EXT. COLLEGE CAMPUS - DAY
MAIN TITLES appear over a view of a university campus in the
early 1930s, somewhere on the American east coast. Students
sit on the grass talking, others stand around or walk to
FAST-PACED OPENING MONTAGE
FADE IN on a TITLE that reads "State College" superimposed
on another view of the campus. Students walking, sitting,
TWO STUDENTS - a bored girl listens as a boy, apparently a
drama student, reads melodramatically from a book:
"There's nothing for me in life but roses,
WIDE-EYED GUY - speaks directly into the camera as women
stand and walk by in the background, only their legs are
visible and their skirts are awfully thin.
If you ask me, it's more important than
food and drink.
He glances back at the women's legs.
Yes, sir. More important.
TWO STUDENTS - Grady, a goofy guy, lies in the grass with a
girlfriend as she toys lovingly with his necktie.
I don't know just how to take you.
His girlfriend whispers to him exactly how he should take
her and he looks shocked.
TWO STUDENTS - A plain, bespectacled girl sits and talks to
a curvaceous friend who stands next to her. The curvaceous
girl has a hand on her hips as they swivel back and forth
What do you think he did? I said, don't
you EVER try that again!
MICHAEL HARVEY - a handsome young student who gapes
openmouthed at a view of the campus fountain where a
superimposed image of a woman's face appears. It's his
girlfriend, BETTY CAMERON, and she smiles back at him
before disappearing. A smiling Michael licks his fingers
and turns a page in the textbook he's supposed to be
TWO STUDENTS - Two boys sit at the base of a statue. One
holds a report card, the other eats an apple.
I haven't had a report card like this since
I left kindergarten. This is the dullest
college I've ever been to in my life.
Why, Junior, how can you be so sacrilegious,
seated here beneath the statue of the
venerable and respected founder of this
We PAN UP QUICKLY to reveal the statue of a distinguished
man with a bird sitting on top of his head.
Why, I'm amazed at you, Junior. I'm
INT. CLASSROOM - DAY
A lecture in progress. The middle-aged PROFESSOR DAVID
MATTHEWS addresses a mostly bored group of students. One
passes a paper to another, a thin guy chews his pencil,
another fellow fights to stay awake -- others take notes,
listen with interest, etc. Among the students is Michael's
girlfriend Betty Cameron who glances out the window and
plays tic-tac-toe with herself.
But these alterations, we must assume, are
the consequence of chemical processes
which we still have to discover. In
cytomorphosis, then, which you will
remember is the term by which we designate
in biology the complete transformation of
the cells, we can distinguish four chief
stages. One, differentiation or embryonic
stage. Two, differentiation. Three,
degeneration. And four, death. Now, as I
was saying a few moments ago, not until
the protoplasm has grown sufficiently does
it acquire its characteristic color
through the formation of hemoglobin, thus
becoming a young red blood corpuscle. The
red blood corpuscles afford us an
excellent example of a complete
The sound of a CAR HORN drifts in noisily from the window.
The Prof and Betty, among others, glance at it.
Now, we'll take example A. The simple
cells with a well-formed nucleus but with
CAR HORN again, distracting everyone. We CUT AWAY briefly
to the street outside the building where DUKE GALLOWAY, a
cocky, spoiled rich kid, stands next to his expensive
automobile, pressing on the horn, unconcernedly. We CUT
BACK to the classroom where the Prof shoots a dirty look in
the direction of the noise even as he tries to continue.
B, the protoplasm grows...
CAR HORN again. The Prof points to the half-asleep student.
Eh, do you mind...?
The guy behind him has to nudge him. He awakes with a start.
Oh, no. No, sir.
I mean, er, do you mind closing the window?
Some of the other students chuckle at this.
Oh, the window.
He rises and closes the window as the HONKING continues.
We CUT TO Duke Galloway and his car:
EXT. STREET - DAY
Duke greets Michael Harvey who joins him.
Hiya, Duke! Hey, why don't you toot that
thing under the dean's window? You'll get
Well, I would, only my date isn't with the
(off the car)
This is a new one, isn't it?
Oh, just a little trinket that dropped out
of papa's pocket.
Gee, the old one was all right. This one
seems more like a hotel.
Yeah, only better. You don't have to
Ah ha, is that all you think about?
Life, liberty and the pursuit of women.
That's my platf--
Duke stops when he sees two female students, a blonde and a
brunette, walking arm-in-arm in his direction down the
Ah, romance rears its ugly head.
Duke, followed by a bemused Michael, walks to the sidewalk
as the ladies approach and goes into a playful spiel:
Goin' right out! Fuzzy Galloway's sight-
seeing trips to all parts of the city!
Don't fritter away them golden hours of
youth! It makes 'em wild, it makes 'em
But the ladies, undoubtedly knowing the Duke's reputation,
walk right by without giving him a glance.
(cheerfully, to a
Well, the Galloway approach system doesn't
seem to be workin' today.
Uh oh, here come a couple o' quickies. Ya
wanna give 'em a demonstration?
Listen, I've got a connection to make.
Michael walks off as two more women approach and Duke greets
(off the car)
See what papa brought home?
Toni and her friend check out the car.
Say, how 'bout burnin' up a little asphalt?
at her friend)
Aw, never mind about her. She can sit in
the rumble seat and put a blanket over her
The girls laugh.
Not over my head!
Aw, you'd look pretty good with a blanket
over your head.
As the girls laugh again, we CUT TO the nearby sidewalk
crowded with students exiting class. Betty Cameron, books in
hand, walks along, to be greeted by boyfriend Michael.
Oh... hello, Michael.
She joins him but looks around a little self-consciously.
Well, how's your biology?
Well, you may not know it, but
cytomorphosis is a protoplasm that
isn't a nucleus.
Think of that!
The Professor walks past, chatting with a student, but takes
a long look at Betty and Michael.
Michael, I thought you had a class
I did but I cut it.
Oh, and I made another date. Well,
you see, I promised to help Grace over at
the house. She's boning for a quiz, you
Oh, that's all right. What time'll you be
Well, I don't know. Uh, I'd better call
you. Where will you be?
A passing friend of Betty's interrupts.
Hello, Betty! Duke said to tell ya he'll
meet you tonight at Toler's. The dean has
him on the carpet.
(nervous glance at Michael)
Duke? Oh, yes. Thanks.
Oh, so you're running around with Galloway
No, I'm not. I was just going to go for a
ride with him in his new car.
So that's where you were yesterday and the
I just came from one lecture. I thought
Sorry, you don't need to explain.
I'm not explaining.
It's all my fault. I was chump enough to
believe it was different between us.
Well, it IS different. Just because two
people like each other, there's no reason
for them to sit around and dry up. I'm not
my grandmother. I like to have fun. I'm
The Professor, standing nearby and listening to a student
named Bob bend his ear, hears Betty's raised voice and
glances over at her and Michael.
I don't see why you shouldn't go out with
Galloway if you want to. You're the only
one on the campus he's missed.
Can you think of any more insults?
Sorry, I'm fresh out. Well, good-bye.
(starts to go)
Been nice meeting you after all these
If you're ever in Chillicothe Falls, drop
in and see me. Smith's the name. You'll
find it under S in the phone book. Well,
good-bye again. Give your grandmother my
love and don't forget to brush your teeth.
Betty watches in shock as Michael moves off. The Professor
and Bob end their conversation.
Well, good-bye, Professor.
Bob leaves as Michael stalks past the Prof.
Hey, there, it's not polite to stalk past
a fraternity brother without speaking.
I'm sorry, I was thinking.
Good! What's on your mind? Studies?
Oh, no, they're all right.
No more than usual.
