIE
	That's silly.

		PETER
	To be a "piggy-backer" it takes 
	complete relaxation -- a warm heart -- 
	and a loving nature.

		ELLIE
	And rich people have none of those 
	qualifications, I suppose.

		PETER
	Not a one.

		ELLIE
	You're prejudiced.

		PETER
	Show me a good "piggy-back" rider 
	and I'll show you somebody that's 
	human. Take Abraham Lincoln, for 
	instance -- a natural "piggy-backer."
		(contemptuously)
	Where do you get off with your stuffed-
	shirt family?
		(turning)
	Why, your father knew so much about 
	"piggy-back" riding that he --

In his excitement he wheels around to speak to her, forgetting 
that as he turns she goes with him. Not finding her at his 
right, he swings around to his left. Naturally he takes Ellie 
with him -- and realizing his mistake he mutters:

		PETER
	Aw, nuts!

He proceeds on his way, walking faster than before. They 
continue this way silently for some time. Finally Ellie breaks 
the silence.

		ELLIE
		(persistently)
	My father was a great "piggy-backer."

Peter raises his eyes heavenward in thorough disgust, then 
calmly hands his suitcase to her.

		PETER
	Hold this a minute.

Ellie takes the suitcase from him, and his hand now free, he 
delivers a resounding smack on her backside, so that Ellie 
lets out a yelp.

		PETER
		(taking the suitcase)
	Thank you.

The scene dissolves to the edge of a cow PASTURE, at night, 
and Ellie and Peter are revealed climbing under a barbed 
wire fence, following which the scene dissolves to a HAYSTACK, 
in front. Peter sets his bag down and surveys the layout, 
Ellie watching him.

		PETER
		(to himself)
	This looks like the best spot.

		ELLIE
	We're not going to sleep out here, 
	are we?

		PETER
	I don't know about you, but I'm going 
	to give a fairly good imitation of 
	it.

And he busies himself laying out a bed for her, pulling hay 
from the stack and spreading it out on the ground. Ellie 
wanders aimlessly and then moves to a rock, where she sits 
and watches Peter.

		ELLIE
		(after a pause; coyly)
	Peter --

		PETER
		(as a close view shows 
		him still arranging 
		her bed; grumbling)
	What?

		ELLIE'S VOICE
	I'm hungry.

		PETER
		(without looking up)
	Just your imagination.

		ELLIE
		(seen at the rock, 
		while Peter is out 
		of sight)
	No, it isn't. I'm hungry and -- and 
	scared.

		PETER'S VOICE
	You can't be hungry and scared at 
	the same time.

		ELLIE
		(insisting)
	Well, I am.

		PETER
		(as both he and Ellie 
		are seen in their 
		respective places)
	If you're scared it scares the hunger 
	out of you.

		ELLIE
		(argumentatively)
	Not if you're more hungry than scared.

		PETER
		(impatiently)
	All right. You win. Let's forget it.

		ELLIE
		(after a pause)
	I can't forget it. I'm still hungry.

		PETER
		(tearing his hair; 
		screaming)
	Holy Smokes! Why did I ever get mixed 
	up with you!

This brings silence, and he goes on building a bed for her. 
Then a close-up of Ellie shows her watching him. Her eyes 
soften. A very definite interest in him is slowly but surely 
blossoming, and the fact that he is making her bed adds to 
the intimacy of the scene. A close view of PETER shows him 
concentrating on his task, but he pauses a moment and turns 
to glance at her. It is a devouring look, which he quickly 
dispels by working more feverishly on her bed.

		PETER
		(muttering while he 
		works)
	If I had any sense, I'd have been in 
	New York by this time.
		(he emphasizes his 
		feelings by yanking 
		viciously at the hay 
		as both of them are 
		now seen)
	Taking a married woman back to her 
	husband. Hunh! What a prize sucker I 
	turned out to be.
		(He has her bed ready; 
		without glancing at 
		her)
	Come on -- your bed's all ready.

She watches him a moment, then rising slowly, starts toward 
Peter. Then she stands over her bed, surveying it 
speculatively.

		ELLIE
	I'll get my clothes all wrinkled.

		PETER
		(sharply)
	Well, take them off.

		ELLIE
		(shocked)
	What!

		PETER
		(shouting)
	All right! Don't take them off. Do 
	whatever you please. But shut up 
	about it.

She flashes him a petulant, offended glance but it is lost 
on Peter, who has his back to her, and meticulously, she 
slips to her knees and proceeds to stretch out on the hay. 
The hay bed is bumpy and hard and she has quite a difficult 
time getting comfortable; her efforts to do so are accompanied 
by painful sighs. A close view shows PETER stopping to watch 
her, and his look is sympathetic and solicitous. Then while 
Ellie groans and sighs and pounds the hay with her palm, 
Peter steps out of sight. Ellie is unaware of his departure, 
so busily occupied is she with her makeshift bedding. She 
squirms around unhappily and finally stretches out, deciding 
to make the best of it. She lies on her back, her hands 
clasped under her head, looking up at the stars.

		ELLIE
		(seen close, as she 
		is lying back on hay 
		bed)
	You're becoming terribly disagreeable 
	lately. Snap my head off every time 
	I open my mouth.
		(she waits for a reply, 
		but receives none)
	If being with me is so distasteful 
	to you, you can leave.
		(independently)
	You can leave any time you see fit. 
	Nobody's keeping you her.
		(martyr-like)
	I can get along.

She waits a second and then turns to see what effect this 
has on him. The fact that Peter is gone doesn't quite register 
at first. She looks around calmly, then is puzzled, and 
finally she becomes panicky. She sits up with a start.

		ELLIE
		(murmuring, frightened)
	Peter --
		(there is a pause 
		while she listens, 
		but nothing stirs, 
		and there is more 
		apprehension in her 
		voice)
	Peter!

Real terror comes into her face, and she is ready to cry. 
She gets to her feet.

		ELLIE
		(with a terrified 
		outcry)
	Peter!!

At this he comes running into the scene; under his arm he 
has a watermelon.

		PETER
	What's the matter?

		ELLIE
		(relieved)
	Oh, Peter--
		(she throws her arms 
		around his neck and 
		sobs freely)

		PETER
		(hoarsely)
	What's got into you?

		ELLIE
		(clinging to him)
	Oh, Peter! I was so scared.

With his free hand he removes her arm from around his neck 
and starts away.

		PETER
		(setting the watermelon 
		down)
	I wasn't gone more than a minute. 
	Just went out to find you something 
	to eat.

		ELLIE
		(a sob still in her 
		voice)
	I know -- but --

		PETER
		(kicking the melon 
		over to her)
	Here. Eat your head off.

		ELLIE
	I don't want it now.

		PETER
		(vehemently)
	Thought you were hungry!

		ELLIE
	I was -- but --

		PETER
	But what!

		ELLIE
	I was so scared -- that it scared --

		PETER
		(exasperatedly)
	Holy Jumping Catfish! You can drive 
	a guy crazy.

He kicks the melon viciously out of sight, and without any 
particular preparation or fuss, he flops down on his bed, 
following which Ellie goes to her bed and lies down, too. 
Then a close view of ELLIE appears, and at the moment she 
looks far removed from the spoiled, pampered, self-reliant 
brat of Alexander Andrews. Instead, she is a helpless baby, 
clinging to Peter's protective wing. She'd be ever so grateful 
right now for a little civility on his part, for a little 
tenderness and understanding, and she glances over at him, 
hopefully. PETER, however, stares up at the stars, dreamily; 
and we then see ELLIE turning away from him, disappointed. 
Still, the minute Ellie turns her head, Peter looks at her 
out of the corner of his eye, and it's a long and steady 
gaze. Then suddenly he gets an idea and rises. He finds his 
topcoat and goes to her.

		PETER
	Might get chilly later on.
		(he spreads it over 
		her)
	Better use this.

As he bends down to tuck her in, their faces are seen in 
close proximity. Ellie, tremulous and fearful, has her eyes 
peeled on him. The situation is imminent with danger; anything 
is likely to happen at this moment; and she is frightened 
and expectant -- she knows how weak she would be, if he 
suddenly crushed her in his arms. Peter avoids her gaze. He, 
too, is a bit shaky. The temptation is there and his 
resistance is waning. He tucks her in and quickly turns away. 
Ellie's eyes, however, never leave him. Immediate danger has 
vanished, and it leaves her a little regretful.

A close view of PETER, as he walks over to a rock and sits 
down, shows him nervously taking out a cigarette and lighting 
it.

		PETER
	You've had a lot of men crazy about 
	you, haven't you?

ELLIE doesn't respond. She has the scrutinizing, speculative 
look of a girl who feels herself falling in love with someone 
who is practically a stranger to her, as a result of which 
she is frightened. Then a wider view includes both of them 
and we see that Peter, too, fights valiantly against a 
mounting interest in this girl, who epitomizes everything he 
dislikes. He creates the impression in the following scene 
that in his analysis of her he is trying to dissuade himself 
from something he is bound to regret. His attack on her, 
consequently, is overly vicious.

		PETER
	I guess you've pretty much had your 
	own way with them. That's your trouble 
	mostly. You've always had your own 
	way. That's why you're such a mess 
	now.

He pauses a second, waiting for a protest, but Ellie offers 
none; she is too much absorbed in her own confusing emotions. 
A close view then shows PETER taking a long puff on his 
cigarette and exhaling the smoke, watching it vanish before 
he speaks.

		PETER
		(suddenly)
	You know what generally happens to 
	people like you? You get your values 
	all mixed up. You attach all the 
	importance to the wrong things. Right 
	now, for instance, there's only one 
	thought in your mind -- to get back 
	to King Westley.

He waits for a reaction, but a close view shows ELLIE 
absorbed, and she remains silent. Peter's voice continues.

		PETER'S VOICE
	Comical part of it is, it isn't what 
	you want at all. In a couple of weeks 
	you'll be looking for the nearest 
	exit...
		(now seen with her)
	People like you spend all your life 
	on a merry-go-round. I guess that's 
	what makes you so dizzy.
		(he rises and paces a 
		few moments)
	You're always chasing after something. 
	At least you think you are. Truth 
	is, you're just running away.
		(emphatically)
	From yourself, mostly. 'Cause you're 
	miserable. You hate yourself. The 
	world's full of people like you. 
	Don't know what they want.

		ELLIE
	Do you know?

		PETER
	Sure.

		ELLIE
	What?

		PETER
		(flatly)
	Nothing.
		(after a pause)
	Nothing you'd give two cents for.

		ELLIE
		(seen close)
	Try me.

		PETER'S VOICE
	I just want to be let alone, that's 
	all. Life's swell if you don't try 
	too hard. Most people want to get a 
	strangle-hold on it. They're not 
	living. They're just feverish.
		(now appearing with 
		her)
	If they didn't get themselves all 
	balled up with a lot of manufactured 
	values, they'd find what they want. 
	Peace and calm. When you get right 
	down to it, what's all the shootin' 
	for, will you tell me? After all, 
	you can only eat three meals a day, 
	only sleep in one bed --
		(looking up)
	Right now, that hay feels pretty 
	good to you, doesn't it? Sure it 
	does. 'Cause you were tired -- and 
	it's the only thing around.

		ELLIE
	You sound like a hobo.

		PETER
	I am. I only work when I have to. 
	Two years ago I got a notion and 
	went to China. There was a war going 
	on. Swell! After a while it got stale. 
	I went down to Tahiti. Just lay on 
	the beach for six months. What could 
	be sweeter?

