IT HAPPENED ONE NIGHT
Written by Robert previous hit 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.[1]
STEWARD
Fine! Fine! She ought to like this.
(to the guard)
Open the door.
GUARD
(without moving)
Who's gonna take it in to her? You?
STEWARD
Oh, no.
(turning)
Mullison! Come on!
The view widens to include Mullison,
a waiter. His eye is decorated with
a "shiner."
MULLISON
Not me, sir. She threw a ketchup bottle
at me this morning.
STEWARD
Well, orders are orders! Somebody's
gotta take it in.
(he turns to someone else)
Fredericks!
The view moves to another waiter, who
has a patch of bandage on his face.
FREDERICKS
Before I bring her another meal, I'll
be put off the ship first.
STEWARD'S VOICE
Henri!
The view moves over to a Frenchman.
HENRI
(vehemently)
No, Monsieur. When I leave the Ritz
you do not say I have to wait on crazy
womans.
The view moves back to include the Steward
and the others grouped around him.
ANOTHER WAITER (A COCKNEY)
My wife was an angel compared to this
one, sir. And I walked out on her .
? 208 ?
GUARD
(impatiently)
Come on! Make up your mind!
A petty officer approaches. He is blustering
and officious, but the type that is
feeble and ineffective. His name is
Lacey.
LACEY
(talking quickly—staccato)
What's up? What's up?
There is a fairly close picture of the
GROUP featuring Lacey and the Steward.
STEWARD
These pigs! They're afraid to take her
food in.
LACEY
That's ridiculous! Afraid of a mere
girl!
(he wheels on the steward)
Why didn't you do it yourself?
STEWARD
(more afraid than the others—stammering)
Why—I—well, I never thought about—
LACEY
(shoving him aside)
I never heard of such a thing! Afraid
of a mere girl.
(moving to the tray)
I'll take it in myself.
They all stand around and watch him,
much relieved. He picks up the tray
and starts toward the door of the cabin.
LACEY
(as he walks—muttering)
Can't get a thing done unless you do
it yourself.
(as he approaches the door)
Open the door.
We see him at the CABIN DOOR as the
guard quickly and gingerly unlocks it.
LACEY
Afraid of a mere girl! Ridiculous.
Lacey stalks in bravely, the tray held
majestically in front of him, while
the steward and waiters form a circle
around the door, waiting expectantly.
There is a short pause, following which
Lacey comes hurling out backwards and
lands on his back, the tray of food
scattering all over him. The steward
quickly bangs the door shut and turns
the key as the waiters stare silently.
The scene dissolves to the MAIN DECK
of the yacht, first affording a close
view of a pair of well-shod masculine
feet, as they pace agitatedly back and
forth. Then as the scene draws back,
the possessor of the pacing feet is
discovered to be Alexander Andrews,
immaculately groomed in yachting clothes.
In front of him stands a uniformed Captain,
but Andrews, brows wrinkled, deep in
thought, continues his pacing.
? 209 ?
ANDREWS
(murmuring to himself)
On a hunger strike, huh?
(a grunt)
When'd she eat last?
CAPTAIN
She hasn't had a thing yesterday—or
today.
ANDREWS
Been sending her meals in regularly?
CAPTAIN
Yessir. She refuses them all.
ANDREWS
(snappily)
Why didn't you jam it down her throat?
CAPTAIN
It's not quite that simple.
(he shakes his head)
I've dealt with prisoners in my time,
but this one—
ANDREWS
Absurd!
(muttering)
All this fuss over a snip of a girl.
(suddenly)
I'm going down to see her myself.
He leaves with determination, followed
by the Captain, and both are then seen
walking in the direction of the cabin,
Andrews grim.
CAPTAIN
This is dangerous business, Mr. Andrews.
After all, kidnapping is no child's
play.
But Andrews ignores him and merely stares
grimly forward. They arrive in front
of the cabin door, where Lacey is brushing
himself off, and where a couple of waiters
are picking up the last pieces of the
broken dishes.
ANDREWS
What's this! What's happened here?
LACEY
(pathetically)
She refused another meal, sir.
ANDREWS
Get another tray ready. Bring it here
at once.
(to the guard)
Open the door.
The Guard unlocks the door and Andrews
enters. Then we get a view of the CABIN
at the door, as Andrews enters and closes
the door behind him. He looks around
and his eyes light on his prisoner,
following which the view swings over
to ELLIE, a beautiful girl in her early
twenties. At the moment, she holds a
small vase over her head ready to heave
it, and her eyes flash angrily. At sight
of her new visitor, however, she lowers
the vase and sets it on a small table.
? 210 ?
ELLIE
What do you want?
Andrews doesn't stir from the door.
ANDREWS
What's this about not eating?
ELLIE
(sitting)
I don't want to eat!
(raising her voice)
And there's one more thing I don't want!
Definitely! That's to see you.
She lights a cigarette. Andrews watches
her a moment.
ANDREWS
Know what my next move is? No more cigarettes.
ELLIE
Why don't you put me in chains?
ANDREWS
I might.
ELLIE
(now seen at close range)
All right! Put me in chains! Do anything
you want! But I'm not going to eat a
thing until you let me off this boat!
She stares petulantly out at the blue
sky, but Andrews comes over and sits
beside her.