Michael and the Prof walk off. Betty, looking hurt and sad,
watches them go before turning and walking off in the
opposite direction. The Prof casts a backward glance at the
departing Betty as he and Michael walk across a lawn,
Well, what is it? Maybe I can help you. We
had our problems when we went to school,
Yes, but things were different in those
Oh, I don't know. We had the same campus.
And automobiles. And, if I remember
correctly, we had women also. They're
quite a problem, you know.
Yes, but girls are wilder than they were
Mm, yes, I suppose so.
They can smell a good time three blocks
away. And if a fella doesn't happen to be
fixed so that he can give 'em a good time,
they find it some place else.
Michael sits on some sort of large engraved bench and the
Prof joins him.
Women have changed, haven't they?
Take Duke Galloway, for instance. Do you
Galloway? Galloway? Yes, yes.
He's a likable fella. Lives his life as he
sees it. I don't suppose you can blame a
girl for running around with him if she
Well, naturally, not.
The trouble with most of us is that we
still have ideals.
Well, what's the matter with ideals?
They're all right, aren't they?
Oh, I don't know. What ARE ideals? They're
just notions we get some place about
what's right and wrong. Pretty soon they
become part of you so that after a while
even though you believe something that's
wrong is right, you can't do it. That
doesn't PROVE that it's wrong. I guess
this all must sound very silly--
Not at all, not at all. I get your
I've gotta be runnin' along. It's been
nice talkin' to you, Prof.
You seem to understand things.
I think I do pretty well for an older
Oh, I didn't mean--
Nonsense, Mike, nonsense. You've taught me
a great deal about the problems of modern
youth. We must see each other oftener. You
know, lots of times I become confused about
life and naturally I like to have someone
to talk things over with.
Well, well, thanks, Prof. See ya later.
So long, Mike.
Michael exits and the Prof, looking thoughtful, watches him
EXT./INT. TOLER'S - NIGHT
FADE IN on a sign reading TOLERS and PAN DOWN to the front
door of the local greasy spoon where diners enter the
building. Duke Galloway and a friend are out front looking
over Duke's new car.
Well, there's one thing you gotta say
about it. It's a modest little job.
Oh, it'll have to do till the Depression
is over. Soon as I get around to it, I'm
gonna put a kitchenette in the back. And a
new wing goes in on this side, overlookin'
Michael pauses outside the front door to look at Duke who
turns and sees him.
Well, if it isn't the Lone Wolf. Say, I
wish you'd train your women to be here on
time when I have a date with her.
I can lead 'em up to your trough but I
can't make 'em drink.
Aw, never mind! I'll-I'll attend to that!
Duke and his friend share a chuckle but a distracted Michael
has already entered the building. Jazz MUSIC fills the air
as DORA SWALE, the pretty but decidedly working class
waitress/hostess/cashier, greets him cheerily as he walks
Michael grabs a seat in a booth as Dora goes back to dealing
with a young customer buying razor blades.
What do you care if they're sharp or not?
You can rub your beard off with a towel!
Wait till you start to shave!
Michael tries to read a menu but is annoyed by the
conversation drifting in from the booth behind him:
All right, all right. What ABOUT free
There's nothing free about my love, Romeo.
Just remember that!
Are you for sale?
Let's broaden the conversation!
When I get on a subject, I like to stay
with it. Hey, how 'bout that butter?
Michael rises and carries his menu to another booth where he
must endure another off screen conversation:
Huh huh, I gotta find out things for
myself. How do I know? You may be knock-
I thought you came to college to develop
Aww, who cares about brains? I come from a
long line of people who work with their
Sound of the gal giving her guy a good hard SLAP.
All right, all right. Whaddya wanna talk
Gal #2 laughs at him.
That's not so funny.
Dora arrives to take Michael's order but she watches as he
rises in disgust and heads for a more isolated booth. She
glances knowingly at the off screen couple before following
and catching up with him.
Are you workin' out for the track team or
is this a new game?
I don't like free love with my meals.
Dora glances over at the booth behind Michael as yet another
couple is heard from:
The trouble is with you, you're old-
Maybe so but what was good enough for my
grandmother's good enough for me.
Gal #3 pushes her ice cream aside, grabs her purse and hat,
rises and exits.
Well, I don't want to be honorable with ya
unless it's absolutely necessary.
I'll call ya up sometime when I break
Gal #3 laughs and exits. Guy #3 watches her go, rises, and
wanders off as Michael and Dora chat:
Don't they ever talk about anything else?
What else is there to talk about? How
'bout somethin' to eat?
Aw, I don't know what I want.
Gimme three guesses.
Do people ever talk about marriage any
Some of the older people.
Why don't YOU get married? What do you
hang around a dump like this for?
Scrambled eggs are nice.
'Sides, none of my business, but you're a
You think so?
And you're bright.
Oh, I get it. Bein' bright don't get you
nowhere. It's lookin' dumb. 'I first got
this job I used to go home nights and
study grammar. I thought it might help me
if I talked better. But after goin' out
with a couple of these apes around here,
I threw the grammar out the window and
went in for self-defense.
Why, after all, Creation didn't stop when
it made these gorillas. You ought to know
some nice fellows if--
Sure. You mean in my own class.
Oh, well, I didn't mean--
Oh, it's okay. But, listen, precious, it
ain't much fun after workin' hard all day
an' goin' home nights and just goin' to
bed. But it's much better than sittin'
around the rest of your life, listenin'
to some iceman's helper yawn himself to
Yeah, I guess you have it pretty tough at that.
Oh, I ain't complainin'. Not as long as
YOU think I'm good-lookin'.
What's that got to do with it?
Oh, it just helps me go on.
Don't look at me. I'm gonna be a missionary.
Oh, you'd make a swell missionary.
What do you mean by that?
Oh, you arouse my savage instincts.
Michael grins but says nothing.
She hit you pretty hard, didn't she?
(she's struck a nerve)
What do you mean?
How 'bout the chicken patties? We're
tryin' to get rid of 'em.
All right. Wheel 'em in.
(hollers to the kitchen)
Chicken patties for one!
Dora turns, gives Michael a look, then walks off, casting a
backward glance at him as she goes. Michael, meanwhile,
We CUT TO Duke, leaning on his car outside, talking to his
So, I says to the dean, I says, if I can't
have a few liberties around here, I'm
gonna get myself another college.
Betty arrives and joins them.
Hello. Hello, Duke.
Oh! Well, take me home for two ninety-
Duke turns, grabs his friend's arm, pushes him away brusquely,
causing him to exit the scene.
I'm sorry ya gotta run along but I'll see
Duke turns back to Betty and opens the car door for her.
Come on, let's give the wide open spaces a
Have you seen Michael?
Michael? Michael. No. Have you looked in
all the gutters?
Come on, get in.
No, I'm afraid I can't go.
What, a stand-up?
I'm sorry. I've got some work to do.
Aw, you'll be over-educated.
No, really, I can't go.
Come on! Well, you can sit in it a minute,
Oh, well... just a minute then.
Betty climbs in the front seat and is instantly impressed
by the luxury. Duke pushes down suggestively on the springy
I want ya to try out the springs.
CUT TO inside Toler's, where Dora, grabbing silverware and a
glass of water for Michael, has an exchange with the soda
Where're ya goin' tonight, babe?
Same place you are -- only in a different
Dora pauses as she sees Betty and Duke just outside the
front door. She smiles and glances around thoughtfully
before returning to Michael's booth to set his place for
It's about time you gave that Cameron
cutie the air.
What she got that anybody else ain't got?
Aw, why talk about it? That's all over.
She's certainly giving that Galloway a
Who said so?
What do you care? You ain't interested.
That's right. But why drag Galloway into
Oh, I just happened to see the two of them
to the kitchen)
How 'bout that patty?!
Just as abruptly, Dora walks off. Michael realizes she's
tipping him off and glances toward the front door. After a
glance in Dora's direction, he rises and heads off to
CUT TO Betty, sitting in the car, with Duke standing on the
sidewalk making time.