		ELLIE
	Doesn't sound very exciting.

PETER, seen close, looks at her for a long time before 
speaking:

		PETER
	I guess not. I'd have given odds it 
	wouldn't mean anything to you.
		(he goes over and 
		flops down on his 
		own side of hay)
	There were moments when I had hopes. 
	When I -- aw, I'm wasting time -- 
	You're destined to be a dope the 
	rest of your life.
		(contemptuously)
	I pity you. Goodnight.

He turns over with a finality that precludes any further 
discussion, following which a close-up of ELLIE reveals that 
her eyes are wide open, staring thoughtfully up at the sky. 
The scene fades out slowly.

A ROAD fades in. It is day now, and Peter and Ellie are 
trundling along. Ellie limps, and wears an unhappy expression 
on her face.

		ELLIE
	What are you thinking about?

		PETER
	By a strange coincidence, I was 
	thinking of you.

		ELLIE
		(pleased)
	Really?

		PETER
	Yeah. I was just wondering what makes 
	dames like you so dizzy.

		ELLIE
	What'd you say we're supposed to be 
	doing?

		PETER
	Hitch-hiking.

		ELLIE
	Well, you've given me a very good 
	example of the hiking --
		(strongly)
	where does the hitching come in?

		PETER
		(amused at her)
	A little early yet. No cars out yet.

She spies a rock and heads for it. Then we see her seated on 
the rock.

		ELLIE
	If it's just the same to you, we'll 
	sit right here till they come.
		(Peter comes over, 
		sets his bag down, 
		and prepares to wait)
	Got a toothpick?

		PETER
	No. But I've got a penknife.
		(he extracts one from 
		his pocket which he 
		snaps open)

		ELLIE
	Hay -- in my teeth.

She points to her front teeth, and Peter flicks the hay out 
of her teeth.

		PETER
	There it is. Better swallow it. We're 
	not going to have any breakfast.

		ELLIE
	Needn't rub it in.
		(Peter takes a carrot 
		out of his coat pocket 
		and starts nibbling 
		on it; Ellie looks 
		up at this)
	What're you eating?

		PETER
	Carrots.

		ELLIE
	Raw?

		PETER
	Uh-huh. Want one?

		ELLIE
		(emphatically)
	No!!
		(as Peter smacks his 
		lips with satisfaction)
	It's a wonder you couldn't get me 
	something I can eat.

		PETER
	You don't think I'm going around 
	panhandling for you.
		(he takes a bite)
	Best thing in the world for you -- 
	carrots. Had a tough time getting 
	them. If that farmer ever caught me -- 
	goodnight!

		ELLIE
	I hate the horrid stuff.

While she speaks a car roars by at terrific speed. Peter and 
Ellie both jump up.

		PETER
	I wish you wouldn't talk too much. 
	We let a car get away.
		(Ellie goes back to 
		her rock, despondently)

		ELLIE
	What if nobody stops for us?

		PETER
	Oh, they'll stop, all right. It's a 
	matter of knowing how to hail them.

		ELLIE
	You're an expert, I suppose.

		PETER
	Expert! Going to write a book on it. 
	Called the "Hitch-Hikers Hail."

		ELLIE
	There's no end to your 
	accomplishments.

		PETER
	You think it's simple, huh?

		ELLIE
		(exaggeratedly)
	Oh, no!

		PETER
	Well, it is simple. It's all in the 
	thumb, see? A lot of people do it --
		(waving)
	like this.
		(he shakes his head 
		sadly)
	But they're all wrong. Never get 
	anywhere.

		ELLIE
	Tch! Tch! I'm sorry for the poor 
	things.

		PETER
	But the thumb always works. Different 
	ways to do it, though. Depends on 
	how you feel. For instance, number 
	one is a short, jerky movement--
		(he demonstrates)
	That shows independence. You don't 
	care if they stop or not. 'Cause you 
	got some money in your pocket, see?

		ELLIE
	Clever.

		PETER
	Number two is a wider movement -- a 
	smile goes with that one -- like 
	this.
		(he demonstrates)
	That means you got a couple of brand 
	new stories about the farmer's 
	daughter.

		ELLIE
	You figured that all out yourself, 
	huh?

		PETER
	Oh, that's nothing. Now take number 
	three, for instance. That's a pip. 
	It's the pathetic one. When you're 
	broke -- and hungry -- and everything 
	looks black. It's a long movement 
	like this --
		(demonstrating)
	-- with a follow through.

		ELLIE
	Amazing.

		PETER
	Hm? Yeah, but it's no good if you 
	haven't got a long face with it.

In the distance a car is heard approaching, and Ellie looks 
up quickly.

		ELLIE
		(excitedly)
	Here comes a car!

		PETER
		(alert)
	Now watch me. I'm going to use Number 
	One. Keep your eye on that thumb, 
	baby, and see what happens.

Peter steps forward into the road and does his thumb movement. 
The car approaches, but speeds right by, spreading a cloud 
of dust in Peter's face, leaving him staring at the departing 
car, nonplussed. Thereupon ELLIE (seen close) glances up at 
him, a satirical expression on her face.

		ELLIE
		(sarcastically)
	I'm still watching your thumb.

Peter is still looking after the car.

		PETER
	Something must have gone wrong. I 
	guess I'll try number two.

		ELLIE
	When you get up to a hundred, wake 
	me up.

Another car is heard coming, and Peter steps forward, prepared 
to hail it. Then this dissolves to a long view of the ROAD 
as a stream of cars of every description speeds forward 
("toward the camera") and vanishes. The view moving in to 
the side of the road, Peter is seen still in the same spot. 
He waves his arms, jerks his thumb, indulges in all sorts of 
gyrations, while Ellie remains slumped on her rock, completely 
worn out.

Now Ellie watches Peter out of the corner of her eye, her 
face expressionless. Peter continues his arm waving -- but 
slows down like a mechanical toy which has run out. He finally 
gets down to just thumbing his nose at the passing vehicles; 
and then thoroughly wearied, he flops down on a rock near 
Ellie.

		PETER
	I guess maybe I won't write that 
	book after all.

		ELLIE
	Yes. But look at all the fun you 
	had.
		(as he glares at her)
	Mind if I try?

		PETER
		(contemptuously)
	You! Don't make me laugh.

		ELLIE
	You're such a smart aleck! Nobody 
	can do anything but you. I'll show 
	you how to stop a car -- and I won't 
	use my thumb.

The scene widens as she rises and steps forward.

		PETER
	What're you going to do?

		ELLIE
	Mind your own business.

She lifts her skirt to above her knees and pretends to be 
fixing her garter. Her very attractive leg is in full display. 
Almost instantly, we hear the screaming and grinding of 
quickly applied brakes, and Peter looks up astonished.

The scene wiping off, we then get a closer view of Ellie and 
Peter sitting in the back of an open Ford. It is a broken-
down, rickety affair of the 1920 vintage. Ellie grins 
victoriously up at Peter, who stares ahead of him, glumly.

		ELLIE
	You might give me a little credit.

		PETER
	What for?

		ELLIE
	I proved once and for all that the 
	limb is mightier than the thumb.

		PETER
	Why didn't you take all your clothes 
	off? You could have stopped forty 
	cars.

		ELLIE
	We don't need forty cars.

Peter glares at her, and Ellie's eyes twinkle mischievously, 
following which we get a wider view which includes the driver 
of the car, Danker. He is a man of about thirty, a heavy 
set, loose chinned person; at the moment he is singing an 
aria from some opera. He suddenly stops, turning to Ellie 
and Peter in the back seat.

		DANKER
	So you've just been married, huh? 
	Well, that's pretty good. If I was 
	young, that's just the way I'd spend 
	my honeymoon -- hitch-hiking. Y-e-s 
	s-i-r!

And for no reason except that he cued himself into it, he 
bursts forth into song gustily.

		DANKER
		(singing)
	"Hiking down the highway of love on 
	a honeymoon. Hitch-hiking down -- 
	Down-down-down the highway Down --."

Ellie and Peter in the back of the car react to the noise 
Danker makes.

		PETER
	Hey, hey, aren't you afraid you'll 
	burn out a tonsil?

		DANKER
	Tonsil? Me? No! Me burn a tonsil?
		(singing)
	"My tonsils won't burn -- As life's 
	corners I...

		PETER
		(giving up)
	All right, let it go.

		DANKER
		(completing his last 
		line)
	...turn."

The scene dissolves to the front of a LUNCH WAGON on a 
deserted road, and Danker's car drives into the scene and 
stops. Then we see Danker turning to Ellie and Peter.

		DANKER
	How about a bite to eat?

		ELLIE
		(quickly)
	Why, I think that would be --

		PETER
		(stopping her)
	No, thanks. We're not hungry.

		DANKER
		(sentimentally)
	Oh, I see, young people in love are 
	never hungry.

		PETER
	No.

		DANKER
		(singing as he leaves 
		them)
	"Young people in love Are very seldom 
	hungry. People in love Are very seldom 
	hungry..."

When he is out of sight, Peter glares at Ellie.

		PETER
	What were you going to do? Gold dig 
	him for a meal?

		ELLIE
		(defiantly)
	Why not? I'm hungry.

		PETER
	Eat a carrot.

		ELLIE
	Never!
		(she starts out of 
		car)
	I'm going in and ask him --

		PETER
		(grabbing her arm)
	If you do, I'll break your neck.

She looks up at his glowering face, realizes he means it, 
and wilts under his dominant gaze.

		PETER
	Let's get out and stretch our legs.

Peter gets out, followed by Ellie, and they walk away from 
the car. Both are silent. At the DOOR of the LUNCH WAGON, 
then, Danker comes out and looks around furtively. Ellie and 
Peter, as seen by him, appear, walking away, following which 
the view moves over to the Ford and drops down to a close-up 
of Peter's suitcase. Now Danker looks about quickly and starts 
toward his car. He springs into the car, steps on the starter, 
and is off.

ELLIE and PETER hear the motor. They wheel around, and their 
eyes widen in surprise.

		PETER
	Hey!

He flings his coat at Ellie and dashes after the Ford. He is 
then seen running after it when the car turns around a bend 
in the road. Peter continues the pursuit. This scene wiping 
off, the FORD now makes its appearance around the bend, and 
as it approaches, Peter is seen at the wheel. He looks like 
he's just been through a fight. And as Peter rides in, Ellie 
comes running toward him.

		ELLIE
		(a note of great relief 
		in her voice)
	Oh, Peter! What happened? Are you 
	all right?

		PETER
	Come on -- get in.

		ELLIE
		(noticing a gash in 
		his cheek)
	Oh, you've been hurt! There's a cut 
	on --

		PETER
		(impatiently)
	Come on! come on!
		(at this she runs 
		around to get in the 
		other side)

		ELLIE
		(as she runs)
	What happened?

		PETER
		(as we see them closer)
	Just a road thief. Picks people up 
	and runs off with their stuff. What 
	a racket!
		(by this time she is 
		in the car)

		ELLIE
	What'd you give him for the car?

		PETER
	A black eye.
		(thereupon the car 
		moves out of sight)

A close view shows Peter and Ellie driving along in the Ford. 
Peter looks ahead, uncommunicatively. Ellie glances up at 
him, and it is plain that something's on her mind.

		ELLIE
		(a little self-
		consciously)
	Look -- uh -- how are the -- uh -- 
	carrots holding out? Any left?