ANDREWS
(tenderly)
Come on, Ellie. Stop being silly. You
know I'm going to have my way.
ELLIE
(moving away)
I won't stand for it! I won't stand
for your running my life! Why do you
insist on it!
ANDREWS
(still tender)
You ought to know why. Because—
ELLIE
(interrupting)
Yes. I know.
(she's heard it a million times)
Because I'm your daughter and you love
me. Because you don't want me to make
any mistakes. Because—
ANDREWS
(joining in)
Because marrying that fool King Westley
is—
? 211 ?
ELLIE
(snappily)
You're wasting your time. I'm already
married to him.
ANDREWS
(sharply)
Not so far as I'm concerned, you're
not.
(they are interrupted by a knock at
the door)
ANDREWS
Yes?
The door opens and several waiters parade
in with trays of steaming food.
ELLIE
(starting for them; threateningly)
How many times have I told you not to
bring any food in here.
The waiters back up, frightened, but
Andrews saves them.
ANDREWS
Wait a minute! Don't get excited! This
isn't for you.
(to the waiters)
Put it right here.
Ellie glares at her father, and wanders
over to the window seat, while the waiters
occupy themselves setting the table.
Andrews putters around the food, lifting
the lids from which tempting aromas
emanate. He shuts his eyes, murmuring
"oohs" and "ahs."
A close-up of ELLIE shows her, too,
drinking in the inviting aromas; and
for a moment she weakens. A close view
of ANDREWS shows him glancing toward
Ellie to see her reaction; whereupon
Ellie's face (again appearing in a close-up)
freezes. Then Andrews and the waiters
come into view.
FIRST WAITER
Anything else, Monsieur?
ANDREWS
No. Everything seems quite satisfactory.
I may want some more of that delicious
gravy. I'll ring.
WAITER
Very good, Monsieur.
The waiters bow their way out as Andrews
pecks at the food.
ANDREWS
(making clucking noise)
Heavenly!
Now Ellie appears in the foreground,
with Andrews at the table in the background.
ELLIE
(disdainfully)
Smart, aren't you! So subtle.
? 212 ?
ANDREWS
(chewing on a mouthful of food)
If Gandhi had a chef like Paul, it would
change the whole political situation
in India.
ELLIE
You can't tempt me.
(shouting unnecessarily)
Do you hear? I won't eat!
ANDREWS
(quietly)
Please. I can't fight on an empty stomach.
Remember what Napoleon said.
ELLIE
I hope you're not comparing yourself
to Napoleon. He was a strategist. Your
idea of strategy is to use a lead pipe.
Andrews eats silently while Ellie rants
at him, walking around and puffing vigorously
on her cigarette.
ELLIE
(muttering)
Most humiliating thing ever happened
to me.
(shuddering)
A bunch of gorillas shoving me in a
car! That crowd outside the justice
of the peace—must have thought I was
a criminal—or something.
A close view of ANDREWS intercuts with
part of Ellie's speech. At the end of
her speech he smacks his lips, enjoying
the food with too great a relish. Then
the two are seen together.
ELLIE
(after a pause—strongly)
Where are you taking me?
ANDREWS
(carelessly)
South America.
ELLIE
(aghast)
South America!
ANDREWS
We leave Miami in an hour. Soon's we
get some supplies aboard.
ELLIE
(threateningly)
You'll have a corpse on your hands!
That what You'll have. I won't eat a
thing while I'm on this boat.
ANDREWS
(buttering bread)
In that event, we won't need so many
supplies.
? 213 ?
ELLIE
(exasperated)
What do you expect to accomplish by
all this? I'm already married!
ANDREWS
I'll get it annulled.
ELLIE
You'll never do it! You can't do it!
ANDREWS
(now seen close as he speaks between
snatches of food)
I'll do it if it takes every penny I've
got. I'll do it if I have to bribe that
musical comedy Justice of the Peace!
I'll do it—if I have to prove that you
were dragged in, staggering drunk. You
probably were.
(he smacks his lips)
Mmm—mmm. This filet mignon is divine!
ELLIE
(seen with her father)
What've you got against King Westley?
ANDREWS
Nothing much. I just think he's a fake,
that's all.
ELLIE
You only met him once .
ANDREWS
That was enough. Do you mind handing
me the ketchup?
ELLIE
You talk as if he were a gigolo—or something.
ANDREWS
(rising—reaching for ketchup)
Never mind—I'll get it myself.
(he falls back in his chair)
Gigolo? Why, you took the word right
out of my mouth. Thanks.
ELLIE
(seen closer now, with Andrews)
He's one of the best fliers in the country.
Right now he's planning a trip to Japan.
ANDREWS
You're going to finance him, I suppose.
ELLIE
Why not? Look what he's doing for aviation.
It takes courage to do what he does.
And character! At least he's accomplished
something worthwhile. I suppose you'd
like to have me marry a business man.
Well, I hate business men—particularly
if you're a shining example.
? 214 ?
He grins, not at all offended, knowing
she doesn't mean it.
ELLIE
Your whole life is devoted to just one
thing. To accumulate more money. At
least there's romance in what he's doing.
ANDREWS
(unequivocally)
He's no good, Ellie, and you know it.
