It Happend One Nite
The HARBOR at Miami Beach fades in,
providing quick views of yachts, aquaplanes,
and luxurious ship-craft lying at anchor
in the calm, tranquil waters of tropical
Florida. This dissolves to the NAME
PLATE on the side of a yacht, reading
"ELSPETH II," and this in turn to a
YACHT CORRIDOR where a steward is standing
in front of a cabin door, near a small
collapsible table upon which there is
a tray of steaming food. He lifts lids
and examines the contents. A heavy-set
sailor stands guard near the cabin door.[1]
STEWARD
Fine! Fine! She ought to like this.
(to the guard)
Open the door.
GUARD
(without moving)
Who’s gonna take it in to her? You?
STEWARD
Oh, no.
(turning)
Mullison! Come on!
The view widens to include Mullison,
a waiter. His eye is decorated with
a "shiner."
MULLISON
Not me, sir. She threw a ketchup bottle
at me this morning.
STEWARD
Well, orders are orders! Somebody’s
gotta take it in.
(he turns to someone else)
Fredericks!
The view moves to another waiter, who
has a patch of bandage on his face.
FREDERICKS
Before I bring her another meal, I’ll
be put off the ship first.
STEWARD’S VOICE
Henri!
The view moves over to a Frenchman.
HENRI
(vehemently)
No, Monsieur. When I leave the Ritz
you do not say I have to wait on crazy
womans.
The view moves back to include the Steward
and the others grouped around him.
ANOTHER WAITER (A COCKNEY)
My wife was an angel compared to this
one, sir. And I walked out on her .
? 208 ?
GUARD
(impatiently)
Come on! Make up your mind!
A petty officer approaches. He is blustering
and officious, but the type that is
feeble and ineffective. His name is
Lacey.
LACEY
(talking quickly—staccato)
What’s up? What’s up?
There is a fairly close picture of the
GROUP featuring Lacey and the Steward.
STEWARD
These pigs! They’re afraid to take her
food in.
LACEY
That’s ridiculous! Afraid of a mere
girl!
(he wheels on the steward)
Why didn’t you do it yourself?
STEWARD
(more afraid than the others—stammering)
Why—I—well, I never thought about—
LACEY
(shoving him aside)
I never heard of such a thing! Afraid
of a mere girl.
(moving to the tray)
I’ll take it in myself.
They all stand around and watch him,
much relieved. He picks up the tray
and starts toward the door of the cabin.
LACEY
(as he walks—muttering)
Can’t get a thing done unless you do
it yourself.
(as he approaches the door)
Open the door.
We see him at the CABIN DOOR as the
guard quickly and gingerly unlocks it.
LACEY
Afraid of a mere girl! Ridiculous.
Lacey stalks in bravely, the tray held
majestically in front of him, while
the steward and waiters form a circle
around the door, waiting expectantly.
There is a short pause, following which
Lacey comes hurling out backwards and
lands on his back, the tray of food
scattering all over him. The steward
quickly bangs the door shut and turns
the key as the waiters stare silently.
The scene dissolves to the MAIN DECK
of the yacht, first affording a close
view of a pair of well-shod masculine
feet, as they pace agitatedly back and
forth. Then as the scene draws back,
the possessor of the pacing feet is
discovered to be Alexander Andrews,
immaculately groomed in yachting clothes.
In front of him stands a uniformed Captain,
but Andrews, brows wrinkled, deep in
thought, continues his pacing.
? 209 ?
ANDREWS
(murmuring to himself)
On a hunger strike, huh?
(a grunt)
When’d she eat last?
CAPTAIN
She hasn’t had a thing yesterday—or
today.
ANDREWS
Been sending her meals in regularly?
CAPTAIN
Yessir. She refuses them all.
ANDREWS
(snappily)
Why didn’t you jam it down her throat?
CAPTAIN
It’s not quite that simple.
(he shakes his head)
I’ve dealt with prisoners in my time,
but this one—
ANDREWS
Absurd!
(muttering)
All this fuss over a snip of a girl.
(suddenly)
I’m going down to see her myself.
He leaves with determination, followed
by the Captain, and both are then seen
walking in the direction of the cabin,
Andrews grim.
CAPTAIN
This is dangerous business, Mr. Andrews.
After all, kidnapping is no child’s
play.
But Andrews ignores him and merely stares
grimly forward. They arrive in front
of the cabin door, where Lacey is brushing
himself off, and where a couple of waiters
are picking up the last pieces of the
broken dishes.
ANDREWS
What’s this! What’s happened here?
LACEY
(pathetically)
She refused another meal, sir.
ANDREWS
Get another tray ready. Bring it here
at once.
(to the guard)
Open the door.
The Guard unlocks the door and Andrews
enters. Then we get a view of the CABIN
at the door, as Andrews enters and closes
the door behind him. He looks around
and his eyes light on his prisoner,
following which the view swings over
to ELLIE, a beautiful girl in her early
twenties. At the moment, she holds a
small vase over her head ready to heave
it, and her eyes flash angrily. At sight
of her new visitor, however, she lowers
the vase and sets it on a small table.
? 210 ?
ELLIE
What do you want?
Andrews doesn’t stir from the door.
ANDREWS
What’s this about not eating?
ELLIE
(sitting)
I don’t want to eat!
(raising her voice)
And there’s one more thing I don’t want!
Definitely! That’s to see you.
She lights a cigarette. Andrews watches
her a moment.
ANDREWS
Know what my next move is? No more cigarettes.
ELLIE
Why don’t you put me in chains?
ANDREWS
I might.
ELLIE
(now seen at close range)
All right! Put me in chains! Do anything
you want! But I’m not going to eat a
thing until you let me off this boat!
She stares petulantly out at the blue
sky, but Andrews comes over and sits
beside her.
ANDREWS
(tenderly)
Come on, Ellie. Stop being silly. You
know I’m going to have my way.
ELLIE
(moving away)
I won’t stand for it! I won’t stand
for your running my life! Why do you
insist on it!
ANDREWS
(still tender)
You ought to know why. Because—
ELLIE
(interrupting)
Yes. I know.
(she’s heard it a million times)
Because I’m your daughter and you love
me. Because you don’t want me to make
any mistakes. Because—
ANDREWS
(joining in)
Because marrying that fool King Westley
is—
? 211 ?
ELLIE
(snappily)
You’re wasting your time. I’m already
married to him.
ANDREWS
(sharply)
Not so far as I’m concerned, you’re
not.
(they are interrupted by a knock at
the door)
ANDREWS
Yes?
The door opens and several waiters parade
in with trays of steaming food.
ELLIE
(starting for them; threateningly)
How many times have I told you not to
bring any food in here.
The waiters back up, frightened, but
Andrews saves them.
ANDREWS
Wait a minute! Don’t get excited! This
isn’t for you.
(to the waiters)
Put it right here.
Ellie glares at her father, and wanders
over to the window seat, while the waiters
occupy themselves setting the table.
Andrews putters around the food, lifting
the lids from which tempting aromas
emanate. He shuts his eyes, murmuring
"oohs" and "ahs."
A close-up of ELLIE shows her, too,
drinking in the inviting aromas; and
for a moment she weakens. A close view
of ANDREWS shows him glancing toward
Ellie to see her reaction; whereupon
Ellie’s face (again appearing in a close-up)
freezes. Then Andrews and the waiters
come into view.
FIRST WAITER
Anything else, Monsieur?
ANDREWS
No. Everything seems quite satisfactory.
I may want some more of that delicious
gravy. I’ll ring.
WAITER
Very good, Monsieur.
The waiters bow their way out as Andrews
pecks at the food.
ANDREWS
(making clucking noise)
Heavenly!
Now Ellie appears in the foreground,
with Andrews at the table in the background.
ELLIE
(disdainfully)
Smart, aren’t you! So subtle.
? 212 ?
ANDREWS
(chewing on a mouthful of food)
If Gandhi had a chef like Paul, it would
change the whole political situation
in India.
ELLIE
You can’t tempt me.
(shouting unnecessarily)
Do you hear? I won’t eat!
ANDREWS
(quietly)
Please. I can’t fight on an empty stomach.
Remember what Napoleon said.
ELLIE
I hope you’re not comparing yourself
to Napoleon. He was a strategist. Your
idea of strategy is to use a lead pipe.
Andrews eats silently while Ellie rants
at him, walking around and puffing vigorously
on her cigarette.
ELLIE
(muttering)
Most humiliating thing ever happened
to me.
(shuddering)
A bunch of gorillas shoving me in a
car! That crowd outside the justice
of the peace—must have thought I was
a criminal—or something.
A close view of ANDREWS intercuts with
part of Ellie’s speech. At the end of
her speech he smacks his lips, enjoying
the food with too great a relish. Then
the two are seen together.
ELLIE
(after a pause—strongly)
Where are you taking me?
ANDREWS
(carelessly)
South America.
ELLIE
(aghast)
South America!
ANDREWS
We leave Miami in an hour. Soon’s we
get some supplies aboard.
ELLIE
(threateningly)
You’ll have a corpse on your hands!
That what You’ll have. I won’t eat a
thing while I’m on this boat.
ANDREWS
(buttering bread)
In that event, we won’t need so many
supplies.
? 213 ?
ELLIE
(exasperated)
What do you expect to accomplish by
all this? I’m already married!
ANDREWS
I’ll get it annulled.
ELLIE
You’ll never do it! You can’t do it!
ANDREWS
(now seen close as he speaks between
snatches of food)
I’ll do it if it takes every penny I’ve
got. I’ll do it if I have to bribe that
musical comedy Justice of the Peace!
I’ll do it—if I have to prove that you
were dragged in, staggering drunk. You
probably were.
(he smacks his lips)
Mmm—mmm. This filet mignon is divine!
ELLIE
(seen with her father)
What’ve you got against King Westley?
ANDREWS
Nothing much. I just think he’s a fake,
that’s all.
ELLIE
You only met him once .
ANDREWS
That was enough. Do you mind handing
me the ketchup?
