Part Nine

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.^[14] What do you think of that!

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

ANDREWS

You thought that up all by yourself, huh?

KING

(unabashed)

Why, it'll make all the front pages. A spectacular thing like that—

ANDREWS

(hard)

Personally, I think it's stupid!

(humoring a child)

But go ahead. Have a good time. As long as Ellie doesn't object.

KING

Oh, no. She'll be crazy about it. Well, see you later. I'm going out on the lawn and arrange for landing space.

(holding out his hand)

Goodbye.

(but Andrews turns his back on him)

ANDREWS

We've done that already.

KING

(smiling)

Yes, of course.

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

ANDREWS

Autogyro! I hope he breaks his leg.

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

ANDREWS

Oh—Mary—

MARY

Yes, sir?

ANDREWS

How is she?

MARY

(hesitantly)

Why—uh—she's all right, sir.

ANDREWS

What's the matter? Anything wrong?

MARY

Oh, no, sir. No different than—

ANDREWS

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

MARY

Yessir. If you'll excuse me, sir—she sent me for a drink.

(she leaves)

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

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

ANDREWS

(after a pause)

Ellie—

ELLIE

(jumping up with a start)

Oh, hello, Dad.

ANDREWS

(a close view as he goes over to her)

I knocked several times.

ELLIE

Sorry. Must have been day-dreaming.

(to hide her confusion, she reaches for a cigarette)

ANDREWS

(with forced lightness)

Well, everything's set. Creating quite a furor, too. Great stunt King's going to pull.

ELLIE

(in a faraway voice)

Stunt?

ANDREWS

Landing on the lawn in an autogyro.

ELLIE

Oh, yes. I heard.

ANDREWS

(noting her listlessness)

Yes. Personally, I think it's silly, too.

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

ANDREWS' VOICE

(he goes over the Ellie)

You look lovely. Are you pleased with the gown?

(as Ellie does not seem to hear him, he becomes worried)

Ellie!

ELLIE

(turning and looking at him blankly)

Huh?

(it just penetrates)

Oh—the gown—

(distantly)

Yes, it's beautiful.

ANDREWS

(tenderly)

What's the matter, Ellie? What's wrong?

ELLIE

Nothing.

(she walks over to table and crushes her cigarette)

ANDREWS

You've been acting so strangely since you returned. I'm—I'm worried. I haven't bothered to ask you any questions—I—

(waving his hand toward the lawn)

Isn't all this what you wanted?

(receiving no answer from Ellie)

You haven't changed your mind about King, have you?

ELLIE

(too quickly)

Oh, no.

ANDREWS

If you have, it isn't too late. You know how I feel about him. But I want to make you happy. You gave me such a scare—I—when I couldn't find you.

(smiling feebly—meaning his heart)

You know, the old pump isn't what it used to be.

ELLIE

(her hand on his arm)

Sorry, Dad. I wouldn't hurt you for the world. You know that.

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

ANDREWS

(tenderly)

Ellie—what is it? Aren't you happy, child?

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

ANDREWS

(after a pause, hoarsely)

I thought so. I knew there was something on your mind.

(there are audible sobs from Ellie)

There—there!

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

ANDREWS

What is it, darling?

(receiving no answer)

You haven't fallen in love with somebody else, have you?

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

ANDREWS

(looking into her eyes)

Have you?

(Ellie turns her head away, a little ashamed of her tears)

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

ANDREWS

I haven't seen you cry since you were a baby. This must be serious.

(Ellie is silent)

Where'd you meet him?

ELLIE

On the road.

ANDREWS

(trying to cheer her)

Now, don't tell me you fell in love with a bus driver!

ELLIE

(smiling)

No.

ANDREWS

Who is he?

ELLIE

I don't know very much about him.

(in a whisper)

Except that I love him.

ANDREWS

(the great executive)

Well, if it's as serious as all that—we'll move heaven and earth to—

ELLIE

(quickly)

It'll do no good.

(wryly)

He despises me.

ANDREWS

Oh, come now—

ELLIE

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

ANDREWS

Ridiculous!

ELLIE

He doesn't think so much of you either.

ANDREWS

(his eyes widening)

Well!

ELLIE

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

ANDREWS

(smiling)

Fine man to fall in love with.

ELLIE

(whispering)

He's marvelous!

ANDREWS

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

ELLIE

(sadly)

I don't know.

ANDREWS

I'd like to have a talk with him.

ELLIE

It's no use, Dad. I practically threw myself at him.

(she shrugs futilely)

ANDREWS

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

ELLIE

No, I'll go through with it.