You married him only because I told
you not to.
ELLIE
(strongly)
You've been telling me what not to do
since I was old enough to remember.
(screaming)
I'm sick of it!
And as Andrews ignores her, she starts
moving around the table toward him.—Next
she appears sitting on the edge of Andrews'
chair, and she throws her arm around
his shoulder.
ELLIE
(pleading sweetly)
Aw, listen, Dad. Let's not fight like
this any more. I know you're worried
about me—and want me to be happy. And
I love you for it. But please try to
understand. You're not being fair, darling.
This isn't just a crazy impulse of mine.
King and I talked about it a lot before
we decided to get married. Look—why
can't we give it a trial—let's say—for
a year or so. If it's wrong, King and
I will be the first to know it. We can
get a divorce, can't we? Now, be a dear,
and let me off the boat. Keeping me
prisoner like this is so silly.
Andrews has been listening silently
throughout the speech, giving no indication
of his feelings in the matter.
ANDREWS
(unimpressed)
You'll be set free when the marriage
is annulled.
A close-up of ELLIE, her eyes blazing
angrily, shows her slowly edging away
from her father, while he continues.
ANDREWS' VOICE
(carelessly)
So there's no use being a stubborn idiot.
ELLIE
(hissing)
I come from a long line of stubborn
idiots!
ANDREWS
(again seen with her; calmly)
A time will come when you'll thank me
for this.
ELLIE
(wildly)
I won't thank you! I'll never thank
you!
? 215 ?
ANDREWS
Please don't shout.
ELLIE
I'll shout to my heart's content! I'll
scream if I want to.
ANDREWS
(reaching for it)
Ah! Coconut layer cake. Nice and gooey,
too. Just the way I like it.
He is about to insert the first bite
in his mouth when Ellie, her temper
vanishing completely, overturns the
small serving table, dumping its contents
into her father's lap. The movement
is so unexpected that Andrews, the fork
still suspended near his mouth, stares
at her stupefied. Then realizing what
she has done, his eyes flash in anger.
Dropping his fork, he rises and goes
over to her, while she stands facing
him defiantly. Without a word or warning,
he slaps her a stinging blow across
the cheek. For a moment she doesn't
stir, her eyes widening in surprise,
and staring at him unbelievingly. Then
turning abruptly she bolts out of the
door. Andrews remains motionless, his
eyes shutting painfully; it is the first
time he has struck her, and it hurts.
ANDREWS
(calling)
Ellie!
(and he starts for the door)
Next on the DECK, at the open cabin
door, Andrews is seen, staring off at
something and an amazed, frightened
look comes into his eyes. Then, as viewed
from his position at the cabin door,
Ellie appears standing on the rail;
and with a professional dive, she leaps
into the water.
A full view of the DECK reveals the
crew and the officers scurrying around,
several of them shouting: "Somebody
overboard!"
ANDREWS
It's my daughter! Go after her.
CAPTAIN
(shouting)
Lower the boats!
General excitement reigns; several of
the crew dive into the water; others
release the boat lines. Following this
Ellie is seen swimming furiously against
the giant waves. Next she appears as
a small speck in the distance, while
half a dozen of the crew are swimming
in pursuit.
At the SIDE OF THE YACHT one of the
boats has already been lowered, and
two men jump in and grab the oars. The
men seem to be gaining on Ellie. In
the distance several small motor boats
are anchored, and over the sides of
the boats their owners are fishing.
Ellie seems to be headed in their direction.
One of the motor boats appears closer.
A middle-aged man sits on the stern,
holding lazily to his line, his feet
dangling in the water as the boat is
tossed around by the turbulent waves.
ELLIE is then again seen swimming. She
looks back, and the next scene shows
the men rowing toward her, and gaining
on her. Thereupon we see Ellie ducking
under the water.
? 216 ?
The middle-aged fisherman is suddenly
startled by Ellie's face which appears
from under water, right between his
legs. Ellie puts her finger up to her
lips, warning him to shush, and he is
too dumb-founded to say anything. As
the pursuing boats come near, Ellie
ducks under the water again and the
boats scoot right by the fisherman.
Then Ellie's head bobs up; she peers
ahead of her, and seeing that her pursuers
have passed her, she smiles victoriously.
ELLIE
(to the fisherman)
Thanks.
(and she starts swimming toward shore)
The scene dissolves to the DECK of the
YACHT as Ellie's pursuers clamber aboard,
Andrews waiting for them.
A MAN
Sorry, sir. She got away.
ANDREWS
(disappointed but proud)
Of course she got away—too smart for
you.
CAPTAIN
What a hell cat. No controlling these
modern girls.
(murmuring)
They're terrible!
ANDREWS
(resentfully)
Terrible! Nothing terrible about her.
She's great! Marvelous youngster! Got
a mind of her own. Knows just what she
wants.
(smiling)
She's not going to get it though. She
won't get very far. Has no money.
CAPTAIN
What about that diamond wrist watch
she had on—she can raise some money
on that?
ANDREWS
(his face falling)
Holy Smoke! I forgot all about that.
(to the officer by his side)
Send a wireless at once, "Lovington
Detective Agency. Daughter escaped again.