ELLIE
You talk as if he were a gigolo—or something.
ANDREWS
(rising—reaching for ketchup)
Never mind—I’ll get it myself.
(he falls back in his chair)
Gigolo? Why, you took the word right
out of my mouth. Thanks.
ELLIE
(seen closer now, with Andrews)
He’s one of the best fliers in the country.
Right now he’s planning a trip to Japan.
ANDREWS
You’re going to finance him, I suppose.
ELLIE
Why not? Look what he’s doing for aviation.
It takes courage to do what he does.
And character! At least he’s accomplished
something worthwhile. I suppose you’d
like to have me marry a business man.
Well, I hate business men—particularly
if you’re a shining example.
? 214 ?
He grins, not at all offended, knowing
she doesn’t mean it.
ELLIE
Your whole life is devoted to just one
thing. To accumulate more money. At
least there’s romance in what he’s doing.
ANDREWS
(unequivocally)
He’s no good, Ellie, and you know it.
You married him only because I told
you not to.
ELLIE
(strongly)
You’ve been telling me what not to do
since I was old enough to remember.
(screaming)
I’m sick of it!
And as Andrews ignores her, she starts
moving around the table toward him.—Next
she appears sitting on the edge of Andrews’
chair, and she throws her arm around
his shoulder.
ELLIE
(pleading sweetly)
Aw, listen, Dad. Let’s not fight like
this any more. I know you’re worried
about me—and want me to be happy. And
I love you for it. But please try to
understand. You’re not being fair, darling.
This isn’t just a crazy impulse of mine.
King and I talked about it a lot before
we decided to get married. Look—why
can’t we give it a trial—let’s say—for
a year or so. If it’s wrong, King and
I will be the first to know it. We can
get a divorce, can’t we? Now, be a dear,
and let me off the boat. Keeping me
prisoner like this is so silly.
Andrews has been listening silently
throughout the speech, giving no indication
of his feelings in the matter.
ANDREWS
(unimpressed)
You’ll be set free when the marriage
is annulled.
A close-up of ELLIE, her eyes blazing
angrily, shows her slowly edging away
from her father, while he continues.
ANDREWS’ VOICE
(carelessly)
So there’s no use being a stubborn idiot.
ELLIE
(hissing)
I come from a long line of stubborn
idiots!
ANDREWS
(again seen with her; calmly)
A time will come when you’ll thank me
for this.
ELLIE
(wildly)
I won’t thank you! I’ll never thank
you!
? 215 ?
ANDREWS
Please don’t shout.
ELLIE
I’ll shout to my heart’s content! I’ll
scream if I want to.
ANDREWS
(reaching for it)
Ah! Coconut layer cake. Nice and gooey,
too. Just the way I like it.
He is about to insert the first bite
in his mouth when Ellie, her temper
vanishing completely, overturns the
small serving table, dumping its contents
into her father’s lap. The movement
is so unexpected that Andrews, the fork
still suspended near his mouth, stares
at her stupefied. Then realizing what
she has done, his eyes flash in anger.
Dropping his fork, he rises and goes
over to her, while she stands facing
him defiantly. Without a word or warning,
he slaps her a stinging blow across
the cheek. For a moment she doesn’t
stir, her eyes widening in surprise,
and staring at him unbelievingly. Then
turning abruptly she bolts out of the
door. Andrews remains motionless, his
eyes shutting painfully; it is the first
time he has struck her, and it hurts.
ANDREWS
(calling)
Ellie!
(and he starts for the door)
Next on the DECK, at the open cabin
door, Andrews is seen, staring off at
something and an amazed, frightened
look comes into his eyes. Then, as viewed
from his position at the cabin door,
Ellie appears standing on the rail;
and with a professional dive, she leaps
into the water.
A full view of the DECK reveals the
crew and the officers scurrying around,
several of them shouting: "Somebody
overboard!"
ANDREWS
It’s my daughter! Go after her.
CAPTAIN
(shouting)
Lower the boats!
General excitement reigns; several of
the crew dive into the water; others
release the boat lines. Following this
Ellie is seen swimming furiously against
the giant waves. Next she appears as
a small speck in the distance, while
half a dozen of the crew are swimming
in pursuit.
At the SIDE OF THE YACHT one of the
boats has already been lowered, and
two men jump in and grab the oars. The
men seem to be gaining on Ellie. In
the distance several small motor boats
are anchored, and over the sides of
the boats their owners are fishing.
Ellie seems to be headed in their direction.
One of the motor boats appears closer.
A middle-aged man sits on the stern,
holding lazily to his line, his feet
dangling in the water as the boat is
tossed around by the turbulent waves.
ELLIE is then again seen swimming. She
looks back, and the next scene shows
the men rowing toward her, and gaining
on her. Thereupon we see Ellie ducking
under the water.
? 216 ?
The middle-aged fisherman is suddenly
startled by Ellie’s face which appears
from under water, right between his
legs. Ellie puts her finger up to her
lips, warning him to shush, and he is
too dumb-founded to say anything. As
the pursuing boats come near, Ellie
ducks under the water again and the
boats scoot right by the fisherman.
Then Ellie’s head bobs up; she peers
ahead of her, and seeing that her pursuers
have passed her, she smiles victoriously.
ELLIE
(to the fisherman)
Thanks.
(and she starts swimming toward shore)
The scene dissolves to the DECK of the
YACHT as Ellie’s pursuers clamber aboard,
Andrews waiting for them.
A MAN
Sorry, sir. She got away.
ANDREWS
(disappointed but proud)
Of course she got away—too smart for
you.
CAPTAIN
What a hell cat. No controlling these
modern girls.
(murmuring)
They’re terrible!
ANDREWS
(resentfully)
Terrible! Nothing terrible about her.
She’s great! Marvelous youngster! Got
a mind of her own. Knows just what she
wants.
(smiling)
She’s not going to get it though. She
won’t get very far. Has no money.
CAPTAIN
What about that diamond wrist watch
she had on—she can raise some money
on that?
ANDREWS
(his face falling)
Holy Smoke! I forgot all about that.
(to the officer by his side)
Send a wireless at once, "Lovington
Detective Agency. Daughter escaped again.
Watch all roads—all transports and railroad
stations in Miami. Have your New York
office keep tabs on King Westley. Intercept
all messages. Want her back at all costs!"
OFFICER
Yessir.
The view draws in to afford a close-up
of ANDREWS staring out at the sea, his
face wreathed in a broad smile; then
this fades out.
Part Two
The RAILROAD STATION of an active terminal
in Miami fades in. The view moves down
to the entrance gate to the trains,
passengers hur-
? 217 ?
rying through it; then picks out two
men, obviously detectives, who have
their eyes peeled on everyone passing
through. Then the view affords a glimpse
of ELLIE, who stands watching the detectives.
This scene wiping off, we see an AIR
TRANSPORT, with several planes tuning
up in the background. As passengers
file through, several detectives stand
around in a watchful pose. This scene
wiping off, the front of a WESTERN UNION
OFFICE comes into view. Several people
walk in and out. At the side of the
door, two detectives are on the lookout.
This scene also wipes off, revealing
the WAITING ROOM of a BUS STATION. Over
the ticket window there is a sign reading
"BUY BUS TICKETS HERE," and a line forms
in front of it. Here too there are two
detectives.
FIRST DETECTIVE
We’re wastin’ our time. Can you picture
Ellie Andrews ridin’ on a bus?
SECOND DETECTIVE
I told the old man it was the bunk.
The view moves from them to ELLIE, who
stands behind a post and is watching
the two detectives apprehensively. As
the two (viewed from her position) stand
by the ticket window, one of them turns
toward her. Thereupon, we see her slipping
behind a post, concealing herself. Just
then a little old lady approaches her.
OLD LADY
Here’s your ticket, ma’am.
ELLIE
Oh, thank you. Thank you very much.
(she takes the ticket and change from
the old lady, and hands her a bill)
Here.
OLD LADY
Oh, thank you. Thank you.
ELLIE
When does the bus leave?
OLD LADY
In about fifteen minutes.
ELLIE
Thank you.
She picks up a small overnight bag from
the floor and hurries away. She crosses
to the entrance of the waiting room
and disappears through the doors. The
view then wings over to a telephone
booth near the entrance. Clustered around
the booth are half a dozen men of varied
appearance. The inside of the booth
is lighted, and a young man, Peter Warne,
waves his hands wildly as he shouts
into the phone, although it is impossible
to hear what he is saying. A close inspection
of the men surrounding the booth (the
scene contracting to a close view) reveals
them as being slightly and happily intoxicated.
A short man approaches the door of the
booth.
? 218 ?
SHORTY
Hey, what’s going on here? I’d like
to use that phone.
FIRST MAN
(a reporter)
Shh! Quiet. This is history in the making.
SHORTY
What?
FIRST MAN
There’s a man biting a dog in there.
SECOND MAN
(drunker than the rest)
Atta-boy, Petey, old boy! Atta-boy!—
PETER’S VOICE
I’m not going to stand for this any
longer. In a pig’s eye, you will!—
GROUP
Is that so? That’s telling him, Petey
old boy.
A close view of PETER WARNE in the telephone
booth gives evidence of his having also
imbibed freely.
PETER
(shouting into the phone)
Listen, monkey-face—when you fired me,
you fired the best newshound your filthy
scandal sheet ever had.
And the scene cuts to a New York NEWSPAPER
OFFICE where the night editor, Gordon,
his sleeves rolled up, sits at his desk
shrieking into the phone.
GORDON
Say, listen, you wouldn’t know a story
if it reached up and kicked you in the
pants.
(listening)
Yeah? Sure, sure, I got your copy. Why
didn’t you tell me you were going to
write it in Greek? I’d start a new department.
PETER
(again seen close at the phone)
That was free verse, you gashouse palooka!
GORDON
(at the phone in the newspaper office)
Free verse, huh?
(shouting)
What the dickens was free about it?