Certainly has everything in it.
All the comforts o' home except running
water. Turn that little knob, mother, and
hear funny noises.
How'd I miss that?
Betty turns on the car radio and we hear some hot jazz MUSIC.
Betty listens to it happily as Duke runs his fingers
suggestively across her shoulder. She glances at him, then
suddenly notices Michael who stands outside the front door,
staring at them. She laughs. Duke glances over and sees him,
his hand still on her shoulder. Michael smiles.
(with a grin)
Michael joins them and they engage in an extended exercise
Well, where've ya been? We've been lookin'
all over for ya.
Still angry, Michael?
Michael! Have you been angry?
I hope you'll pardon the intrusion but
some of the denizens of this eating
emporium have recently been nauseated at
the spectacle of some of our younger people
necking in the street. So I've been asked
to recommend a more secluded spot -- out
on the Jericho Turnpike where one may
indulge in amorous display minus the
intrusion of prying eyes.
I'll take the matter up with the board of
directors. Pardon me, please.
Betty cranks up the volume of the radio and the loud jazz
covers up her brief consultation with Duke. Duke nods to
whatever it is she's saying.
Thanks so much.
Betty shuts off the radio and climbs into the driver's seat.
Duke joins her in the passenger seat.
Now, as I understand it, you go out to the
Jericho Turnpike and then...
You turn left and you come to an old apple
tree bearing white blossoms.
Michael heads back toward Toler's.
Jericho Turnpike, turn left, old apple tree.
Ya can't miss it. It's right next to a pig
If we see any of your relatives, shall we
give 'em a message?
Betty laughs a little too loudly at this. Dora pokes her head
out the front door and calls to Michael.
You better hurry up, precious, your
patties are getting cold.
Duke and Betty crack up at this.
You mustn't let your patties get cold!
You should've brought your mittens!
Duke and Betty laugh as they pull away and drive down the
street with a roar. Michael, upset and embarrassed, watches
them go, then goes back inside, slamming the door behind
CUT TO Duke and Betty in the car as she slams on the brakes.
What's the matter?
But you're not mad at me, are ya?
(gets out of the car)
I'm going to give him a piece of my mind
while I'm in the mood.
Well, give him a piece of mine while
you're at it.
I'll be right back.
Betty slams the car door and walks back toward Toler's.
Duke calls after her:
Hey, bring his head back on a platter!
QUICK DISSOLVE TO Michael eating his chicken patties as
Betty approaches him. She pauses, gives him a good hard look,
then sits across from him in the booth. Michael keeps on
eating and drinking.
Where's your flaming Romeo?
If you must know, he's waiting for me
Better go and look after him. He's likely
to get asthma.
I'm here to demand an apology.
Sorry, I never apologize while I'm eating.
She pulls his plate away.
Well, you're GOING to apologize.
He pulls his plate back.
You're as stubborn as a mule.
She pulls his plate away again.
Are you going to apologize or not?
He pulls his plate back and rises, annoyed.
If you want this booth, you can have it.
Michael carries his plate and utensils to another booth and
sits. Betty watches him angrily, then rises and joins him in
his new booth where he goes right on eating.
You in again?
Why do we have to quarrel all the time?
I'll ask the first cop I see.
There's no excuse for being rude about it.
I came down this evening to tell Duke I
I believe most of what you say.
Then you're going to apologize?
I doubt it.
She pulls his plate away.
He pulls his plate back.
I'll ... stay here until you DO apologize.
They'll probably find ya here when they
excavate this place a hundred years from
Betty picks up a spoon and feeds herself a mouthful of his
Shall I order you another fork?
Oh, I rather like eating out of the same
trough with you.
He pushes the plate over to her.
If you need this worse than I do, you can
I came in here to take on a little
nourishment and you insist on making a
Betty puts down her spoon, rises, and confronts him nose to
nose as they comically half-whisper at each other:
I'm NOT making a scene!
You ARE making a scene!
I'm NOT making a scene!
You ARE making a scene!
You ARE! You're making a scene right now!
I'm here to demand an apology.
Well, you're not gonna get one. Why don't
you go away from here?
What about my pride?
What about your dignity?
Never mind my dignity. I'm gonna follow
you 'round till I DO get an apology.
Oh, you are, are ya?
Yes, I am.
Well, that'll be interesting.
Michael turns and heads directly into the men's restroom,
closing the door behind him. He moves to a mirror, takes a
comb out of his pocket, and fixes his hair.
CUT TO Betty outside. After glancing around to make sure
she's unobserved, Betty barges into the men's room and shuts
the door. Shocked, Michael looks around nervously.
Hey, you can't come in here!
You-you can't stop me.
He takes her by the shoulders and tries to hustle her out.
Haven't you got any sense?
Don't push me, you big gorilla.
Somebody might come in here.
I hope they do. I'll make you wish you
never talked to me the way you did.
All right, but not here.
Do you believe I came down to tell Duke I
wouldn't go out with him?
I believe you came down to tell Duke
All right, then apologize.
All right, I apologize. Now, come on, get
out o' here.
He pushes her to the door and tries to open it but she
quickly shuts it.
Well, I've done everything you've asked,
You haven't kissed me.
I don't want to kiss ya.
She stares at him.
Do you promise to get out?
After you've kissed me.
Oh, all right.
Michael gives her a kiss.
QUICK CUT TO
UP THE STREET
A bored Duke, lying lengthwise in his parked car, his feet
up on the driver's door. He glances in the direction of
Toler's but no one is coming. A pair of women walk down the
sidewalk on the other side of the street. Duke's head pops
up as if he had antennae. He sits up in the driver's seat
and HONKS his horn at them.
CUT BACK TO
Michael and Betty in a clinch in the men's room. They break
from what has become a passionate kiss, all their mutual
You big brute. You've broken my shoulder
strap. Got a pin?
Where would I get a pin?
She pulls at his lapel to reveal his fraternity pin.
Well, how 'bout that one?
You mean it?
She takes the pin from him.
What do you think?
I think you'd better get out of here.
He gives her another kiss. They break slowly and, as Betty
exits, the two rapt lovers try to maintain eye contact for
as long as possible.
Meanwhile, out in the diner, a drunken freshman wobbles into
Steady there, freshman, you're goin'
around a curve!
The freshman waves him off dismissively then, heading for
the men's room, hesitates at the sight of Betty emerging and
closing the door behind her. She is so completely wrapped up
in attaching Michael's pin to herself so that she fails to
notice the drunk.
Excuse me, I'm all turned around.
The freshman turns and heads into the ladies' room opposite.
After a pause, we hear women scream and diners look in the
direction of the noise as the startled freshman stumbles out.
The diners laugh at him as Betty walks out of the building.
INT. MICHAEL'S FRAT HOUSE - NIGHT
Michael and his frat brothers sprawl across a communal,
dormitory-like room. Some study textbooks. One guy busily
grooms himself in front of a mirror. Another is sprawled
stomach-down across his bed, playing solitaire on the
floor. Michael lies in his own bed and polishes his shoes
throughout the entire scene:
So, long about two o'clock, the caps
started blowin' off. Boy, sound like
machine gun fire. We went down to look,
there wasn't even a single whole bottle
left. Eighteen gallons. Boy, I set down
and had myself a good cry.
STUDENT AT DESK
I don't like to change the subject but
just what IS a hypothesis?
A hypothesis ... is a pig-like animal with
a very large mouth.
They inhabit fraternity houses.
STUDENT IN CHAIR
Sometimes you find 'em under rocks.
STUDENT AT DESK
You apes are gonna revolutionize education.
Grady, the goofy guy, enters wearing a bathrobe and
Who's got my polka-dot drawers?!
Why, I saw a crowd of people wearing 'em
on the campus this morning.