Watch all roads—all transports and railroad
stations in Miami. Have your New York
office keep tabs on King Westley. Intercept
all messages. Want her back at all costs!"
OFFICER
Yessir.
The view draws in to afford a close-up
of ANDREWS staring out at the sea, his
face wreathed in a broad smile; then
this fades out.
Part Two
The RAILROAD STATION of an active terminal
in Miami fades in. The view moves down
to the entrance gate to the trains,
passengers hur-
? 217 ?
rying through it; then picks out two
men, obviously detectives, who have
their eyes peeled on everyone passing
through. Then the view affords a glimpse
of ELLIE, who stands watching the detectives.
This scene wiping off, we see an AIR
TRANSPORT, with several planes tuning
up in the background. As passengers
file through, several detectives stand
around in a watchful pose. This scene
wiping off, the front of a WESTERN UNION
OFFICE comes into view. Several people
walk in and out. At the side of the
door, two detectives are on the lookout.
This scene also wipes off, revealing
the WAITING ROOM of a BUS STATION. Over
the ticket window there is a sign reading
"BUY BUS TICKETS HERE," and a line forms
in front of it. Here too there are two
detectives.
FIRST DETECTIVE
We're wastin' our time. Can you picture
Ellie Andrews ridin' on a bus?
SECOND DETECTIVE
I told the old man it was the bunk.
The view moves from them to ELLIE, who
stands behind a post and is watching
the two detectives apprehensively. As
the two (viewed from her position) stand
by the ticket window, one of them turns
toward her. Thereupon, we see her slipping
behind a post, concealing herself. Just
then a little old lady approaches her.
OLD LADY
Here's your ticket, ma'am.
ELLIE
Oh, thank you. Thank you very much.
(she takes the ticket and change from
the old lady, and hands her a bill)
Here.
OLD LADY
Oh, thank you. Thank you.
ELLIE
When does the bus leave?
OLD LADY
In about fifteen minutes.
ELLIE
Thank you.
She picks up a small overnight bag from
the floor and hurries away. She crosses
to the entrance of the waiting room
and disappears through the doors. The
view then wings over to a telephone
booth near the entrance. Clustered around
the booth are half a dozen men of varied
appearance. The inside of the booth
is lighted, and a young man, Peter Warne,
waves his hands wildly as he shouts
into the phone, although it is impossible
to hear what he is saying. A close inspection
of the men surrounding the booth (the
scene contracting to a close view) reveals
them as being slightly and happily intoxicated.
A short man approaches the door of the
booth.
? 218 ?
SHORTY
Hey, what's going on here? I'd like
to use that phone.
FIRST MAN
(a reporter)
Shh! Quiet. This is history in the making.
SHORTY
What?
FIRST MAN
There's a man biting a dog in there.
SECOND MAN
(drunker than the rest)
Atta-boy, Petey, old boy! Atta-boy!—
PETER'S VOICE
I'm not going to stand for this any
longer. In a pig's eye, you will!—
GROUP
Is that so? That's telling him, Petey
old boy.
A close view of PETER WARNE in the telephone
booth gives evidence of his having also
imbibed freely.
PETER
(shouting into the phone)
Listen, monkey-face—when you fired me,
you fired the best newshound your filthy
scandal sheet ever had.
And the scene cuts to a New York NEWSPAPER
OFFICE where the night editor, Gordon,
his sleeves rolled up, sits at his desk
shrieking into the phone.
GORDON
Say, listen, you wouldn't know a story
if it reached up and kicked you in the
pants.
(listening)
Yeah? Sure, sure, I got your copy. Why
didn't you tell me you were going to
write it in Greek? I'd start a new department.
PETER
(again seen close at the phone)
That was free verse, you gashouse palooka!
GORDON
(at the phone in the newspaper office)
Free verse, huh?
(shouting)
What the dickens was free about it?
It cost this paper a gob of dough. Well,
I'm here to tell you, it's not gonna
cost us any more.
? 219 ?
PETER
(in his phone booth)
That's okay by me! 'Cause as far as
I'm concerned, I'm through with newspapers!
See? I'm through with stupidity! I'll
never write another newspaper story,
for you or anybody else, if I have to
starve.
(after a pause)
Yeah? What about my novel! When I get
through with that—
GORDON
(in his office)
When you get through with that, I'll
have a beard down to my ankles.
(at this point, Gordon's secretary enters)
SECRETARY
Mr. Gordon—
GORDON
(looking up)
Huh?
SECRETARY
Did you know he reversed the charges
on that call?
GORDON
What!
(into the phone)
Say, listen you! When you get back to
New York, take my advice and stay f-a-r
away from this office—unless you don't
care what happens to that funny map
of yours.
(he bangs down the receiver viciously
and glowers at the phone)
In the PHONE BOOTH Peter reacts to the
phone being hung up on him. But he goes
right on for the benefit of the boys.
PETER
(into the dead phone)
Oh, so you're changing your tune, eh?
Well, it's about time. But it's going
to do you no good, my tough friend.
It's a little too late for apologies.
I wouldn't go back to work for you if
you begged me on your hands and knees!
I hope this is a lesson to you!
He snaps up the receiver with a great
pretense of outraged pride, following
which the view expands to include his
public.
MEN
Atta-boy, Peter. That's telling him,
Peter.
