"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 --

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

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

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

                                     ELLIE'S VOICE
                         What time is it?

                                     PETER
                         Eight o'clock.

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

                                     PETER
                         Here --

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

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

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

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

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

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

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

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

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

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

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

                                     ELLIE
                              (aghast)
                         Outside!

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

                                     ELLIE
                         I can't go out like this.

                                     PETER
                         Like what?

                                     ELLIE
                         Like this. I have no robe.

                                     PETER
                         Here -- take mine.

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

                                     PETER
                         But make it snappy.

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

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

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

                                     ELLIE
                         Where is the shower?

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

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

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

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

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

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

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

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

                                     SHAPELEY
                         Hello, sister.

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

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

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

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

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

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

                                     ELLIE
                              (sharply)
                         Get out!

                                     SHAPELEY
                         Okay. I was just trying to make 
                         conversation.

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

                                     PETER
                              (without turning)
                         High time you got back.

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

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

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

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

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

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

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

                                     PETER
                         Hurry up and get dressed.

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

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

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

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

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

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

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

                                     ELLIE
                              (cheerily)
                         Nope. No complaints.

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

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

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

                                     ELLIE
                         Must be the Spring.

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

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

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

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

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

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

                                     PETER
                         Yeah?

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

                                     PETER
                         Um. You're doing all right.

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

                                     PETER
                         One consolation; you can never be 
                         lonesome.

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

                                     PETER
                         Santa Claus?

                                     ELLIE
                         King -- King Westley was in it.

                                     PETER
                         Oh. Is that how you met him?

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

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

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

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

                                     ELLIE
                         Thanks, professor.

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

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

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

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

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

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

                                     PETER
                         Detectives!

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

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

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

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

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

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

                                     PETER
                         Sit down!

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

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

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

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

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

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

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

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

                                     ELLIE
                              (calling)
                         Come in!

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

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

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

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

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

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

                                     ELLIE
                              (innocently)
                         Are you addressing me?

                                     DETECTIVE
                         Yeah. What's your name?

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

                                     DETECTIVE
                         We're looking for somebody.

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

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

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

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

                                     SECOND DETECTIVE
                              (crowding forward)
                         What's up?

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

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

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

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

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

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

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

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

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

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

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

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

                                     ELLIE
                         Well, you were!

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

                                     ELLIE
                         Yeah, and gotten yourself arrested!

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

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

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

                                     DYKE
                         Now look what you've done!

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

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

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

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

                                     SECOND DETECTIVE'S VOICE
                         She sure does.

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

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

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

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

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

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

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

                                     ELLIE
                         You weren't so bad yourself.

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

                                     ELLIE
                         Next week "East Lynne."

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

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

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

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

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

                                     ELLIE
                         You always want to run everything.

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

                                     ELLIE
                         I refuse to resign!

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

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

                                     DYKE
                         Your bus leaves in five minutes.

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

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

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

                                     SECRETARY
                         Here's another wire from Peter Warne.

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

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

                                     GORDON
                         Collect?

                                     SECRETARY
                         Yes.

                                     GORDON
                         Don't accept any more.

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

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

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

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

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

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

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

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

                                     ONE OF THEM
                         Yessir?

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

                                     CLARK
                              (leaving)
                         Yessir.

                                     ANDREWS
                         Brown --

                                     BROWN
                         Yessir?

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

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

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

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

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

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

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

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

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

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

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

                                     ELLIE
                              (worried)
                         Yes.

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

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

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

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

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

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

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

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

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

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

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

               Peter and Ellie step up.

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

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

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

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

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

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

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

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

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

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

                                     BOY
                         We ain't ate nothin' since yestidday.

                                     PETER
                         What happened to your money?

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

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

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

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

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

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

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

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

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

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

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

                                     BOY
                              (also smiling)
                         Thanks.

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

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

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

                                     DRIVER
                         That storm sure made a mess outa 
                         these roads.

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

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

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

                                     SHAPELEY
                              (as Peter approaches)
                         What's up?

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

                                     SHAPELEY
                              (calling to him)
                         Say, Buddy --

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

                                     SHAPELEY
                         Like to have a look at my paper?

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

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

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

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

                                     PETER
                              (eyeing him expectantly)
                         That's right.

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

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

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

                                     PETER
                         What?

                                     SHAPELEY
                         I'd go fifty-fifty with you.

                                     PETER
                         Why?

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

                                     PETER
                         What's on your mind?

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

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

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

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

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

                                     PETER
                         I can use a smart guy like you.

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

                                     PETER
                              (suddenly)
                         Do you pack a gat?

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

                                     SHAPELEY
                         Huh?

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

                                     SHAPELEY
                              (weakly)
                         Why -- no --

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

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

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

                                     SHAPELEY
                              (finally finding his 
                              voice)
                         The Killer?

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

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

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

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

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

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

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

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

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

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

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

                                     SHAPELEY
                         Oscar Shapeley.

                                     PETER
                         Where do you live?

                                     SHAPELEY
                         Orange, New Jersey.

                                     PETER
                         Got a couple of kids, huh?

                                     SHAPELEY
                         Yeah. Just babies.

                                     PETER
                         You love them, don't you?

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

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

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

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

                                     SHAPELEY
                         No.

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

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

                                     PETER
                         Okay. Just remember that. Now beat 
                         it.

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

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

                                     SHAPELEY
                         Sure. Anything you say.

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

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

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

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

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

                                     PETER
                         What's the matter?

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

                                     PETER
                         I don't trust that chatterbox.

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

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

                                     ELLIE
                         Not as long as I'm alive.

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

                                     ELLIE
                         What do you mean -- starvation?

                                     PETER
                         It takes money to buy food.

                                     ELLIE
                         Why, haven't you --?

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

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

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

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

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

                                     ELLIE
                         To New York?

                                     PETER
                         Yeah.

                                     ELLIE
                         I'm following you.

                                     PETER
                         Aren't you afraid of me?

                                     ELLIE
                              (confidently)
                         No.

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

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

                                     PETER
                         I wish you'd stop being playful.

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

                                     PETER
                         This isn't "piggy-back."

                                     ELLIE
                         Of course it is.

                                     PETER
                         You're crazy.

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

                                     PETER
                         And he carried you like this, I 
                         suppose.

                                     ELLIE
                         Yes.

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

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

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

                                     ELLIE
                         That's silly.

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

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

                                     PETER
                         Not a one.

                                     ELLIE
                         You're prejudiced.

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

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

                                     PETER
                         Aw, nuts!

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

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

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

                                     PETER
                         Hold this a minute.

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

                                     PETER
                              (taking the suitcase)
                         Thank you.

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

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

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

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

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

                                     ELLIE
                              (after a pause; coyly)
                         Peter --

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

                                     ELLIE'S VOICE
                         I'm hungry.

                                     PETER
                              (without looking up)
                         Just your imagination.

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

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

                                     ELLIE
                              (insisting)
                         Well, I am.

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

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

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

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

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

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

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

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

                                     ELLIE
                         I'll get my clothes all wrinkled.

                                     PETER
                              (sharply)
                         Well, take them off.

                                     ELLIE
                              (shocked)
                         What!

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

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

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

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

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

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

                                     ELLIE
                              (with a terrified 
                              outcry)
                         Peter!!

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

                                     PETER
                         What's the matter?

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

                                     PETER
                              (hoarsely)
                         What's got into you?

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

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

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

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

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

                                     ELLIE
                         I don't want it now.

                                     PETER
                              (vehemently)
                         Thought you were hungry!

                                     ELLIE
                         I was -- but --

                                     PETER
                         But what!

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

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

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

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

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

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

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

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

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

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

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

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

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

                                     ELLIE
                         Do you know?

                                     PETER
                         Sure.

                                     ELLIE
                         What?

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

                                     ELLIE
                              (seen close)
                         Try me.

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

                                     ELLIE
                         You sound like a hobo.

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

                                     ELLIE
                         Doesn't sound very exciting.

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

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

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

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

                                     ELLIE
                         What are you thinking about?

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

                                     ELLIE
                              (pleased)
                         Really?

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

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

                                     PETER
                         Hitch-hiking.

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

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

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

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

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

                                     ELLIE
                         Hay -- in my teeth.

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

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

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

                                     PETER
                         Carrots.

                                     ELLIE
                         Raw?

                                     PETER
                         Uh-huh. Want one?

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

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

                                     ELLIE
                         I hate the horrid stuff.

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

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

                                     ELLIE
                         What if nobody stops for us?

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

                                     ELLIE
                         You're an expert, I suppose.

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

                                     ELLIE
                         There's no end to your 
                         accomplishments.

                                     PETER
                         You think it's simple, huh?

                                     ELLIE
                              (exaggeratedly)
                         Oh, no!

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

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

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

                                     ELLIE
                         Clever.

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

                                     ELLIE
                         You figured that all out yourself, 
                         huh?

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

                                     ELLIE
                         Amazing.

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

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

                                     ELLIE
                              (excitedly)
                         Here comes a car!

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

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

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

               Peter is still looking after the car.

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

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

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

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

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

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

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

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

               The scene widens as she rises and steps forward.

                                     PETER
                         What're you going to do?

                                     ELLIE
                         Mind your own business.

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

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

                                     ELLIE
                         You might give me a little credit.

                                     PETER
                         What for?

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

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

                                     ELLIE
                         We don't need forty cars.

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

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

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

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

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

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

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

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

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

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

                                     DANKER
                         How about a bite to eat?

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

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

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

                                     PETER
                         No.

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

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

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

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

                                     PETER
                         Eat a carrot.

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

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

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

                                     PETER
                         Let's get out and stretch our legs.

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

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

                                     PETER
                         Hey!

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

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

                                     PETER
                         Come on -- get in.

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

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

                                     ELLIE
                              (as she runs)
                         What happened?

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

                                     ELLIE
                         What'd you give him for the car?

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

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

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

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

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

                                     ELLIE
                              (with a cry of joy)
                         Darling!

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

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

               The scene fades out. 

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

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

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

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

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

                                     ANDREWS
                              (impatiently)
                         Yes. I know. Well, you can help now. 
                         I issued a statement yesterday that 
                         I've withdrawn my objections. Begging 
                         her to come home. I haven't heard 
                         from her. Apparently she doesn't 
                         trust me.