Why lie to him? I saw 'em on a pink
elephant last night. When I woke up this
morning, the elephant was gone.
Well, whoever belongs to these doll's
pants can have 'em.
Grady tosses a rolled up pair of panties onto a bed and
turns to exit.
Say, did you happen to look on the
Grady stops to turn back and give him a look as the others
laugh. An effeminate frat brother, wearing polka-dot shorts,
pauses outside the door.
The Polka Dot pansy walks off down the hall.
Grady exits, chasing after the guy with his shorts. More
laughter. Duke enters and addresses the assembled multitude.
Say, when is that committee meeting for
the dance tomorrow night?
Why, you're right on time. That meeting
was last night.
Oh, yeah? Well, listen you guys, I'm
puttin' in first bid for the parking space
next to the fountain. There's gonna be a
lot of excited women chasing me tomorrow
night and I want some place handy to cool
(to Student in Chair)
What are you readin' -- Mother Goose?
(reads over his shoulder)
"The biological urge, as manifested in
early youth, is fraught with great danger."
(to a freshman)
Hey, freshman, shall I read it out loud?
The freshman turns out to be the wide-eyed guy from the
opening montage who looks up from his studies to stare at
Better keep it quiet -- he's too young to
know about life.
Aw, never mind, dear. When you get to be a
big boy, mother'll explain everything. And
until then, don't let any of the other
little boys teach ya anything.
Conversation was all right until you came
Well, let's change the subject. How 'bout
How 'bout free-wheeling?
Wide-eyed Guy goes back to his reading. Duke plops down in a
chair next to Michael.
I hope you mugs are bringin' a lot o' nice
wrens for me tomorrow night.
Who you bringin', Duke?
(as much to Michael as anyone)
Oh, I'm playin' the field. There's one
little number, though, that's been pinin'
away for me a long time. She's engaged to
some boob, too. But you know old Galloway
-- he follows 'em right up to the altar.
How can you expect women to resist your
charms when you can't do it yourself?
Oh, well, you can't blame 'em much at that.
INT./EXT. THE DANCE - THE NEXT NIGHT
Tuxedoes and evening gowns. Duke and Betty slow dance to
some rather tame MUSIC from a band. Michael, dancing with a
big-boned girl who seems to have fallen asleep on him,
watches jealously. Duke runs his fingers along Betty's
Are you trying to brush something off my
Aw, it's religious fervor. I'm feelin' for
your wings. Say, you're touchy. You know,
you'd be much nicer if you'd loosen your
I'd be much more comfortable if you'd
loosen your grip.
Duke maneuvers Betty closer to Michael and his partner. Duke
sees that Michael can overhear and starts in again on Betty.
Just because you're wearin' some flathead's
pin there's no reason you should get morbid.
You're not married yet.
You ever try dancing with your feet?
You know, these college engagements don't
last. Statistics prove that only one out
of every nine hundred and seventy-eight
and two-thirds ever reach a legal
Which proves that nine hundred seventy-
seven and two-thirds have been wrong up
Oh, on the contrary. It proves that it's
cheaper to buy milk ... when you can't
(to Michael, with mock surprise)
Duke dances away with Betty. Michael is anchored to his
deadweight partner. The MUSIC ends, the dancers stop, break
and applaud politely. Michael and his partner exchange
pleasant nods and grins but as soon as her back is turned,
Michael silently signals to his friend Steve who sits on
the sidelines smoking a cigarette. Michael flashes a dollar
at him and gestures for him to dance with his partner. Steve
gestures, "Who, me?" and waves him off. Michael stands there
holding up the cash. Steve signals he wants five dollars and
Michael agrees. Steve puts out his cigarette as the MUSIC
for the next number begins. Michael resumes dancing with his
partner as Steve joins them.
Mind if I cut in?
No. How are ya, Steve?
Michael shakes hands with Steve -- passing him the cash in
(to the girl)
Steve starts dancing with the girl as Michael walks off.
(to the girl)
Been watching you all evening. You're
really a divine dancer. I hope this dance
is as profitable to you as it is to me.
Michael exits the building, giving a friendly wave to Grady
and his date as they pass, and joining the Professor who
stands outside smoking a pipe.
Ain't you dancing tonight, Prof?
No, I only do the waltzes.
What a night.
Bracing, isn't it?
I insist that it's bracing.
It's all a matter of age.
See here, young man, I'm beginning to
dislike that word.
The Prof walks off and Michael follows. They sit and chat:
Well, do things seem any brighter than
they did a day or so ago?
I'll say. Did they hold fraternity dances
in your day?
I don't suppose things have changed much
No, not much. Only we used to "spark"
instead of "neck."
You know, Prof, I've been thinking things
over and I've just about decided to chuck
What? Give up school? Your career?
Aw, I'm not so hot about it anyway and ...
why, I've been thinking that I might like
to get married.
But you've only got two years to go. I
know that seems like a long time but it's
not so long if you really want what you
came here for.
I do want it, Prof, but what good is
education if it interferes with your
happiness? There are other things, too. I
wouldn't mind waiting for them if I could
just be sure that they'd still be there
when I got through. That nothing'd change.
I remember I nearly made the same mistake
you're about to make.
Were you in love, too?
It's possible, you know. I was your age
once. I wanted to get married. I remember
it seemed very difficult to us at the
time. There were summer nights, the lilacs
were growing ... and we had the same moon.
The Prof is interrupted by two faculty members exiting the
building together. One is an attractive, middle-aged woman
named BARBARA. The other, a slightly older man who wipes
his brow with a handkerchief.
Well, I'm afraid that some of my new steps
are a little bit old-fashioned.
As a dancing partner, I'm going to
recommend you to all the girls present.
How do you mean that?
Well, we won't go into that, if you don't
The Prof, pipe in mouth, watches the two silently from a
distance until Michael draws him back into conversation.
But what happened?
Hm? Oh, nothing. Nothing. I guess that's
just it. Nothing.
She married someone else?
No, no, no, no. She's teaching.
Did you have a fight or something?
No, no, no. Nothing like that.
Well, what - ? Why -?
Well, you see, she thought-- Uh, that is,
that is, we thought it'd be best for me to
finish. That is, she wanted me to have the
thing I set out for, my degree. We, uh,
well, we both wanted things to be right.
But that isn't the point I'm trying to
bring out. The point I'm trying to bring
out is that people mustn't be hasty.
Well, what you're saying is the very thing
You don't understand WHAT I'm saying. How
do I know if we'd been married, we might
have been very unhappy?
Wouldn't that have been better than to
have missed it altogether?
See here, young man, I'm a professor of
biology. I won't be misinterpreted.
The Prof and Michael rise as Duke and Betty join them.
Well, precious, here's the body but the
soul belongs to me.
(to Betty, taking her hand)
Think you'll ever get over it?
I'll never dance with him again unless he
wears boxing gloves.
Now, don't forget that blue number.
Betty waves dismissively at Duke as he walks away. The Prof,
seeing Michael and Betty holding hands, realizes that
three's a crowd:
Michael and Betty watch the Prof walk off and join Barbara
and her older male companion as a stream of students file
out of the building and into the night.
(to a friend)
That sure was a warm orchestra.
(to the Prof)
Well, David, you've been avoiding me all
Surely you must have one more dance left
in your system?
Why, I've spent the whole evening looking
forward to a hot waltz.
Michael and Betty smile at one another and walk off, arm in
(to the older man)
You mustn't blame David for his lack of
enthusiasm. Twenty years ago when we were
students together-- I mean, ten years ago,
his agility wasn't entirely confined to
I can imagine.
Was it, David?
(lost in thought)
Huh? No, I was what you call a "hot-cha."
Barbara laughs and squeezes his arm.
Meanwhile, Michael and Betty, like other couples leaving the
dance, walk hand in hand, on the campus. MUSIC drifts in as
they find a quiet, grassy spot under a tree. Betty sits and
slowly, lovingly pulls Michael down beside her. But he's
pensive and sits slightly apart from her.