The gang is full of admiration for the
courageous way he talked to the boss
as Peter staggers out of the booth.
PETER
Give me any of his lip, will he? Huh!
I guess he knows now what I think of
his job!
(expansively)
Is my chariot ready?
? 220 ?
FIRST MAN
Your chariot awaiteth withouteth, oh
mighty King.
MEN
Make way for the King. Long live the
King. Make way.
With head held high, he struts majestically
out of sight, followed by his admirers,
following which the scene dissolves
to the BUS STATION. His inebriated admirers
stand around the entrance to a bus,
while Peter stands on the steps, his
suitcase in his hand.
PETER
(making a grand speech)
That's right, my friends. Cling to your
jobs! Remain slaves the rest of your
lives! Scum of the earth! Newspaper
men! Not me! When I'm basking in the
glorious arms of the Muse—what'll you
be doing? Chasing news. You miserable
worms. For what? A mere pittance! My
heart goes out to you.
(with arms extended and in tremolo voice)
Good-bye.
(and with this he turns his back and
enters the bus)
MEN
(in the same spirit)
Goodbye, Oh mighty King! Peace be with
you, Courageous One!
ANNOUNCER'S VOICE
All aboard. Philadelphia, New York.
All aboard.
GROUP
Look out. Get back. Farewell. Farewell.
PETER
Scram.
The scene cuts to the INTERIOR of the
BUS as viewed from the front, the view
moving forward, passing the conglomerate
of unprepossessing human beings who
occupy the seats. Every space is taken
and the occupants seem hot and uncomfortable,
which adds to their uninviting appearance.
Mothers cling to crying babies. A Swedish
farm hand and his young wife are already
busy opening their basket of food prepared
for the long journey. A surly-looking
hoodlum traveling alone is slumped in
his seat, his cap drawn carelessly over
his eyes. The moving view passes these
and other characters until it reaches
one unoccupied seat in the car, unoccupied
except for several bundles of newspapers.
Standing before the seat is Peter, his
suitcase in his hand, speculating as
to what disposition to make of the newspapers.
PETER
(calling)
Hey, driver! How about clearing this
stuff away!
Several passengers (seen from his position
in the back) crane their necks to scrutinize
the intruder. Through a glass partition
the driver can be seen receiving his
last minute instructions from a superintendent,
who stands on the running board, their
voices in-
? 221 ?
distinguishable. In answer to Peter's
request, the driver glances back indifferently,
and continues talking to the superintendent.
A close view of PETER shows him arching
his eyebrows, an amused acknowledgment
of the disdainful attitude of the driver.
He drops his suitcase and starts forward.
Then we see him arriving at the glass
partition, and Peter taps playfully
on the pane with his finger-nails, whereupon
the driver turns and pulls the window
down a few inches.
DRIVER
(annoyed)
Whadda you want!
PETER
(pleasantly)
If you'll be good enough to remove those
newspapers I'll have a seat.
DRIVER
(irritably)
Okay! Okay! Keep your shirt on, young
feller.
(with which remark the driver turns
away from him)
PETER
(looking at the back of the driver's
neck for a moment, then confidentially)
Just between you and me, I never intended
taking it off.
He wheels around uncertainly and swaggers
jauntily down the aisle toward the empty
seat. En route he bestows genial smiles
upon several of his disgruntled fellow
passengers, and he stops in front of
a robust lady who at the moment is breastfeeding
her baby while a lighted cigarette dangles
from her lips.
PETER
Personally, I was raised on a bottle.
(as the woman looks up at him, perplexed)
When I was a baby, I insisted on it.
You know why?
(as the woman stares up stupidly)
I never liked the idea of getting cigarette
ashes in my eyes.
He moves forward, leaving the woman
unable to make head or tail of it; and
assuming that he's crazy, she shrugs
her shoulders and turns her attention
to the baby.
Now PETER arrives at his seat, and whistling
softly, raises the window. Unhurriedly,
he picks the newspaper bundles up one
by one and flings them out of the window.
They hit the sidewalk below with a dull
thud. Thereupon a close view of the
DRIVER shows him reacting violently
to Peter's unprecedented cheek, and
starting down from his seat.
PETER has now cleared the seat of all
the newspaper bundles and still whistling
his favorite melody, he picks up his
suitcase preparatory to placing it in
the rack overhead. At this point, the
driver enters the side door of the bus.
DRIVER
(pugnaciously)
Hey, wait a minute!
? 222 ?
Peter, his arms holding the suitcase
over his head, turns and glances at
the driver, a quizzical look in his
eyes.
DRIVER
(coming forward)
What do you think you're doing!
PETER
(turning)
Huh?
DRIVER
(bellowing)
The papers! The papers! Whadda you mean
throwin' 'em out!
PETER
Oh—the papers—
He slowly lowers his arms and deposits
the suitcase on the floor.
PETER
(now seen close, with the Driver)
That's a long story, my friend. You
see, I don't like sitting on newspapers.
I did once and all the headlines came
off on my white pants.
DRIVER
Hey, whadda you tryin' to do—kid me?
PETER
Oh, I wouldn't kid you . On the level,
it actually happened. Nobody bought
a paper that day. They followed me all
over town and read the news from the
seat of my pants.