Peter glances at her. He knows what a concession this is on 
her part, and he smiles sympathetically.

		PETER
		(tenderly)
	You don't have to eat the carrots.
		(as she looks her 
		surprise)
	Just passed a pond with some ducks 
	in it.

		ELLIE
		(with a cry of joy)
	Darling!

She reaches up and kisses his cheek, and Peter beams happily.

		PETER
		(looking worried)
	Haven't much gas left in this thing. 
	Got to start promoting some.
		(throwing her his 
		coat)
	Better take the things out of the 
	pocket of that coat. Ought to be 
	good for ten gallons.

The scene fades out. 

ANDREWS' STUDY fades in, affording a close view of King 
Westley. He answers every description we have had of him. He 
is a stiff, handsome, stuffed-shirt gigolo. He sits in a 
chair, leaning on a cane, his gloves loosely in his hand. 
The view then moves back to reveal Andrews, who, from the 
opening of the scene, is speaking as he paces around the 
room.

		ANDREWS
	I haven't changed my mind, Westley, 
	I want you to understand that! I 
	don't like you! I never have! I never 
	will! That's clear enough, isn't it?

		KING
	You've made that quite evident -- 
	with all your threats of annulment.
		(confident)
	Well, it hasn't bothered me for a 
	minute. Ellie and I got married 
	because we love each other. And she's 
	proving it; as far as I'm concerned 
	there's going to be no annulment.

		ANDREWS
		(hard)
	You've got a good thing and you're 
	hanging on to it, huh?
		(Andrews smiles in a 
		very superior manner)
	All right, you win. I'll just have 
	to get used to you. I admit I'm 
	licked. But only because I'm worried. 
	I've had detectives all over the 
	country searching for her. I've seen 
	thousands of photographs. Fortune 
	tellers, nuts, every crank in the 
	country has written me.
		(quietly)
	Haven't slept one night this week. 
	If I don't find her, I'll go crazy.

		WESTLEY
	I might have been able to help if it 
	weren't for you. I've been watched 
	so closely, I --

		ANDREWS
		(impatiently)
	Yes. I know. Well, you can help now. 
	I issued a statement yesterday that 
	I've withdrawn my objections. Begging 
	her to come home. I haven't heard 
	from her. Apparently she doesn't 
	trust me.

		WESTLEY
	Why should she? After all --

		ANDREWS
		(interrupting)
	All right. That's why I sent for 
	you.
		(pointing to next 
		room)
	There's a room full of reporters out 
	there. I want you to make a statement -- 
	that you've had a talk with me -- 
	that we've reached an understanding -- 
	that if Ellen comes home, I won't 
	interfere with your marriage. Will 
	you do that?

		WESTLEY
	If you really mean it, I will.

		ANDREWS
		(strongly)
	Of course I mean it! I don't care 
	whom she's married to --
		(softly)
	-- as long as I can get her back.
		(he starts out)

As Andrews opens the door, a number of reporters enter.

		ANDREWS
	Come in, boys. This is my -- uh -- 
	this is King Westley.
		(Westley rises)
	He has a statement to make.

		REPORTERS
	Hello, Westley... How do you do.
		(they group around 
		him)

The scene dissolves to the side of a lonely ROAD at night. 
First there is a close-up of a newspaper headline, which 
reads.

ANDREWS WITHDRAWS OBJECTION Magnate and Aviator Reconciled 
"Everything all right. Come home, darling," says Westley. 
Then the view draws back revealing that the newspaper is in 
the hands of Ellie, who sits in the car alone, gazing at the 
headlines. Then Peter's voice is heard.

		PETER'S VOICE
	All right, Brat.

At the sound of his voice, she is startled, and she quickly 
folds the paper and throws it out of sight. She starts to 
get out of the car.

		ELLIE
		(as she scrambles out 
		of the car just as 
		Peter comes up to 
		her)
	Any luck?

		PETER
	Yeah. He finally agreed to let us 
	have a room.

		ELLIE
	What about money?

		PETER
	Talked him out of it. He thinks we're 
	going to stay a week. I'll have to 
	think of something before morning.

		ELLIE
	That's swell!

		PETER
	I'm glad you think so. If you ask 
	me, it's foolish. I told you there's 
	no sense in our staying here tonight. 
	We could make New York in less than 
	three hours.

		ELLIE
	I couldn't arrive in New York at 
	three in the morning. Everybody's in 
	bed.

		PETER
		(after a pause)
	Okay.
		(with a wave of his 
		hand)
	Cottage Number Three.

As they start toward it, the scene cuts to the OWNER'S CABIN. 
The owner of the auto camp and his wife are standing at 
window, looking out. She is a hatchet-faced shrew. He is 
meek and docile.

		WIFE
	There you go -- trustin' people again. 
	How many times did I tell you --

		OWNER
	He looked like an upright young feller 
	to me, Ma.

		WIFE
	Yeah. They're all upright till they 
	walk out on you.

		OWNER
	Said he was gonna stay a week.

		WIFE
	Mebbe.

		OWNER
	Worst comes to the worst, we got his 
	car for security.

		WIFE
		(unconvinced)
	I don't trust him.

The scene cuts to the inside of a CABIN not unlike the 
previous auto camp cabin in which Peter and Ellie spent a 
night. Peter's opened suitcase is on a chair, over which he 
leans. Ellie walks around, puffing at a cigarette.

		PETER
		(without looking up)
	Well, here we are on the last lap.

Ellie crosses to the window and stares out moodily. Peter 
removes several things from his suitcase and lays them on 
the bed. There is a strained silence between them, as both 
are lost in their own thoughts. A close view of PETER as he 
putters abstractedly with the contents of his bag creates 
the impression that he empties it tonight rather ruefully. 
It somehow spells finis to their adventure.

		PETER
		(strangely)
	Tomorrow morning, you'll be in the 
	arms of your husband.

ELLIE (seen close) turns away from the window and looks at 
Peter. She stares this way for a long moment before speaking.

		ELLIE
		(in a still, small 
		voice)
	Yes. You'll have a great story, won't 
	you?

		PETER
		(dryly)
	Yeah, swell.

Peter takes the rope out of his bag. It is the one used for 
the "Walls of Jericho" previously. He lays it aside and then, 
remembering, retrieves it. For a moment he holds it in his 
hand, speculatively; then turning, proceeds to tack it up. 
The noise of the tacking attracts Ellie's attention, and 
Ellie (again seen close) turns and looks toward Peter.

		ELLIE
	Is that the Walls of Jericho going 
	up?

		PETER'S VOICE
	Yep! The Walls of Jericho.
		(at which she turns 
		back to the window)

PETER (also seen close) stretches the rope across the room 
and tacks the other side.

		PETER
		(then reaching for 
		blanket)
	We certainly outsmarted your father.
		(he throws the blanket 
		over the rope)
	I guess you ought to be happy.

There is no response from her, a close view revealing that 
she quite obviously isn't happy. They are now separated by 
the blanket, and Peter gets her pajamas from his suitcase 
and throws them over the blanket.

		ELLIE
	Thank you.
		(there is silence 
		while Peter starts 
		undressing -- suddenly)
	Am I going to see you in New York?

		PETER
		(laconically)
	Nope.

		ELLIE
	Why not?

PETER glances up at the "Walls of Jericho" and after a 
speculative pause, speaks quietly.

		PETER
	I don't make it a policy to run around 
	with married women.

A close-up of ELLIE, disclosing only her neck and shoulders, 
shows her slipping out of her clothes. She pauses -- then 
looks up.

		ELLIE
	No harm in your coming to see us.

		PETER'S VOICE
	Not interested.
		(at this Ellie's face 
		falls, this is a 
		definite rebuff)

		ELLIE
		(weakly)
	Won't I ever see you again?

PETER (seen close) is now getting into his pajamas.

		PETER
	What do you want to see me for? I've 
	served my purpose. I brought you 
	back to King Westley, didn't I?
		(his mouth screws up 
		bitterly)
	That's what you wanted, wasn't it?

ELLIE is already in bed, staring up at the ceiling.

		ELLIE
	Peter, have you ever been in love?

PETER crawls into bed.

		PETER
	I probably did the world a great 
	favor at that. Got two pinheads out 
	of circulation.
		(he reaches over and 
		lights a cigarette)
	Cupid thinks he's doing something 
	when he brings two lovers together. 
	What good's that? I'm bringing two 
	pains-in-the-neck together. I think 
	I'll start an institution -- hang 
	out a shingle.

The view now widens to include both sides of the blanket. 
Ellie doesn't hear a word of Peter's attack. She is too intent 
on her own thoughts.

		ELLIE
	Haven't you ever wanted to fall in 
	love?

		PETER
	Me?

		ELLIE
	Yes. Haven't you thought about it at 
	all? Seems to me you could make some 
	girl wonderfully happy.

		PETER
		(disdainfully)
	Maybe.
		(after a pause)
	Sure -- sure, I've thought about it. 
	Who hasn't? If I ever met the right 
	sort of a girl, I'd --
		(interrupting himself)
	Yeah, but where you going to find 
	her -- somebody that's real -- 
	somebody that's alive? They don't 
	come that way any more.

ELLIE's disappointment is apparent.

		PETER
		(seen close)
	I've even been sucker enough to make 
	plans.
		(a long puff on his 
		cigarette)
	I saw an island in the Pacific once. 
	Never been able to forget it. That's 
	where I'd like to take her. But she'd 
	have to be the sort of a girl that'd 
	jump in the surf with me on moonlight 
	nights -- and love it as much as I 
	did.
		(he loses himself in 
		his romantic 
		contemplations)
	You know, those nights when you and 
	the moon and the water all become 
	one -- when something comes over you -- 
	and you feel that you're part of 
	something big and marvelous.
		(sighing)
	Those are the only places to live. 
	Where the stars are so close over 
	your head that you feel you could 
	reach right up and stir them around.

A close-up of ELLIE at this point shows that she is affected 
by his stirring description of a heaven -- from which she is 
excluded, as she listens to him continuing.

		PETER'S VOICE
	Certainly I've been thinking about 
	it. Boy, if I could ever find a girl 
	who's hungry for those things --

PETER (again seen close) has disposed of his cigarette and 
now stares dreamily heavenward.

		PETER
	I'm going to swim in the surf with 
	her -- I'm going to reach up and 
	grab stars for her -- I'm going to 
	laugh with her -- and cry with her. 
	I'm going to kiss her wet lips -- 
	and --

Suddenly stopping, he turns his head slowly, sensing Ellie's 
nearness; and the view, drawing back to include Ellie, shows 
her standing at his bedside, looking down at him yearningly.

Then we see them close together: Peter's face is immobile. 
Ellie drops to her knees.

		ELLIE
		(fervently)
	Take me with you, Peter. Take me to 
	your island. I want to do all those 
	things you talked about.

Peter stares at her lovely face. His heart cries out with an 
impulse to crush her in his arms.

		PETER
		(after a long pause; 
		hoarsely)
	Better go back to your bed.

		ELLIE
		(simply)
	I love you.

		PETER
		(arguing with himself)
	You're forgetting you're married.

		ELLIE
		(tensely)
	I don't care. I love you. Nothing 
	else matters. We can run away. 
	Everything'll take care of itself.
		(begging)
	Please, Peter. You can't go out of 
	my life now. I couldn't live without 
	you.
		(in a choked voice)
	Oh, Peter --

Sobbing, she lays her head on his breast and throws her arms 
around him. All is quiet for a moment as Ellie's head rests 
on his breast, while Peter struggles with an overwhelming 
urge to pour out his heart to her.