                                     WESTLEY
                         Why should she? After all --

                                     ANDREWS
                              (interrupting)
                         All right. That's why I sent for 
                         you.
                              (pointing to next 
                              room)
                         There's a room full of reporters out 
                         there. I want you to make a statement -- 
                         that you've had a talk with me -- 
                         that we've reached an understanding -- 
                         that if Ellen comes home, I won't 
                         interfere with your marriage. Will 
                         you do that?

                                     WESTLEY
                         If you really mean it, I will.

                                     ANDREWS
                              (strongly)
                         Of course I mean it! I don't care 
                         whom she's married to --
                              (softly)
                         -- as long as I can get her back.
                              (he starts out)

               As Andrews opens the door, a number of reporters enter.

                                     ANDREWS
                         Come in, boys. This is my -- uh -- 
                         this is King Westley.
                              (Westley rises)
                         He has a statement to make.

                                     REPORTERS
                         Hello, Westley... How do you do.
                              (they group around 
                              him)

               The scene dissolves to the side of a lonely ROAD at night. 
               First there is a close-up of a newspaper headline, which 
               reads.

               ANDREWS WITHDRAWS OBJECTION Magnate and Aviator Reconciled 
               "Everything all right. Come home, darling," says Westley. 
               Then the view draws back revealing that the newspaper is in 
               the hands of Ellie, who sits in the car alone, gazing at the 
               headlines. Then Peter's voice is heard.

                                     PETER'S VOICE
                         All right, Brat.

               At the sound of his voice, she is startled, and she quickly 
               folds the paper and throws it out of sight. She starts to 
               get out of the car.

                                     ELLIE
                              (as she scrambles out 
                              of the car just as 
                              Peter comes up to 
                              her)
                         Any luck?

                                     PETER
                         Yeah. He finally agreed to let us 
                         have a room.

                                     ELLIE
                         What about money?

                                     PETER
                         Talked him out of it. He thinks we're 
                         going to stay a week. I'll have to 
                         think of something before morning.

                                     ELLIE
                         That's swell!

                                     PETER
                         I'm glad you think so. If you ask 
                         me, it's foolish. I told you there's 
                         no sense in our staying here tonight. 
                         We could make New York in less than 
                         three hours.

                                     ELLIE
                         I couldn't arrive in New York at 
                         three in the morning. Everybody's in 
                         bed.

                                     PETER
                              (after a pause)
                         Okay.
                              (with a wave of his 
                              hand)
                         Cottage Number Three.

               As they start toward it, the scene cuts to the OWNER'S CABIN. 
               The owner of the auto camp and his wife are standing at 
               window, looking out. She is a hatchet-faced shrew. He is 
               meek and docile.

                                     WIFE
                         There you go -- trustin' people again. 
                         How many times did I tell you --

                                     OWNER
                         He looked like an upright young feller 
                         to me, Ma.

                                     WIFE
                         Yeah. They're all upright till they 
                         walk out on you.

                                     OWNER
                         Said he was gonna stay a week.

                                     WIFE
                         Mebbe.

                                     OWNER
                         Worst comes to the worst, we got his 
                         car for security.

                                     WIFE
                              (unconvinced)
                         I don't trust him.

               The scene cuts to the inside of a CABIN not unlike the 
               previous auto camp cabin in which Peter and Ellie spent a 
               night. Peter's opened suitcase is on a chair, over which he 
               leans. Ellie walks around, puffing at a cigarette.

                                     PETER
                              (without looking up)
                         Well, here we are on the last lap.

               Ellie crosses to the window and stares out moodily. Peter 
               removes several things from his suitcase and lays them on 
               the bed. There is a strained silence between them, as both 
               are lost in their own thoughts. A close view of PETER as he 
               putters abstractedly with the contents of his bag creates 
               the impression that he empties it tonight rather ruefully. 
               It somehow spells finis to their adventure.

                                     PETER
                              (strangely)
                         Tomorrow morning, you'll be in the 
                         arms of your husband.

               ELLIE (seen close) turns away from the window and looks at 
               Peter. She stares this way for a long moment before speaking.

                                     ELLIE
                              (in a still, small 
                              voice)
                         Yes. You'll have a great story, won't 
                         you?

                                     PETER
                              (dryly)
                         Yeah, swell.

               Peter takes the rope out of his bag. It is the one used for 
               the "Walls of Jericho" previously. He lays it aside and then, 
               remembering, retrieves it. For a moment he holds it in his 
               hand, speculatively; then turning, proceeds to tack it up. 
               The noise of the tacking attracts Ellie's attention, and 
               Ellie (again seen close) turns and looks toward Peter.

                                     ELLIE
                         Is that the Walls of Jericho going 
                         up?

                                     PETER'S VOICE
                         Yep! The Walls of Jericho.
                              (at which she turns 
                              back to the window)

               PETER (also seen close) stretches the rope across the room 
               and tacks the other side.

                                     PETER
                              (then reaching for 
                              blanket)
                         We certainly outsmarted your father.
                              (he throws the blanket 
                              over the rope)
                         I guess you ought to be happy.

               There is no response from her, a close view revealing that 
               she quite obviously isn't happy. They are now separated by 
               the blanket, and Peter gets her pajamas from his suitcase 
               and throws them over the blanket.

                                     ELLIE
                         Thank you.
                              (there is silence 
                              while Peter starts 
                              undressing -- suddenly)
                         Am I going to see you in New York?

                                     PETER
                              (laconically)
                         Nope.

                                     ELLIE
                         Why not?

               PETER glances up at the "Walls of Jericho" and after a 
               speculative pause, speaks quietly.

                                     PETER
                         I don't make it a policy to run around 
                         with married women.

               A close-up of ELLIE, disclosing only her neck and shoulders, 
               shows her slipping out of her clothes. She pauses -- then 
               looks up.

                                     ELLIE
                         No harm in your coming to see us.

                                     PETER'S VOICE
                         Not interested.
                              (at this Ellie's face 
                              falls, this is a 
                              definite rebuff)

                                     ELLIE
                              (weakly)
                         Won't I ever see you again?

               PETER (seen close) is now getting into his pajamas.

                                     PETER
                         What do you want to see me for? I've 
                         served my purpose. I brought you 
                         back to King Westley, didn't I?
                              (his mouth screws up 
                              bitterly)
                         That's what you wanted, wasn't it?

               ELLIE is already in bed, staring up at the ceiling.

                                     ELLIE
                         Peter, have you ever been in love?

               PETER crawls into bed.

                                     PETER
                         I probably did the world a great 
                         favor at that. Got two pinheads out 
                         of circulation.
                              (he reaches over and 
                              lights a cigarette)
                         Cupid thinks he's doing something 
                         when he brings two lovers together. 
                         What good's that? I'm bringing two 
                         pains-in-the-neck together. I think 
                         I'll start an institution -- hang 
                         out a shingle.

               The view now widens to include both sides of the blanket. 
               Ellie doesn't hear a word of Peter's attack. She is too intent 
               on her own thoughts.

                                     ELLIE
                         Haven't you ever wanted to fall in 
                         love?

                                     PETER
                         Me?

                                     ELLIE
                         Yes. Haven't you thought about it at 
                         all? Seems to me you could make some 
                         girl wonderfully happy.

                                     PETER
                              (disdainfully)
                         Maybe.
                              (after a pause)
                         Sure -- sure, I've thought about it. 
                         Who hasn't? If I ever met the right 
                         sort of a girl, I'd --
                              (interrupting himself)
                         Yeah, but where you going to find 
                         her -- somebody that's real -- 
                         somebody that's alive? They don't 
                         come that way any more.

               ELLIE's disappointment is apparent.

                                     PETER
                              (seen close)
                         I've even been sucker enough to make 
                         plans.
                              (a long puff on his 
                              cigarette)
                         I saw an island in the Pacific once. 
                         Never been able to forget it. That's 
                         where I'd like to take her. But she'd 
                         have to be the sort of a girl that'd 
                         jump in the surf with me on moonlight 
                         nights -- and love it as much as I 
                         did.
                              (he loses himself in 
                              his romantic 
                              contemplations)
                         You know, those nights when you and 
                         the moon and the water all become 
                         one -- when something comes over you -- 
                         and you feel that you're part of 
                         something big and marvelous.
                              (sighing)
                         Those are the only places to live. 
                         Where the stars are so close over 
                         your head that you feel you could 
                         reach right up and stir them around.

               A close-up of ELLIE at this point shows that she is affected 
               by his stirring description of a heaven -- from which she is 
               excluded, as she listens to him continuing.

                                     PETER'S VOICE
                         Certainly I've been thinking about 
                         it. Boy, if I could ever find a girl 
                         who's hungry for those things --

               PETER (again seen close) has disposed of his cigarette and 
               now stares dreamily heavenward.

                                     PETER
                         I'm going to swim in the surf with 
                         her -- I'm going to reach up and 
                         grab stars for her -- I'm going to 
                         laugh with her -- and cry with her. 
                         I'm going to kiss her wet lips -- 
                         and --

               Suddenly stopping, he turns his head slowly, sensing Ellie's 
               nearness; and the view, drawing back to include Ellie, shows 
               her standing at his bedside, looking down at him yearningly.

               Then we see them close together: Peter's face is immobile. 
               Ellie drops to her knees.

                                     ELLIE
                              (fervently)
                         Take me with you, Peter. Take me to 
                         your island. I want to do all those 
                         things you talked about.

               Peter stares at her lovely face. His heart cries out with an 
               impulse to crush her in his arms.

                                     PETER
                              (after a long pause; 
                              hoarsely)
                         Better go back to your bed.

                                     ELLIE
                              (simply)
                         I love you.

                                     PETER
                              (arguing with himself)
                         You're forgetting you're married.

                                     ELLIE
                              (tensely)
                         I don't care. I love you. Nothing 
                         else matters. We can run away. 
                         Everything'll take care of itself.
                              (begging)
                         Please, Peter. You can't go out of 
                         my life now. I couldn't live without 
                         you.
                              (in a choked voice)
                         Oh, Peter --

               Sobbing, she lays her head on his breast and throws her arms 
               around him. All is quiet for a moment as Ellie's head rests 
               on his breast, while Peter struggles with an overwhelming 
               urge to pour out his heart to her.

                                     PETER
                              (scarcely audible)
                         Better go back to your bed.

               There is a lengthy pause, neither of them stirs. Then Ellie 
               slowly raises her tear-stained face and gets to her feet.