DRIVER
What're you gonna do about the papers?
Somebody's gotta pick 'em up.
PETER
(turning to his suitcase)
It's okay with me. I'm not arguing.
DRIVER
(pugnaciously)
Fresh guy, huh! What you need is a good
sock on the nose.
PETER
(turning back to him)
Look here, partner. You may not like
my nose. But I do. It's a good nose.
The only one I've got. I always keep
it out in the open where anybody can
take a sock at it. If you decide to
do it, make sure you don't miss.
During his speech, Ellie enters from
the rear and plunks herself into Peter's
seat. Unseen by Peter, she places her
small bag beside her.
? 223 ?
DRIVER
(answering Peter; weakly)
Oh, yeah?
PETER
Now, that's a brilliant answer. Why
didn't I think of it? Our conversation
could have been over long ago.
DRIVER
Oh, yeah?
PETER
(exhausted)
You win!
Smiling, he turns to sit down. But the
smile dies on his face when he finds
his place occupied by Ellie, who stares
out the window.
PETER
(now at close range, with Ellie)
Excuse me, lady—
(slowly)—
but that upon which you sit—is mine.
Ellie glances up at him—then down at
her buttocks.
ELLIE
(eyes flashing)
I beg your pardon!
PETER
Now, listen. I'm in a very ugly mood.
I put up a stiff battle for that seat.
So if it's just the same to you—
(gesturing with thumb)
scram.
ELLIE
(ignoring him—calling)
Driver!
The driver, who has stopped to witness
this new altercation, returns.
ELLIE
Are those seats reserved?
DRIVER
(pleased to discomfort Peter)
No. First come, first served.
ELLIE
(dismissing the whole thing)
Thank you.
(Peter, thwarted for a moment, just
glares at her)
PETER
(also calling)
Driver!
DRIVER
Yeah?
? 224 ?
PETER
These seats accommodate two passengers,
don't they?
DRIVER
(hating to give in)
Maybe they do—and maybe they don't.
Peter lifts Ellie's overnight bag off
the seat and drops it on the floor.
Part of her coat covers the small space
by her side. This he sweeps across her
lap.
PETER
Move over, lady. This is a "maybe they
do."
He plops into the seat, the other passengers
around them heaving a sigh of relief.
Ellie flashes him a devastating look
and deliberately turns her back on him.
But Peter suddenly looks down toward
the floor, following which a close-up
AT THEIR FEET reveals that Ellie's bag
on the floor annoys Peter. With his
foot he slowly moves it over to her,
and Ellie's foot is seen pushing it
back, whereupon Peter viciously kicks
it over to her side again. Next we see
Ellie glaring at him, picking up her
bag, and standing on the seat depositing
it on the rack overhead. But just then
the bus starts forward with a lurch
which unbalances her, and she falls
backward right in Peter's lap. Their
noses almost touch. Their eyes meet,
and they glare at each other hostilely.
Ellie quickly scrambles off and gets
back in her seat, turning her back on
him.
PETER
(amused)
Next time you drop in, bring your folks.
This dissolves to a COUNTRY ROAD, and
the bus sways perilously as it speeds
through the night, following which the
view dissolves to the INTERIOR of the
BUS, revealing Peter slumped in his
seat, his hat drawn over his eyes. Ellie
has her head thrown back, trying to
sleep. But the swaying bus causes her
head to roll from side to side uncomfortably,
and finally she gives up.
ELLIE
(an order)
Tell that man not to drive so fast.
(at which Peter just cocks his head
slightly)
PETER
Are you talking to me?
ELLIE
Yes. Tell that man to drive slowly.
Peter stares at her a moment, resenting
her officious manner.
PETER
(pleasantly)
Okay.
And much to her surprise, he sighs deeply
and relaxes to his former position,
shutting his eyes. She glares at him
crushingly.
The scene dissolves to another view
of the BUS, disclosing the driver, and
suddenly the bus comes to a stop.
? 225 ?
DRIVER
(sticking his head in to face the passengers)
Rest station! Ten minutes!
The view draws back as some of the passengers
rise. The men stretch their legs, and
the women straighten out their skirts.
A close view of Peter and Ellie then
shows her rising. Peter accommodatingly
shoves his feet aside for her to pass,
and Ellie starts up the aisle. But she
suddenly stops; looks back, first at
her bag and then at Peter; decides to
take her bag with her, and returns to
take it. She reaches for it on the rack,
Peter watching her, amused.
The scene dissolves to the outside of
the REST STATION with several passengers
walking briskly back and forth. The
place is dimly lit by one or two lamp-posts,
and Peter can be seen leaning against
one of these posts, smoking a cigarette.
The scene moving in, a close view of
Peter shows him stealing a glance in
the direction of Ellie. And a view,
from his angle, reveals Ellie in the
shadow of the bus, her bag at her feet.
She slowly turns her head toward Peter
and then quickly averts it.
PETER (seen close) speculates about
her. He glances around the place, and
the scene moves about, following his
gaze. It takes in the other passengers,
all obviously poor and uncultured. The
moving view reaches Ellie. The contrast
is perceptible. Thereupon, we see Peter
reacting with comprehension: No doubt
about it! She doesn't belong with these
passengers. Then suddenly he sees something
which startles him, and we see what
it is: Directly in back of her, the
young hoodlum passenger slyly lifts
her overnight bag from the ground and
starts running with it. Ellie is oblivious
of his actions. PETER springs forward.