		PETER
		(scarcely audible)
	Better go back to your bed.

There is a lengthy pause, neither of them stirs. Then Ellie 
slowly raises her tear-stained face and gets to her feet.

		ELLIE
		(whispering)
	I'm sorry.

She turns and disappears behind the blanket. Peter remains 
motionless. Then a close view shows ELLIE, as she gets into 
bed, sobbing quietly. She hides her face in the pillow to 
suppress her sobs. It is the first time in her life that she 
has been so deeply hurt. A close view next shows PETER 
reaching over for a cigarette, which he lights. All his 
movements are thoughtful, meditative. He leans back and stares 
at the ceiling, until we see only the cigarette in his mouth 
as it emits slowly rising puffs of smoke. This dissolving, 
the cigarette is seen to be burnt three quarters down, a 
long, frail ash hanging perilously on. PETER is then seen as 
he removes the cigarette from his mouth and crushes it in a 
tray. He leans back on the pillow and for a moment he is 
quiet. Then glancing over in Ellie's direction, he calls to 
her:

		PETER
		(softly calling)
	Hey, Brat --!
		(a pause)
	Did you mean that? Would you really 
	go?
		(he waits for a 
		response, but none 
		comes. He tries again)
	Hey, Brat --

He listens -- all is quiet. He slips his covers off and 
crosses to the blanket, and peers over it. She is asleep. 
Her tear-stained face rests on the pillow, her arm extends 
over her head. It is a childlike posture.

PETER is watching her tenderly. He speculates whether to 
awaken her and decides against it. He starts away. Peter 
tiptoes around the room for a few moments, deep in thought. 
Then as an idea which he has been turning over in his mind 
begins to take form, he hastily begins dressing.

The scene dissolving, Peter is seen completely clothed and 
starting for the door when he thinks of something. He turns 
back, grabs his suitcase, stops to throw a kiss to Ellie, 
and goes out into the night. Thereupon the scene wipes off, 
disclosing a GAS STATION along the road at night. Here Peter 
is talking to a station attendant.

		PETER
	All I'm asking is enough gas to get 
	me to New York. The bag's worth twenty-
	five dollars.

		MAN
		(hesitatingly)
	Yeah, but I got a bag. My wife gave 
	me one for Christmas.

		PETER
		("high-pressuring" 
		him)
	Listen, man -- I'll tell you what 
	I'll do. When I come back in the 
	morning, I'll buy it back from you 
	and give you ten dollars profit? 
	What do you say?

		MAN
		(looking at Peter's 
		hat)
	I ain't got a hat --

		PETER
	What?

		MAN
	I ain't got a hat.

		PETER
		(promptly putting it 
		on his head)
	Well, you got one now. -- Come on, 
	fill 'er up.

While he is still talking the scene dissolves to a view of 
Peter driving furiously, a broad, happy grin on his face, 
following which several scenes wipe off in succession 
(denoting the passage of time) -- scenes of Peter driving at 
high speed, causing several cows to amble out of the way; of 
the CAR driving into the Holland Tunnel, and of the BACK 
ROOM of a SPEAKEASY where Peter stands in front of a small 
desk upon which there is a typewriter. Near him is a swarthy 
Italian.

		PETER
	Fine! That's fine, Tony. Now get me 
	a drink and make sure nobody disturbs 
	me for half an hour.

		ITALIAN
		(going out)
	Sure. Sure, Pete.

As Peter plants himself in front of the machine, the scene 
dissolves to a close-up of the typewriter carriage upon which 
are typed the words:

"-- and that's the full and exclusive story of Ellen Andrews' 
adventures on the road. As soon as her marriage to King 
Westley is annulled, she and Peter Warne, famous newspaperman -- 
and undoubtedly the most promising young novelist of the 
present era -- will be married." 

The view drawing back, Peter re-reads the last sentence, 
smiles contentedly, and as he yanks out the sheet, the scene 
wipes off disclosing the outside of GORDON'S OFFICE, the 
sign on the door reading: "Office -- Mr. Gordon." Gordon's 
secretary is at her desk as Peter breezes in.

		PETER
		(rumpling her hair)
	Hello, Agnes.

		AGNES
	Better not go in. He'll shoot you on 
	sight.

		PETER
		(entering)
	I haven't been shot at for days.

In GORDON'S OFFICE, Gordon is at his desk. He looks up when 
Peter enters.

		GORDON
		(rising to his full 
		height menacingly)
	Get out of here!

		PETER
		(advancing)
	Wait a minute, Gordon -- I --

		GORDON
		(quietly)
	Get out!

Peter reaches his side, and grabs him by the arms.

		PETER
	Joe, listen--

		GORDON
	Don't "Joe" me.

		PETER
	Okay, Joe. Listen -- you know I've 
	always liked you. Anytime I could do 
	you a great turn -- anytime I ran 
	into a story that looked good -- I 
	always came running to you, didn't 
	I? Well, I got one now. Those wires 
	I sent you were on the level. It's 
	the biggest scoop of the year. I'm 
	giving it to you, Joe.

		GORDON
	You mean about the Andrews' kid?

		PETER
	That's it.
		(tapping his pocket)
	I got it all written up. Ready to 
	go. All I want is a thousand dollars.

Upon hearing this GORDON is ready to jump out of his skin.

		GORDON
	A thousand dollars!
		(furiously)
	Get out of this office before I throw 
	you out bodily.

		PETER
	Don't get sore, Joe. This is something 
	you got to do for me. I need a 
	thousand dollars -- and I need it 
	quick. I'm in a jam.

		GORDON
		(softening)
	What's the thousand bucks for?

		PETER
	To tear down the Walls of Jericho.

		GORDON
	What!

		PETER
	Never mind... Listen -- suppose I 
	should tell you that Ellen Andrews 
	is going to have her marriage 
	annulled.

		GORDON
	Huh?

		PETER
	That she's going to marry somebody 
	else.

		GORDON
	You're drunk.

		PETER
	Would an exclusive story like that 
	be worth a thousand bucks to you?

		GORDON
	If it's on the level.

		PETER
	Well, I got it, Joe.

		GORDON
	Who's she gonna marry?

		PETER
		(taking out the story 
		from his pocket)
	It's all right here. Give me the 
	thousand and it's yours.

		GORDON
		(skeptically)
	I wouldn't trust you as far as I 
	could throw that desk.

		PETER
	Wait a minute, Joe. Use your bean. I 
	couldn't afford to hand you a phoney 
	yarn, like that. I'd be crazy. There 
	isn't a newspaper in the country'd 
	give me a job after that! I could go 
	to jail!

		GORDON
	I'd put you there myself.

		PETER
	Sure. I wouldn't blame you, either.

		GORDON
	Who's the guy she's gonna marry?

		PETER
	I am, Joe.

		GORDON
		(his eyes widening)
	You!

		PETER
	Yeah.

		GORDON
	Now I know you're drunk.
		(he grabs his hat)
	I'm going home. Don't annoy me any 
	more.

		PETER
		(running after Gordon 
		as the latter starts 
		out)
	For heaven's sake, Joe -- stop being 
	an editor for just a minute.
		(he grabs his arm)
	We've been friends for a long time, 
	haven't we? You ought to know when 
	I'm serious. This is on the level.

Gordon is affected by the sincere note in Peter's voice.

		PETER
	I met her on a bus coming from Miami. 
	Been with her every minute.
		(hoarsely)
	I'm in love with her, Joe.

		GORDON
	Well, I'll be--

		PETER
	Listen, Pal -- you've got to get 
	this money for me. Now. Minutes count. 
	She's waiting for me in an auto camp 
	outside of Philadelphia. I've got to 
	get right back. You see, she doesn't 
	know I'm gone.
		(self-consciously)
	A guy can't propose to a girl without 
	a cent in the world, can he?

While Peter has been speaking Gordon stares into space 
thoughtfully.

		GORDON
	What a story!
		(picturing it)
	On her way to join her husband, Ellen 
	Andrews falls in love with --
		(alert -- grabbing 
		paper out of Peter's 
		hand)
	Lemme see that a minute.

He moves to his desk excitedly, and Peter, a gleam of hope 
in his eyes, joins him, following which the scene cuts to 
the SHACK of the camp owner and wife in the early morning. 
The owner is suddenly startled out of his sleep by the voice 
of his wife calling, "Zeke! Zeke!" He looks up, just as she 
rushes into the room.

		WIFE
	I told you! I told you, you couldn't 
	trust him! He's gone!

		OWNER
	Who?

		WIFE
	That feller last night, that's who! 
	He was gonna stay a week, huh? Well, 
	he's skipped. Took the car with him, 
	too. We wouldn't have known a thing 
	about it until morning if I hadn't 
	took that magnesia.
		(pulling at him)
	Come on, get up, don't lay there. 
	Let's do something about it.

Thereupon the scene cuts to the AUTO CAMP CABIN affording a 
close view of ELLIE tossing restlessly in her sleep. Suddenly 
there is a loud banging on the door, and Ellie, startled, 
awakens. The pounding continuing, Ellie looks around, 
frightened. The door suddenly bursts open, and the owner and 
wife enter. They both glance over at Peter's side.

		WIFE
	See that. They're gone!

		OWNER
		(timidly)
	Looks like it, don't it?
		(suddenly he sees 
		Ellie)
	Here's the woman, ma.

		WIFE
		(full of fight -- 
		glaring at Ellie)
	Oh!!

		ELLIE
		(in a close view at 
		Ellie's Bed as the 
		owner and his wife 
		come up to her; 
		timidly -- sitting 
		up)
	What's the matter?

		WIFE
	Where's your husband, young lady --

		ELLIE
	Husband?

		WIFE
	Yes -- if he is your husband.

		ELLIE
	Isn't he here?

		WIFE
	No, he ain't! And the car's gone, 
	too.

		ELLIE
		(bewildered)
	Why, he'll be back.

		WIFE
	Yeah? What makes you think so! He 
	took his suitcase and everything.
		(Ellie is perceptibly 
		startled by this 
		piece of news)
	Kinda surprised, huh? It's just like 
	I told you, Zeke. They ain't married 
	a'tall...

There is a close view of ELLIE as the wife's voice continues 
uninterruptedly:

		WIFE'S VOICE
	...could tell she was a hussy just 
	from the looks of her.

Ellie is lost in thought, trying to adjust herself to the 
idea of Peter's leaving her like this. She scarcely hears 
what is being said.

		OWNER'S VOICE
	Hey! You! Got any money?

		ELLIE
		(snapping out of her 
		trance)
	Why -- no.

		WIFE
		(the three now seen 
		together)
	Then -- you'll have to git!

		OWNER
	Yeah, you'll have to git.

		ELLIE
	Why, you can't put me out in the 
	middle of the --

		WIFE
	Serves you right. Oughta be careful 
	who you take up with on the road. 
	You can't go plyin' your trade in my 
	camp.

		ELLIE
	But can't you wait until morning --

		WIFE
	Ain't gonna wait a minute.

		OWNER
	Not a minute!

		WIFE
	Better start gettin' into your 
	clothes.

		OWNER
	Yeah.

		WIFE
		(glaring at him)
	Zeke.
		(he looks up startled)
	Git!

		OWNER
		(disappointed)
	Yes, Ma.