It cost this paper a gob of dough. Well,
I’m here to tell you, it’s not gonna
cost us any more.
? 219 ?
PETER
(in his phone booth)
That’s okay by me! ’Cause as far as
I’m concerned, I’m through with newspapers!
See? I’m through with stupidity! I’ll
never write another newspaper story,
for you or anybody else, if I have to
starve.
(after a pause)
Yeah? What about my novel! When I get
through with that—
GORDON
(in his office)
When you get through with that, I’ll
have a beard down to my ankles.
(at this point, Gordon’s secretary enters)
SECRETARY
Mr. Gordon—
GORDON
(looking up)
Huh?
SECRETARY
Did you know he reversed the charges
on that call?
GORDON
What!
(into the phone)
Say, listen you! When you get back to
New York, take my advice and stay f-a-r
away from this office—unless you don’t
care what happens to that funny map
of yours.
(he bangs down the receiver viciously
and glowers at the phone)
In the PHONE BOOTH Peter reacts to the
phone being hung up on him. But he goes
right on for the benefit of the boys.
PETER
(into the dead phone)
Oh, so you’re changing your tune, eh?
Well, it’s about time. But it’s going
to do you no good, my tough friend.
It’s a little too late for apologies.
I wouldn’t go back to work for you if
you begged me on your hands and knees!
I hope this is a lesson to you!
He snaps up the receiver with a great
pretense of outraged pride, following
which the view expands to include his
public.
MEN
Atta-boy, Peter. That’s telling him,
Peter.
The gang is full of admiration for the
courageous way he talked to the boss
as Peter staggers out of the booth.
PETER
Give me any of his lip, will he? Huh!
I guess he knows now what I think of
his job!
(expansively)
Is my chariot ready?
? 220 ?
FIRST MAN
Your chariot awaiteth withouteth, oh
mighty King.
MEN
Make way for the King. Long live the
King. Make way.
With head held high, he struts majestically
out of sight, followed by his admirers,
following which the scene dissolves
to the BUS STATION. His inebriated admirers
stand around the entrance to a bus,
while Peter stands on the steps, his
suitcase in his hand.
PETER
(making a grand speech)
That’s right, my friends. Cling to your
jobs! Remain slaves the rest of your
lives! Scum of the earth! Newspaper
men! Not me! When I’m basking in the
glorious arms of the Muse—what’ll you
be doing? Chasing news. You miserable
worms. For what? A mere pittance! My
heart goes out to you.
(with arms extended and in tremolo voice)
Good-bye.
(and with this he turns his back and
enters the bus)
MEN
(in the same spirit)
Goodbye, Oh mighty King! Peace be with
you, Courageous One!
ANNOUNCER’S VOICE
All aboard. Philadelphia, New York.
All aboard.
GROUP
Look out. Get back. Farewell. Farewell.
PETER
Scram.
The scene cuts to the INTERIOR of the
BUS as viewed from the front, the view
moving forward, passing the conglomerate
of unprepossessing human beings who
occupy the seats. Every space is taken
and the occupants seem hot and uncomfortable,
which adds to their uninviting appearance.
Mothers cling to crying babies. A Swedish
farm hand and his young wife are already
busy opening their basket of food prepared
for the long journey. A surly-looking
hoodlum traveling alone is slumped in
his seat, his cap drawn carelessly over
his eyes. The moving view passes these
and other characters until it reaches
one unoccupied seat in the car, unoccupied
except for several bundles of newspapers.
Standing before the seat is Peter, his
suitcase in his hand, speculating as
to what disposition to make of the newspapers.
PETER
(calling)
Hey, driver! How about clearing this
stuff away!
Several passengers (seen from his position
in the back) crane their necks to scrutinize
the intruder. Through a glass partition
the driver can be seen receiving his
last minute instructions from a superintendent,
who stands on the running board, their
voices in-
? 221 ?
distinguishable. In answer to Peter’s
request, the driver glances back indifferently,
and continues talking to the superintendent.
A close view of PETER shows him arching
his eyebrows, an amused acknowledgment
of the disdainful attitude of the driver.
He drops his suitcase and starts forward.
Then we see him arriving at the glass
partition, and Peter taps playfully
on the pane with his finger-nails, whereupon
the driver turns and pulls the window
down a few inches.
DRIVER
(annoyed)
Whadda you want!
PETER
(pleasantly)
If you’ll be good enough to remove those
newspapers I’ll have a seat.
DRIVER
(irritably)
Okay! Okay! Keep your shirt on, young
feller.
(with which remark the driver turns
away from him)
PETER
(looking at the back of the driver’s
neck for a moment, then confidentially)
Just between you and me, I never intended
taking it off.
He wheels around uncertainly and swaggers
jauntily down the aisle toward the empty
seat. En route he bestows genial smiles
upon several of his disgruntled fellow
passengers, and he stops in front of
a robust lady who at the moment is breastfeeding
her baby while a lighted cigarette dangles
from her lips.
PETER
Personally, I was raised on a bottle.
(as the woman looks up at him, perplexed)
When I was a baby, I insisted on it.
You know why?
(as the woman stares up stupidly)
I never liked the idea of getting cigarette
ashes in my eyes.
He moves forward, leaving the woman
unable to make head or tail of it; and
assuming that he’s crazy, she shrugs
her shoulders and turns her attention
to the baby.
Now PETER arrives at his seat, and whistling
softly, raises the window. Unhurriedly,
he picks the newspaper bundles up one
by one and flings them out of the window.
They hit the sidewalk below with a dull
thud. Thereupon a close view of the
DRIVER shows him reacting violently
to Peter’s unprecedented cheek, and
starting down from his seat.
PETER has now cleared the seat of all
the newspaper bundles and still whistling
his favorite melody, he picks up his
suitcase preparatory to placing it in
the rack overhead. At this point, the
driver enters the side door of the bus.
DRIVER
(pugnaciously)
Hey, wait a minute!
? 222 ?
Peter, his arms holding the suitcase
over his head, turns and glances at
the driver, a quizzical look in his
eyes.
DRIVER
(coming forward)
What do you think you’re doing!
PETER
(turning)
Huh?
DRIVER
(bellowing)
The papers! The papers! Whadda you mean
throwin’ ’em out!
PETER
Oh—the papers—
He slowly lowers his arms and deposits
the suitcase on the floor.
PETER
(now seen close, with the Driver)
That’s a long story, my friend. You
see, I don’t like sitting on newspapers.
I did once and all the headlines came
off on my white pants.
DRIVER
Hey, whadda you tryin’ to do—kid me?
PETER
Oh, I wouldn’t kid you . On the level,
it actually happened. Nobody bought
a paper that day. They followed me all
over town and read the news from the
seat of my pants.
DRIVER
What’re you gonna do about the papers?
Somebody’s gotta pick ’em up.
PETER
(turning to his suitcase)
It’s okay with me. I’m not arguing.
DRIVER
(pugnaciously)
Fresh guy, huh! What you need is a good
sock on the nose.
PETER
(turning back to him)
Look here, partner. You may not like
my nose. But I do. It’s a good nose.
The only one I’ve got. I always keep
it out in the open where anybody can
take a sock at it. If you decide to
do it, make sure you don’t miss.
During his speech, Ellie enters from
the rear and plunks herself into Peter’s
seat. Unseen by Peter, she places her
small bag beside her.
? 223 ?
DRIVER
(answering Peter; weakly)
Oh, yeah?
PETER
Now, that’s a brilliant answer. Why
didn’t I think of it? Our conversation
could have been over long ago.
DRIVER
Oh, yeah?
PETER
(exhausted)
You win!
Smiling, he turns to sit down. But the
smile dies on his face when he finds
his place occupied by Ellie, who stares
out the window.
PETER
(now at close range, with Ellie)
Excuse me, lady—
(slowly)—
but that upon which you sit—is mine.
Ellie glances up at him—then down at
her buttocks.
ELLIE
(eyes flashing)
I beg your pardon!
PETER
Now, listen. I’m in a very ugly mood.
I put up a stiff battle for that seat.
So if it’s just the same to you—
(gesturing with thumb)
scram.
ELLIE
(ignoring him—calling)
Driver!
The driver, who has stopped to witness
this new altercation, returns.
ELLIE
Are those seats reserved?
DRIVER
(pleased to discomfort Peter)
No. First come, first served.
ELLIE
(dismissing the whole thing)
Thank you.
(Peter, thwarted for a moment, just
glares at her)
PETER
(also calling)
Driver!
DRIVER
Yeah?
? 224 ?
PETER
These seats accommodate two passengers,
don’t they?
DRIVER
(hating to give in)
Maybe they do—and maybe they don’t.
Peter lifts Ellie’s overnight bag off
the seat and drops it on the floor.
Part of her coat covers the small space
by her side. This he sweeps across her
lap.
PETER
Move over, lady. This is a "maybe they
do."
He plops into the seat, the other passengers
around them heaving a sigh of relief.
Ellie flashes him a devastating look
and deliberately turns her back on him.
But Peter suddenly looks down toward
the floor, following which a close-up
AT THEIR FEET reveals that Ellie’s bag
on the floor annoys Peter. With his
foot he slowly moves it over to her,
and Ellie’s foot is seen pushing it
back, whereupon Peter viciously kicks
it over to her side again. Next we see
Ellie glaring at him, picking up her
bag, and standing on the seat depositing
it on the rack overhead. But just then
the bus starts forward with a lurch
which unbalances her, and she falls
backward right in Peter’s lap. Their
noses almost touch. Their eyes meet,
and they glare at each other hostilely.
Ellie quickly scrambles off and gets
back in her seat, turning her back on
him.
PETER
(amused)
Next time you drop in, bring your folks.
This dissolves to a COUNTRY ROAD, and
the bus sways perilously as it speeds
through the night, following which the
view dissolves to the INTERIOR of the
BUS, revealing Peter slumped in his
seat, his hat drawn over his eyes. Ellie
has her head thrown back, trying to
sleep. But the swaying bus causes her
head to roll from side to side uncomfortably,
and finally she gives up.