Mike, sit over here. Why are you so solemn?
Michael moves closer and Betty puts her head on his shoulder.
Gee, it's great being engaged to a boy
I'm in love with you. For your mind,
They kiss deeply as Betty runs her hand over his cheek.
And I love you for your curly whiskers.
Gosh, I can't wait to hear you shave.
Michael gives her a look, then kisses her even more
passionately, easing her backward to the grass. They break.
Betty, a little overcome, looks away.
Darling, let's not wait. Why don't we
chuck it all? Let's get married.
(looks at him)
I know a guy out in California who'll get
me a job any time I want it. We can't go
on like this. Why-- Betty, we're crazy.
Mike, you don't mean you'd quit school,
give up everything you worked for so hard?
Oh, what do they mean compared to you?
Oh, don't think I don't want to -- as much
as you do -- but I couldn't. Oh, Michael,
it's so important. Later on, you'd never
forgive yourself. You'd blame me. And
you'd have a right to if I let you give
up everything for me.
Michael breaks away slowly and sits up, grim. Betty joins
Michael, are you afraid it won't last?
You know better than that. But two years
just waiting, why-- How do I know? Maybe
it WOULDN'T last.
I heard about a guy today--
What does it matter about anyone else? I
won't change. And I won't let you change --
(pressing herself to him)
-- if I have to use every feminine wile I
(eases her slightly away)
Please, darling. No telling what might
Do ya love me?
Michael presses his lips to her forehead. Suddenly, they
embrace and kiss hungrily. Finally, they break and Betty
stares at Michael intently. He lowers his eyes uncomfortably.
Let's go home.
Michael rises, takes Betty's hand and helps her up as we
EXT. BETTY'S SORORITY HOUSE - LATER THAT NIGHT
A car pulls up with Michael at the wheel and Betty's head on
his shoulder. He kills the engine. Slowly, never taking his
eyes from her, he rises, helps her out and walks her to the
front steps where they stare intently into one another's
Good night, dear.
Good night, honey.
Promise me you'll think it over. It's so
important. Why, Michael, later on it may
affect our whole lives.
Betty kisses him impulsively and hurries up the steps to the
front door. She puts the key in the lock, then turns to look
back at a glum Michael. She smiles and hurries back down to
him, kissing him repeatedly.
Oh, Michael. Michael. Michael. Michael.
Finally, she tears herself away. Michael watches her rush up
the steps, unlock and open the door and blow him a last kiss
before disappearing into the building. The door closes
behind her and Michael walks slowly and sadly back to his
car, gets in and starts the engine, casting an occasional
look back at the sorority house.
INT. TOLER'S - MIDNIGHT
The sound of the car engine blends with that of a soda
fountain at Toler's. Close up of a glass being filled
with fountain water.
Make it good and cold, huh?
A soda jerk fixes a drink for Michael who sits at the counter
in the nearly deserted eatery. We glimpse Mr. Toler himself
working on the books in the background. The soda jerk stirs
Michael's drink with a spoon and serves it up.
Cold it is.
Michael drinks up as the jerk wanders off. Dora, the
no-nonsense waitress, now dressed to go home, pauses to
smile at Michael.
You still here?
It's only twelve o'clock. I've the rest of
the night all to myself.
(off his tuxedo)
My, but you look cute in that monkey suit.
Michael gives her a long look. She lets him look.
You don't feel like walking, do you?
Dora starts for the door, disappointed but not defeated. She
turns back to Michael and tries again:
It's not safe for a girl to be alone on
the streets after midnight.
Michael understands the proposition but doesn't respond.
Dora turns to go.
Good night, Mr. Toler.
Good night, Dora.
Dora heads out the door as Michael thinks it over. He slowly
turns his head in her direction - and sees her smiling at
him through the glass door. He watches as she turns and
takes a step or two onto the sidewalk before pausing to
adjust her garter, hoisting her skirt up far enough to
expose a considerable amount of leg. She straightens her
skirt and gives Michael a last glance before sashaying down
the street. Michael looks around. No one has noticed Dora's
discreet flirtation. Slowly, he rises, goes to the door,
exits and follows her.
EXT. SWALE HOUSE - LATER THAT NIGHT
Michael and Dora walk hand in hand up to the front porch of
a plain little house off campus.
Well, this the Swale mansion.
It's quite a cute place.
Sure, it has doors and everything. Wanna
(starts to go)
Oh, I guess I hadn't better.
(draws him back)
Aw, come on in a minute. I may be able to
scare up some liquid excitement.
Dora winks and goes to the front door. Michael follows
How 'bout the family?
Oh, don't worry about that. My old man
works nights. I hardly ever see him.
Dora has unlocked the door and opened it and turned on an
inside light. Michael checks his wristwatch.
It's gettin' pretty late, don't you think?
Aw, come on in.
Dora takes him by the hand and leads him inside.
INT. SWALE HOUSE - CONTINUOUS
Dora and Michael enter the mostly darkened home.
It's not so bad after the first shock.
Don't mind the mess, I fired the servants
Oh, that's all right. You should see our
joint some time.
Dora puts on a light -- the place is a mess. She goes to an
old-fashioned iron stove and pulls out a half full bottle of
Here's Pop's dynamite. He hides it in the
stove so I can't find it.
Well, all we need now is a little time.
Well, do you suppose it's all right?
Sure, it's all right. It's half gone. The
old man wasn't blind the last time I saw
I mean, do you suppose he'd have any
No, he won't know the difference. Now, you
hold the baby while I get the glasses.
Dora places the bottle in Michael's hands but pauses.
My, what's all the trembling about?
Michael chuckles nervously. Dora leads him over to a
cluttered table and puts the bottle on top.
You'd better come over here and just watch
it 'cause that's all there is, there ain't
no more. I'll be right back.
Dora hustles out of the room as Michael looks around
restlessly and takes a seat.
INT. BETTY'S SORORITY HOUSE - AROUND THE SAME TIME
Barbara, the faculty member seen earlier with the Prof,
wears a robe and sits at a dressing table in her room,
fixing her hair. There's a KNOCK at her door.
Betty enters, also in a robe, her hair down.
May I come in?
Betty closes the door and joins Barbara.
What do you think?
I don't know. What DO I think?
Betty sits beside Barbara who continues to fix her hair.
I'm in love.
Well, I can hardly believe it.
Were you ever that way?
Well, don't I look human?
I mean, were you ever engaged?
Aw, don't joke. I want to ask you something.
Suppose a man had spent all his life
planning to be something big and then he
met a girl and wanted to give it all up
and get married. Do you think the girl
should let him?
Barbara looks stricken.
You haven't any right to ask me questions
I'm sorry, Barbara.
Betty, realizing she's hurt Barbara somehow, looks away. She
sees a couple of framed photographs on the dressing table,
pictures of a much younger Barbara and the Prof in their
Wha--? Isn't this you?
Mm hmm. Taken right here on the campus.
What a funny dress. Why-- That's Professor
Was it--? It wasn't David?
There's a lot of things I keep hidden,
Betty. I was rather like you, afraid of
responsibility. And so we waited. And
after a while, it--
Can't believe that of David.
Oh, it wasn't is fault. It wasn't anyone's
fault. It happened so gradually, we - we
didn't even see it go. We just looked
around for it one day and it - it wasn't
(voice breaking with emotion)
Oh, well, you can't run the race over
again, you know.
Betty suddenly realizes the answer to her question and beams.
Gee, you're a peach. May I use your
(confused at her response)
Betty rises and hurries over to a bedside telephone as
Barbara wipes her eyes. Betty sits on the edge of the bed
and dials. Barbara grasps the situation.
And you can tell him for me, young woman,
he's got to let you spend more time on
your English or I'm going to flunk you.