As Zeke leaves, the Wife plunks herself in a chair, grimly 
determined to wait until Ellie gets dressed and out.

		ELLIE
	Can I use your telephone? I want to 
	talk to New York.

		WIFE
	You ain't gonna stick me for no phone 
	calls. You can go down to the 
	Sheriff's office.

The scene thereupon cuts to the EXTERIOR of the AUTO CABIN 
as Ellie emerges, the Wife standing in the doorway. In the 
foreground several people are scattered around the courtyard. 
One woman washes stockings under a pump. A man is changing 
the tire on his car. Ellie comes down the steps and crosses 
the courtyard.

		WIFE
		(shouting to her)
	And listen, next time better keep 
	away from here. I run a respectable 
	place.

Ellie does not turn, but walks straight forward, trying to 
maintain her poise. The people in the courtyard turn to stare 
at her, and one of them snickers.

The scene dissolves to GORDON'S OFFICE as Peter is pocketing 
the money. Gordon is fondling the story.

		PETER
	Thanks, Pal. You saved my life.

		GORDON
		(waving the story)
	Okay, Pete.
		(he drops the story 
		on the desk and 
		escorts Peter out, 
		his arm around his 
		shoulder)
	For my dough,
		(smiling)
	you're still the best newspaperman 
	in the business.

They reach the door, which Peter opens. Then they appear at 
the DOORWAY. Through the open door the secretary stares 
dumbfounded at their friendliness.

		GORDON
	S'long, kid. And good luck.

Outside GORDON'S OFFICE, Peter kisses the secretary as he 
passes through.

		PETER
	'Bye, Agnes. You're beautiful. All 
	women are beautiful!
		(he goes out)

Gordon is immediately electrified into action.

		GORDON
	Oh, boy! What a yarn! What a yarn!
		(suddenly)
	Get me Hank on the phone. Gotta hold 
	up the morning edition.

While he speaks he dashes back to his desk. We then see him 
in his office.

		SECRETARY'S VOICE
	There's Hank.

		GORDON
		(grabbing phone)
	Hank! Listen. Hold the morning 
	edition. Break down the front page. 
	Gonna have a completely new layout -- 
	Send a couple of re-write men in 
	here. Don't do a thing -- I got a 
	story that'll make your hair curl.

During his speech, his other phone has been ringing 
persistently. He has ignored it until now. He picks up 
receiver:

		GORDON
		(into the second phone)
	Yeah. Yeah. Don't annoy me. I'm busy.
		(he bangs up receiver, 
		and turns back to 
		the first phone)
	Listen, Hank! Dig out all the Andrews 
	pictures. Get Healy out of bed. I 
	want a cartoon right away.
		(the second phone 
		rings impatiently, 
		but Gordon ignores 
		it)
	With King Westley in it. He's waiting 
	at the church. Big tears streaming 
	down his face. His bride hasn't shown 
	up. Old Man Andrews is there, too. 
	Laughing his head off. Everything 
	exaggerated. You know -- Now snap 
	into it!
		(he bangs up the 
		receiver, and grabs 
		the second phone, 
		speaking into it 
		impatiently)
	Yeah. Yeah. What is it?

A close view of GORDON, as he listens, shows his eyes widening 
with amazement.

		GORDON
	What! -- Ellen Andrews! You're crazy!

This cuts to a TELEPHONE BOOTH where a reporter is seen 
speaking excitedly.

		REPORTER
	Yeah. She just phoned her father 
	from an auto camp to come and get 
	her. He's getting a police escort. 
	Westley's going along, too. She's 
	been traveling by bus. The moment 
	she read that her father and Westley 
	made up, she phoned in.

Back in GORDON'S OFFICE Gordon is seen still at the phone.

		GORDON
	You sure that's right! Say, you 
	haven't been drinking, have you! 
	Okay -- grab a car -- and stay with 
	them.
		(he hangs up the 
		receiver and grabs 
		the first phone)
	Put Hank on.
		(shouting)
	Agnes!
		(as the secretary 
		hurries in)
	Get me a doctor. I'm about to have a 
	nervous breakdown.
		(she stares at him 
		dumbly as he speaks 
		into the phone)
	Hank -- forget everything I just 
	told you. I was just having a 
	nightmare!
		(he hangs up -- and 
		turns to Agnes)
	Call up the police department! Tell 
	'em to find Peter Warne. Send out a 
	general alarm. I want the dirty crook 
	pinched.

He picks up Peter's story and flings it viciously into the 
wastebasket.

		AGNES
		(starting out)
	Yessir.
		(two re-write men 
		come in, passing 
		Agnes)

		MEN
	You want us?

		GORDON
		(wheeling around)
	Yeah. Shove everything off the front 
	page. Ellen Andrews just phoned her 
	father -- she's coming home. The 
	moment she heard the old man withdrew 
	his objections, she gave herself up. 
	Spread it all over the place. Here's 
	your lead: "Love Triumphant!" Step 
	on it!

		MEN
		(leaving)
	Yessir.

Gordon goes to his desk, mumbling to himself. His eye lights 
on the waste basket containing Peter's story, and he is about 
to kick it when he stops. He stares at it thoughtfully, 
reaches down, lifts it out -- runs through it hastily -- and 
then stares into space, deep in thought.

The scene dissolves to an open ROAD, in the morning, as Peter 
flies over it in his Ford. He beams happily. He passes a 
gasoline truck and waves cheerily to the driver. This 
dissolves to a close-up of an AUTO SIREN accompanied by a 
prolonged wail, then to a ROAD, that morning, as four 
motorcycles, two abreast, speed forward, followed by a 
luxurious limousine, which in turn is trailed by a car filled 
with reporters. Next, in the LIMOUSINE, Andrews is seen in 
the back seat. He is accompanied by King Westley -- Henderson -- 
Lovington, and a police inspector.

		HENDERSON
	I knew she was safe.

		LOVINGTON
		(sighing)
	Certainly gave us a run for our money.
		(but Andrews is too 
		overwhelmed with joy 
		to listen to any of 
		this)

		ANDREWS
		(anxiously)
	Can't you get them to go any faster?
		(at this the Inspector 
		leans over to talk 
		to chauffeur)

This dissolves to a deserted ROAD, Peter at the wheel of his 
car. His high spirits find expression in his efforts to sing.

		PETER
		(singing)
	"I found a million dollar baby --"

He is interrupted by the song of a meadowlark, whistling its 
strange melody. Peter listens to it a second time, then 
answers its call by imitating it. The meadowlark whistles 
again, and Peter is highly amused.

		PETER
		(waving his hand -- 
		to the meadowlark)
	Okay, Pal. Be seein' you.

Just then the sound of sirens is heard in the distance. Peter 
glances back, and as the sirens come nearer, he pulls over 
to the side of the road. There follows a full view of the 
ROAD, with Peter in the foreground at the side as the police 
cavalcade whizzes by accompanied by the shrieking sirens. 
Thereupon PETER (seen close) gets an idea.

		PETER
		(to his Ford)
	Come on, Dobbin, old boy. We got a 
	police escort.

He applies the gas and shoots out of sight, following which 
a full view of the road shows Peter's car trying to catch up 
with the parade. It outdistances him, however, and we see 
PETER in the Ford pressing his body forward to help the car 
make time. His foot pushes the accelerator down to the floor. 
But the police cars are now out of sight, and Peter gives 
up.

		PETER
		(seen close; to the 
		car -- with 
		exaggerated dramatics)
	Dobbin, me lad. You failed muh. I'm 
	afraid you're gittin' old.

Thereupon the scene dissolves to a small town ROAD, where at 
the door of a Sheriff's office a policeman is standing on 
guard. The reporters hang around in front of him. Several 
yokels look on. The limousine and motor cycles are at the 
curb. And now, in a closer view, at the DOOR the policeman 
on guard steps aside as the door opens and Ellie, her father, 
and King Westley emerge. King has his arm around her. The 
moment they appear in the doorway, cameras click and several 
reporters surround them.

		REPORTERS
	Will you make a statement Miss 
	Andrews? Was it an exciting 
	experience? How did you travel?

		ANDREWS
		(brushing them aside)
	Later, boys, later. See her at home.

They cross the sidewalk -- to the waiting limousine, as 
cameras click.

The scene dissolves to a ROAD, with Peter still driving. He 
is, however, as before, in excellent form, and is singing 
lustily. Suddenly, however, his eyes widen and he pulls on 
his brake; the car screeches and moans -- and comes to a 
stop.

		PETER
	Take it easy, Dobbin. Remember your 
	blood pressure.

We find Peter directly in front of a slow moving freight 
train. Several hoboes stick their heads out of a car, and 
Peter waves to them. The hoboes look puzzled for a minute 
and then wave back. The view then swings over to an opening 
between the cars affording a flash of the police parade on 
the other side, apparently on its way back.

PETER amuses himself by talking to an old flagman.

		PETER
	Better get that toy train out of 
	here. I'm in a hurry.

The Flagman grins at him in reply. By this time the last car 
is in sight, and Peter gets all set to move. He stops, 
however, to wave to a couple of brakemen on the rear platform.

In the meantime, the motorcycles have started forward, and 
the sirens begin their low, moaning wail. Peter, attracted, 
turns, and over Peter's shoulder we see the parade starting. 
As the limousine passes, we get a glimpse of the inside. 
Ellie lies back on King Westley's shoulder. He has his arm 
around her as they pass out of sight. Thereupon a close view 
of PETER shows him reacting to what he saw. He turns his 
head quickly to stare at the disappearing car, a look of 
astonishment and bewilderment in his eyes. Slowly he turns 
his head forward, staring ahead of him blankly; he can't 
quite make it out. Then gradually the significance of it all 
strikes him -- and his mouth curls up bitterly.

The scene wiping off, a series of NEWSPAPER HEADLINES come 
into view:

		"ELLEN ANDREWS RETURNS HOME."

				"MARRIAGE HALTED BY FATHER TO BE RESUMED"

		"ELLEN ANDREWS AND AVIATOR TO HAVE CHURCH WEDDING"

				"LOVE TRIUMPHS AGAIN"

		 "PARENTAL OBJECTION REMOVED IN FAVOR OF LOVERS"

		"CANNOT THWART LOVE SAYS FATHER OF ELLEN ANDREWS"

				"GLAD TO BE HOME SAYS ELLEN"

This dissolves to the anteroom of a NEWSPAPER OFFICE. The 
place is alive with activity, and copies of newspapers are 
lying around, bearing headlines relating to the Andrews story. 
Peter, a bewildered, stunned expression on his face, enters 
and crosses funereally toward Gordon's office. Several people 
standing around look up.

		PEOPLE
	Hi, Pete -- Didya see this? Ellen 
	Andrews is back. Gonna marry that 
	Westley guy after all -- What a dame! 
	What a dame!

Peter pays no attention to any of this. He reaches Gordon's 
door, which is open. He walks directly past Agnes and enters 
the office. She looks up at him, puzzled. Then in GORDON'S 
OFFICE, Peter walks to Gordon's desk and lays the roll of 
bills on it. Agnes enters, watching him anxiously.

		AGNES
	Gordon's out back some place.
		(seeing the money, 
		she looks up, 
		surprised)

		PETER
	See that he gets that, will you, 
	Agnes? Tell him I was just kidding.
		(he goes out)

As Agnes stares after him, puzzled, Gordon dashes in from a 
back door.

		GORDON
	You can't get a thing done around 
	her unless --

		AGNES
	Peter Warne was just in.