                                     ELLIE
                              (whispering)
                         I'm sorry.

               She turns and disappears behind the blanket. Peter remains 
               motionless. Then a close view shows ELLIE, as she gets into 
               bed, sobbing quietly. She hides her face in the pillow to 
               suppress her sobs. It is the first time in her life that she 
               has been so deeply hurt. A close view next shows PETER 
               reaching over for a cigarette, which he lights. All his 
               movements are thoughtful, meditative. He leans back and stares 
               at the ceiling, until we see only the cigarette in his mouth 
               as it emits slowly rising puffs of smoke. This dissolving, 
               the cigarette is seen to be burnt three quarters down, a 
               long, frail ash hanging perilously on. PETER is then seen as 
               he removes the cigarette from his mouth and crushes it in a 
               tray. He leans back on the pillow and for a moment he is 
               quiet. Then glancing over in Ellie's direction, he calls to 
               her:

                                     PETER
                              (softly calling)
                         Hey, Brat --!
                              (a pause)
                         Did you mean that? Would you really 
                         go?
                              (he waits for a 
                              response, but none 
                              comes. He tries again)
                         Hey, Brat --

               He listens -- all is quiet. He slips his covers off and 
               crosses to the blanket, and peers over it. She is asleep. 
               Her tear-stained face rests on the pillow, her arm extends 
               over her head. It is a childlike posture.

               PETER is watching her tenderly. He speculates whether to 
               awaken her and decides against it. He starts away. Peter 
               tiptoes around the room for a few moments, deep in thought. 
               Then as an idea which he has been turning over in his mind 
               begins to take form, he hastily begins dressing.

               The scene dissolving, Peter is seen completely clothed and 
               starting for the door when he thinks of something. He turns 
               back, grabs his suitcase, stops to throw a kiss to Ellie, 
               and goes out into the night. Thereupon the scene wipes off, 
               disclosing a GAS STATION along the road at night. Here Peter 
               is talking to a station attendant.

                                     PETER
                         All I'm asking is enough gas to get 
                         me to New York. The bag's worth twenty-
                         five dollars.

                                     MAN
                              (hesitatingly)
                         Yeah, but I got a bag. My wife gave 
                         me one for Christmas.

                                     PETER
                              ("high-pressuring" 
                              him)
                         Listen, man -- I'll tell you what 
                         I'll do. When I come back in the 
                         morning, I'll buy it back from you 
                         and give you ten dollars profit? 
                         What do you say?

                                     MAN
                              (looking at Peter's 
                              hat)
                         I ain't got a hat --

                                     PETER
                         What?

                                     MAN
                         I ain't got a hat.

                                     PETER
                              (promptly putting it 
                              on his head)
                         Well, you got one now. -- Come on, 
                         fill 'er up.

               While he is still talking the scene dissolves to a view of 
               Peter driving furiously, a broad, happy grin on his face, 
               following which several scenes wipe off in succession 
               (denoting the passage of time) -- scenes of Peter driving at 
               high speed, causing several cows to amble out of the way; of 
               the CAR driving into the Holland Tunnel, and of the BACK 
               ROOM of a SPEAKEASY where Peter stands in front of a small 
               desk upon which there is a typewriter. Near him is a swarthy 
               Italian.

                                     PETER
                         Fine! That's fine, Tony. Now get me 
                         a drink and make sure nobody disturbs 
                         me for half an hour.

                                     ITALIAN
                              (going out)
                         Sure. Sure, Pete.

               As Peter plants himself in front of the machine, the scene 
               dissolves to a close-up of the typewriter carriage upon which 
               are typed the words:

               "-- and that's the full and exclusive story of Ellen Andrews' 
               adventures on the road. As soon as her marriage to King 
               Westley is annulled, she and Peter Warne, famous newspaperman -- 
               and undoubtedly the most promising young novelist of the 
               present era -- will be married." 

               The view drawing back, Peter re-reads the last sentence, 
               smiles contentedly, and as he yanks out the sheet, the scene 
               wipes off disclosing the outside of GORDON'S OFFICE, the 
               sign on the door reading: "Office -- Mr. Gordon." Gordon's 
               secretary is at her desk as Peter breezes in.

                                     PETER
                              (rumpling her hair)
                         Hello, Agnes.

                                     AGNES
                         Better not go in. He'll shoot you on 
                         sight.

                                     PETER
                              (entering)
                         I haven't been shot at for days.

               In GORDON'S OFFICE, Gordon is at his desk. He looks up when 
               Peter enters.

                                     GORDON
                              (rising to his full 
                              height menacingly)
                         Get out of here!

                                     PETER
                              (advancing)
                         Wait a minute, Gordon -- I --

                                     GORDON
                              (quietly)
                         Get out!

               Peter reaches his side, and grabs him by the arms.

                                     PETER
                         Joe, listen--

                                     GORDON
                         Don't "Joe" me.

                                     PETER
                         Okay, Joe. Listen -- you know I've 
                         always liked you. Anytime I could do 
                         you a great turn -- anytime I ran 
                         into a story that looked good -- I 
                         always came running to you, didn't 
                         I? Well, I got one now. Those wires 
                         I sent you were on the level. It's 
                         the biggest scoop of the year. I'm 
                         giving it to you, Joe.

                                     GORDON
                         You mean about the Andrews' kid?

                                     PETER
                         That's it.
                              (tapping his pocket)
                         I got it all written up. Ready to 
                         go. All I want is a thousand dollars.

               Upon hearing this GORDON is ready to jump out of his skin.

                                     GORDON
                         A thousand dollars!
                              (furiously)
                         Get out of this office before I throw 
                         you out bodily.

                                     PETER
                         Don't get sore, Joe. This is something 
                         you got to do for me. I need a 
                         thousand dollars -- and I need it 
                         quick. I'm in a jam.

                                     GORDON
                              (softening)
                         What's the thousand bucks for?

                                     PETER
                         To tear down the Walls of Jericho.

                                     GORDON
                         What!

                                     PETER
                         Never mind... Listen -- suppose I 
                         should tell you that Ellen Andrews 
                         is going to have her marriage 
                         annulled.

                                     GORDON
                         Huh?

                                     PETER
                         That she's going to marry somebody 
                         else.

                                     GORDON
                         You're drunk.

                                     PETER
                         Would an exclusive story like that 
                         be worth a thousand bucks to you?

                                     GORDON
                         If it's on the level.

                                     PETER
                         Well, I got it, Joe.

                                     GORDON
                         Who's she gonna marry?

                                     PETER
                              (taking out the story 
                              from his pocket)
                         It's all right here. Give me the 
                         thousand and it's yours.

                                     GORDON
                              (skeptically)
                         I wouldn't trust you as far as I 
                         could throw that desk.

                                     PETER
                         Wait a minute, Joe. Use your bean. I 
                         couldn't afford to hand you a phoney 
                         yarn, like that. I'd be crazy. There 
                         isn't a newspaper in the country'd 
                         give me a job after that! I could go 
                         to jail!

                                     GORDON
                         I'd put you there myself.

                                     PETER
                         Sure. I wouldn't blame you, either.

                                     GORDON
                         Who's the guy she's gonna marry?

                                     PETER
                         I am, Joe.

                                     GORDON
                              (his eyes widening)
                         You!

                                     PETER
                         Yeah.

                                     GORDON
                         Now I know you're drunk.
                              (he grabs his hat)
                         I'm going home. Don't annoy me any 
                         more.

                                     PETER
                              (running after Gordon 
                              as the latter starts 
                              out)
                         For heaven's sake, Joe -- stop being 
                         an editor for just a minute.
                              (he grabs his arm)
                         We've been friends for a long time, 
                         haven't we? You ought to know when 
                         I'm serious. This is on the level.

               Gordon is affected by the sincere note in Peter's voice.

                                     PETER
                         I met her on a bus coming from Miami. 
                         Been with her every minute.
                              (hoarsely)
                         I'm in love with her, Joe.

                                     GORDON
                         Well, I'll be--

                                     PETER
                         Listen, Pal -- you've got to get 
                         this money for me. Now. Minutes count. 
                         She's waiting for me in an auto camp 
                         outside of Philadelphia. I've got to 
                         get right back. You see, she doesn't 
                         know I'm gone.
                              (self-consciously)
                         A guy can't propose to a girl without 
                         a cent in the world, can he?

               While Peter has been speaking Gordon stares into space 
               thoughtfully.

                                     GORDON
                         What a story!
                              (picturing it)
                         On her way to join her husband, Ellen 
                         Andrews falls in love with --
                              (alert -- grabbing 
                              paper out of Peter's 
                              hand)
                         Lemme see that a minute.

               He moves to his desk excitedly, and Peter, a gleam of hope 
               in his eyes, joins him, following which the scene cuts to 
               the SHACK of the camp owner and wife in the early morning. 
               The owner is suddenly startled out of his sleep by the voice 
               of his wife calling, "Zeke! Zeke!" He looks up, just as she 
               rushes into the room.

                                     WIFE
                         I told you! I told you, you couldn't 
                         trust him! He's gone!

                                     OWNER
                         Who?

                                     WIFE
                         That feller last night, that's who! 
                         He was gonna stay a week, huh? Well, 
                         he's skipped. Took the car with him, 
                         too. We wouldn't have known a thing 
                         about it until morning if I hadn't 
                         took that magnesia.
                              (pulling at him)
                         Come on, get up, don't lay there. 
                         Let's do something about it.

               Thereupon the scene cuts to the AUTO CAMP CABIN affording a 
               close view of ELLIE tossing restlessly in her sleep. Suddenly 
               there is a loud banging on the door, and Ellie, startled, 
               awakens. The pounding continuing, Ellie looks around, 
               frightened. The door suddenly bursts open, and the owner and 
               wife enter. They both glance over at Peter's side.

                                     WIFE
                         See that. They're gone!

                                     OWNER
                              (timidly)
                         Looks like it, don't it?
                              (suddenly he sees 
                              Ellie)
                         Here's the woman, ma.

                                     WIFE
                              (full of fight -- 
                              glaring at Ellie)
                         Oh!!

                                     ELLIE
                              (in a close view at 
                              Ellie's Bed as the 
                              owner and his wife 
                              come up to her; 
                              timidly -- sitting 
                              up)
                         What's the matter?

                                     WIFE
                         Where's your husband, young lady --

                                     ELLIE
                         Husband?

