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