ELLIE
(an order)
Tell that man not to drive so fast.
(at which Peter just cocks his head
slightly)
PETER
Are you talking to me?
ELLIE
Yes. Tell that man to drive slowly.
Peter stares at her a moment, resenting
her officious manner.
PETER
(pleasantly)
Okay.
And much to her surprise, he sighs deeply
and relaxes to his former position,
shutting his eyes. She glares at him
crushingly.
The scene dissolves to another view
of the BUS, disclosing the driver, and
suddenly the bus comes to a stop.
? 225 ?
DRIVER
(sticking his head in to face the passengers)
Rest station! Ten minutes!
The view draws back as some of the passengers
rise. The men stretch their legs, and
the women straighten out their skirts.
A close view of Peter and Ellie then
shows her rising. Peter accommodatingly
shoves his feet aside for her to pass,
and Ellie starts up the aisle. But she
suddenly stops; looks back, first at
her bag and then at Peter; decides to
take her bag with her, and returns to
take it. She reaches for it on the rack,
Peter watching her, amused.
The scene dissolves to the outside of
the REST STATION with several passengers
walking briskly back and forth. The
place is dimly lit by one or two lamp-posts,
and Peter can be seen leaning against
one of these posts, smoking a cigarette.
The scene moving in, a close view of
Peter shows him stealing a glance in
the direction of Ellie. And a view,
from his angle, reveals Ellie in the
shadow of the bus, her bag at her feet.
She slowly turns her head toward Peter
and then quickly averts it.
PETER (seen close) speculates about
her. He glances around the place, and
the scene moves about, following his
gaze. It takes in the other passengers,
all obviously poor and uncultured. The
moving view reaches Ellie. The contrast
is perceptible. Thereupon, we see Peter
reacting with comprehension: No doubt
about it! She doesn’t belong with these
passengers. Then suddenly he sees something
which startles him, and we see what
it is: Directly in back of her, the
young hoodlum passenger slyly lifts
her overnight bag from the ground and
starts running with it. Ellie is oblivious
of his actions. PETER springs forward.
Ellie sees Peter coming toward her and
is perceptibly startled. But Peter whizzes
by her, and this amazes her even more.
She shrugs her shoulders, perplexed,
and resumes her smoking. In a few seconds
Peter returns, puffing breathlessly.
PETER
He got away. I suddenly found myself
in the middle of the brush and not a
sign of the skunk.
ELLIE (seen close with PETER) doesn’t
know what he’s talking about. She looks
at him, puzzled.
ELLIE
I don’t know what you’re raving about,
young man. And, furthermore, I’m not
interested.
PETER
(taken aback)
Well—of all the—well—
(hard)
Maybe you’ll be interested to know your
bag’s gone.
At this, Ellie wheels around and stares
at the spot where her bag had been.
ELLIE
Oh, my heavens! It’s gone!
? 226 ?
PETER
(sarcastically)
Yeah. I knew you’d catch on eventually.
ELLIE
What happened?
PETER
That cadaverous-looking yegg[2] who
sat in front of us, just up and took
it. Boy, how that baby can run!
ELLIE
What am I going to do now?
PETER
Don’t tell me your ticket was in it?
ELLIE
(opening her purse)
No, I’ve got that, all right. But my
money. All I have here is four dollars.
I’ve got to get to New York with it.
PETER
You can wire home for some money when
we get to Jacksonville.
ELLIE
Why, no—I—
(catching herself)
Yes . . . I guess I will.
PETER
(starting out)
I’ll report it to the driver. About
your bag, I mean.
ELLIE
(quickly)
No. I’d rather you didn’t.
PETER
Don’t be a fool. You lost your bag.
The company’ll make good. What’s your
name?
ELLIE
I don’t want it reported!
PETER
Why, that’s ridiculous! They’re responsible
for everything that—
ELLIE
(hotly)
See here, can you understand English!
I don’t want it reported!
(she starts away)
Please stay out of my affairs! I want
to be left alone.
(with which she disappears from the
scene)
A close-up of PETER shows him glaring
after her.
? 227 ?
PETER
(mumbling)
Why, you ungrateful brat!
The scene dissolves to the BUS, where
all the passengers are scattering back
to their seats; Peter is already seated,
when Ellie arrives. A close view then
shows her standing uncertainly for a
moment, speculating whether to cross
over his legs to get her place by the
window. Peter feels her presence by
his side and glances up. She tosses
her head and plants herself in the seat
in front of him, vacated by the young
man who stole her bag. Peter takes the
affront with a shrug and slides over
gratefully to the coveted spot near
the window.
The scene dissolves to a close view
of Ellie and a recently arrived fat
man next to her. She has her head thrown
back in an effort to sleep, but the
fat man, his hands clasped over his
protruding stomach, snores disgustingly,
and the rumble of the flying bus accompanies
him. Suddenly the bus careens, the fat
man falls against Ellie, and she awakens
with a start and pushes him back. The
fat man’s snoring goes on uninterrupted,
and Ellie relaxes again; but in a few
seconds the procedure is repeated, and
Ellie is beside herself. She looks around
for somewhere to flee.
PETER, seated in back of her, in his
customary slumped position, opens his
eyes slightly. It is apparent he has
been watching her for some time, for
he grins at her discomfiture. Ellie’s
head turns in his direction and the
grin leaves Peter’s face. He shuts his
eyes and pretends to be asleep. Ellie
glances at Peter to make certain he
is asleep. The fat man falls against
her again and it is all she can stand.
She starts to rise. Peter sees her coming
and deliberately puts his hand on the
seat next to him, still pretending to
be asleep. Just as Ellie starts to sit,
she notices his hand and is embarrassed.
Gingerly she picks up his limp hand
and places it on his knee. She then
slides into the seat, sighing with relief,
whereupon Peter opens his eyes and is
amused. Slowly his head turns—and he
scrutinizes her, soberly and appraisingly.
Ellie slowly turns her head for a glimpse
of Peter—and is startled to find him
gazing at her. She turns forward, her
jaw set forbiddingly.
The scene dissolves to the view of a
ROAD. It is dawn, and in the distance,
against the horizon, the bus, a mere
speck, makes its lone way over the deserted
country. This dissolves to a large SIGN,
reading "JACKSONVILLE," and then into
the BUS affording a close view of ELLIE
and PETER. They are both asleep, her
head resting comfortably on his shoulder,
Peter’s topcoat thrown over her. Then
the view draws back. The bus is empty
except for Ellie and Peter, the last
few passengers are just leaving.
PETER’s eyes slowly open. He looks down
at the head on his shoulder and grins.
With a sigh, he shuts his eyes again
and resumes his slumber. Next, at the
front of the bus, the DRIVER stands
staring at Peter and Ellie in this intimate
position and his mouth twists knowingly.
DRIVER
(murmuring)
Oh, yeah?
ELLIE stirs, squirms a little uncomfortably
and with a sleepy grunt shifts her position.
Just as she settles down, her eyes open.
She stares out of the window with unseeing
eyes, and then closes them
? 228 ?
dreamily, giving the impression that,
still half conscious, she is trying
to recall where she is. Apparently she
does, for her eyes suddenly snap open
and she lifts her head. Finally (in
a scene including Peter), Ellie realizes
that she has been sleeping on his shoulder,
whereupon she straightens up, embarrassed.
ELLIE
Oh, I’m sorry—
(feebly smiling)
Silly, isn’t it?
She looks around, and her finding herself
alone with Peter adds to her embarrassment.
ELLIE
Everybody’s gone.
She lifts her arms to adjust her hat
and becomes conscious of his coat over
her which slips. She stares at it thoughtfully
for a moment—then at Peter.
ELLIE
(realizing that he put it there)
Oh, thank you.
(she hands him his coat; ill at ease)
We’re in Jacksonville, aren’t we?
PETER
Yes.
ELLIE
(nervously)
That was foolish of me. Why didn’t you
shove me away?
PETER
I hated to wake you up.
(she glances at him speculatively)
How about some breakfast?
ELLIE
No, thank you.
(she rises, anxious to get away)
Thank you so much.
Most uncomfortably, she edges away from
him toward the front of the bus, Peter
watching her leave, his interest definitely
provoked.
The scene cuts to the STAND as Ellie
emerges from the bus. At the foot of
the steps is the driver.
ELLIE
How much time have I?
DRIVER
About a half hour.
ELLIE
I’m going over to the Windsor Hotel.
Peter appears in the door of the bus
in the background, and a close view
then shows him stopping to listen as
he sees Ellie talking to the driver.
? 229 ?
DRIVER’S VOICE
The Windsor! You’ll never make it in
time.
ELLIE’S VOICE
You’ll have to wait for me.
DRIVER’S VOICE
(aghast)
Wait for you!
A smile flits across Peter’s face; then
a wider view shows Ellie leaving the
driver.
ELLIE
(as she goes)
Yes. I may be a few minutes late.
She disappears from sight, leaving the
driver staring at her, dumbly; and Peter,
standing in back of the driver, shakes
his head in amazement.
The scene dissolves to the BUS STAND
later that morning—at the same spot
where the bus had previously been. It
is no longer there, however. A huge
crowd fills the space, and the view
moving down through the crowd, singles
Ellie out. She has just arrived and
looks around helplessly. Finally she
spots a uniformed terminal guard and
approaches him.
ELLIE
(now next to the Guard)
Where’s the bus to New York?
GUARD
Left twenty minutes ago.
ELLIE
Why, that’s ridiculous! I was on that
bus—I told them to wait!
GUARD
Sorry, Miss. It’s gone.
(and he turns his back on her)
Ellie’s face clouds. The crowds surge
about her. She looks around thoughtfully.
Suddenly her eyes open in surprise at
something she sees, and the view then
moves over to Peter, who sits on his
suitcase, looking toward Ellie.
PETER
Good morning.
Peter is in the foreground, the guard
is seen in the background. Ellie stares
at Peter, perplexed.
