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英文爱情片一夜风流B

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.DANKERHow 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) Let me see that a minute.

He moves to his desk excitedly, and Peter, a gleam of hope in his eyes, joins him.

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 of the –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 nto 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) Yes Sir. (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)Yes Sir.

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 Yes, sir. 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 to 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 perhapsyou'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, comprehend?

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'rebacking 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
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