		GORDON
	Huh? What?

		AGNES
	Left this money. Said to tell you he 
	was just kidding.

		GORDON
		(looking at the money)
	Where is he?

The scene cuts to the OUTER OFFICE and CORRIDOR, as seen 
over Gordon's shoulder through the open door. Peter is seen 
walking out. Gordon hurries after him.

		GORDON'S VOICE
	Hey, Pete!

At the sound of Gordon's voice, Peter turns, and Gordon comes 
over to him.

		PETER
	Hello, Joe. Sorry. Just a little gag 
	of mine. Thought I'd have some fun 
	with you.

		GORDON
		(understanding)
	Yeah. Sure. Had me going for a while.

		PETER
	Wouldn't have made a bad story, would 
	it?

		GORDON
	Great! But that's the way things go. 
	You think you got a swell yarn -- 
	then something comes along -- messes 
	up the finish -- and there you are.

		PETER
		(smiling wryly)
	Yeah, where am I?

		GORDON
		(slipping a bill in 
		his coat pocket)
	When you sober up -- come in and see 
	me.

		PETER
		(a whisper)
	Thanks, Joe.

He leaves, Gordon watching him sympathetically, and the scene 
fades out.

The LAWN of the ANDREWS ESTATE fades in. It is morning and 
at the moment the place is a beehive of activity. Dozens of 
butlers and maids hustle around setting tables. Floral 
decorations are being hung by men on ladders. In the 
background on a platform, a twenty-piece orchestra is getting 
ready, accompanied by the scraping of chairs, adjusting of 
music stands, unpacking of instruments.

The scene cuts to ANDREWS' STUDY: King Westley is seated, 
and Andrews walks around him. They are both dressed in striped 
trousers, frock coat, etc.

		ANDREWS
	Well, here we are; it's all set. 
	You're finally going to be married 
	properly.
		(he waves toward the 
		window)
	With all the fanfare and everything.
		(Shaking his head)
	I still don't know how it happened -- 
	but you're going to be my son-in-law 
	whether I like it or not. I guess 
	you're pleased.

		KING
	Why, naturally, I --

		ANDREWS
		(drily)
	Naturally.
		(with vehemence)
	You're going to become a partner in 
	a big institution. It's one of the 
	largest in the world.

		KING
	You talk as if --

		ANDREWS
	Someday perhaps, you might even take 
	charge.

A close view of ANDREWS shows him looking around his study 
despairingly.

		ANDREWS
		(murmuring)
	The thought of it makes me shudder.

		KING'S VOICE
		(confidently)
	You might be surprised.

		ANDREWS
	I hope so. However, that'll take 
	care of itself.
		(taking a new tack)
	There's another responsibility you're 
	taking on. One that I'm really 
	concerned about.

		KING'S VOICE
	What's that?

		ANDREWS
	My daughter.

		KING
		(the two now seen 
		again; lightly)
	Ellie? Oh, she's no responsibility.

		ANDREWS
	No? Say, listen -- I've devoted a 
	whole lifetime trying to tame that 
	wildcat. Toughest job I ever tackled. 
	Ever hear of J. P. Clarkson? Biggest 
	man in the country, isn't he? Well, 
	I tamed him. Got him eating out of 
	the palm of my hand. I've browbeaten 
	financiers, statesmen, foreign 
	ministers -- some of the most powerful 
	people in the world -- but I've never 
	been able to do a thing with her. 
	She's been too much for me. I'm glad 
	you think it's easy.
		(he bends over him)
	Now listen -- if you'll do what I 
	tell you, perhaps I might develop a 
	little respect for you. You never 
	can tell.

		KING
	What would you like to have me do?

		ANDREWS
	Sock her!

A close view of KING shows him looking up, surprised, as 
Andrews' voice continues.

		ANDREWS' VOICE
	Sock her at least once a day. Do it 
	on general principles. Make her know 
	you're the boss and never let her 
	forget it. Think you can do that?

		KING
	It's quite an assignment --

		ANDREWS
	Try. Do me a favor. Try. It's your 
	only chance. And hers, too. Do that 
	for me -- and maybe we'll be friends --
		(muttering)
	Maybe.
		(he holds out his 
		hand)
	Do we understand each other?

		KING
		(taking his hand -- 
		rising)
	Yes, sir.

		ANDREWS
		(dismissing him)
	Fine. I'll see you at the reception.

He withdraws his hand, which he looks at disgustedly -- the 
result of a jellyfish handshake.

		KING
	Oh, by the way, Mr Andrews, I thought 
	of a great stunt for the reception.
		(as Andrews looks at 
		him quizzically)
	I'm going to land on the lawn in an 
	autogyro. What do you think of that!

A close view of ANDREWS shows him staring off at King in 
complete disgust.

		ANDREWS
	You thought that up all by yourself, 
	huh?

		KING
		(unabashed)
	Why, it'll make all the front pages. 
	A spectacular thing like that --

		ANDREWS
		(hard)
	Personally, I think it's stupid!
		(humoring a child)
	But go ahead. Have a good time. As 
	long as Ellie doesn't object.

		KING
	Oh, no. She'll be crazy about it. 
	Well, see you later. I'm going out 
	on the lawn and arrange for landing 
	space.
		(holding out his hand)
	Goodbye.
		(but Andrews turns 
		his back on him)

		ANDREWS
	We've done that already.

		KING
		(smiling)
	Yes, of course.

He turns and leaves; Andrews watching him go, shaking his 
head sadly.

		ANDREWS
	Autogyro! I hope he breaks his leg.

Andrews starts out, and the scene cuts to the HALLWAY as 
Andrews enters from the study. A maid coming down the stairs, 
he calls to her:

		ANDREWS
	Oh -- Mary --

		MARY
	Yes, sir?

		ANDREWS
	How is she?

		MARY
		(hesitantly)
	Why -- uh -- she's all right, sir.

		ANDREWS
	What's the matter? Anything wrong?

		MARY
	Oh, no, sir. No different than --

		ANDREWS
	Yes. I know. Still in the dumps, 
	huh?

		MARY
	Yessir. If you'll excuse me, sir -- 
	she sent me for a drink.
		(she leaves)

Andrews stands a moment thoughtfully and then starts up the 
stairs, following which the scene dissolves to the UPSTAIRS 
CORRIDOR in front of Ellie's door. Andrews enters and knocks 
several times. Receiving no response, he gingerly opens the 
door.

Next Andrews enters ELLIE'S BEDROOM and looks around. The 
view swings around the room, following his gaze. It focuses 
on Ellie, who reclines on a sofa, in her bridal outfit, her 
head resting on the back. She stares moodily, unhappily up 
at the ceiling. The view then expanding to include both father 
and daughter, Andrews is seen staring at her a moment 
sympathetically. He senses something is wrong.

		ANDREWS
		(after a pause)
	Ellie --

		ELLIE
		(jumping up with a 
		start)
	Oh, hello, Dad.

		ANDREWS
		(a close view as he 
		goes over to her)
	I knocked several times.

		ELLIE
	Sorry. Must have been day-dreaming.
		(to hide her confusion, 
		she reaches for a 
		cigarette)

		ANDREWS
		(with forced lightness)
	Well, everything's set. Creating 
	quite a furor, too. Great stunt King's 
	going to pull.

		ELLIE
		(in a faraway voice)
	Stunt?

		ANDREWS
	Landing on the lawn in an autogyro.

		ELLIE
	Oh, yes. I heard.

		ANDREWS
		(noting her 
		listlessness)
	Yes. Personally, I think it's silly, 
	too.

As he continues talking, the view moves with Ellie, who 
wanders over to a window overlooking the lawn and stares 
out, lost in thought.

		ANDREWS' VOICE
		(he goes over the 
		Ellie)
	You look lovely. Are you pleased 
	with the gown?
		(as Ellie does not 
		seem to hear him, he 
		becomes worried)
	Ellie!

		ELLIE
		(turning and looking 
		at him blankly)
	Huh?
		(it just penetrates)
	Oh -- the gown --
		(distantly)
	Yes, it's beautiful.

		ANDREWS
		(tenderly)
	What's the matter, Ellie? What's 
	wrong?

		ELLIE
	Nothing.
		(she walks over to 
		table and crushes 
		her cigarette)

		ANDREWS
	You've been acting so strangely since 
	you returned. I'm -- I'm worried. I 
	haven't bothered to ask you any 
	questions -- I --
		(waving his hand toward 
		the lawn)
	Isn't all this what you wanted?
		(receiving no answer 
		from Ellie)
	You haven't changed your mind about 
	King, have you?

		ELLIE
		(too quickly)
	Oh, no.

		ANDREWS
	If you have, it isn't too late. You 
	know how I feel about him. But I 
	want to make you happy. You gave me 
	such a scare -- I -- when I couldn't 
	find you.
		(smiling feebly -- 
		meaning his heart)
	You know, the old pump isn't what it 
	used to be.

		ELLIE
		(her hand on his arm)
	Sorry, Dad. I wouldn't hurt you for 
	the world. You know that.

She moves away from him and sits on the sofa, and Andrews 
watches her a moment and crosses over to her. He sits beside 
her, placing an arm affectionately around her shoulder.

		ANDREWS
		(tenderly)
	Ellie -- what is it? Aren't you happy, 
	child?

At this point she finally breaks, and impulsively buries her 
face on his breast.

		ANDREWS
		(after a pause, 
		hoarsely)
	I thought so. I knew there was 
	something on your mind.
		(there are audible 
		sobs from Ellie)
	There -- there!

They remain thus quietly for some time. Finally Andrews breaks 
the silence.

		ANDREWS
	What is it, darling?
		(receiving no answer)
	You haven't fallen in love with 
	somebody else, have you?

As this brings an audible sob from Ellie, Andrews lifts up 
her chin.

		ANDREWS
		(looking into her 
		eyes)
	Have you?
		(Ellie turns her head 
		away, a little ashamed 
		of her tears)

Ellie now rises and walks miserably away from him, dabbing 
her eyes. Andrews, watching her, realizes he has hit upon 
the truth. He walks over to her.

		ANDREWS
	I haven't seen you cry since you 
	were a baby. This must be serious.
		(Ellie is silent)
	Where'd you meet him?

		ELLIE
	On the road.

		ANDREWS
		(trying to cheer her)
	Now, don't tell me you fell in love 
	with a bus driver!

		ELLIE
		(smiling)
	No.

		ANDREWS
	Who is he?

		ELLIE
	I don't know very much about him.
		(in a whisper)
	Except that I love him.

		ANDREWS
		(the great executive)
	Well, if it's as serious as all that -- 
	we'll move heaven and earth to --

		ELLIE
		(quickly)
	It'll do no good.
		(wryly)
	He despises me.

		ANDREWS
	Oh, come now --

		ELLIE
	He despises everything I stand for. 
	He thinks I'm spoiled and pampered, 
	and selfish, and thoroughly insincere.

		ANDREWS
	Ridiculous!

		ELLIE
	He doesn't think so much of you 
	either.

		ANDREWS
		(his eyes widening)
	Well!

		ELLIE
	He blames you for everything that's 
	wrong about me. Thinks you raised me 
	stupidly.

		ANDREWS
		(smiling)
	Fine man to fall in love with.

		ELLIE
		(whispering)
	He's marvelous!

		ANDREWS
	Well, what are we going to do about 
	it? Where is he?

		ELLIE
		(sadly)
	I don't know.