PETER
Remember me? I’m the fellow you slept
on last night.
ELLIE
Seems to me I’ve already thanked you
for that.
(turning to guard)
What time is the next bus to New York?
? 230 ?
GUARD
(turning)
Eight o’clock tonight.
ELLIE
Eight o’clock! Why, that’s twelve hours!
GUARD
Sorry, Miss.
The Guard leaves the scene, and Ellie’s
disappointment is apparent.
PETER
(sarcastically)
What’s the matter? Wouldn’t the old
meanies wait for you?
(Ellie glares at him, disdaining to
reply—this angers him, and he continues
hotly)
Say, how old are you anyway? Don’t you
know these busses work on a schedule?
You need a guardian.
ELLIE
(starting away)
What are you excited about? You missed
the bus, too.
Peter looks at her a moment before replying.
PETER
(quietly)
Yeah. I missed it, too.
There is a close view of the two. She
turns to him. Her interest is provoked
by his tone of voice. She glances up
into his face.
ELLIE
Don’t tell me you did it on my account!
(pause)
I hope you’re not getting any idea that
what happened last night is—
(she interrupts herself)
You needn’t concern yourself about me,
young man. I can take care of myself.
PETER
You’re doing a pretty sloppy job of
it.
(he reaches in his pocket)
Here’s your ticket.
ELLIE
(surprised)
My ticket?
PETER
I found it on the seat.
ELLIE
(taking it)
Oh, thank you. Must have fallen out
of my pocket.
? 231 ?
While she is putting the ticket away
in her purse, Peter speaks:
PETER
You’ll never get away with it, Miss
Andrews.
(this is a shock to Ellie)
ELLIE
(weakly)
What are you talking about?
PETER
Just a spoiled brat of a rich man. You
and Westley’ll make an ideal team.
ELLIE
(bluffing it through)
Will you please tell me what you’re
raving about!
PETER
You’ll never get away with it, Miss
Andrews. Your father’ll stop you before
you get half way to New York.
ELLIE
You must have me confused with—
PETER
(interrupting)
Quit kidding! It’s all over the front
pages, You know, I’ve always been curious
about the kind of a girl that would
marry King Westley.
He pulls a newspaper out of his pocket
and hands it to her. Ellie glances at
the headline hurriedly.
PETER
(while she reads)
Take my advice—grab the first bus back
to Miami. That guy’s a phony.
ELLIE
(looking up at him)
I didn’t ask for your advice.
(she hands the paper back)
PETER
That’s right. You didn’t.
ELLIE
You’re not going to notify my father,
are you?
PETER
(looking at her squarely)
What for?
ELLIE
If you play your cards right, you might
get some money out of it.
(a disdainful expression crosses his
face)
PETER
I never thought of that.
? 232 ?
ELLIE
(frantically)
Listen, if you’ll promise not to do
it, I’ll pay you. I’ll pay you as much
as he will. You won’t gain anything
by giving me away as long as I’m willing
to make it worth your while. I’ve got
to get to New York without being stopped.
It’s terribly important to me. I’d pay
now, only the only thing I had when
I jumped off the yacht was my wrist
watch and I had to pawn that to get
these clothes. I’ll give you my address
and you can get in touch with me the
minute you get to New York.
PETER
(furious)
Never mind. You know I had you pegged
right from the start, you’re the spoiled
brat of a rich father. The only way
you can get anything is to buy it. Now
you’re in a jam and all you can think
of is your money. It never fails, does
it? Ever hear of the word "Humility"?
No, you wouldn’t. I guess it never occurred
to you to just say, "Please mister,
I’m in trouble. Will you help me?" No;
that’d bring you down off your high
horse for a minute. Let me tell you
something; maybe it’d take a load off
your mind. You don’t have to worry about
me. I’m not interested in your money
or your problems. You, King Westley,
your father, you’re all a lot of hooey
to me.
He turns his back on her and leaves.
A close-up of ELLIE shows her staring
after him, her eyes blazing angrily.
In a TELEGRAPH OFFICE, Peter addresses
a girl operator as he drops a telegram
on the counter, which she reads.
PETER
(brusquely)
You send telegrams here?
OPERATOR
(recognizing him apparently, sarcastically)
I’m just fine thanks, and how are you?
(reading)
To "Joe Gordon, care of New York Mail,
New York. Am I laughing. The biggest
scoop of the year just dropped in my
lap. I know where Ellen Andrews is—"
(looking up excitedly)
No, do you really?
PETER
(impatiently)
Go on. Go on send the telegram.
OPERATOR
"How would you like to have the story,
you big tub of—of—"
PETER
Mush. Mush.
? 233 ?
OPERATOR
"Tub of mush. Well try and get it. What
I said about never writing another line
for you still goes. Are you burning?
Peter Warne." Well, that will be .60.
PETER
Send it collect.
OPERATOR
Collect?
Peter
(firmly)
Collect.
As the clerk takes the wire from him,
scene fades out.
Part Three
The BUS TERMINAL fades in. It is night
now, and the rain comes down in torrents.
People scurry around to get into the
buses as the voice of an announcer is
heard:
ANNOUNCER’S VOICE
Bus for blah-blah-blah-blah—Charleston—blah-blah-blah—and
all points North to New York!
This dissolves to the interior of a
BUS, which is practically filled. Peter
is in his seat, reading a magazine,
while Ellie enters hurriedly from the
rear door and starts forward. As she
approaches Peter, she hesitates a second,
and deliberately passes him, plunking
herself into a seat in the opposite
aisle. Peter turns just as she gets
seated. He glances at her indifferently.
A close view shows Ellie seated next
to a man who sits reading a newspaper
which covers his face. Her eyes are
fixed forward, her lips set adamantly.
A close-up of the MAN next to Ellie
makes it plain that he is a typical
drummer.[3] At the moment he is absorbed
in a serial story, but suddenly he becomes
aware of something at his feet, and
without lowering the newspaper, his
gaze slowly shifts downward. At this,
the view moves down until it reaches
Ellie’s trim ankles. Her feet beat a
regular tattoo on the floor; her extreme
agitation is evident. The view moves
back slowly, taking in Ellie’s shapely
leg as far as the knee. Then we see
ELLIE and the DRUMMER as his gaze is
still fixed on her leg. Slowly his face
breaks into a lascivious grin, he lowers
his paper, and turns for a scrutiny
of her face. What he sees apparently
delights him, for he drops his paper
completely—and smiles broadly.
DRUMMER
Hi, sister—All alone? My name’s Shapeley.
(Ellie favors him with a devastating
look which is wasted on the drummer)
Might as well get acquainted. It’s gonna
be a long trip—gets tiresome later on.
Specially for somebody like you. You
look like you got class.
(he surveys her from head to foot)
Yessir! With a capital K.
(he chuckles at his own sally)
And I’m a guy that knows class when
he sees it, believe you me.
? 234 ?
A close-up of ELLIE, as Shapeley’s voice
continues, shows her glancing back at
Peter, expecting him to come to her
rescue.
SHAPELEY’S VOICE
Ask any of the boys. They’ll tell you.
Shapeley sure knows how to pick ’em.
Yessir. Shapeley’s the name, and that’s
the way I like ’em.
Ellie again looks toward Peter. But
PETER seems to have found something
of unusual interest in his magazine
. . . and we again see the harassed
ELLIE and the irrepressible SHAPELEY,
who continues.
SHAPELEY
You made no mistake sitting next to
me.
(confidentially)
Just between us, the kinda muggs you
meet on a hop like this ain’t nothing
to write home to the wife about. You
gotta be awful careful who you hit up
with, is what I always say, and you
can’t be too particular, neither. Once
when I was comin’ through North Carolina,
I got to gabbin’ with a good-lookin’
mama. One of those young ones, you know,
and plenty classy, too. Kinda struck
my fancy. You know how it is. Well,
sir, you could’a knocked me over with
a Mack truck. I was just warming up
when she’s yanked offa the bus. Who
do you think she was? Huh? Might as
well give up. The girl bandit! The one
the papers been writin’ about.
(he pulls out a cigar, and continues—awed
by the recollection)
Yessir, you coulda knocked me over with
a Mack truck.
(he lights his cigar, takes a vigorous
puff, and turns to her again)
What’s the matter, sister? You ain’t
sayin’ much.
ELLIE
(intending to freeze him)
Seems to me you’re doing excellently
without any assistance.
(this however only brings a guffaw from
the drummer)
SHAPELEY
That’s pretty good . . . Well, shut
my big nasty mouth!
A close-up shows ELLIE enduring more
of this as Shapeley’s voice continues:
SHAPELEY’S VOICE
. . . Looks like you’re one up on me.
Nothin’ I like better than to meet a
high-class mama that can snap ’em back
at you. ’Cause the colder they are,
the hotter they get, is what I always
say.
Now Ellie and Shapeley are seen together,
with Peter seen in the background.
? 235 ?
SHAPELEY
Take this last town I was in. I run
into a dame—not a bad looker, either—but
boy, was she an iceberg! Every time
I opened my kisser she pulls a ten strike
on me. It sure looked like cold turkey
for old man Shapeley. I sell office
supplies, see? And this hotsy-totsy
lays the damper on me quick. She don’t
need a thing—and if she did she wouldn’t
buy it from a fresh mugg like me. Well,
says I to myself—Shapeley, you better
go to work. You’re up against a lulu.
Well, I’m here to tell you, sister,
I opened up a line of fast chatter that
had that dame spinnin’ like a Russian
dancer. Before I got through she bought
enough stuff to last the firm a year.
And did she put on an act when I blew
town!
Ellie has scarcely listened to him,
and has divided her attention between
glancing back at Peter and staring at
Shapeley as if he were insane—none of
which bothers Shapeley. He goes on with
his merry chatter, blowing rings of
smoke in the direction of the ceiling.
SHAPELEY
Yessir. When a cold mama gets hot—boy,
how she sizzles! She kinda cramped my
style, though. I didn’t look at a dame
for three towns.