                                     WIFE
                         Yes -- if he is your husband.

                                     ELLIE
                         Isn't he here?

                                     WIFE
                         No, he ain't! And the car's gone, 
                         too.

                                     ELLIE
                              (bewildered)
                         Why, he'll be back.

                                     WIFE
                         Yeah? What makes you think so! He 
                         took his suitcase and everything.
                              (Ellie is perceptibly 
                              startled by this 
                              piece of news)
                         Kinda surprised, huh? It's just like 
                         I told you, Zeke. They ain't married 
                         a'tall...

               There is a close view of ELLIE as the wife's voice continues 
               uninterruptedly:

                                     WIFE'S VOICE
                         ...could tell she was a hussy just 
                         from the looks of her.

               Ellie is lost in thought, trying to adjust herself to the 
               idea of Peter's leaving her like this. She scarcely hears 
               what is being said.

                                     OWNER'S VOICE
                         Hey! You! Got any money?

                                     ELLIE
                              (snapping out of her 
                              trance)
                         Why -- no.

                                     WIFE
                              (the three now seen 
                              together)
                         Then -- you'll have to git!

                                     OWNER
                         Yeah, you'll have to git.

                                     ELLIE
                         Why, you can't put me out in the 
                         middle of the --

                                     WIFE
                         Serves you right. Oughta be careful 
                         who you take up with on the road. 
                         You can't go plyin' your trade in my 
                         camp.

                                     ELLIE
                         But can't you wait until morning --

                                     WIFE
                         Ain't gonna wait a minute.

                                     OWNER
                         Not a minute!

                                     WIFE
                         Better start gettin' into your 
                         clothes.

                                     OWNER
                         Yeah.

                                     WIFE
                              (glaring at him)
                         Zeke.
                              (he looks up startled)
                         Git!

                                     OWNER
                              (disappointed)
                         Yes, Ma.

               As Zeke leaves, the Wife plunks herself in a chair, grimly 
               determined to wait until Ellie gets dressed and out.

                                     ELLIE
                         Can I use your telephone? I want to 
                         talk to New York.

                                     WIFE
                         You ain't gonna stick me for no phone 
                         calls. You can go down to the 
                         Sheriff's office.

               The scene thereupon cuts to the EXTERIOR of the AUTO CABIN 
               as Ellie emerges, the Wife standing in the doorway. In the 
               foreground several people are scattered around the courtyard. 
               One woman washes stockings under a pump. A man is changing 
               the tire on his car. Ellie comes down the steps and crosses 
               the courtyard.

                                     WIFE
                              (shouting to her)
                         And listen, next time better keep 
                         away from here. I run a respectable 
                         place.

               Ellie does not turn, but walks straight forward, trying to 
               maintain her poise. The people in the courtyard turn to stare 
               at her, and one of them snickers.

               The scene dissolves to GORDON'S OFFICE as Peter is pocketing 
               the money. Gordon is fondling the story.

                                     PETER
                         Thanks, Pal. You saved my life.

                                     GORDON
                              (waving the story)
                         Okay, Pete.
                              (he drops the story 
                              on the desk and 
                              escorts Peter out, 
                              his arm around his 
                              shoulder)
                         For my dough,
                              (smiling)
                         you're still the best newspaperman 
                         in the business.

               They reach the door, which Peter opens. Then they appear at 
               the DOORWAY. Through the open door the secretary stares 
               dumbfounded at their friendliness.

                                     GORDON
                         S'long, kid. And good luck.

               Outside GORDON'S OFFICE, Peter kisses the secretary as he 
               passes through.

                                     PETER
                         'Bye, Agnes. You're beautiful. All 
                         women are beautiful!
                              (he goes out)

               Gordon is immediately electrified into action.

                                     GORDON
                         Oh, boy! What a yarn! What a yarn!
                              (suddenly)
                         Get me Hank on the phone. Gotta hold 
                         up the morning edition.

               While he speaks he dashes back to his desk. We then see him 
               in his office.

                                     SECRETARY'S VOICE
                         There's Hank.

                                     GORDON
                              (grabbing phone)
                         Hank! Listen. Hold the morning 
                         edition. Break down the front page. 
                         Gonna have a completely new layout -- 
                         Send a couple of re-write men in 
                         here. Don't do a thing -- I got a 
                         story that'll make your hair curl.

               During his speech, his other phone has been ringing 
               persistently. He has ignored it until now. He picks up 
               receiver:

                                     GORDON
                              (into the second phone)
                         Yeah. Yeah. Don't annoy me. I'm busy.
                              (he bangs up receiver, 
                              and turns back to 
                              the first phone)
                         Listen, Hank! Dig out all the Andrews 
                         pictures. Get Healy out of bed. I 
                         want a cartoon right away.
                              (the second phone 
                              rings impatiently, 
                              but Gordon ignores 
                              it)
                         With King Westley in it. He's waiting 
                         at the church. Big tears streaming 
                         down his face. His bride hasn't shown 
                         up. Old Man Andrews is there, too. 
                         Laughing his head off. Everything 
                         exaggerated. You know -- Now snap 
                         into it!
                              (he bangs up the 
                              receiver, and grabs 
                              the second phone, 
                              speaking into it 
                              impatiently)
                         Yeah. Yeah. What is it?

               A close view of GORDON, as he listens, shows his eyes widening 
               with amazement.

                                     GORDON
                         What! -- Ellen Andrews! You're crazy!

               This cuts to a TELEPHONE BOOTH where a reporter is seen 
               speaking excitedly.

                                     REPORTER
                         Yeah. She just phoned her father 
                         from an auto camp to come and get 
                         her. He's getting a police escort. 
                         Westley's going along, too. She's 
                         been traveling by bus. The moment 
                         she read that her father and Westley 
                         made up, she phoned in.

               Back in GORDON'S OFFICE Gordon is seen still at the phone.

                                     GORDON
                         You sure that's right! Say, you 
                         haven't been drinking, have you! 
                         Okay -- grab a car -- and stay with 
                         them.
                              (he hangs up the 
                              receiver and grabs 
                              the first phone)
                         Put Hank on.
                              (shouting)
                         Agnes!
                              (as the secretary 
                              hurries in)
                         Get me a doctor. I'm about to have a 
                         nervous breakdown.
                              (she stares at him 
                              dumbly as he speaks 
                              into the phone)
                         Hank -- forget everything I just 
                         told you. I was just having a 
                         nightmare!
                              (he hangs up -- and 
                              turns to Agnes)
                         Call up the police department! Tell 
                         'em to find Peter Warne. Send out a 
                         general alarm. I want the dirty crook 
                         pinched.

               He picks up Peter's story and flings it viciously into the 
               wastebasket.

                                     AGNES
                              (starting out)
                         Yessir.
                              (two re-write men 
                              come in, passing 
                              Agnes)

                                     MEN
                         You want us?

                                     GORDON
                              (wheeling around)
                         Yeah. Shove everything off the front 
                         page. Ellen Andrews just phoned her 
                         father -- she's coming home. The 
                         moment she heard the old man withdrew 
                         his objections, she gave herself up. 
                         Spread it all over the place. Here's 
                         your lead: "Love Triumphant!" Step 
                         on it!

                                     MEN
                              (leaving)
                         Yessir.

               Gordon goes to his desk, mumbling to himself. His eye lights 
               on the waste basket containing Peter's story, and he is about 
               to kick it when he stops. He stares at it thoughtfully, 
               reaches down, lifts it out -- runs through it hastily -- and 
               then stares into space, deep in thought.

               The scene dissolves to an open ROAD, in the morning, as Peter 
               flies over it in his Ford. He beams happily. He passes a 
               gasoline truck and waves cheerily to the driver. This 
               dissolves to a close-up of an AUTO SIREN accompanied by a 
               prolonged wail, then to a ROAD, that morning, as four 
               motorcycles, two abreast, speed forward, followed by a 
               luxurious limousine, which in turn is trailed by a car filled 
               with reporters. Next, in the LIMOUSINE, Andrews is seen in 
               the back seat. He is accompanied by King Westley -- Henderson -- 
               Lovington, and a police inspector.

                                     HENDERSON
                         I knew she was safe.

                                     LOVINGTON
                              (sighing)
                         Certainly gave us a run for our money.
                              (but Andrews is too 
                              overwhelmed with joy 
                              to listen to any of 
                              this)

                                     ANDREWS
                              (anxiously)
                         Can't you get them to go any faster?
                              (at this the Inspector 
                              leans over to talk 
                              to chauffeur)

               This dissolves to a deserted ROAD, Peter at the wheel of his 
               car. His high spirits find expression in his efforts to sing.

                                     PETER
                              (singing)
                         "I found a million dollar baby --"

               He is interrupted by the song of a meadowlark, whistling its 
               strange melody. Peter listens to it a second time, then 
               answers its call by imitating it. The meadowlark whistles 
               again, and Peter is highly amused.

                                     PETER
                              (waving his hand -- 
                              to the meadowlark)
                         Okay, Pal. Be seein' you.

               Just then the sound of sirens is heard in the distance. Peter 
               glances back, and as the sirens come nearer, he pulls over 
               to the side of the road. There follows a full view of the 
               ROAD, with Peter in the foreground at the side as the police 
               cavalcade whizzes by accompanied by the shrieking sirens. 
               Thereupon PETER (seen close) gets an idea.

                                     PETER
                              (to his Ford)
                         Come on, Dobbin, old boy. We got a 
                         police escort.

               He applies the gas and shoots out of sight, following which 
               a full view of the road shows Peter's car trying to catch up 
               with the parade. It outdistances him, however, and we see 
               PETER in the Ford pressing his body forward to help the car 
               make time. His foot pushes the accelerator down to the floor. 
               But the police cars are now out of sight, and Peter gives 
               up.

                                     PETER
                              (seen close; to the 
                              car -- with 
                              exaggerated dramatics)
                         Dobbin, me lad. You failed muh. I'm 
                         afraid you're gittin' old.

               Thereupon the scene dissolves to a small town ROAD, where at 
               the door of a Sheriff's office a policeman is standing on 
               guard. The reporters hang around in front of him. Several 
               yokels look on. The limousine and motor cycles are at the 
               curb. And now, in a closer view, at the DOOR the policeman 
               on guard steps aside as the door opens and Ellie, her father, 
               and King Westley emerge. King has his arm around her. The 
               moment they appear in the doorway, cameras click and several 
               reporters surround them.