ANDREWS

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

ELLIE

It doesn't matter.

(tired)

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

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

ELLIE'S VOICE

I've got to settle down. It really doesn't matter how—or where—or with whom.

ANDREWS

(seriously—impressed)

You've changed, Ellie.

ELLIE

(seen with Andrews; sighing)

Yes, I guess I have.

(sincerely)

I don't want to hurt anybody any more. I want to get away from all this front page publicity. It suddenly strikes me as being cheap and loathsome. I can't walk out on King now. It'll make us all look so ridiculous.

(she shrugs resignedly)

Besides, what difference does it make?

(inaudibly)

I'll never see Peter again.

ANDREWS

Is that his name?

ELLIE

Yes. Peter Warne.

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

ANDREWS

Peter Warne!

(his hand has instinctively gone to his inside pocket)

ELLIE

(noticing this)

Why? Do you know him?

(but Andrews withdraws his hand. Apparently he has changed his mind)

ANDREWS

(evasively)

Oh, no—no.

ELLIE

(suddenly anxious)

You haven't heard from him, have you, Dad?

ANDREWS

(obviously guilty)

Why, no . . . Don't be silly.

ELLIE

Oh, please, Dad—

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

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

Peter Warne."

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

ELLIE

(her voice strident)

Looks like that was his only interest in me. The reward.

ANDREWS

(taking the note from her)

I'm sorry you read it.

ELLIE

Are you going to see him?

ANDREWS

I suppose so.

ELLIE

(hard)

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

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

ELLIE

Thanks, Mary. That's just what I need.

(she pours herself a cocktail)

MARY

Mr. King Westley is on his way up.

ELLIE

Fine—Fine! Have him come in.

ANDREWS

(mumbling)

I'll be going.

(he goes out behind Mary)

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

ELLIE

(upon seeing him)

Well, if it isn't the groom himself! You're just in time, King.

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

KING

How are you, Ellie?

(he gives her a kiss, which she accepts perfunctorily—but he insists upon being ardent)

Are you happy?

ELLIE

(releasing herself)

Happy? Why shouldn't I be happy? I'm getting the handsomest man in captivity.

(handing him a drink)

Here you are, King. Let's drink.

(she holds her glass out)

Let's drink to us .

(she drains the glass; pouring another, as she continues)

We finally made it, didn't we?

KING

You bet we did.

ELLIE

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

KING

Whatever you say, darling.

ELLIE

I heard about your stunt. That's swell, King. Just think of it—the groom lands on the lawn with a plane. It's a perfect beginning for the life we're going to lead. It sets just the right tempo.

(handing him a drink)

Come on, King. You're lagging.

(they both drink)

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

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

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

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

PETER

(into the phone)

Hello . . . Yes? . . . Who? . . . Oh . . . Why can't I see you at your office?

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

ANDREWS

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

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

PETER

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

ANDREWS

(seen in his office)

You needn't see anybody. You can come directly to my study. I'd appreciate it very much if—

PETER

(at his phone)

No—no. What the deuce do I want to—

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

"King Westley plans to drop in an autogyro on the lawn of Andrews estate . . ."

Peter's mouth screws up disdainfully.

PETER

(into the phone)

Yeah, wait a minute. Maybe I will come over. I'd like to get a load of that three-ring circus you're pulling. I want to see what love looks like when it's triumphant. I haven't had a good laugh in a week.

(he is still at the phone as the scene dissolves)

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

CAPTAIN

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

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

PETER

(blithely, as he passes them)

Keep your eye on my car when you're backing up, you guys.

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

ANDREWS

Show him in.

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

ANDREWS

Mr. Warne?

PETER

Yeah.

ANDREWS

Come in. Sit down.

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

ANDREWS

(seen close with Peter; after a pause)

I was surprised to get your note. My daughter hadn't told me anything about you. About your helping her.

PETER

That's typical of your daughter. Takes those things for granted.

(too restless to sit, he jumps up)

Why does she think I lugged her all the way from Miami—

(vehemently)

for the love of it?

ANDREWS

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

PETER

(bitterly)

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

ANDREWS

(shrugging)

I don't know. I'd have to see on what you base your claim. I presume you feel you're justified in—

PETER

(seen close now)

If I didn't I wouldn't be here!

(he reaches into his pocket)

I've got it all itemized.

(and he throws the paper on Andrews' desk)

ANDREWS picks up the paper and glances at it. After a moment, he looks at Peter, studying him interestedly; then he returns to the paper, and reads its contents:

Andrews looks up from the paper. This is a twist he hadn't anticipated, and he doesn't quite know how to handle 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!