(quickly)
Not that I couldn’t. For me it’s always
a cinch. I got a much better chance
than the local talent.
(confidentially)
You see, they’re kinda leery about the
local talent. Too close to home. Know
what I mean?
ELLIE has now reached the point where
she could, without any compunction,
strangle him.
SHAPELEY’S VOICE
(continuing over this glimpse of her
desperation)
But take a bird like me—it’s here today—and
gone tomorrow. And what happens is nobody’s
business.
At this time she turns helplessly toward
Peter, but we see PETER being deliberately
oblivious of her presence, following
which the three are seen, with Peter
in the background.
SHAPELEY
But I don’t go in for that kinda stuff—much.
I like to pick my fillies. Take you,
for instance. You’re my type. No kiddin’
sister. I could go for you in a big
way. "Fun-on-the-side Shapeley" they
call me, and the accent is on the fun,
believe you me.
(this is all Ellie can stand)
ELLIE
(snappily)
Believe you me, you bore me to distraction.
? 236 ?
(but Shapeley merely throws his head
back and emits his characteristic guffaw)
SHAPELEY
(laughing)
Well, you’re two up on me now.
(he holds up two fingers)
PETER
(approaching them)
Hey, you!
Shapeley’s laugh dies down. He looks
dumbly up at Peter, his two fingers
still held in mid-air.
SHAPELEY
Huh?
PETER
(indicating his own seat)
There’s a seat over there for you.
SHAPELEY
What’s the idea?
PETER
I’d like to sit with my—uh—wife—if you
don’t mind.
(at which Shapeley’s face falls)
SHAPELEY
(puzzled)
Wife?
PETER
Yeah. Come on—come on!
SHAPELEY
(rising)
Oh, excuse me.
(edging away)
I was just tryin’—you know—to make things
pleasant.
And smiling sheepishly, he sidles over
to Peter’s seat, his two fingers still
poised in air. Peter plants himself
next to Ellie and totally ignoring her,
opens his magazine, and resumes his
reading. Then Ellie and Peter are seen
close together. She looks up at him.
ELLIE
If you promise not to snap my head off,
I’d like to thank you.
PETER
(without turning)
Forget it. I didn’t do it for you. His
voice got on my nerves.
She feels herself crushed, and ventures
no further comment as Peter resumes
his interest in his magazine.
A full view of the BUS follows, and
there is silence for a while as the
bus slows down and comes to a stop.
Almost simultaneously a boy makes his
appearance, selling magazines and candy.
? 237 ?
BOY
Here you are, folks. Candy—popcorn—cigarettes—magazines—
As Ellie and Peter are seen again, she
turns and calls to the boy:
ELLIE
Here, boy!
PETER
(turning to her)
What’d you do? Wire one of your friends
for money?
ELLIE
(rummaging in her purse)
No. It’d be useless. Father’d get the
wire before they would.
BOY
(as he enters)
Yes, ma’am?
ELLIE
A box of chocolates, please.
PETER
(to the boy)
Never mind, son. She doesn’t want it.
(he gestures with his thumb for the
boy to leave)
BOY
(puzzled)
But the lady says—
ELLIE
Of course I do. What do you mean—
PETER
(to the boy)
Beat it!
(and the boy, frightened by his voice,
leaves)
ELLIE
(resentfully)
You have your nerve!
(she starts to rise)
Here, boy—!
Peter snatches the purse out of her
hand and takes the money out. Ellie
stares at him dumbfounded.
PETER
A dollar sixty! . . . You had four dollars
last night! How do you expect to get
to New York at the rate you’re going?
ELLIE
(vehemently)
That’s none of your business.
PETER
(with finality)
You’re on a budget from now on.
? 238 ?
(he flings her purse back at her and
pockets the money)
ELLIE
Now, just a minute—you can’t—
PETER
Shut up!
He returns to his magazine, leaving
her staring at him petulantly as the
scene fades out.
Part Four
SOMEWHERE ON THE ROAD at night. This
is apparently on the outskirts of a
town. Two local policemen and our bus
driver stand in the foreground near
a police booth. The rain sweeps across
their faces as they talk. The passengers
in the bus, which stands in the background,
stick their heads out, trying to hear
what is going on.
FIRST POLICEMAN
You won’t be able to pass till morning.
SECOND POLICEMAN
Not even then, if this keeps up.
Peter approaches the group and is then
seen with the officers and the driver.
PETER
What’s up?
FIRST POLICEMAN
Bridge washed out—around Dawson.
DRIVER
Looks like we can’t go through till
morning.
SECOND POLICEMAN
(his only contribution)
Not even then, if this keeps up.
FIRST POLICEMAN
Any of your passengers want a place
to sleep—there’s an auto camp up yonder
a piece.
PETER
(interested)
Yeah? Where?
FIRST POLICEMAN
(pointing)
Up yonder. See the lights?
PETER
Yeah.
FIRST POLICEMAN
That’s it. Dyke’s Auto Camp.
PETER
Thanks.
? 239 ?
He dashes toward the bus. Then he appears
at the side door of the bus.
PETER
(calling)
Hey, Brat—!
(he is about to enter when he sees Ellie)
The view moves to the rear door of the
bus. Ellie stands on the bottom step.
ELLIE
(haughtily)
Are you talking to me!
PETER
Yeah. Come on—we’re stopping here for
the night.
He disappears inside the bus through
the side door. With an independent toss
of her head, Ellie turns and also enters
the bus, but through the rear door.
The scene dissolves to DYKE’S AUTO CAMP.
Ellie stands alone on the porch of a
small bungalow, sheltered from the rain.
Over her head is a sign reading:
OFFICE-Dyke Auto Co.—P. D. Dyke, Prop.
She looks about her restlessly, giving
the impression that she has been waiting
for someone. Suddenly she is attracted
by something and gazes in its direction.
Then, as seen by Ellie in a long view,
there appears, about twenty yards away,
a small cabin, lighted on the inside;
and from it Peter emerges accompanied
by a man—presumably Mr. Dyke. We cannot
hear what is being said; from their
movements, however, it is apparent that
an exchange of money is taking place.
Dyke waves his hand in departure and
starts toward Ellie. At the same time,
Peter calls to her:
PETER
(shouting)
Hey! Come on! We’re all set.
(saying which he enters the cabin)
Ellie hesitates a moment, then starts
toward the cabin. Now she is hurrying
across the open space. En route she
passes Dyke.
DYKE
(as they pass)
Good evening. Hope you and your husband
rest comfortably.
Ellie keeps on running, but suddenly
she stops dead and looks back at Dyke,
following which a close-up of ELLIE
shows her eyes opening wide with astonishment.
Her impulse is to call Dyke back, to
make him repeat what he said—to make
certain she heard him correctly. But
Dyke is gone, and she turns and glances
thoughtfully in the direction of the
cabin. Then slowly the corners of her
mouth screw up in an attitude of cynicism.
So that’s it, is it! He has given her
no previous evidence of being "on the
make"; yet now, with the first opportunity—.
Her thoughts, however, are interrupted
by Peter’s voice:
PETER’S VOICE
Well, Brat—what do you say!
? 240 ?
As she doesn’t stir, there appears a
close-up view of PETER standing in the
doorway of the cabin, looking toward
Ellie.
PETER
(impatiently)
Come on! Come on! What are you going
to do?
Stand there all night?
(he disappears inside)
For a long moment, ELLIE is lost in
speculation as to how to proceed. Then,
tossing her head defiantly, with her
lips set grimly, she starts toward the
cabin until she reaches it, stops in
the doorway and peers in. As she does
this, there is a view of the inside
of the CABIN, as seen by her at the
door. Except for two cots on either
side of the room, a few sticks of cane
furniture, a small table upon which
stands an oil burner for cooking, the
place is barren. At the moment Peter
is attaching a clothes line across the
center of the room. His suitcase is
already open. And now Ellie steps inside,
surveying the place contemptuously.
But Peter, with his back to her, is
oblivious of her presence; and as he
works, he hums his favorite melody.
Ellie finally breaks the silence.
ELLIE
(sarcastically)
Darn clever, these Armenians.
PETER
(seen close as he turns)
Yeah. Yeah, it’s a gift.
(but he finishes his hammering and turns
to his suitcase)
ELLIE
(seen with Peter)
I just had the unpleasant sensation
of hearing you referred to as my husband.
PETER
(carelessly)
Oh, I forgot to tell you. I registered
as Mr. and Mrs.
(the matter-of-fact way in which he
says this causes her eyebrows to lift)
ELLIE
Oh, you did? What am I expected to do—leap
for joy?
PETER
I kind of half expected you to thank
me.
ELLIE
Your ego is colossal.
PETER
(blithely)
Yeah. Yeah, not bad. How’s your’s?
There is silence for a moment, and Peter
proceeds with the unpacking of his suitcase.
As she watches him, Ellie’s mood changes
from one of anger to that of sarcasm.
? 241 ?
ELLIE
(appearing in a close-up, her face disdainful)
Compared to you, my friend, Shapeley’s
an amateur.
(sharply)
Whatever gave you an idea you can get
away with this! You’re positively the
most conceited—
PETER’S VOICE
(interrupting)
Hey, wait a minute!
(appearing beside her)
Let’s get something straightened out
right now. If you’ve any peculiar ideas
that I’m interested in you, forget it.
You’re just a headline to me.
ELLIE
(frightened)
A headline? You’re not a newspaper man,
are you?
PETER
Chalk up one for your side. Now listen,
you want to get to King Westley, don’t
you? All right, I’m here to help you.
What I want is your story, exclusive.
A day-to-day account. All about your
mad flight to happiness. I need that
story. Just between you and me I’ve
got to have it.
ELLIE
Now isn’t that just too cute? There’s
a brain behind that face of yours, isn’t
there? You’ve got everything nicely
figured out, for yourself, including
this.
PETER
This? Oh, that’s a matter of simple
mathematics. These cabins cost two bucks
a night and I’m very sorry to inform
you, wifey dear, but the family purse
won’t stand for our having separate
establishments.