                                     REPORTERS
                         Will you make a statement Miss 
                         Andrews? Was it an exciting 
                         experience? How did you travel?

                                     ANDREWS
                              (brushing them aside)
                         Later, boys, later. See her at home.

               They cross the sidewalk -- to the waiting limousine, as 
               cameras click.

               The scene dissolves to a ROAD, with Peter still driving. He 
               is, however, as before, in excellent form, and is singing 
               lustily. Suddenly, however, his eyes widen and he pulls on 
               his brake; the car screeches and moans -- and comes to a 
               stop.

                                     PETER
                         Take it easy, Dobbin. Remember your 
                         blood pressure.

               We find Peter directly in front of a slow moving freight 
               train. Several hoboes stick their heads out of a car, and 
               Peter waves to them. The hoboes look puzzled for a minute 
               and then wave back. The view then swings over to an opening 
               between the cars affording a flash of the police parade on 
               the other side, apparently on its way back.

               PETER amuses himself by talking to an old flagman.

                                     PETER
                         Better get that toy train out of 
                         here. I'm in a hurry.

               The Flagman grins at him in reply. By this time the last car 
               is in sight, and Peter gets all set to move. He stops, 
               however, to wave to a couple of brakemen on the rear platform.

               In the meantime, the motorcycles have started forward, and 
               the sirens begin their low, moaning wail. Peter, attracted, 
               turns, and over Peter's shoulder we see the parade starting. 
               As the limousine passes, we get a glimpse of the inside. 
               Ellie lies back on King Westley's shoulder. He has his arm 
               around her as they pass out of sight. Thereupon a close view 
               of PETER shows him reacting to what he saw. He turns his 
               head quickly to stare at the disappearing car, a look of 
               astonishment and bewilderment in his eyes. Slowly he turns 
               his head forward, staring ahead of him blankly; he can't 
               quite make it out. Then gradually the significance of it all 
               strikes him -- and his mouth curls up bitterly.

               The scene wiping off, a series of NEWSPAPER HEADLINES come 
               into view:

                              "ELLEN ANDREWS RETURNS HOME."

                        "MARRIAGE HALTED BY FATHER TO BE RESUMED"

                    "ELLEN ANDREWS AND AVIATOR TO HAVE CHURCH WEDDING"

                                  "LOVE TRIUMPHS AGAIN"

                     "PARENTAL OBJECTION REMOVED IN FAVOR OF LOVERS"

                    "CANNOT THWART LOVE SAYS FATHER OF ELLEN ANDREWS"

                               "GLAD TO BE HOME SAYS ELLEN"

               This dissolves to the anteroom of a NEWSPAPER OFFICE. The 
               place is alive with activity, and copies of newspapers are 
               lying around, bearing headlines relating to the Andrews story. 
               Peter, a bewildered, stunned expression on his face, enters 
               and crosses funereally toward Gordon's office. Several people 
               standing around look up.

                                     PEOPLE
                         Hi, Pete -- Didya see this? Ellen 
                         Andrews is back. Gonna marry that 
                         Westley guy after all -- What a dame! 
                         What a dame!

               Peter pays no attention to any of this. He reaches Gordon's 
               door, which is open. He walks directly past Agnes and enters 
               the office. She looks up at him, puzzled. Then in GORDON'S 
               OFFICE, Peter walks to Gordon's desk and lays the roll of 
               bills on it. Agnes enters, watching him anxiously.

                                     AGNES
                         Gordon's out back some place.
                              (seeing the money, 
                              she looks up, 
                              surprised)

                                     PETER
                         See that he gets that, will you, 
                         Agnes? Tell him I was just kidding.
                              (he goes out)

               As Agnes stares after him, puzzled, Gordon dashes in from a 
               back door.

                                     GORDON
                         You can't get a thing done around 
                         her unless --

                                     AGNES
                         Peter Warne was just in.

                                     GORDON
                         Huh? What?

                                     AGNES
                         Left this money. Said to tell you he 
                         was just kidding.

                                     GORDON
                              (looking at the money)
                         Where is he?

               The scene cuts to the OUTER OFFICE and CORRIDOR, as seen 
               over Gordon's shoulder through the open door. Peter is seen 
               walking out. Gordon hurries after him.

                                     GORDON'S VOICE
                         Hey, Pete!

               At the sound of Gordon's voice, Peter turns, and Gordon comes 
               over to him.

                                     PETER
                         Hello, Joe. Sorry. Just a little gag 
                         of mine. Thought I'd have some fun 
                         with you.

                                     GORDON
                              (understanding)
                         Yeah. Sure. Had me going for a while.

                                     PETER
                         Wouldn't have made a bad story, would 
                         it?

                                     GORDON
                         Great! But that's the way things go. 
                         You think you got a swell yarn -- 
                         then something comes along -- messes 
                         up the finish -- and there you are.

                                     PETER
                              (smiling wryly)
                         Yeah, where am I?

                                     GORDON
                              (slipping a bill in 
                              his coat pocket)
                         When you sober up -- come in and see 
                         me.

                                     PETER
                              (a whisper)
                         Thanks, Joe.

               He leaves, Gordon watching him sympathetically, and the scene 
               fades out.

               The LAWN of the ANDREWS ESTATE fades in. It is morning and 
               at the moment the place is a beehive of activity. Dozens of 
               butlers and maids hustle around setting tables. Floral 
               decorations are being hung by men on ladders. In the 
               background on a platform, a twenty-piece orchestra is getting 
               ready, accompanied by the scraping of chairs, adjusting of 
               music stands, unpacking of instruments.

               The scene cuts to ANDREWS' STUDY: King Westley is seated, 
               and Andrews walks around him. They are both dressed in striped 
               trousers, frock coat, etc.

                                     ANDREWS
                         Well, here we are; it's all set. 
                         You're finally going to be married 
                         properly.
                              (he waves toward the 
                              window)
                         With all the fanfare and everything.
                              (Shaking his head)
                         I still don't know how it happened -- 
                         but you're going to be my son-in-law 
                         whether I like it or not. I guess 
                         you're pleased.

                                     KING
                         Why, naturally, I --

                                     ANDREWS
                              (drily)
                         Naturally.
                              (with vehemence)
                         You're going to become a partner in 
                         a big institution. It's one of the 
                         largest in the world.

                                     KING
                         You talk as if --

                                     ANDREWS
                         Someday perhaps, you might even take 
                         charge.

               A close view of ANDREWS shows him looking around his study 
               despairingly.

                                     ANDREWS
                              (murmuring)
                         The thought of it makes me shudder.

                                     KING'S VOICE
                              (confidently)
                         You might be surprised.

                                     ANDREWS
                         I hope so. However, that'll take 
                         care of itself.
                              (taking a new tack)
                         There's another responsibility you're 
                         taking on. One that I'm really 
                         concerned about.

                                     KING'S VOICE
                         What's that?

                                     ANDREWS
                         My daughter.

                                     KING
                              (the two now seen 
                              again; lightly)
                         Ellie? Oh, she's no responsibility.

                                     ANDREWS
                         No? Say, listen -- I've devoted a 
                         whole lifetime trying to tame that 
                         wildcat. Toughest job I ever tackled. 
                         Ever hear of J. P. Clarkson? Biggest 
                         man in the country, isn't he? Well, 
                         I tamed him. Got him eating out of 
                         the palm of my hand. I've browbeaten 
                         financiers, statesmen, foreign 
                         ministers -- some of the most powerful 
                         people in the world -- but I've never 
                         been able to do a thing with her. 
                         She's been too much for me. I'm glad 
                         you think it's easy.
                              (he bends over him)
                         Now listen -- if you'll do what I 
                         tell you, perhaps I might develop a 
                         little respect for you. You never 
                         can tell.

                                     KING
                         What would you like to have me do?

                                     ANDREWS
                         Sock her!

               A close view of KING shows him looking up, surprised, as 
               Andrews' voice continues.

                                     ANDREWS' VOICE
                         Sock her at least once a day. Do it 
                         on general principles. Make her know 
                         you're the boss and never let her 
                         forget it. Think you can do that?

                                     KING
                         It's quite an assignment --

                                     ANDREWS
                         Try. Do me a favor. Try. It's your 
                         only chance. And hers, too. Do that 
                         for me -- and maybe we'll be friends --
                              (muttering)
                         Maybe.
                              (he holds out his 
                              hand)
                         Do we understand each other?

                                     KING
                              (taking his hand -- 
                              rising)
                         Yes, sir.

                                     ANDREWS
                              (dismissing him)
                         Fine. I'll see you at the reception.

               He withdraws his hand, which he looks at disgustedly -- the 
               result of a jellyfish handshake.

                                     KING
                         Oh, by the way, Mr Andrews, I thought 
                         of a great stunt for the reception.
                              (as Andrews looks at 
                              him quizzically)
                         I'm going to land on the lawn in an 
                         autogyro. What do you think of that!

               A close view of ANDREWS shows him staring off at King in 
               complete disgust.

                                     ANDREWS
                         You thought that up all by yourself, 
                         huh?

                                     KING
                              (unabashed)
                         Why, it'll make all the front pages. 
                         A spectacular thing like that --

                                     ANDREWS
                              (hard)
                         Personally, I think it's stupid!
                              (humoring a child)
                         But go ahead. Have a good time. As 
                         long as Ellie doesn't object.

                                     KING
                         Oh, no. She'll be crazy about it. 
                         Well, see you later. I'm going out 
                         on the lawn and arrange for landing 
                         space.
                              (holding out his hand)
                         Goodbye.
                              (but Andrews turns 
                              his back on him)

                                     ANDREWS
                         We've done that already.

                                     KING
                              (smiling)
                         Yes, of course.

               He turns and leaves; Andrews watching him go, shaking his 
               head sadly.

                                     ANDREWS
                         Autogyro! I hope he breaks his leg.

               Andrews starts out, and the scene cuts to the HALLWAY as 
               Andrews enters from the study. A maid coming down the stairs, 
               he calls to her:

                                     ANDREWS
                         Oh -- Mary --

                                     MARY
                         Yes, sir?

                                     ANDREWS
                         How is she?

                                     MARY
                              (hesitantly)
                         Why -- uh -- she's all right, sir.

                                     ANDREWS
                         What's the matter? Anything wrong?

