"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. (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 --