Ellie sees Peter coming toward her and
is perceptibly startled. But Peter whizzes
by her, and this amazes her even more.
She shrugs her shoulders, perplexed,
and resumes her smoking. In a few seconds
Peter returns, puffing breathlessly.
PETER
He got away. I suddenly found myself
in the middle of the brush and not a
sign of the skunk.
ELLIE (seen close with PETER) doesn't
know what he's talking about. She looks
at him, puzzled.
ELLIE
I don't know what you're raving about,
young man. And, furthermore, I'm not
interested.
PETER
(taken aback)
Well—of all the—well—
(hard)
Maybe you'll be interested to know your
bag's gone.
At this, Ellie wheels around and stares
at the spot where her bag had been.
ELLIE
Oh, my heavens! It's gone!
? 226 ?
PETER
(sarcastically)
Yeah. I knew you'd catch on eventually.
ELLIE
What happened?
PETER
That cadaverous-looking yegg[2] who
sat in front of us, just up and took
it. Boy, how that baby can run!
ELLIE
What am I going to do now?
PETER
Don't tell me your ticket was in it?
ELLIE
(opening her purse)
No, I've got that, all right. But my
money. All I have here is four dollars.
I've got to get to New York with it.
PETER
You can wire home for some money when
we get to Jacksonville.
ELLIE
Why, no—I—
(catching herself)
Yes . . . I guess I will.
PETER
(starting out)
I'll report it to the driver. About
your bag, I mean.
ELLIE
(quickly)
No. I'd rather you didn't.
PETER
Don't be a fool. You lost your bag.
The company'll make good. What's your
name?
ELLIE
I don't want it reported!
PETER
Why, that's ridiculous! They're responsible
for everything that—
ELLIE
(hotly)
See here, can you understand English!
I don't want it reported!
(she starts away)
Please stay out of my affairs! I want
to be left alone.
(with which she disappears from the
scene)
A close-up of PETER shows him glaring
after her.
? 227 ?
PETER
(mumbling)
Why, you ungrateful brat!
The scene dissolves to the BUS, where
all the passengers are scattering back
to their seats; Peter is already seated,
when Ellie arrives. A close view then
shows her standing uncertainly for a
moment, speculating whether to cross
over his legs to get her place by the
window. Peter feels her presence by
his side and glances up. She tosses
her head and plants herself in the seat
in front of him, vacated by the young
man who stole her bag. Peter takes the
affront with a shrug and slides over
gratefully to the coveted spot near
the window.
The scene dissolves to a close view
of Ellie and a recently arrived fat
man next to her. She has her head thrown
back in an effort to sleep, but the
fat man, his hands clasped over his
protruding stomach, snores disgustingly,
and the rumble of the flying bus accompanies
him. Suddenly the bus careens, the fat
man falls against Ellie, and she awakens
with a start and pushes him back. The
fat man's snoring goes on uninterrupted,
and Ellie relaxes again; but in a few
seconds the procedure is repeated, and
Ellie is beside herself. She looks around
for somewhere to flee.
PETER, seated in back of her, in his
customary slumped position, opens his
eyes slightly. It is apparent he has
been watching her for some time, for
he grins at her discomfiture. Ellie's
head turns in his direction and the
grin leaves Peter's face. He shuts his
eyes and pretends to be asleep. Ellie
glances at Peter to make certain he
is asleep. The fat man falls against
her again and it is all she can stand.
She starts to rise. Peter sees her coming
and deliberately puts his hand on the
seat next to him, still pretending to
be asleep. Just as Ellie starts to sit,
she notices his hand and is embarrassed.
Gingerly she picks up his limp hand
and places it on his knee. She then
slides into the seat, sighing with relief,
whereupon Peter opens his eyes and is
amused. Slowly his head turns—and he
scrutinizes her, soberly and appraisingly.
Ellie slowly turns her head for a glimpse
of Peter—and is startled to find him
gazing at her. She turns forward, her
jaw set forbiddingly.
The scene dissolves to the view of a
ROAD. It is dawn, and in the distance,
against the horizon, the bus, a mere
speck, makes its lone way over the deserted
country. This dissolves to a large SIGN,
reading "JACKSONVILLE," and then into
the BUS affording a close view of ELLIE
and PETER. They are both asleep, her
head resting comfortably on his shoulder,
Peter's topcoat thrown over her. Then
the view draws back. The bus is empty
except for Ellie and Peter, the last
few passengers are just leaving.
PETER's eyes slowly open. He looks down
at the head on his shoulder and grins.
With a sigh, he shuts his eyes again
and resumes his slumber. Next, at the
front of the bus, the DRIVER stands
staring at Peter and Ellie in this intimate
position and his mouth twists knowingly.
DRIVER
(murmuring)
Oh, yeah?
ELLIE stirs, squirms a little uncomfortably
and with a sleepy grunt shifts her position.
Just as she settles down, her eyes open.