                                     MARY
                         Oh, no, sir. No different than --

                                     ANDREWS
                         Yes. I know. Still in the dumps, 
                         huh?

                                     MARY
                         Yessir. If you'll excuse me, sir -- 
                         she sent me for a drink.
                              (she leaves)

               Andrews stands a moment thoughtfully and then starts up the 
               stairs, following which the scene dissolves to the UPSTAIRS 
               CORRIDOR in front of Ellie's door. Andrews enters and knocks 
               several times. Receiving no response, he gingerly opens the 
               door.

               Next Andrews enters ELLIE'S BEDROOM and looks around. The 
               view swings around the room, following his gaze. It focuses 
               on Ellie, who reclines on a sofa, in her bridal outfit, her 
               head resting on the back. She stares moodily, unhappily up 
               at the ceiling. The view then expanding to include both father 
               and daughter, Andrews is seen staring at her a moment 
               sympathetically. He senses something is wrong.

                                     ANDREWS
                              (after a pause)
                         Ellie --

                                     ELLIE
                              (jumping up with a 
                              start)
                         Oh, hello, Dad.

                                     ANDREWS
                              (a close view as he 
                              goes over to her)
                         I knocked several times.

                                     ELLIE
                         Sorry. Must have been day-dreaming.
                              (to hide her confusion, 
                              she reaches for a 
                              cigarette)

                                     ANDREWS
                              (with forced lightness)
                         Well, everything's set. Creating 
                         quite a furor, too. Great stunt King's 
                         going to pull.

                                     ELLIE
                              (in a faraway voice)
                         Stunt?

                                     ANDREWS
                         Landing on the lawn in an autogyro.

                                     ELLIE
                         Oh, yes. I heard.

                                     ANDREWS
                              (noting her 
                              listlessness)
                         Yes. Personally, I think it's silly, 
                         too.

               As he continues talking, the view moves with Ellie, who 
               wanders over to a window overlooking the lawn and stares 
               out, lost in thought.

                                     ANDREWS' VOICE
                              (he goes over the 
                              Ellie)
                         You look lovely. Are you pleased 
                         with the gown?
                              (as Ellie does not 
                              seem to hear him, he 
                              becomes worried)
                         Ellie!

                                     ELLIE
                              (turning and looking 
                              at him blankly)
                         Huh?
                              (it just penetrates)
                         Oh -- the gown --
                              (distantly)
                         Yes, it's beautiful.

                                     ANDREWS
                              (tenderly)
                         What's the matter, Ellie? What's 
                         wrong?

                                     ELLIE
                         Nothing.
                              (she walks over to 
                              table and crushes 
                              her cigarette)

                                     ANDREWS
                         You've been acting so strangely since 
                         you returned. I'm -- I'm worried. I 
                         haven't bothered to ask you any 
                         questions -- I --
                              (waving his hand toward 
                              the lawn)
                         Isn't all this what you wanted?
                              (receiving no answer 
                              from Ellie)
                         You haven't changed your mind about 
                         King, have you?

                                     ELLIE
                              (too quickly)
                         Oh, no.

                                     ANDREWS
                         If you have, it isn't too late. You 
                         know how I feel about him. But I 
                         want to make you happy. You gave me 
                         such a scare -- I -- when I couldn't 
                         find you.
                              (smiling feebly -- 
                              meaning his heart)
                         You know, the old pump isn't what it 
                         used to be.

                                     ELLIE
                              (her hand on his arm)
                         Sorry, Dad. I wouldn't hurt you for 
                         the world. You know that.

               She moves away from him and sits on the sofa, and Andrews 
               watches her a moment and crosses over to her. He sits beside 
               her, placing an arm affectionately around her shoulder.

                                     ANDREWS
                              (tenderly)
                         Ellie -- what is it? Aren't you happy, 
                         child?

               At this point she finally breaks, and impulsively buries her 
               face on his breast.

                                     ANDREWS
                              (after a pause, 
                              hoarsely)
                         I thought so. I knew there was 
                         something on your mind.
                              (there are audible 
                              sobs from Ellie)
                         There -- there!

               They remain thus quietly for some time. Finally Andrews breaks 
               the silence.

                                     ANDREWS
                         What is it, darling?
                              (receiving no answer)
                         You haven't fallen in love with 
                         somebody else, have you?

               As this brings an audible sob from Ellie, Andrews lifts up 
               her chin.

                                     ANDREWS
                              (looking into her 
                              eyes)
                         Have you?
                              (Ellie turns her head 
                              away, a little ashamed 
                              of her tears)

               Ellie now rises and walks miserably away from him, dabbing 
               her eyes. Andrews, watching her, realizes he has hit upon 
               the truth. He walks over to her.

                                     ANDREWS
                         I haven't seen you cry since you 
                         were a baby. This must be serious.
                              (Ellie is silent)
                         Where'd you meet him?

                                     ELLIE
                         On the road.

                                     ANDREWS
                              (trying to cheer her)
                         Now, don't tell me you fell in love 
                         with a bus driver!

                                     ELLIE
                              (smiling)
                         No.

                                     ANDREWS
                         Who is he?

                                     ELLIE
                         I don't know very much about him.
                              (in a whisper)
                         Except that I love him.

                                     ANDREWS
                              (the great executive)
                         Well, if it's as serious as all that -- 
                         we'll move heaven and earth to --

                                     ELLIE
                              (quickly)
                         It'll do no good.
                              (wryly)
                         He despises me.

                                     ANDREWS
                         Oh, come now --

                                     ELLIE
                         He despises everything I stand for. 
                         He thinks I'm spoiled and pampered, 
                         and selfish, and thoroughly insincere.

                                     ANDREWS
                         Ridiculous!

                                     ELLIE
                         He doesn't think so much of you 
                         either.

                                     ANDREWS
                              (his eyes widening)
                         Well!

                                     ELLIE
                         He blames you for everything that's 
                         wrong about me. Thinks you raised me 
                         stupidly.

                                     ANDREWS
                              (smiling)
                         Fine man to fall in love with.

                                     ELLIE
                              (whispering)
                         He's marvelous!

                                     ANDREWS
                         Well, what are we going to do about 
                         it? Where is he?

                                     ELLIE
                              (sadly)
                         I don't know.

                                     ANDREWS
                         I'd like to have a talk with him.

                                     ELLIE
                         It's no use, Dad. I practically threw 
                         myself at him.
                              (she shrugs futilely)

                                     ANDREWS
                         Well, under the circumstances, don't 
                         you think we ought to call this thing 
                         off?

                                     ELLIE
                         No, I'll go through with it.

                                     ANDREWS
                         But that's silly, child. Seeing how 
                         you feel, why --

                                     ELLIE
                         It doesn't matter.
                              (tired)
                         I don't want to stir up any more 
                         trouble. I've been doing it all my 
                         life. I've been such a burden to you -- 
                         made your life so miserable -- and 
                         mine, too. I'm tired, Dad. Tired of 
                         running around in circles. He's right, 
                         that's what I've been doing ever 
                         since I can remember.

               A close-up of ANDREWS shows him watching Ellie, as her voice 
               continues.

                                     ELLIE'S VOICE
                         I've got to settle down. It really 
                         doesn't matter how -- or where -- or 
                         with whom.

                                     ANDREWS
                              (seriously -- impressed)
                         You've changed, Ellie.

                                     ELLIE
                              (seen with Andrews; 
                              sighing)
                         Yes, I guess I have.
                              (sincerely)
                         I don't want to hurt anybody any 
                         more. I want to get away from all 
                         this front page publicity. It suddenly 
                         strikes me as being cheap and 
                         loathsome. I can't walk out on King 
                         now. It'll make us all look so 
                         ridiculous.
                              (she shrugs resignedly)
                         Besides, what difference does it 
                         make?
                              (inaudibly)
                         I'll never see Peter again.

                                     ANDREWS
                         Is that his name?

                                     ELLIE
                         Yes. Peter Warne.

               She starts to walk away when she is attracted by her father's 
               surprise at the mention of the name.

                                     ANDREWS
                         Peter Warne!
                              (his hand has 
                              instinctively gone 
                              to his inside pocket)

                                     ELLIE
                              (noticing this)
                         Why? Do you know him?
                              (but Andrews withdraws 
                              his hand. Apparently 
                              he has changed his 
                              mind)

                                     ANDREWS
                              (evasively)
                         Oh, no -- no.

                                     ELLIE
                              (suddenly anxious)
                         You haven't heard from him, have 
                         you, Dad?

                                     ANDREWS
                              (obviously guilty)
                         Why, no... Don't be silly.

                                     ELLIE
                         Oh, please, Dad --

               She has reached into his pocket and has extracted a letter, 
               which she hurriedly opens and reads, following which we see 
               a LETTER in Peter's handwriting. It is addressed to: 
               "Alexander Andrews, 11 Wall Street." It reads:

               "Dear Sir: I should like to have a talk with you about a 
               financial matter in connection with your daughter. Peter 
               Warne."

               Ellie is then seen reading and re-reading the note. Her face 
               clouds and then slowly changes to an expression of complete 
               disillusionment.

                                     ELLIE
                              (her voice strident)
                         Looks like that was his only interest 
                         in me. The reward.

                                     ANDREWS
                              (taking the note from 
                              her)
                         I'm sorry you read it.

                                     ELLIE
                         Are you going to see him?

                                     ANDREWS
                         I suppose so.

                                     ELLIE
                              (hard)
                         Certainly! Pay him off. He's entitled 
                         to it. He did an excellent job. Kept 
                         me thoroughly entertained. It's worth 
                         every penny he gets.

               She paces agitatedly, Andrews watching her silently. He knows 
               what an awful blow to her pride this must be. Mary now enters 
               with a cocktail tray which she sets on the table.

                                     ELLIE
                         Thanks, Mary. That's just what I 
                         need.
                              (she pours herself a 
                              cocktail)

                                     MARY
                         Mr. King Westley is on his way up.

                                     ELLIE
                         Fine -- Fine! Have him come in.

                                     ANDREWS
                              (mumbling)
                         I'll be going.
                              (he goes out behind 
                              Mary)

               Ellie swallows her drink and starts pouring herself another, 
               as King enters.

                                     ELLIE
                              (upon seeing him)
                         Well, if it isn't the groom himself! 
                         You're just in time, King.

               A close view of the TWO shows King taking her in his arms.