		ANDREWS
	I'd like to have a talk with him.

		ELLIE
	It's no use, Dad. I practically threw 
	myself at him.
		(she shrugs futilely)

		ANDREWS
	Well, under the circumstances, don't 
	you think we ought to call this thing 
	off?

		ELLIE
	No, I'll go through with it.

		ANDREWS
	But that's silly, child. Seeing how 
	you feel, why --

		ELLIE
	It doesn't matter.
		(tired)
	I don't want to stir up any more 
	trouble. I've been doing it all my 
	life. I've been such a burden to you -- 
	made your life so miserable -- and 
	mine, too. I'm tired, Dad. Tired of 
	running around in circles. He's right, 
	that's what I've been doing ever 
	since I can remember.

A close-up of ANDREWS shows him watching Ellie, as her voice 
continues.

		ELLIE'S VOICE
	I've got to settle down. It really 
	doesn't matter how -- or where -- or 
	with whom.

		ANDREWS
		(seriously -- impressed)
	You've changed, Ellie.

		ELLIE
		(seen with Andrews; 
		sighing)
	Yes, I guess I have.
		(sincerely)
	I don't want to hurt anybody any 
	more. I want to get away from all 
	this front page publicity. It suddenly 
	strikes me as being cheap and 
	loathsome. I can't walk out on King 
	now. It'll make us all look so 
	ridiculous.
		(she shrugs resignedly)
	Besides, what difference does it 
	make?
		(inaudibly)
	I'll never see Peter again.

		ANDREWS
	Is that his name?

		ELLIE
	Yes. Peter Warne.

She starts to walk away when she is attracted by her father's 
surprise at the mention of the name.

		ANDREWS
	Peter Warne!
		(his hand has 
		instinctively gone 
		to his inside pocket)

		ELLIE
		(noticing this)
	Why? Do you know him?
		(but Andrews withdraws 
		his hand. Apparently 
		he has changed his 
		mind)

		ANDREWS
		(evasively)
	Oh, no -- no.

		ELLIE
		(suddenly anxious)
	You haven't heard from him, have 
	you, Dad?

		ANDREWS
		(obviously guilty)
	Why, no... Don't be silly.

		ELLIE
	Oh, please, Dad --

She has reached into his pocket and has extracted a letter, 
which she hurriedly opens and reads, following which we see 
a LETTER in Peter's handwriting. It is addressed to: 
"Alexander Andrews, 11 Wall Street." It reads:

"Dear Sir: I should like to have a talk with you about a 
financial matter in connection with your daughter. Peter 
Warne."

Ellie is then seen reading and re-reading the note. Her face 
clouds and then slowly changes to an expression of complete 
disillusionment.

		ELLIE
		(her voice strident)
	Looks like that was his only interest 
	in me. The reward.

		ANDREWS
		(taking the note from 
		her)
	I'm sorry you read it.

		ELLIE
	Are you going to see him?

		ANDREWS
	I suppose so.

		ELLIE
		(hard)
	Certainly! Pay him off. He's entitled 
	to it. He did an excellent job. Kept 
	me thoroughly entertained. It's worth 
	every penny he gets.

She paces agitatedly, Andrews watching her silently. He knows 
what an awful blow to her pride this must be. Mary now enters 
with a cocktail tray which she sets on the table.

		ELLIE
	Thanks, Mary. That's just what I 
	need.
		(she pours herself a 
		cocktail)

		MARY
	Mr. King Westley is on his way up.

		ELLIE
	Fine -- Fine! Have him come in.

		ANDREWS
		(mumbling)
	I'll be going.
		(he goes out behind 
		Mary)

Ellie swallows her drink and starts pouring herself another, 
as King enters.

		ELLIE
		(upon seeing him)
	Well, if it isn't the groom himself! 
	You're just in time, King.

A close view of the TWO shows King taking her in his arms.

		KING
	How are you, Ellie?
		(he gives her a kiss, 
		which she accepts 
		perfunctorily -- but 
		he insists upon being 
		ardent)
	Are you happy?

		ELLIE
		(releasing herself)
	Happy? Why shouldn't I be happy? I'm 
	getting the handsomest man in 
	captivity.
		(handing him a drink)
	Here you are, King. Let's drink.
		(she holds her glass 
		out)
	Let's drink to us.
		(She drains the glass; 
		pouring another, as 
		she continues)
	We finally made it, didn't we?

		KING
	You bet we did.

		ELLIE
	It's up to you now. I want our life 
	to be full of excitement, King. We'll 
	never let up, will we? Never a dull 
	moment. We'll get on a merry-go-round 
	and never get off. Promise you'll 
	never let me get off? It's the only 
	way to live, isn't it? No time to 
	think. We don't want to stop to think, 
	do we? Just want to keep going.

		KING
	Whatever you say; darling.

		ELLIE
	I heard about your stunt. That's 
	swell, King. Just think of it -- the 
	groom lands on the lawn with a plane. 
	It's a perfect beginning for the 
	life we're going to lead. It sets 
	just the right tempo.
		(handing him a drink)
	Come on, King. You're lagging.
		(they both drink)

In ANDREWS' STUDY, Andrews walks around the room, perceptibly 
affected by his visit with Ellie. He keeps turning Peter's 
letter over in his hand, apparently debating in his mind 
what to do with it. He finally gets an idea -- and 
determinedly crosses to the phone. Then the scene cuts to a 
HOTEL ROOM. First there is a close-up of a NEWSPAPER -- a 
tabloid bearing a heading which reads: "LOVE TRIUMPHANT."

"Interrupted Romance of Ellen Andrews and King Westley 
Resumed, as Father Yields. Wedding Reception to be Held on 
Andrews' Lawn."

Below this is a page of pictures, and the view turns to each 
photograph. The first picture is of Ellie and King on a beach. 
The title over the picture reads: "Where they met." The second 
picture shows them in the cockpit of a plane, the heading 
reading: "Where they romanced." The next picture is of a 
small frame house with a shingle on it reading: "Justice of 
the Peace." Over the photograph is a caption: "Where they 
were married." The next picture is of the Andrews yacht, and 
the title reads: "Where she was taken." Finally, the view 
moves down to the bottom of the page to a picture of Ellie 
and King, with her father between them, in front of Sheriff's 
office. Caption reads: "Where love triumphed." Over these 
pictures the phone bell has been ringing.

And now PETER is seen staring, expressionless, at the 
newspaper. Suddenly he becomes conscious of the phone ringing; 
he looks up -- then goes to it.

		PETER
		(into the phone)
	Hello... Yes?... Who?... Oh... Why 
	can't I see you at your office?

The scene cuts to ANDREWS' STUDY, affording a close view of 
ANDREWS at the phone.

		ANDREWS
	I leave for Washington tonight. May 
	be gone several weeks. Thought perhaps 
	you'd like to get this thing settled.

This cuts to the HOTEL ROOM where PETER is at the phone.

		PETER
	Yeah, but I don't like the idea of 
	walking in on your jamboree... Just 
	between you and me -- those things 
	give me a stiff pain.

		ANDREWS
		(seen in his office)
	You needn't see anybody. You can 
	come directly to my study. I'd 
	appreciate it very much if --

		PETER
		(at his phone)
	No -- no. What the deuce do I want 
	to --

His eyes fall on something, and there follows a close view 
of a tabloid newspaper, featuring the heading: "Love 
Triumphant" and containing the pictures of Ellie and King. 
The view then moves down to feature headline reading "Groom 
to Land on Bride's Lawn."

"King Westley plans to drop in an autogyro on the lawn of 
Andrews estate..." Peter's mouth screws up disdainfully.

		PETER
		(into the phone)
	Yeah, wait a minute. Maybe I will 
	come over. I'd like to get a load of 
	that three-ring circus you're pulling. 
	I want to see what love looks like 
	when it's triumphant. I haven't had 
	a good laugh in a week.
		(he is still at the 
		phone as the scene 
		dissolves)

Then the LAWN of the ANDREWS ESTATE dissolves in. It is now 
filled with guests, who wander around, chattering gaily. The 
orchestra plays. A captain of waiters in the foreground 
instructs his men.

		CAPTAIN
	I want everything to be just so. 
	When the ceremony starts, you stand 
	on the side -- still. No moving around -- 
	no talking, comprenez?

The view cuts to a ROADWAY leading to the estate, and Peter 
is seen driving up in his Ford and squeezing in between two 
Rolls-Royces. The uniformed chauffeurs glare at him. But 
Peter springs nonchalantly out of his car.

		PETER
		(blithely, as he passes 
		them)
	Keep your eye on my car when you're 
	backing up, you guys.

And as he goes, the chauffeurs look at each other, surprised. 
The scene dissolves to ANDREWS' STUDY, where a butler stands 
in front of Andrews who is seated at his desk.

		ANDREWS
	Show him in.

The Butler leaving, a close view shows ANDREWS reaching over 
and snapping on a dictograph concealed somewhere on his desk. 
The office coming into view again, we see Andrews rising and 
awaiting Peter's entrance. After a moment Peter comes in, 
removes his soft felt hat, and tucks it under his arm.

		ANDREWS
	Mr. Warne?

		PETER
	Yeah.

		ANDREWS
	Come in. Sit down.

Peter advances into the room, looking around curiously. His 
air is frigid, contemptuous as Andrews studies him, and he 
makes no move to sit. Andrews waves to a chair and sits down 
himself. Peter flops into the nearest chair.

		ANDREWS
		(seen close with Peter; 
		after a pause)
	I was surprised to get your note. My 
	daughter hadn't told me anything 
	about you. About your helping her.

		PETER
	That's typical of your daughter. 
	Takes those things for granted.
		(too restless to sit, 
		he jumps up)
	Why does she think I lugged her all 
	the way from Miami --
		(vehemently)
	For the love of it?

		ANDREWS
	Please understand me. When I say she 
	didn't tell me anything about it, I 
	mean not until a little while ago. 
	She thinks you're entitled to anything 
	you can get.

		PETER
		(bitterly)
	Oh, she does, huh? Isn't that sweet 
	of her! You don't, I suppose.

		ANDREWS
		(shrugging)
	I don't know. I'd have to see on 
	what you base your claim. I presume 
	you feel you're justified in --

		PETER
		(seen close now)
	If I didn't I wouldn't be here!
		(he reaches into his 
		pocket)
	I've got it all itemized.
		(and he throws the 
		paper on Andrews' 
		desk)

ANDREWS picks up the paper and glances at it.

		PETER
		(now seen closer with 
		Andrews)
	I sold some drawers and socks, too; 
	I'm throwing those in.

		ANDREWS
	And this is what you want -- thirty-
	nine dollars and sixty cents?

		PETER
	Why not? I'm not charging you for 
	the time I wasted.

		ANDREWS
	Yes, I know -- but --

		PETER
	What's the matter? Isn't it cheap 
	enough? A trip like that would cost 
	you a thousand dollars! Maybe more!

		ANDREWS
	Let me get this straight. You want 
	this thirty-nine sixty in addition 
	to the ten thousand dollars?

		PETER
	What ten thousand?

		ANDREWS
	The reward.

		PETER
		(sharply)
	Who said anything about a reward!

		ANDREWS
		(smiling)
	I'm afraid I'm a little confused. 
	You see, I assumed you were coming 
	here for --

		PETER
		(impatiently)
	All I want is thirty-nine sixty. If 
	you'll give me a check I'll get out 
	of this place. It gives me the 
	jitters.