No, you're not. I'm gonna get married!
INT. MICHAEL'S FRAT HOUSE - CONTINUOUS
The telephone RINGS in the darkened room where Michael's
bed is empty. None of the half-asleep frat brothers care to
FRAT GUY'S VOICE
Aw, dry up!
Someone hurls a shoe at the phone and knocks it over. It
INT. SWALE HOUSE - AROUND THE SAME TIME
A radio plays some blaring HOT JAZZ -- it sounds like an
uptempo version of "St. Louis Blues" -- as Dora and Michael,
drunk on bootleg hooch, slow dance into view. Michael's
jacket is off and Dora is pressed tight to him as they
wobble unsteadily, the camera jerkily following them. They
kiss. Their dialogue is slurred and some of it is hard to
Turn off the heat, baby, I haven't got
Neither have I.
No firm'd take it - it's too big a risk.
It's too big. Too big a risk.
They laugh. Michael exhales.
Boy, that engine sure packs a wallop.
Old man got it off a fire boat.
Got it off just in time. Burn up the boat.
Let's have another.
Where is it?
(points with her elbow)
It's over there.
They try to dance over to the bottle but end up falling onto
a sofa. Michael is on his back and Dora lies on top of him.
They crack up with laughter. They look at one another, grow
serious and start to kiss. We pan across their outstretched
bodies and over to the radio, still playing.
The same radio, a few hours later. No music.
At the sound of the gong, it will be
exactly four A.M. -- WJJ signing off. Good
We hear the sound of the gong as we
INT. SWALE HOUSE - EARLY MORNING
Dora has her arms around Michael. His head is in her lap.
They're both asleep. Sunlight streams in. They awake, break,
and struggle to sit up, groggy.
Is that day breakin' or my head crackin'
open? Oh, I feel terrible.
Dora again puts her arms around Michael.
Is that the way I affect you?
Michael slowly grabs his jacket, rises, rubs his head.
I'm gonna get out of here.
The two stand together and look at one another. Dora moves
closer to him.
Are you sorry?
Dora straightens Michael's untied bow tie as he starts to
put on his jacket. Suddenly, he pauses and stares at
something off screen. Dora slowly registers his surprise and
she turns to see what he's staring at. We pan quickly to the
opposite side of the room where Dora's father, MR. SWALE,
stands grimly glaring at them. We move in for an intense
close-up as Mr. Swale, never taking his eyes from the couple,
picks up a telephone.
Give me the police station.
A door marked: ASSISTANT DISTRICT ATTORNEY.
INT. ASSISTANT DISTRICT ATTORNEY'S OFFICE - LATER THAT DAY
Assistant D.A. GIFFORD sits at his desk opposite the Prof.
According to the report of the officer who
made the arrest, the boy's charged with
seduction of a minor. That's pretty
serious, Professor, do you understand?
I talked to the boy, Mr. Gifford, and I'm
convinced he doesn't remember clearly just
what happened. Now, I know the lad. I've
been his confidante. He's a boy of high
ideals. And I can't stand by and see his
life ruined by some circumstance over
which he had no control.
Well, I've sent for the boy. The girl and
her father are outside. Sometimes these
matters can be settled without resort to
(into an intercom)
Send in Mr. Swale and the young lady with
(to the Prof)
You must understand, Professor, that
while I'm not always in sympathy with
certain laws, nevertheless, it's my duty
to enforce them.
An aide escorts Dora and her father into the office, then
exits. Swale pushes Dora into the room. Her self-confidence
has vanished and she is now as timid as her father is
hostile and blustering.
(to the Swales)
Will you be seated, please?
Mr. Swale, Mr. Matthews.
How do you do?
How do you do?
(to the Prof)
Are you his lawyer?
No, Mr. Matthews is a professor at the
Oh, so you're a college professor? So,
you're the guy that teaches them--
Just a moment, Mr. Swale. Mr. Matthews'
visit here is purely a friendly one.
Well, I'm a taxpayer--
I understand that.
Nobody's gonna put nothin' over on me!
Calm yourself, Mr. Swale. Will you sit
Glaring, Mr. Swale sits next to Dora who is virtually
cowering. Gifford presses a button on his intercom and, a
moment later, the aide escorts Michael and his guard into
the office. He still wears his tux but now without the tie.
The Prof looks at him. Michael lowers his eyes in
embarrassment. Dora glances at him sadly. The guard and the
aide exit, closing the door behind them.
Have a seat, young man.
Michael sits in a chair by the desk.
Do you know this young lady?
Dora? Yes, sir.
Where'd you meet her?
In Toler's. She's a waitress over there.
Tell Mr. Gifford just what happened last
Well, I went into Toler's after the dance
and Dora was there and she was just going
home so I walked home with her. And we had
a couple of drinks and ... well, what
happened after that I guess everybody
knows about. I don't remember much myself.
Oh, you don't remember, eh?!
No, sir, I don't.
Well, you can't get away with that!
Please, Mr. Swale, be reasonable.
I'll be reasonable but I know the law! And
he's going to marry my daughter or go to
That's what I said, marry!
But, Mr. Swale, marriage isn't going to
help the situation.
Oh, you think he's too good for her, eh?!
She ain't been to college, is that it?
But, Mr. Swale, it wouldn't be right. We
don't love each other.
Oh, you don't love each other, eh?!
Do we, Dora?
Dora looks up fearfully at her father, then lowers her eyes.
(bitterly, to Michael)
You're a fine guy to be talkin' about
what's right. If I'd've known last night
what kind of a snake you was, I'd've taken
the law into me own hands and there ain't
a jury in the country would've convicted
me. Well, you're going to marry her, you
That isn't necessary, Mr. Swale.
Now, Mr. Swale, if he's all that, would
you still have your daughter marry him?
Well, what else could she do?
It's a terrible pity, Mr. Swale, that
things happened the way they have. But how
would it make things right to force them
to marry just because the social system
ignores the natural impulses of the young?
So that's it, eh? So that's what you teach
'em in college? Well, what about the
sanctity of the home? What about the
Mr. Swale, marriage wasn't intended to
ruin peoples' lives -- it was intended to
bring them happiness.
What do I care about her happiness? I'm
a-thinkin' about what's right and what's
wrong. I've tried to be decent about this
thing. I don't want to drag my daughter's
name in the gutter. And if you want to,
we'll let the newspapers decide whether
it's right for a low dog to come into a
man's house and ruin his daughter's
honor! And while we're about it, we'll
have 'em print the kind of stuff that's
being taught up at the university. Boys
and gals learnin' that morals is all
wrong, that church is all wrong, and that
they don't have to marry!
Oh, Mr. Swale, you misunderstood.
Oh, no, I didn't! I ain't been to college
but I understand the English language.
And what's more I'm gonna put him where he
belongs. I'm gonna put him into the
penitentiary. Come on, Dora.
Swale takes Dora's hand, she rises obediently, and they
head for the door. Michael rises and stops them.
Please. Wait a minute.
Oh, so it's different now, eh?
Michael, be careful.
(to the Prof)
This is my affair. I can't drag you into it.
(to Swale, after a
glance at Dora)
I'll marry her.
That's more like it.
But, Michael - !
(harshly, to Dora)
You keep out of this. I know what's best
Dora lowers her eyes.
How soon do I have to marry her?
You'll marry her right away or take the
Will tonight be all right? I've got some
things to do.
How do I know you won't run away?
I'll be responsible for the boy, Mr. Swale.
Oh, well, that's different. The word's as
good as a bond with me. Here, give me your
(shakes Michael's hand, sternly)
My daughter comes from good people, son.
And I ain't such a bad guy when you get to
The Prof looks disturbed at all this.
Well, I'll see ya at my house tonight.
Come on, Dora.