(he goes back to the business of laying
out his things)
ELLIE
(starting to leave)
Well, thank you. Thank you very much,
but— you’ve been very kind.
(but the rain outside causes her to
hesitate)
PETER
Oh, yeah? It’s all right with me. Go
on out in the storm, but I’m going to
follow you, see? Yeah. And if you get
tough I’ll just have to turn you over
to your old man right now. Savvy? Now
that’s my whole plot in a nutshell.
A simple story for simple people. Now
if you behave yourself, I’ll see that
you get to King Westley; if not, I’ll
just have to spill the beans to papa.
Now which of these beds do you prefer?
This one? All right.
While he speaks he has taken the extra
blanket from the cot and hung it over
the clothes line. This manages to divide
the room in half.
? 242 ?
A close view at the door shows Ellie
watching him with interest.
ELLIE
(sarcastically)
That, I suppose, makes everything—uh—quite
all right.
PETER
(the previous scene returning)
Oh, this?—I like privacy when I retire.
I’m very delicate in that respect. Prying
eyes annoy me.
(he has the blanket spread out now)
Behold the walls of Jericho![4] Maybe
not as thick as the ones that Joshua
blew down with his trumpet, but a lot
safer. You see, I have no trumpet.
(taking out pajamas)
Now just to show you my heart’s in the
right place, I’ll give you my best pair
of pajamas.
He flings them over to her, and she
catches them and throws them on her
cot. Throughout the scene she hasn’t
budged from the door, but Peter now
prepares to undress.
PETER
Do you mind joining the Israelites?
ELLIE
You’re not really serious about this,
are you?
PETER
(seen at close range, going about the
job of undressing very diffidently)
All right, don’t join the Israelites.
Perhaps you’re interested in how a man
undresses.
(and he hangs his coat over the chair)
Funny thing about that. Quite a study
in psychology. No two men do it alike.
(now his shirt is coming off)
A close view of ELLIE shows her standing
stubbornly.
PETER’S VOICE
I once knew a chap who kept his hat
on until he was completely undressed.
(chuckling)
Made a comical picture . . .
As the scene includes both of them,
Peter spreads his shirt over his coat.
PETER
Years later his secret came out. He
wore a toupee.
He lights a cigarette diffidently while
she remains brazenly watching him, her
eyes flashing defiantly.
PETER
I have an idiosyncrasy all my own. You’ll
notice my coat came first—then the tie—then
the shirt—now, according to Hoyle,[5]
the pants should come next. But that’s
where I’m different.
? 243 ?
(he bends over)
I go for the shoes first. After that
I—
ELLIE
(unable to stand it any longer)
Smart aleck!
And thoroughly exasperated, she goes
behind the blanket, and plops on the
cot. She sits on the edge, debating
what to do, feeling herself trapped.
Her impulse is to leave, if only to
show this smart aleck he’s not dealing
with a child, and she rises impetuously
and moves to the window.
A close view at the WINDOW shows her
looking out. The downpour has not abated
one bit, and the heavy raindrops clatter
against the window pane in a sort of
challenge to Ellie, whose jaw drops.
She turns slowly back to the room, and
as she does so her eyes light on the
cot. It looks most inviting; after all,
she hasn’t had any rest for two nights.
She falls on the cot again, her shoulders
sagging wearily. Following this, the
view reveals both sides of the blanket.
Peter is already in his pajamas.
PETER
Still with me, Brat?
(there is no answer from Ellie)
Don’t be a sucker. A night’s rest’ll
do you a lot of good. Besides, you’ve
got nothing to worry about. The Walls
of Jericho will protect you from the
big bad wolf.
A close view shows ELLIE glancing over
at the blanket. Despite herself, the
suggestion of a smile flits across her
face.
ELLIE
You haven’t got a trumpet by any chance,
have you?
PETER gets the idea and smiles broadly.
PETER
Not even a mouth organ.
Pulling the covers back, he prepares
to get into bed, humming as he does
so.
PETER
(humming to himself)
Who’s afraid of the big bad wolf—
The big bad wolf, the big bad wolf.
(louder)
She’s afraid of the big bad wolf,
Tra-la-la-la-la—
(he springs into bed)
Ellie smiles, and wearily she pulls
her hat off her head. She sits this
way a moment, thoughtfully; then, determined,
she looks up.
ELLIE
Do you mind putting out the light?
PETER
Not at all.
? 244 ?
(he leans over and snaps it off)
The room is thrown into darkness except
for a stream of light coming in the
window from the night-light outside
the camp. Visible are Peter’s face and
arms as he stares ceilingward, while
on Ellie’s side all we can see of her
is her silhouette, except for such times
as she gets in direct line with the
window. There are glimpses of her as
she moves around in the process of undressing,
and we see, or rather sense, her dress
dropping to the floor. She now stands
in her chemise; this being white silk,
it stands out more prominently against
the darkness. She picks up the pajamas
and backs into a corner, following which
a close-up of her head and shoulders
shows her glancing apprehensively toward
Peter’s side of the room; and holding
the pajamas in front of her with one
hand, with the other she slips the strap
off her shoulders. She flings her "slip"
over the blanket.
PETER, on his side of the room, looks
toward the blanket, and reacts to the
"slip" coming into sight. Then other
undergarments join the "slip" on the
blanket.
PETER
(hoarsely)
Do you mind taking those things off
the Walls of Jericho?
(a pause)
It’s tough enough as it is.
ELLIE’S VOICE
Oh, excuse me.
(and we see the underthings flipped
off the blanket.)
Ellie’s side of the room appears, showing
her crawling quickly into bed, pulling
the covers over her and glancing apprehensively
in Peter’s direction—following which
a close view shows PETER being very
conscious of her proximity. The situation
is delicate and dangerous; the room
is atingle with sex. He turns his gaze
toward the blanket. The view moves to
the BLANKET, remaining on it a moment.
It is a frail barrier. The view then
moves back to Peter, whose eyes are
still on the blanket, his face expressionless.
A close view of ELLIE, next shows that
she, too, has her eyes glued on the
blanket, a little fearfully. She turns
her head and gazes at the ceiling for
a moment. Then suddenly her eyes widen—and
she sits up abruptly.
ELLIE
(seriously)
Oh, by the way—what’s your name?
PETER
(seen close; turning his head toward
her)
What’s that?
ELLIE
(both sides of the blanket coming into
view)
Who are you?
PETER
Who, me? Why, I’m the whippoorwill that
cries in the night. I’m the soft morning
breeze that caresses your lovely face.
? 245 ?
ELLIE
(interrupting)
You’ve got a name, haven’t you?
PETER
Yeah. I got a name. Peter Warne.
ELLIE
Peter Warne? I don’t like it.
PETER
Don’t let it bother you. You’re giving
it back to me in the morning.
ELLIE
(flopping back on her pillow as she
mumbles)
Pleased to meet you, Mr. Warne . . .
PETER
The pleasure is all mine.
There is silence between them for a
few seconds.
PETER
I’ve been thinking about you.
ELLIE’S VOICE
Yes?
PETER
You’ve had a pretty tough break at that.
Twice a Missus and still unkissed.
Ellie doesn’t like the implication,
and glares in his direction as Peter’s
voice continues:
PETER’S VOICE
(meaningly)
I’ll bet you’re in an awful hurry to
get back to New York, aren’t you?
ELLIE
(hard)
Goodnight, Mr. Warne.
(she turns over)
PETER
Goodnight.
He also turns his head toward the wall,
and the scene fades out.
Part Five
A long view of the SKY, in the early
morning, fades in. In the dim distance
there is a speck, which, as it comes
nearer, turns out to be an airplane.
The drone of its motors becomes louder
and louder. Then the view cuts to the
CONTROL COCKPIT of the PLANE revealing
TWO PILOTS.
FIRST PILOT
(shouting to other)
The old man’s screwy!
? 246 ?
SECOND PILOT
(who can’t hear him)
What’s ’at?
FIRST PILOT
(louder)
I said, the old man’s screwy!
SECOND PILOT
(nodding his head in agreement)
Yeah!
FIRST PILOT
(cupping his mouth)
The dame’s too smart for him.
SECOND PILOT
(nodding again, then leaning over)
How’d you like to be married to a wild
cat like that?
The First Pilot grimaces in disgust,
grabs his nose between his fingers,
and goes through the motion of ducking
under water. And as they both laugh,
the scene cuts to the CABIN of the plane,
a privately built plane which has all
the equipment of a passenger ship. Andrews
and one of his secretaries, a conservative-appearing
man of middle age, lean over a table.
This being a closed cabin, the roar
of the motors scarcely interferes with
the dialogue.
SECRETARY
Here’s another wire, sir. This one’s
from Charleston.
(as there is a close view of the two)
"Checking every northbound train. Also
assigned twenty operatives to watch
main highways. No success yet. Will
continue to do everything possible."
Signed: Lovington Detective Agency,
Charleston.
ANDREWS
Any others?
SECRETARY
Yessir.
(holding up stack of wires)
There’s a report here from every State
along the East coast. Want to hear them?
ANDREWS
(impatiently)
What do they say?
SECRETARY
They’re practically all the same, sir.
(he shrugs his shoulders to indicate
there is no news)
ANDREWS
(muttering)
Amateurs!
SECRETARY
They’re the finest detective agency
in the country, sir.
? 247 ?
Andrews doesn’t answer him. He puffs
furiously on his cigar, glances out
of the window, and turns irritably to
a phone by his side. He snaps up the
receiver and presses a button, following
which the scene cuts to the CONTROL
COCKPIT, where a light flashes on the
instrument board, and the pilot picks
up the receiver.
PILOT
Yes, sir?
ANDREWS
(seen in the cabin)
I thought I made it clear I was in a
hurry to get to New York?
(bellowing)
What are we crawling for!
In the control cockpit, the pilot reacts
to the complaint and glances at his
speed indicator. We then see the SPEED
INDICATOR registering 180 miles an hour.