                                     KING
                         How are you, Ellie?
                              (he gives her a kiss, 
                              which she accepts 
                              perfunctorily -- but 
                              he insists upon being 
                              ardent)
                         Are you happy?

                                     ELLIE
                              (releasing herself)
                         Happy? Why shouldn't I be happy? I'm 
                         getting the handsomest man in 
                         captivity.
                              (handing him a drink)
                         Here you are, King. Let's drink.
                              (she holds her glass 
                              out)
                         Let's drink to us.
                              (She drains the glass; 
                              pouring another, as 
                              she continues)
                         We finally made it, didn't we?

                                     KING
                         You bet we did.

                                     ELLIE
                         It's up to you now. I want our life 
                         to be full of excitement, King. We'll 
                         never let up, will we? Never a dull 
                         moment. We'll get on a merry-go-round 
                         and never get off. Promise you'll 
                         never let me get off? It's the only 
                         way to live, isn't it? No time to 
                         think. We don't want to stop to think, 
                         do we? Just want to keep going.

                                     KING
                         Whatever you say; darling.

                                     ELLIE
                         I heard about your stunt. That's 
                         swell, King. Just think of it -- the 
                         groom lands on the lawn with a plane. 
                         It's a perfect beginning for the 
                         life we're going to lead. It sets 
                         just the right tempo.
                              (handing him a drink)
                         Come on, King. You're lagging.
                              (they both drink)

               In ANDREWS' STUDY, Andrews walks around the room, perceptibly 
               affected by his visit with Ellie. He keeps turning Peter's 
               letter over in his hand, apparently debating in his mind 
               what to do with it. He finally gets an idea -- and 
               determinedly crosses to the phone. Then the scene cuts to a 
               HOTEL ROOM. First there is a close-up of a NEWSPAPER -- a 
               tabloid bearing a heading which reads: "LOVE TRIUMPHANT."

               "Interrupted Romance of Ellen Andrews and King Westley 
               Resumed, as Father Yields. Wedding Reception to be Held on 
               Andrews' Lawn."

               Below this is a page of pictures, and the view turns to each 
               photograph. The first picture is of Ellie and King on a beach. 
               The title over the picture reads: "Where they met." The second 
               picture shows them in the cockpit of a plane, the heading 
               reading: "Where they romanced." The next picture is of a 
               small frame house with a shingle on it reading: "Justice of 
               the Peace." Over the photograph is a caption: "Where they 
               were married." The next picture is of the Andrews yacht, and 
               the title reads: "Where she was taken." Finally, the view 
               moves down to the bottom of the page to a picture of Ellie 
               and King, with her father between them, in front of Sheriff's 
               office. Caption reads: "Where love triumphed." Over these 
               pictures the phone bell has been ringing.

               And now PETER is seen staring, expressionless, at the 
               newspaper. Suddenly he becomes conscious of the phone ringing; 
               he looks up -- then goes to it.

                                     PETER
                              (into the phone)
                         Hello... Yes?... Who?... Oh... Why 
                         can't I see you at your office?

               The scene cuts to ANDREWS' STUDY, affording a close view of 
               ANDREWS at the phone.

                                     ANDREWS
                         I leave for Washington tonight. May 
                         be gone several weeks. Thought perhaps 
                         you'd like to get this thing settled.

               This cuts to the HOTEL ROOM where PETER is at the phone.

                                     PETER
                         Yeah, but I don't like the idea of 
                         walking in on your jamboree... Just 
                         between you and me -- those things 
                         give me a stiff pain.

                                     ANDREWS
                              (seen in his office)
                         You needn't see anybody. You can 
                         come directly to my study. I'd 
                         appreciate it very much if --

                                     PETER
                              (at his phone)
                         No -- no. What the deuce do I want 
                         to --

               His eyes fall on something, and there follows a close view 
               of a tabloid newspaper, featuring the heading: "Love 
               Triumphant" and containing the pictures of Ellie and King. 
               The view then moves down to feature headline reading "Groom 
               to Land on Bride's Lawn."

               "King Westley plans to drop in an autogyro on the lawn of 
               Andrews estate..." Peter's mouth screws up disdainfully.

                                     PETER
                              (into the phone)
                         Yeah, wait a minute. Maybe I will 
                         come over. I'd like to get a load of 
                         that three-ring circus you're pulling. 
                         I want to see what love looks like 
                         when it's triumphant. I haven't had 
                         a good laugh in a week.
                              (he is still at the 
                              phone as the scene 
                              dissolves)

               Then the LAWN of the ANDREWS ESTATE dissolves in. It is now 
               filled with guests, who wander around, chattering gaily. The 
               orchestra plays. A captain of waiters in the foreground 
               instructs his men.

                                     CAPTAIN
                         I want everything to be just so. 
                         When the ceremony starts, you stand 
                         on the side -- still. No moving around -- 
                         no talking, comprenez?

               The view cuts to a ROADWAY leading to the estate, and Peter 
               is seen driving up in his Ford and squeezing in between two 
               Rolls-Royces. The uniformed chauffeurs glare at him. But 
               Peter springs nonchalantly out of his car.

                                     PETER
                              (blithely, as he passes 
                              them)
                         Keep your eye on my car when you're 
                         backing up, you guys.

               And as he goes, the chauffeurs look at each other, surprised. 
               The scene dissolves to ANDREWS' STUDY, where a butler stands 
               in front of Andrews who is seated at his desk.

                                     ANDREWS
                         Show him in.

               The Butler leaving, a close view shows ANDREWS reaching over 
               and snapping on a dictograph concealed somewhere on his desk. 
               The office coming into view again, we see Andrews rising and 
               awaiting Peter's entrance. After a moment Peter comes in, 
               removes his soft felt hat, and tucks it under his arm.

                                     ANDREWS
                         Mr. Warne?

                                     PETER
                         Yeah.

                                     ANDREWS
                         Come in. Sit down.

               Peter advances into the room, looking around curiously. His 
               air is frigid, contemptuous as Andrews studies him, and he 
               makes no move to sit. Andrews waves to a chair and sits down 
               himself. Peter flops into the nearest chair.

                                     ANDREWS
                              (seen close with Peter; 
                              after a pause)
                         I was surprised to get your note. My 
                         daughter hadn't told me anything 
                         about you. About your helping her.

                                     PETER
                         That's typical of your daughter. 
                         Takes those things for granted.
                              (too restless to sit, 
                              he jumps up)
                         Why does she think I lugged her all 
                         the way from Miami --
                              (vehemently)
                         For the love of it?

                                     ANDREWS
                         Please understand me. When I say she 
                         didn't tell me anything about it, I 
                         mean not until a little while ago. 
                         She thinks you're entitled to anything 
                         you can get.

                                     PETER
                              (bitterly)
                         Oh, she does, huh? Isn't that sweet 
                         of her! You don't, I suppose.

                                     ANDREWS
                              (shrugging)
                         I don't know. I'd have to see on 
                         what you base your claim. I presume 
                         you feel you're justified in --

                                     PETER
                              (seen close now)
                         If I didn't I wouldn't be here!
                              (he reaches into his 
                              pocket)
                         I've got it all itemized.
                              (and he throws the 
                              paper on Andrews' 
                              desk)

               ANDREWS picks up the paper and glances at it.

                                     PETER
                              (now seen closer with 
                              Andrews)
                         I sold some drawers and socks, too; 
                         I'm throwing those in.

                                     ANDREWS
                         And this is what you want -- thirty-
                         nine dollars and sixty cents?

                                     PETER
                         Why not? I'm not charging you for 
                         the time I wasted.

                                     ANDREWS
                         Yes, I know -- but --

                                     PETER
                         What's the matter? Isn't it cheap 
                         enough? A trip like that would cost 
                         you a thousand dollars! Maybe more!

                                     ANDREWS
                         Let me get this straight. You want 
                         this thirty-nine sixty in addition 
                         to the ten thousand dollars?

                                     PETER
                         What ten thousand?

                                     ANDREWS
                         The reward.

                                     PETER
                              (sharply)
                         Who said anything about a reward!

                                     ANDREWS
                              (smiling)
                         I'm afraid I'm a little confused. 
                         You see, I assumed you were coming 
                         here for --

                                     PETER
                              (impatiently)
                         All I want is thirty-nine sixty. If 
                         you'll give me a check I'll get out 
                         of this place. It gives me the 
                         jitters.

                                     ANDREWS
                         You're a peculiar chap.

                                     PETER
                              (irritably)
                         We'll go into that some other time.

                                     ANDREWS
                         The average man would go after the 
                         reward. All you seem to --

                                     PETER
                         Listen, did anybody ever make a sucker 
                         out of you? This is a matter of 
                         principle. Something you probably 
                         wouldn't understand.
                              (he burns at the 
                              thought)
                         When somebody takes me for a buggy 
                         ride I don't like the idea of having 
                         to pay for the privilege.

                                     ANDREWS
                         You were taken for a buggy ride?

                                     PETER
                         Yeah -- with all the trimmings. Now, 
                         how about the check. Do I get it?

               A close-up indicates that ANDREWS has been studying Peter 
               throughout the scene. He is now completely won over.

                                     ANDREWS
                              (smiling)
                         Certainly.
                              (he opens a checkbook 
                              and writes it out)

               While Andrews writes, Peter wanders around the room in an 
               attitude of bitter contempt. Andrews rises and goes to him.

                                     ANDREWS
                         Here you are.
                              (as Peter takes the 
                              check)
                         Do you mind if I ask you something 
                         frankly?
                              (Peter just looks at 
                              him without responding)
                         Do you love my daughter?

                                     PETER
                              (evasively, while 
                              folding the check)
                         A guy that'd fall in love with your 
                         daughter should have his head 
                         examined.

                                     ANDREWS
                         That's an evasion.

                                     PETER
                              (putting the check 
                              into a wallet)
                         She grabbed herself a perfect running 
                         mate. King Westley! The pill of the 
                         century!
                              (pocketing wallet)
                         What she needs is a guy that'd take 
                         a sock at her every day -- whether 
                         it's coming to her or not.

               A close view of the TWO shows Andrews smiling: Here is a 
               man!

                                     PETER
                         If you had half the brains you're 
                         supposed to have, you'd have done it 
                         yourself -- long ago.

                                     ANDREWS
                         Do you love her?

                                     PETER
                              (going for his hat as 
                              he replies)
                         A normal human being couldn't live 
                         under the same roof with her, without 
                         going nuts.
                              (going to the door)
                         She's my idea of nothing!