The Swales head out the door. Swale pauses and turns back to
And, remember, I don't want no tricks.
The Swales exit. Michael slumps back into his chair. The
Prof joins him and puts a comforting hand on his shoulder.
It's all right, Prof. It's just life, I
guess, and I gotta go through with it.
Anyhow, what difference does it make now?
You poor kid.
(slowly, haltingly, with emotion)
Betty. Who's gonna tell her? I guess I'd
better do it myself. I couldn't let her
hear it from anyone else. Only, you'll
stick by me till this thing's over, won't
ya? I gotta have somebody.
Michael lowers his head and sobs.
EXT. CAMPUS - LATER THAT DAY
Campus bells RING the hour. Voices of laughing, talking
students. Pan down from tall trees to Michael sitting alone
and forlornly below on the large engraved bench seen earlier.
Michael! Yoo hoo! Michael!
Michael looks up. Betty enters scene, deliriously happy, and
joins him on the bench, putting an arm around him.
I got your message and I'm all out of
breath, I ran all the way. Oh, let me look
at you. Where've you been? Don't ever stay
away so long again.
Betty gives him a hug and presses her face to his.
No, I won't. Oh, when I think of what we
nearly missed, it frightens me. Oh,
Michael, we're never going to wait for
anything again. State College is going to
lose two of its brightest pupils.
(a faraway look in her eye)
California. Mr. and Mrs. Michael Harvey.
Mr. and Mrs. Michael Harvey. Mr. and Mrs.--
STOP IT! STOP IT!
Betty watches, confused, as Michael stalks away from her.
She slowly rises, follows and joins him. Somehow she senses
that he's about to give her the worst possible news.
There'll be a Mrs. Michael Harvey, all
right, but it won't be you.
A long pause. Betty can't believe it. She sits on the bench,
stunned, horrified. Michael sits beside her.
It's too late after all, you see? I gotta
marry someone else.
They both have tears in their eyes.
Don't look at me like that. It's true. It
happened last night. I gotta marry her or
go to jail. Seems there's a law that says
somethin' like that. So, you-- Please,
don't. You're better off without me anyway.
I'm no good or I couldn't've done a thing
You can't marry anyone else. I won't let
ya do it. We'll run away. We'll do
(shakes his head)
It's too late.
It's NOT too late. It's my fault as much
as yours. I should have been with you.
Oh, no, you shouldn't. A guy's gotta
behave according to the textbooks his great-
grandfather wrote. And nothing ever comes
true. Nothing at all.
I guess it - it doesn't.
Nothing ever comes true.
Michael rises and starts to leave but Betty clutches at his
Michael! Don't leave me! Oh, please don't
But Michael feels he has no choice -- he pulls free and
walks away without looking back. Betty, trembling on the
bench, breaks down completely. She leans her head back and
On the opposite side of the street, Duke Galloway pulls up
and parks his fancy car at the curb. He sees Betty seated on
the bench and waves to her but she is too far gone to see
him. He blows his HORN a few times. Still no response.
Concerned, Duke climbs out and slowly crosses the street to
Snap out of it!
(sits beside her)
Say, have you and that ape been fightin'
again? Why do you hang around those
(puts his arm around her)
Take Doctor Galloway, for instance. The
answer to a maiden's prayer, soothing
syrup for unhappy females.
But Betty is inconsolable. Duke realizes this is no mere
love spat. He withdraws his arm.
Well, I musta said the wrong thing. Say,
what's the matter with ya?
'Cept I just got a kick in the shins for
trying to be decent.
Well, now what I been tellin' ya? Bein'
decent doesn't get ya anywhere.
Sure, I'm right.
Okay. If other people can go to the Devil,
I guess I can, too.
Let's get away from this campus. Let's do
things! Let's go places! Let's drink!
Let's do everything that's bad!
During this outburst, Duke rises and takes her in his arms,
Oh, say, now, listen. You HAVE been hit
Maybe I have. I tried being good and
everything turned out wrong. Maybe if I
tried being bad for a while things'll be
Betty buries her face in Duke's shoulder. He can't believe
what he's hearing.
Look at me. Look at me.
Duke forces Betty to look at him.
You couldn't be bad if you wanted to.
Yes, I could.
No, ya couldn't.
Listen, silly. People have to be born bad.
All you need is a lot o' fresh air. I'll
tell ya what we'll do. We'll go for a
long ride out in the country. We'll go so
fast, it'll make your head spin. I'll buy
ya a glass of milk or something, we'll sit
under the trees and just talk things over.
In the morning, you'll be a new woman.
Betty reluctantly smiles at Duke's line of patter.
There ya are! It smiles! It's alive! It's
the Galloway System!
Duke puts an arm around Betty and leads her away.
Makes 'em wild, it makes 'em frantic!
Soothin' soothin' system. Fresh air,
crackers and milk. Never fails, man or
beast, choose one and choose them all...
As they exit, we pan up to the tall trees and hear the
campus bells RING again, along with Duke's voice as we
INT. SWALE HOUSE - EVENING
Michael and the Prof sit glumly at the Swales' cluttered
table. Michael stares into space. The Prof sits unhappily
with arms crossed. Swale himself stands in the background,
puffing on a cigar and talking into the telephone.
Yeah. ... Oh, it was, eh? ... Yeah, one-
nineteen North Beaumont. Yeah-ha! Well,
you know how these kids are. ... Well,
well, get over as soon as you can, will ya?
... Yeah, goodbye!
Swale hangs up, addresses the two seated men.
Yeah, that was Judge Mitchell. He'll be a
little late. I hope you don't mind. Yeah,
the Swales and Mitchells have known each
other for years. That's why I thought it'd
be nice to have him for the ceremony. Yeah,
the Swales is one of the oldest families
in this neck of the woods.
Oh, is that so?
Yeah, my grandfather settled here way back
in the seventies.
(opens a family album)
Here, here, would you like to look at this?
No, thank you.
Swale looks at the Prof, then at Michael who continues to
stare into space.
(to the Prof)
Will you have a cigar?
No, thank you.
Well, would you like a little drink?
No, thank you, Mr. Swale. You see, I, too,
am a respectable citizen.
Well, I didn't mean anything.
I understand perfectly.
Swale looks up and his face brightens as he sees Dora enter
timidly. Lacking a real wedding gown, she wears an all-
white outfit. The men rise. Swale looks very proud. Dora
smiles hopefully at Michael, trying to make the best of a
Swale joins Dora and takes her hand.
Well ... She certainly looks great, even
if she IS my daughter.
Swale laughs. Dora sits on the sofa and her father joins her.
Well, we got a car waitin' outside, ready
to take to the station. All we need now is
Judge Mitchell and everything'll be set.
Michael turns away and moves to stare out of a window.
Yeah, I believe in doing things right.
She's me only daughter, you know. Heh, heh.
(looks at Dora happily)
Well, well, well.
(puts an arm around her)
So you two kids are going to live in
How far IS California?
Oh, er, used to know.
Say, how far is it, son?
It's a very long way.
Yeah, I used to know but I forget.
It's three thousand miles.
Three thousand miles? Yeah, yeah! Of
course, that's it!
That IS a long ways.
Yeah, California, eh? You know, I think
there was a branch of the Swale family
settled out there way back in forty-nine.
Phone RINGS. Swale rises.
That's probably Judge Mitchell again.
(crosses to phone, picks up)
Hello!? ... Eh? ... Oh! ... Yeah. ...
Yes, he's here.
(to the Prof)
It's for you, Professor. They seem pretty
The Prof moves to the phone. Michael and Dora look on with
(into the phone)
Hello? ... Where?
We FLASH to Barbara speaking urgently into a phone in a
hospital waiting room. Medical personnel are visible in the
background behind her.
It happened a half an hour ago on the
Jericho Turnpike. Oh, it's very serious.
CUT BACK TO the Prof.