ANDREWS

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

PETER

What ten thousand?

ANDREWS

The reward.

PETER

(sharply)

Who said anything about a reward!

ANDREWS

(smiling)

I'm afraid I'm a little confused. You see, I assumed you were coming here for—

PETER

(impatiently)

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

ANDREWS

You're a peculiar chap.

PETER

(irritably)

We'll go into that some other time.

ANDREWS

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

PETER

Listen, did anybody ever make a sucker out of you? This is a matter of principle. Something you probably wouldn't understand.

(he burns at the thought)

When somebody takes me for a buggy ride I don't like the idea of having to pay for the privilege.

ANDREWS

You were taken for a buggy ride?

PETER

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

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

ANDREWS

(smiling)

Certainly.

(he opens a checkbook and writes it out)

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

ANDREWS

Here you are.

(as Peter takes the check)

Do you mind if I ask you something frankly?

(Peter just looks at him without responding)

Do you love my daughter?

PETER

(evasively, while folding the check)

A guy that'd fall in love with your daughter should have his head examined.

ANDREWS

That's an evasion.

PETER

(putting the check into a wallet)

She grabbed herself a perfect running mate. King Westley! The pill of the century!

(pocketing wallet)

What she needs is a guy that'd take a sock at her every day—whether it's coming to her or not.

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

PETER

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

ANDREWS

Do you love her?

PETER

(going for his hat as he replies)

A normal human being couldn't live under the same roof with her, without going nuts.

(going to the door)

She's my idea of nothing!

ANDREWS

I asked you a question. Do you love her?

PETER

(snapping it out)

Yes!

(as Andrews smiles)

But don't hold that against me. I'm a little screwy myself.

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

PETER

(looking her over contemptuously)

Perfect! Now you look natural.

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

ELLIE

(icily)

I hope you got your money.

PETER

You bet I did.

ELLIE

Congratulations.

PETER

Same to you.

ELLIE

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

PETER

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

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

GUESTS

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

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

ANDREWS

I just had a long talk with him.

ELLEN

(her voice breaking)

I'm not interested.

ANDREWS

Now, wait a minute, Ellie—

ELLIE

(sharply)

I don't want to hear anything about him!

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

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

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

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

ANDREWS

(whispering out of the side of his mouth)

You're a sucker to go through with this.

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

ANDREWS

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

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

ANDREWS

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

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

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

A YOUNG GIRL

(whispering)

I wish I were in her shoes.

SECOND GIRL

Yes. She certainly is lucky.

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

ANDREWS

He loves you, Ellie. Told me so.

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

ANDREWS

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

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

ANDREWS

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

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

MINISTER

(starting the ceremony)

Dearly beloved, we are gathered together here in the sight of God and in the face of this company to join together this man and this woman in holy matrimony. If any man can show just cause why they may not lawfully be joined together, let him speak now or else hereafter forever hold his

peace. King, wilt thou have this woman to be thy wedded wife? So long as ye both shall live?

KING

I will.

MINISTER

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

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

KING

(calling after her)

Ellie!

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

GUESTS

What's happened? Where's she going?

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

A MAN

Get her, Mac! She's ducking!

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

KING

(helplessly)

What happened?

ANDREWS

(blandly)

I haven't the slightest idea.

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

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

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

ANDREWS

(as he picks up the phone that has started ringing)

Don't want to talk to—don't want to talk to anybody. Don't want to see anybody.

SECRETARY

But it's King Westley on the phone.

ANDREWS

Ooooooh.

(into the phone)

Hello my would-be ex-son-in-law. I've sent you a check for a hundred thousand. Yes. That's the smartest thing you ever did, Westley, not to contest that annulment. That's satisfactory, isn't it? Yeah. Well, it ought to be. Oh I'm not complaining. It was dirt cheap.

(as he hangs up)

Don't fall out of any windows.

SECRETARY

(placing a telegram on the desk)

There's another wire from Peter, sir. They're in Glen Falls, Michigan.

ANDREWS

(reading it)

"What's holding up the annulment, you slow poke? The Walls of Jericho are toppling."

(to the Secretary)

Send him a telegram right away. Just say: "Let 'em topple."

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

WIFE

Funny couple, ain't they?

MAN

Yeah.

WIFE

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

MAN

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

WIFE

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

MAN

Yeah?

WIFE

What do you reckon that's for?

MAN

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

WIFE

(puzzled)

A trumpet?

MAN

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

WIFE

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

MAN

I dunno.

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

Frank Capra (far right) on the set of  Mr. Deeds Goes to Town
with Gary Cooper and Jean Arthur.