                                     ANDREWS
                         I asked you a question. Do you love 
                         her?

                                     PETER
                              (snapping it out)
                         Yes!
                              (as Andrews smiles)
                         But don't hold that against me. I'm 
                         a little screwy myself.

               He snaps the door open and goes out, following which ANDREWS 
               is seen watching the door, his eyes twinkling, and the scene 
               cuts to the DOWNSTAIRS HALLWAY as Peter comes through, moving 
               on to the front door. But just as he reaches it, Ellie enters, 
               accompanied by half a dozen men and holding a cocktail in 
               her hand. They see each other almost simultaneously, and 
               both stop, glaring.

                                     PETER
                              (looking her over 
                              contemptuously)
                         Perfect! Now you look natural.

               At this Ellie leaves her group and comes toward Peter, and a 
               close view shows them together, glaring at each other.

                                     ELLIE
                              (icily)
                         I hope you got your money.

                                     PETER
                         You bet I did.

                                     ELLIE
                         Congratulations.

                                     PETER
                         Same to you.

                                     ELLIE
                         Why don't you stay and watch the 
                         fun? You'll enjoy it immensely.

                                     PETER
                         I would. But I've got a weak stomach.

               He wheels around and goes through the door, Ellie looking 
               after him, her eyes blazing. The drone of a plane motor 
               outside is heard, and several people rush down the stairs, 
               all excited.

                                     GUESTS
                         Here comes King! He's just coming 
                         down! Hurry up, everybody! Come on, 
                         Ellie!

               Immediately there is a general excitement, as guests hurry 
               through the hallway on the way to the lawn. But Ellen does 
               not move -- she remains staring blankly at the door through 
               which Peter went until Andrews enters from his study.

                                     ANDREWS
                         I just had a long talk with him.

                                     ELLEN
                              (her voice breaking)
                         I'm not interested.

                                     ANDREWS
                         Now, wait a minute, Ellie --

                                     ELLIE
                              (sharply)
                         I don't want to hear anything about 
                         him!

               She walks away from him, and Andrews, frustrated, looks at 
               her helplessly. Thereupon the scene dissolves to a full view 
               of the LAWN. The orchestra is playing Mendelssohn's Wedding 
               March. The lawn is crowded with guests. In the background we 
               see the autogyro idling. A closer view shows a small platform, 
               serving as an altar. Over it there is an arbor of roses. 
               Back of the altar stands a minister, ready. A reverse view 
               reveals a long, narrow, carpeted pathway leading to the house. 
               Both sides are lined with guests, who are murmuring excitedly. 
               At the moment, King Westley and his best man are marching 
               solemnly toward the altar. Back of the altar we see a high 
               platform upon which are several newsreel men who are grinding 
               their cameras.

               The guests, of whom close glimpses are caught, are now peering 
               over each other's shoulders. King and his best man have 
               reached the altar, and the music of the wedding march comes 
               to a stop. The orchestra leader is looking around, apparently 
               waiting for a signal. At the DOOR of the HOUSE a very "prissy" 
               middle-aged man waves his handkerchief and nods his head to 
               the orchestra leader. The orchestra leader acknowledges the 
               signal by nodding his head -- turns to his men -- waves his 
               baton, and the orchestra starts playing, "Here Comes the 
               Bride." -- The guests whisper to each other excitedly. A 
               great deal of stirring takes place.

               The door of the house slowly opens -- and a parade of small 
               flower girls emerges. They march, taking each step carefully, 
               while they strew flowers along the path. They are well out 
               of the way when Ellie, on the arm of her father, appears in 
               the doorway. A view of the guests shows that they cannot 
               contain themselves. Murmurs of "Here she comes," and "Doesn't 
               she look beautiful?" are heard. The newsreel men on their 
               platform behind the altar bestir themselves. This is what 
               they've been waiting for!

               ELLIE and her FATHER (seen close) now make their way to the 
               altar. Ellie's face is solemn, and her jaws set.

                                     ANDREWS
                              (whispering out of 
                              the side of his mouth)
                         You're a sucker to go through with 
                         this.

               Ellie glances at him out of the corner of her eye -- and 
               quickly turns forward again.

                                     ANDREWS
                         That guy Warne is O.K. He didn't 
                         want the reward.

               Ellie keeps her eyes glued in front of her, remaining 
               expressionless.

                                     ANDREWS
                         All he asked for was thirty-nine 
                         dollars and sixty cents... that's 
                         what he spent on you. It was a matter 
                         of principle with him -- says you 
                         took him for a ride.

               This registers on Ellie and she raises her eyes -- but her 
               reaction is only slightly perceptible.

               A close view of a GROUP OF GUESTS shows two girls looking 
               enviously in the direction of the bride.

                                     A YOUNG GIRL
                              (whispering)
                         I wish I were in her shoes.

                                     SECOND GIRL
                         Yes. She certainly is lucky.

               ELLIE and her FATHER are seen again, and ANDREWS is still 
               whispering to her.

                                     ANDREWS
                         He loves you, Ellie. Told me so.

               This brings a definite reaction, which she quickly covers 
               up.

                                     ANDREWS
                         You don't want to be married to a 
                         mug like Westley.

               At this there is a close view of Westley -- there is a 
               satisfied smirk on his face.

                                     ANDREWS
                         I can buy him off for a pot of gold, 
                         and you can make an old man happy, 
                         and you wouldn't do so bad for 
                         yourself. If you change your mind, 
                         your car's waiting at the back gate.

               Ellie gives no indication of her intentions. Her face remains 
               immobile. And now Ellie and her father have reached the altar. 
               The "prissy" man is placing them in position. The big moment 
               has arrived. The guests are all atwitter. But a close view 
               of ELLIE shows that she realizes that her fate is closing in 
               on her. She looks around for a means of escape.

                                     MINISTER
                              (starting the ceremony)
                         Dearly beloved, we are gathered 
                         together here in the sight of God 
                         and in the face of this company to 
                         join together this man and this woman 
                         in holy matrimony. If any man can 
                         show just cause why they may not 
                         lawfully be joined together, let him 
                         speak now or else hereafter forever 
                         hold his peace. King, wilt thou have 
                         this woman to be thy wedded wife? So 
                         long as ye both shall live?

                                     KING
                         I will.

                                     MINISTER
                         Ellen, wilt thou have this man to be 
                         thy wedded husband so long as ye 
                         both shall live?

               Then, seen at the ALTAR, Ellie makes her decision. She reaches 
               down, takes a firm hold on her train and, pushing several 
               people aside, runs out of the scene. Those at the altar look 
               up, surprised, and the most startled of all is KING himself.

                                     KING
                              (calling after her)
                         Ellie!

               He starts to go after her -- but finds Andrews in his way 
               while the outcries of the guests rise in chorus.

                                     GUESTS
                         What's happened? Where's she going?

               On the platform, the newsreel men, a look of astonishment on 
               their faces, decide to follow Ellie.

                                     A MAN
                         Get her, Mac! She's ducking!

               And, as viewed by the newsreel men, Ellie is seen in the 
               distance dashing through the gates. The guests stare 
               dumbfounded. Following this, Andrews and King are seen 
               together in the crowd.

                                     KING
                              (helplessly)
                         What happened?

                                     ANDREWS
                              (blandly)
                         I haven't the slightest idea.

               But his mouth twitches as he tries to keep from smiling. As 
               King runs out of sight Andrews gets out a cigar and lights 
               it -- a happy smile on his face which he now doesn't try to 
               conceal.

               Outside the FRONT GATE Ellie is seen in a fast roadster, as 
               she starts away with a plunge. Her eyes sparkle. A crowd of 
               people dash up, headed by King. They stop dead when they see 
               the car disappear. On the LAWN the commotion runs high, and 
               the guests chatter their amazement. A close view of ANDREWS 
               shows him smiling with satisfaction.

               The scene dissolves to ANDREWS' OFFICE, where Andrews is 
               regaling himself with a whiskey and soda. He is in a 
               pleasantly inebriated mood when his SECRETARY enters.

                                     ANDREWS
                              (as he picks up the 
                              phone that has started 
                              ringing)
                         Don't want to talk to -- don't want 
                         to talk to anybody. Don't want to 
                         see anybody.

                                     SECRETARY
                         But it's King Westley on the phone.

                                     ANDREWS
                         Ooooooh.
                              (into the phone)
                         Hello my would-be ex-son-in-law. 
                         I've sent you a check for a hundred 
                         thousand. Yes. That's the smartest 
                         thing you ever did, Westley, not to 
                         contest that annulment. That's 
                         satisfactory, isn't it? Yeah. Well, 
                         it ought to be. Oh I'm not 
                         complaining. It was dirt cheap.
                              (as he hangs up)
                         Don't fall out of any windows.

                                     SECRETARY
                              (placing a telegram 
                              on the desk)
                         There's another wire from Peter, 
                         sir. They're in Glen Falls, Michigan.

                                     ANDREWS
                              (reading it)
                         "What's holding up the annulment, 
                         you slow poke? The Walls of Jericho 
                         are toppling."
                              (to the Secretary)
                         Send him a telegram right away. Just 
                         say: "Let 'em topple."

               This dissolves to the exterior of an AUTO CAMP very much 
               like the other camps at which Peter and Ellie stayed. The 
               owner's wife is talking to her husband.

                                     WIFE
                         Funny couple, ain't they?

                                     MAN
                         Yeah.

                                     WIFE
                         If you ask me, I don't believe they're 
                         married.

                                     MAN
                         They're married all right. I just 
                         seen the license.

                                     WIFE
                         They made me get 'em a rope and a 
                         blanket, on a night like this.

                                     MAN
                         Yeah?

                                     WIFE
                         What do you reckon that's for?

                                     MAN
                         Blamed if I know. I just brung 'em a 
                         trumpet.

                                     WIFE
                              (puzzled)
                         A trumpet?

                                     MAN
                         Yeah. You know, one of those toy 
                         things. They sent me to the store to 
                         get it.

                                     WIFE
                         But what in the world do they want a 
                         trumpet for?

                                     MAN
                         I dunno.

               The scene moves to the cabin occupied presumably by Peter 
               and Ellie. The windows are lighted. There is a blast from a 
               trumpet, and as the lights go out a blanket is seen dropping 
               to the floor, and the scene fades out.

                                         THE END