The pilot looks aghast.
PILOT
(yelling into phone)
We’ve got her wide open, sir.
ANDREWS
(irascibly)
Well, step on it! Step on it!
He bangs up the receiver and stares
moodily out of the window. It is plain
that he is worried. The view then includes
his secretary, Henderson.
HENDERSON
I hope she’s all right, sir.
ANDREWS
(sharply)
Of course she’s all right. What do you
think can happen!
HENDERSON
(intimidated)
Nothing, sir!
ANDREWS
Then shut up about it!
Thereupon the view cuts to a close-up
of an airplane motor in rapid motion,
and this dissolves to the AUTO CAMP
CABIN next morning, a close view showing
ELLIE peacefully sleeping. But the drone
of the plane overhead disturbs her,
and she moves restlessly.
ELLIE
(murmuring in her sleep)
Darn planes—
She squirms around uncomfortably, and
finding it impossible to resume her
slumber, opens her eyes. The sun pouring
in through the window causes her to
squint. She sits up and stares outside,
puzzled. Then remembering where she
is she looks toward the other side of
the cabin, listening for some sign of
life. But there is none
? 248 ?
and she relaxes. She falls back on the
pillow, pulling the covers over her.
Now PETER enters from the outside with
an armful of foodstuffs, which he dumps
on the table. He looks toward Ellie.
PETER
Hey—you not up yet? Come on—come on!
ELLIE’S VOICE
What time is it?
PETER
Eight o’clock.
He goes to the blanket which hangs between
the two cots and throws something over
it to Ellie.
PETER
Here—
ELLIE
(catching the package)
What is it?
(opening the package)
Why, it’s a toothbrush! Thanks.
(noticing her dress hanging freshly
pressed)
You—you had it pressed.
PETER
(getting things ready for breakfast)
Come on! Hurry up! Breakfast’ll be ready
in no time.
ELLIE
Why, you sweet thing, you. Where’d you
get it pressed?
(at this the view moves with him and
he goes to the blanket)
PETER
Listen, Brat—I’m going to count to ten.
If you’re not out of bed by then I’m
going to yank you out myself.
A close view of ELLIE shows her being
stubborn, but alarmed.
PETER’S VOICE
(counting quickly)
One—two—three—four—five
ELLIE
(panic-stricken)
Why, you bully. I believe you would.
PETER’S VOICE
—six—seven—eight—nine—
ELLIE
(screaming)
I’m out! I’m out!
? 249 ?
And she jumps out of bed, throwing the
cover around herself, following which
Peter is seen going back to the table.
PETER
You’ll find the showers—and things—right
back of the second cottage.
(at this Ellie sticks her head over
the blanket)
ELLIE
(aghast)
Outside!
PETER
Certainly, outside. All the best homes
have ’em outside.
ELLIE
I can’t go out like this.
PETER
Like what?
ELLIE
Like this. I have no robe.
PETER
Here—take mine.
He flings his robe over to her, and
she disappears behind the blanket.
PETER
But make it snappy.
Now Ellie has got into his robe, and
appears on his side. The robe is too
large for her and she makes a comical
figure. As she enters, she tries to
maintain her customary dignity.
ELLIE
(dignifiedly)
Where’d you say the showers—and things—were?
(Peter turns; when he sees her he laughs)
PETER
(appraisingly)
Hey—you’re little, aren’t you?
ELLIE
Where is the shower?
PETER
Your hair’s cute like that. You should
never comb it.
ELLIE
(leaving haughtily)
I’ll find it myself.
She slams the door viciously, but Peter
rushes over to the window to watch her;
and as viewed by him, Ellie appears
next walking to the showers outside
the cabin. She holds her head high and
struggles valiantly to maintain as much
dignity as she can muster under the
circumstances. Then in the cabin, at
the window, Peter watching Ellie, chuckles
at her, shaking his head in amusement.
He starts toward the table, and the
scene cuts to a moving view outside
? 250 ?
the cabins, with Ellie walking past
several cottages on her way to the showers.
Several people stop to stare at her
until she reaches her destination. There
are two wooden shacks adjoining, each
having a sign on them; one reads, "Showers—Men"—the
other, "Showers—Women." In front of
the women’s shower there are several
unappetizing-looking fat women waiting,
and with them is a small girl. Ellie
crosses over to the women’s shower and
disappears inside, the waiting women
staring at her, puzzled. A moment elapses
and Ellie backs out, being pushed by
a woman, part of whose naked body is
visible, and whose voice is heard in
protest:
WOMAN
Can’t a body have some privacy around
here?
The women who are waiting chuckle at
Ellie’s embarrassment as she stands
aside. They certainly are making a monkey
out of her decorum. The little girl
keeps eyeing Ellie, fascinated.
LITTLE GIRL
(pointing)
Don’t she look funny, Mama?
Ellie, wheeling on the little girl,
crushes her with a devastating look,
so that the little girl cringes against
her mother’s skirt. Ellie goes to the
end of the line to await her turn, following
which close-ups show the LITTLE GIRL
slowly turning her head to look at Ellie,
and ELLIE noticing the little girl staring
at her, whereupon Ellie sticks her tongue
out at her. And, in a scene which includes
both, the little girl retaliates by
sticking her tongue out also.
This dissolves to a view of ELLIE coming
out of the showers. At the same time
Shapeley comes out of the men’s shower,
and upon seeing Ellie, his face lights
up.
SHAPELEY
Hello, sister.
Ellie ignores him, and walks toward
her cabin. But Shapeley falls into step
with her.
SHAPELEY
Sorry about last night. Didn’t know
you were married to that guy. Shoulda
told me about it right off.
(he chuckles)
There I was, gettin’ myself all primed
for a killin’, and you turn out to be
an old married woman.
The scene cuts to the door of PETER’S
CABIN as Peter comes out, stands in
the doorway, and is surprised to see
Ellie and Shapeley, who are then seen
(from his angle) talking. Thereupon
PETER is seen again as his lip curls
up a little jealously; he returns to
the cabin, following which we again
see Ellie and Shapeley walking. He notices
the robe she is wearing, and he looks
down toward her feet, the view moving
down to show Ellie’s legs and feet.
The pajama legs are seen protruding
below the robe, the cuffs of which she
has turned up. Then the view moving
back up to Ellie and Shapeley, he lifts
her robe playfully.
? 251 ?
SHAPELEY
Hey, what’s this? Wearing Papa’s things?
Now that’s cute. That’s what I call
real lovey-dovey. Yessir.
ELLIE
(stopping—her eyes blazing)
If you don’t get out of here, I’ll slap
that fresh mouth of yours.
SHAPELEY
(startled)
Sorry—I didn’t mean to—
ELLIE
(sharply)
Get out!
SHAPELEY
Okay. I was just trying to make conversation.
Ellie leaves him abruptly, and the scene
cuts to the CABIN, where Peter is now
busy setting the small table. Ellie
enters after a moment, while Peter has
his back to the door.
PETER
(without turning)
High time you got back.
ELLIE
I met some very interesting women at
the showers. We got to chatting about
this and that. You know how time files.
She disappears behind the blanket, following
which we see Peter’s side of the cabin,
while Ellie’s voice continues from behind
the blanket.
ELLIE’S VOICE
We must come back to this place often.
You meet the nicest people!
Her head bobs up over the blanket now
and again as she dresses.
ELLIE
I saw the little Pussinfoos girl. She’s
turned out quite a charming creature.
Peter ignores her chatter, except for
an annoyed glance once in a while.
ELLIE
Very outspoken, too. Said I looked funny.
Wasn’t that cute?
PETER
Hurry up and get dressed.
ELLIE
(sticking her head over blanket)
Why, Peter! Don’t you want to hear about
our lovely friends?
? 252 ?
PETER
If you didn’t waste so much time on
that wise-cracking drummer—we’d have
been through with breakfast by this
time.
A close view shows ELLIE in the process
of buttoning her dress. She looks up,
having recognized a tinge of jealousy
in his voice, which intrigues her. She
starts to the other side of the blanket.
Then we see her joining Peter in his
part of the cabin.
ELLIE
Well, I hope you’re not going to dictate
whom I can talk to.
PETER
I know a couple of truck drivers I’d
like to have you meet sometime.
(setting a plate for her)
Come on, sit down.
ELLIE
Thank you.
(sitting down to the table; referring
to the food)
My, my! Scrambled eggs.
PETER
Egg. One egg—doughnuts—black coffee.
That’s your ration till lunch. Any complaints?
ELLIE
(cheerily)
Nope. No complaints.
PETER
I’d have gotten you some cream but it
meant buying a whole pint.
ELLIE
("sweetly")
Why, you don’t have to apologize, Mr.
Warne. You’ll never know how much I
appreciate all this.
PETER
(gruffly)
What makes you so disgustingly cheerful
this morning?
ELLIE
Must be the Spring.
PETER
I thought maybe—uh—"believe you me"
told you a couple of snappy stories.
ELLIE
He apologized for last night.
(carelessly)
Said he didn’t know we were married.
? 253 ?
PETER
(passing her a doughnut)
Just shows you how wrong a guy can be.
Doughnut?
ELLIE
Thanks.
(embarrassed)
You think this whole business is silly,
don’t you? I mean running away and everything.
PETER
(easily)
No. No. It’s too good a story.
ELLIE
Yes, you do. You think I’m a fool and
a spoiled brat. Perhaps I am, although
I don’t see how I can be. People who
are spoiled are accustomed to having
their own way. I never have. On the
contrary, I’ve always been told what
to do and how to do it and where and
with whom. Would you believe it? This
is the first time I’ve ever been alone
with a man!
PETER
Yeah?
ELLIE
It’s a wonder I’m not panic stricken.
PETER
Um. You’re doing all right.
ELLIE
Thanks. Nurses, governesses, chaperones,
even body-guards. Oh, it’s been a lot
of fun.
PETER
One consolation; you can never be lonesome. <