"IT HAPPENED ONE NIGHT"
Screenplay by
Robert Riskin
Based on a story by
Samuel Hopkins Adams
The HARBOR at Miami Beach fades in, providing quick views of
yachts, aquaplanes, and luxurious ship-craft lying at anchor
in the calm, tranquil waters of tropical Florida. This
dissolves to the NAME PLATE on the side of a yacht, reading
"ELSPETH II," and this in turn to a YACHT CORRIDOR where a
steward is standing in front of a cabin door, near a small
collapsible table upon which there is a tray of steaming
food. He lifts lids and examines the contents. A heavy-set
sailor stands guard near the cabin door.
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.