The Prof hangs up, tense. He rejoins the others.
What's the trouble?
There's been an accident. Do you mind
driving us to the emergency hospital?
Well, what's happened? Somebody hurt?
It's pretty serious.
Well, yes, but, er - what about Judge
Mitchell will have to wait.
Well, I know but, now, wait a minute--
The Prof moves to Michael and puts a hand on his shoulder.
You'd better come along, Michael.
Michael and the Prof head out the front door. Swale and Dora
Now, wait a minute there! Say, look, see,
Mitchell was to be here in a few minutes.
INT. EMERGENCY HOSPITAL - MINUTES LATER
An aide opens the door to a waiting room and points the way
for Michael and the Prof who are trailed by Dora and her
Right in that door there.
Michael and the Prof enter the waiting room and peer through
a glass door into the emergency room. Barbara, crying,
emerges from the room and joins them.
How are they? What does the doctor say?
Duke's very badly hurt.
Michael enters the emergency room and is horrified to see
Betty lying half-conscious on a nearby bed. He joins her,
kneeling at bedside.
Betty ... Betty ... Betty ...
Betty nods, opens her eyes, sees Michael. She is weak but
clearly glad to see him.
Michael ... Poor Michael.
The Swales, watching from the doorway, realize the seriousness
of Michael and Betty's relationship.
Duke, how is he? Is he all right? He was
only trying to help me, make me forget.
The Swales exchange unhappy glances.
Betty, are you all right?
I'm all right ... now.
The doctor attending Duke confers with the Prof.
Are you Professor Matthews?
(the Prof nods)
He wants to talk to you.
The Prof moves to the bed where Duke lies, head bandaged.
Meanwhile, Betty has lost consciousness. The doctor joins a
tearful Michael and helps him to his feet.
(gently, to Michael)
Come on. Come on. She's all right. What
she needs is a little rest.
(looks in Duke's direction)
You'd better go over and cheer him up.
The doctor gives Michael a supportive pat on the arm. Michael
recovers, wipes his eyes and moves to join Duke who is in bad
shape but still able to talk weakly with the Prof.
W-Well, I'm on my way, I guess, huh?
Why, no, Duke, you're going to be all right.
Thanks for lyin'.
(turns his head to Michael)
She's all right. She's fine.
She's a swell kid. Why don't you marry the
girl, ya ape?
(turns his head, to Prof)
You ought to make him get married, Prof.
They're so lovesick, it's silly.
The Swales overhear this as they look on sadly. Duke sees
Swale standing with Dora.
Who is that guy in the dark suit? The
undertaker? Tell him to wait outside.
Already uncomfortable, Swale takes this as a cue and exits.
Duke makes 'em all wait. Is that right,
Dora tries to offer a reassuring smile but must turn away in
silent tears. Handkerchief to her eyes, she follows her
Well, Prof, I guess I was geared for a
short sprint. Hm, short and merry, that's
Galloway. Well, it was a great show. Lots
of laughs. I may have missed somethin' but
I don't think so.
Most of us miss something, Duke.
Maybe we find out about it too late, huh,
Duke weakly pulls his hand out from beneath the bedcovers
and offers it to the Prof.
How 'bout the ol' grip, kid?
The Prof takes his hand.
(to no one in particular)
Well, go buy a light suit and get
yourselves some sex appeal.
We pan off Duke's grinning face to his hand which falls
limply out of the Prof's and on to the bed. The Prof looks
down at the hand then glances at Michael who raises his
eyebrows. They realize that Duke is dead. Barbara wipes her
nose with a kerchief and turns her back to the bed. The Prof
rests Duke's hand across his torso and looks over at the
doctor who joins a nurse in examining the body. The Prof,
after a look back, escorts Barbara out of the emergency
room and into the waiting room. Michael remains for a moment,
watching the medical personnel fuss with Duke.
The Prof leads a sobbing Barbara into the waiting room --
where Swale stands and Dora sits crying in a chair -- and
beckons a nurse to look after her. The nurse puts a
comforting arm around Barbara.
Come with me, dear. There, there.
Barbara and the nurse exit. The Prof stands at the door and
peers into the emergency room.
(to the Prof)
He ain't ... dead, is he?
Without looking at her, the Prof nods.
So that's what it's like. Gee, life's
pretty lousy, ain't it?
Swale puts a comforting hand on his daughter's shoulder.
We ain't the ones to say what's right and
(jumps up, angry)
Who knows what's right and wrong? A swell
kid like that who wasn't doing anything
but trying to make somebody else happy! If
there was a right and a wrong, why wasn't
he taken while he was breakin' a
Commandment instead of while he was tryin'
to help somebody? Is that wrong? To try
and make somebody else's load lighter?
Tell me that!
We ain't the ones to say about these
Then why does everybody do it? "Don't do
this! Don't do that! This is right! This
is wrong!" How do they know what's right
and wrong?! How does anybody know?!
You don't have to take their word for it,
Dora. I've always tried to teach you
what's right and wrong.
Yes, that's just it! You've always tried
to teach me what you think is right and
wrong! What if YOU'RE wrong? Where's MY
comeback?! I listened to ya this morning
and I listened to y'all layin' out my
life for me, just because I did something
wrong! Didn't seem wrong to me. But even
if it was wrong, if the only thing that's
gonna make me right is to steal something
that doesn't belong to me, then I don't
wanna be right!
Dora turns her back on her father and walks to the emergency
room door. She looks in and sees Michael keeping vigil at
(quietly, to the Prof)
Tell Mike it's all right. I ain't gonna
Oh, Pop! You wouldn't love me any more if
I was Mrs. Michael Harvey than if I'm Dora
Swale. In fact, you'd love me less because
you wouldn't respect me. How could anyone
Dora looks in Michael and Betty's direction.
That's the only beautiful, clean, kind
love in the world. I've learned that much
and you didn't teach it to me.
(takes her father's hand)
Oh, Pop, I promise to be the kind of a
girl you want me to, if you'll only give
me a break and come home once in a while.
Come on, Pop.
Dora starts to lead her father out of the waiting room. The
Prof puts a hand on her shoulder.
You're a swell girl, Dora.
Aw, save that chatter for them apes of
The Prof watches as Dora and her father exit, hand in hand.
EXT. TRAIN YARD - DAY - WEEKS LATER
An old, tiny white high-heeled shoe on a railroad track.
Pan up from the shoe, along the white ribbon that ties the
shoe to the rear car of a passenger train where Michael
and a fully recovered Betty pose goofily for a picture. The
Prof stands on the station platform next to Barbara who
tries to snap a picture with a clunky old camera. Michael
and Betty crack up with laughter and can't hold the pose.
Oh, hold still.
The two manage to hold the pose long enough for Barbara to
take the picture. The tragic mood of the preceding scenes is
gone -- everyone is in an upbeat mood.
There! I'm gonna put this snapshot on my
dressing table to remind me of a very
foolish girl. Understand, Betty?
You mean to imply that my wife is foolish?
I haven't mentioned any names.
Well, Mike, I hope you realize you've got
to go through life without a diploma.
I'll try and bear up under it.
And probably all your children will turn
out to be college professors.
I don't care as long as they're Betty's
Calls of "All aboard!" signal the imminent departure of the
train. The foursome exchange farewells and handshakes:
"Ooh! Goodbye!" "Goodbye!" "I'll miss you."
Lots of luck to you both!
Michael kisses Betty on the cheek.
What's the Latin name for that?
Oh, that's just another manifestation of
the chemical process known as
The train begins to pulls out. The foursome wave goodbye to
(calls to the Prof)
It's all a matter of age!
Barbara and the Prof watch with hopeful faces as the train
recedes. Barbara absentmindedly slips her arm into his. He
gives her a look, then nods at her. She smiles at him.
And they watch the train CHUG away toward the horizon.