		ANDREWS
	You're a peculiar chap.

		PETER
		(irritably)
	We'll go into that some other time.

		ANDREWS
	The average man would go after the 
	reward. All you seem to --

		PETER
	Listen, did anybody ever make a sucker 
	out of you? This is a matter of 
	principle. Something you probably 
	wouldn't understand.
		(he burns at the 
		thought)
	When somebody takes me for a buggy 
	ride I don't like the idea of having 
	to pay for the privilege.

		ANDREWS
	You were taken for a buggy ride?

		PETER
	Yeah -- with all the trimmings. Now, 
	how about the check. Do I get it?

A close-up indicates that ANDREWS has been studying Peter 
throughout the scene. He is now completely won over.

		ANDREWS
		(smiling)
	Certainly.
		(he opens a checkbook 
		and writes it out)

While Andrews writes, Peter wanders around the room in an 
attitude of bitter contempt. Andrews rises and goes to him.

		ANDREWS
	Here you are.
		(as Peter takes the 
		check)
	Do you mind if I ask you something 
	frankly?
		(Peter just looks at 
		him without responding)
	Do you love my daughter?

		PETER
		(evasively, while 
		folding the check)
	A guy that'd fall in love with your 
	daughter should have his head 
	examined.

		ANDREWS
	That's an evasion.

		PETER
		(putting the check 
		into a wallet)
	She grabbed herself a perfect running 
	mate. King Westley! The pill of the 
	century!
		(pocketing wallet)
	What she needs is a guy that'd take 
	a sock at her every day -- whether 
	it's coming to her or not.

A close view of the TWO shows Andrews smiling: Here is a 
man!

		PETER
	If you had half the brains you're 
	supposed to have, you'd have done it 
	yourself -- long ago.

		ANDREWS
	Do you love her?

		PETER
		(going for his hat as 
		he replies)
	A normal human being couldn't live 
	under the same roof with her, without 
	going nuts.
		(going to the door)
	She's my idea of nothing!

		ANDREWS
	I asked you a question. Do you love 
	her?

		PETER
		(snapping it out)
	Yes!
		(as Andrews smiles)
	But don't hold that against me. I'm 
	a little screwy myself.

He snaps the door open and goes out, following which ANDREWS 
is seen watching the door, his eyes twinkling, and the scene 
cuts to the DOWNSTAIRS HALLWAY as Peter comes through, moving 
on to the front door. But just as he reaches it, Ellie enters, 
accompanied by half a dozen men and holding a cocktail in 
her hand. They see each other almost simultaneously, and 
both stop, glaring.

		PETER
		(looking her over 
		contemptuously)
	Perfect! Now you look natural.

At this Ellie leaves her group and comes toward Peter, and a 
close view shows them together, glaring at each other.

		ELLIE
		(icily)
	I hope you got your money.

		PETER
	You bet I did.

		ELLIE
	Congratulations.

		PETER
	Same to you.

		ELLIE
	Why don't you stay and watch the 
	fun? You'll enjoy it immensely.

		PETER
	I would. But I've got a weak stomach.

He wheels around and goes through the door, Ellie looking 
after him, her eyes blazing. The drone of a plane motor 
outside is heard, and several people rush down the stairs, 
all excited.

		GUESTS
	Here comes King! He's just coming 
	down! Hurry up, everybody! Come on, 
	Ellie!

Immediately there is a general excitement, as guests hurry 
through the hallway on the way to the lawn. But Ellen does 
not move -- she remains staring blankly at the door through 
which Peter went until Andrews enters from his study.

		ANDREWS
	I just had a long talk with him.

		ELLEN
		(her voice breaking)
	I'm not interested.

		ANDREWS
	Now, wait a minute, Ellie --

		ELLIE
		(sharply)
	I don't want to hear anything about 
	him!

She walks away from him, and Andrews, frustrated, looks at 
her helplessly. Thereupon the scene dissolves to a full view 
of the LAWN. The orchestra is playing Mendelssohn's Wedding 
March. The lawn is crowded with guests. In the background we 
see the autogyro idling. A closer view shows a small platform, 
serving as an altar. Over it there is an arbor of roses. 
Back of the altar stands a minister, ready. A reverse view 
reveals a long, narrow, carpeted pathway leading to the house. 
Both sides are lined with guests, who are murmuring excitedly. 
At the moment, King Westley and his best man are marching 
solemnly toward the altar. Back of the altar we see a high 
platform upon which are several newsreel men who are grinding 
their cameras.

The guests, of whom close glimpses are caught, are now peering 
over each other's shoulders. King and his best man have 
reached the altar, and the music of the wedding march comes 
to a stop. The orchestra leader is looking around, apparently 
waiting for a signal. At the DOOR of the HOUSE a very "prissy" 
middle-aged man waves his handkerchief and nods his head to 
the orchestra leader. The orchestra leader acknowledges the 
signal by nodding his head -- turns to his men -- waves his 
baton, and the orchestra starts playing, "Here Comes the 
Bride." -- The guests whisper to each other excitedly. A 
great deal of stirring takes place.

The door of the house slowly opens -- and a parade of small 
flower girls emerges. They march, taking each step carefully, 
while they strew flowers along the path. They are well out 
of the way when Ellie, on the arm of her father, appears in 
the doorway. A view of the guests shows that they cannot 
contain themselves. Murmurs of "Here she comes," and "Doesn't 
she look beautiful?" are heard. The newsreel men on their 
platform behind the altar bestir themselves. This is what 
they've been waiting for!

ELLIE and her FATHER (seen close) now make their way to the 
altar. Ellie's face is solemn, and her jaws set.

		ANDREWS
		(whispering out of 
		the side of his mouth)
	You're a sucker to go through with 
	this.

Ellie glances at him out of the corner of her eye -- and 
quickly turns forward again.

		ANDREWS
	That guy Warne is O.K. He didn't 
	want the reward.

Ellie keeps her eyes glued in front of her, remaining 
expressionless.

		ANDREWS
	All he asked for was thirty-nine 
	dollars and sixty cents... that's 
	what he spent on you. It was a matter 
	of principle with him -- says you 
	took him for a ride.

This registers on Ellie and she raises her eyes -- but her 
reaction is only slightly perceptible.

A close view of a GROUP OF GUESTS shows two girls looking 
enviously in the direction of the bride.

		A YOUNG GIRL
		(whispering)
	I wish I were in her shoes.

		SECOND GIRL
	Yes. She certainly is lucky.

ELLIE and her FATHER are seen again, and ANDREWS is still 
whispering to her.

		ANDREWS
	He loves you, Ellie. Told me so.

This brings a definite reaction, which she quickly covers 
up.

		ANDREWS
	You don't want to be married to a 
	mug like Westley.

At this there is a close view of Westley -- there is a 
satisfied smirk on his face.

		ANDREWS
	I can buy him off for a pot of gold, 
	and you can make an old man happy, 
	and you wouldn't do so bad for 
	yourself. If you change your mind, 
	your car's waiting at the back gate.

Ellie gives no indication of her intentions. Her face remains 
immobile. And now Ellie and her father have reached the altar. 
The "prissy" man is placing them in position. The big moment 
has arrived. The guests are all atwitter. But a close view 
of ELLIE shows that she realizes that her fate is closing in 
on her. She looks around for a means of escape.

		MINISTER
		(starting the ceremony)
	Dearly beloved, we are gathered 
	together here in the sight of God 
	and in the face of this company to 
	join together this man and this woman 
	in holy matrimony. If any man can 
	show just cause why they may not 
	lawfully be joined together, let him 
	speak now or else hereafter forever 
	hold his peace. King, wilt thou have 
	this woman to be thy wedded wife? So 
	long as ye both shall live?

		KING
	I will.

		MINISTER
	Ellen, wilt thou have this man to be 
	thy wedded husband so long as ye 
	both shall live?

Then, seen at the ALTAR, Ellie makes her decision. She reaches 
down, takes a firm hold on her train and, pushing several 
people aside, runs out of the scene. Those at the altar look 
up, surprised, and the most startled of all is KING himself.

		KING
		(calling after her)
	Ellie!

He starts to go after her -- but finds Andrews in his way 
while the outcries of the guests rise in chorus.

		GUESTS
	What's happened? Where's she going?

On the platform, the newsreel men, a look of astonishment on 
their faces, decide to follow Ellie.

		A MAN
	Get her, Mac! She's ducking!

And, as viewed by the newsreel men, Ellie is seen in the 
distance dashing through the gates. The guests stare 
dumbfounded. Following this, Andrews and King are seen 
together in the crowd.

		KING
		(helplessly)
	What happened?

		ANDREWS
		(blandly)
	I haven't the slightest idea.

But his mouth twitches as he tries to keep from smiling. As 
King runs out of sight Andrews gets out a cigar and lights 
it -- a happy smile on his face which he now doesn't try to 
conceal.

Outside the FRONT GATE Ellie is seen in a fast roadster, as 
she starts away with a plunge. Her eyes sparkle. A crowd of 
people dash up, headed by King. They stop dead when they see 
the car disappear. On the LAWN the commotion runs high, and 
the guests chatter their amazement. A close view of ANDREWS 
shows him smiling with satisfaction.

The scene dissolves to ANDREWS' OFFICE, where Andrews is 
regaling himself with a whiskey and soda. He is in a 
pleasantly inebriated mood when his SECRETARY enters.

		ANDREWS
		(as he picks up the 
		phone that has started 
		ringing)
	Don't want to talk to -- don't want 
	to talk to anybody. Don't want to 
	see anybody.

		SECRETARY
	But it's King Westley on the phone.

		ANDREWS
	Ooooooh.
		(into the phone)
	Hello my would-be ex-son-in-law. 
	I've sent you a check for a hundred 
	thousand. Yes. That's the smartest 
	thing you ever did, Westley, not to 
	contest that annulment. That's 
	satisfactory, isn't it? Yeah. Well, 
	it ought to be. Oh I'm not 
	complaining. It was dirt cheap.
		(as he hangs up)
	Don't fall out of any windows.

		SECRETARY
		(placing a telegram 
		on the desk)
	There's another wire from Peter, 
	sir. They're in Glen Falls, Michigan.

		ANDREWS
		(reading it)
	"What's holding up the annulment, 
	you slow poke? The Walls of Jericho 
	are toppling."
		(to the Secretary)
	Send him a telegram right away. Just 
	say: "Let 'em topple."

This dissolves to the exterior of an AUTO CAMP very much 
like the other camps at which Peter and Ellie stayed. The 
owner's wife is talking to her husband.

		WIFE
	Funny couple, ain't they?

		MAN
	Yeah.

		WIFE
	If you ask me, I don't believe they're 
	married.

		MAN
	They're married all right. I just 
	seen the license.

		WIFE
	They made me get 'em a rope and a 
	blanket, on a night like this.

		MAN
	Yeah?

		WIFE
	What do you reckon that's for?

		MAN
	Blamed if I know. I just brung 'em a 
	trumpet.

		WIFE
		(puzzled)
	A trumpet?

		MAN
	Yeah. You know, one of those toy 
	things. They sent me to the store to 
	get it.

		WIFE
	But what in the world do they want a 
	trumpet for?

		MAN
	I dunno.

The scene moves to the cabin occupied presumably by Peter 
and Ellie. The windows are lighted. There is a blast from a 
trumpet, and as the lights go out a blanket is seen dropping 
to the floor, and the scene fades out.

				THE END

 
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