She stares out of the window with unseeing
eyes, and then closes them
? 228 ?
dreamily, giving the impression that,
still half conscious, she is trying
to recall where she is. Apparently she
does, for her eyes suddenly snap open
and she lifts her head. Finally (in
a scene including Peter), Ellie realizes
that she has been sleeping on his shoulder,
whereupon she straightens up, embarrassed.
ELLIE
Oh, I'm sorry—
(feebly smiling)
Silly, isn't it?
She looks around, and her finding herself
alone with Peter adds to her embarrassment.
ELLIE
Everybody's gone.
She lifts her arms to adjust her hat
and becomes conscious of his coat over
her which slips. She stares at it thoughtfully
for a moment—then at Peter.
ELLIE
(realizing that he put it there)
Oh, thank you.
(she hands him his coat; ill at ease)
We're in Jacksonville, aren't we?
PETER
Yes.
ELLIE
(nervously)
That was foolish of me. Why didn't you
shove me away?
PETER
I hated to wake you up.
(she glances at him speculatively)
How about some breakfast?
ELLIE
No, thank you.
(she rises, anxious to get away)
Thank you so much.
Most uncomfortably, she edges away from
him toward the front of the bus, Peter
watching her leave, his interest definitely
provoked.
The scene cuts to the STAND as Ellie
emerges from the bus. At the foot of
the steps is the driver.
ELLIE
How much time have I?
DRIVER
About a half hour.
ELLIE
I'm going over to the Windsor Hotel.
Peter appears in the door of the bus
in the background, and a close view
then shows him stopping to listen as
he sees Ellie talking to the driver.
? 229 ?
DRIVER'S VOICE
The Windsor! You'll never make it in
time.
ELLIE'S VOICE
You'll have to wait for me.
DRIVER'S VOICE
(aghast)
Wait for you!
A smile flits across Peter's face; then
a wider view shows Ellie leaving the
driver.
ELLIE
(as she goes)
Yes. I may be a few minutes late.
She disappears from sight, leaving the
driver staring at her, dumbly; and Peter,
standing in back of the driver, shakes
his head in amazement.
The scene dissolves to the BUS STAND
later that morning—at the same spot
where the bus had previously been. It
is no longer there, however. A huge
crowd fills the space, and the view
moving down through the crowd, singles
Ellie out. She has just arrived and
looks around helplessly. Finally she
spots a uniformed terminal guard and
approaches him.
ELLIE
(now next to the Guard)
Where's the bus to New York?
GUARD
Left twenty minutes ago.
ELLIE
Why, that's ridiculous! I was on that
bus—I told them to wait!
GUARD
Sorry, Miss. It's gone.
(and he turns his back on her)
Ellie's face clouds. The crowds surge
about her. She looks around thoughtfully.
Suddenly her eyes open in surprise at
something she sees, and the view then
moves over to Peter, who sits on his
suitcase, looking toward Ellie.
PETER
Good morning.
Peter is in the foreground, the guard
is seen in the background. Ellie stares
at Peter, perplexed.
PETER
Remember me? I'm the fellow you slept
on last night.
ELLIE
Seems to me I've already thanked you
for that.
(turning to guard)
What time is the next bus to New York?
? 230 ?
GUARD
(turning)
Eight o'clock tonight.
ELLIE
Eight o'clock! Why, that's twelve hours!
GUARD
Sorry, Miss.
The Guard leaves the scene, and Ellie's
disappointment is apparent.
PETER
(sarcastically)
What's the matter? Wouldn't the old
meanies wait for you?
(Ellie glares at him, disdaining to
reply—this angers him, and he continues
hotly)
Say, how old are you anyway? Don't you
know these busses work on a schedule?
You need a guardian.
ELLIE
(starting away)
What are you excited about? You missed
the bus, too.
Peter looks at her a moment before replying.
PETER
(quietly)
Yeah. I missed it, too.
There is a close view of the two. She
turns to him. Her interest is provoked
by his tone of voice. She glances up
into his face.
ELLIE
Don't tell me you did it on my account!
(pause)
I hope you're not getting any idea that
what happened last night is—
(she interrupts herself)
You needn't concern yourself about me,
young man. I can take care of myself.
PETER
You're doing a pretty sloppy job of
it.
(he reaches in his pocket)
Here's your ticket.
ELLIE
(surprised)
My ticket?
PETER
I found it on the seat.
ELLIE
(taking it)
Oh, thank you. Must have fallen out
of my pocket.
? 231 ?
While she is putting the ticket away
in her purse, Peter speaks:
PETER
You'll never get away with it, Miss
Andrews.
(this is a shock to Ellie)
ELLIE
(weakly)
What are you talking about?
PETER
Just a spoiled brat of a rich man. You
and Westley'll make an ideal team.
ELLIE
(bluffing it through)
Will you please tell me what you're
raving about!
PETER
You'll never get away with it, Miss
Andrews. Your father'll stop you before
you get half way to New York.
ELLIE
You must have me confused with—
PETER
(interrupting)
Quit kidding! It's all over the front
pages, You know, I've always been curious
about the kind of a girl that would
marry King Westley.
He pulls a newspaper out of his pocket
and hands it to her. Ellie glances at
the headline hurriedly.
PETER
(while she reads)
Take my advice—grab the first bus back
to Miami. That guy's a phony.
|
