(Note: This is a draft script and includes a part for Mary Livingstone which never made it into the final movie.)
Transatlantic Merry-Go-Round
1 CREDIT TITLES reach the screen--superimposed
on a background of steaming funnels belching
steam--accompanied by a musical score of ex-
citing tempo.
DISSOLVE TO:
2 LONG SHOT--NIGHT
Large ocean liner, plowing through darkened
waters, its decks and portholes brilliantly
illuminated.
CUT TO:
3 QUICK FLASH--MEDIUM SHOT--PROW OF SHIP
Coming straight onto the CAMERA. The speed at
which she is traveling throws a phosphorescent
spray many feet into the air--almost up to the
bowsprit, under which is carved, in ornate letters,
S. S. Progress.
DISSOLVE TO:
4 LONG SHOT
Taking in audience and entertainers on board the
S. S. Progress. The voices of Jean Sargent and
Frank Parker are heard singing Rock and Roll.
CUT TO:
5 CLOSE SHOT--SARGENT AND PARKER
6 CAMERA PANS TO MEDIUM CLOSE SHOT of Denby
at microphone. He is reading from a sheet of
paper.
DENBY
(into mike)
Hello again! This is Chad Denby--remember?--h'mm
--Your Master of Ceremonies--coming to you with
another program in mid-atlantic--for the benefit of
you folks who just tuned in I want to say that the
passengers are all comfortably seated--I wish you
listeners back there in the small towns and villages could
see the life and glamour on this floating palace--We're
having oceans of fun--Am I hot tonight!
Mary enters.
MARY
Oh-h, Mister Den-n-by--
DENBY
Yep--everybody's having a good time but me--What
do you want, Mary?
MARY
I just wrote a poem about the Atlantic Ocean--
DENBY
But, Mary--everybody's having such a great time--
why spoil it?
MARY
Somebody's got to do it--
DENBY
Well, let's hear the poem--
MARY
(reads from paper)
Oh, you dear Atlantic Ocean--how you spread across
the sea--From New York to dear old Europe--just for
boats to ride on thee--
DENBY
(cutting in)
Very good, Mary--
MARY
But I'm not finished yet--(Poem)--And your waves
are so colossal--rocking boats both to and fro--Oh-h,
Atlantic, how I love you (signs of seasickness)--(re-
peats)--how I love you--
DENBY
What's the matter, Mary?
MARY
I'm getting seasick--
DENBY
(mockingly)
H'mm--Dear Atlantic--
MARY
Mr. Denby--What do you think I ought to do with
that part?
DENBY
Put the whole thing in an envelope and mail it through
a porthole--
The voices of Frank Parker and Jean Sargent can
be heard during this announcement.
DENBY
You are listening to the golden voices of Jean Sargent
and Frank Parker, who are entertaining with that
rollicking bit of syncopation, Rock and Roll--every-
body's having a good time--
Mary enters and starts reading from a sheet of
paper.
MARY
(reading)
Oh, Mr. Den-n-by!
DENBY
(into mike)
Everyone but me--what do you want now, Mary?
MARY
I feel better now--I've got a riddle! When is a plate
of bean soup not a plate of bean soup?
DENBY
All right. When is a plate of bean soup not a plate of
noodle soup?
MARY
When it falls off the table and turns turtle--Cute?
DENBY
(reacting sourly)
Mary--fall off the boat and turn to the left--
DISSOLVE TO:
7 LONG SHOT
Finale of act of trio in which Sally is prominent.
8 CLOSE SHOT
Trio taking bows.
CUT TO:
9 DENBY AT MICROPHONE
DENBY
(excitedly; applause comes in)
Listen to that applause--what other steamship line
gives you this entertainment on the high seas? Where is
it coming from?--you said it! the Transatlantic Merry-
go-round of 1934--What a boat!--A snappy deck--
three hot funnels--a hundred galloping portholes--
and all nice people! Try a trip on our boat for what ails
you. Well, this concludes the performance of the At-
lantic Follies--Chad Denby signing off until tomorrow
night--Good night, folks!
DISSOLVE TO:
10 AUDITORIUM
Passengers laughing and talking and strolling out
on the moonlit decks. PICK UP LOTHER AND FOLLOW
HIM DOWN COMPANIONWAY. PICK UP CAPTAIN AND THIRD
OFFICER coming up from the opposite direction.
LOTHER
(genially)
Good night, Captain.
CAPTAIN
Good night, Mr. Lother.
SLOW DISSOLVE TO:
11 LOTHER WALKS DOWN COMPANIONWAY TO SALLY'S
ROOM--NUMBER 51C.
WE DOLLY WITH HIM IN CLOSE SHOT.
He goes in door, closes it, and we hear the door
lock.
We stay on the exterior of door, where we hear
two shots fired--a woman screams--we see the
Steward run up to the door, and we
CUT TO:
12 MEDIUM CLOSE SHOT--LOTHER
He is lying on the floor--dead.
CUT TO:
13 CLOSE SHOT--EXTERIOR DOOR
The Steward comes up and starts pounding on
the door.
LAP DISSOLVE TO:
14 INSIDE CHARTHOUSE
First and Second Navigation Officers leaning over
chart.
FIRST NAVIGATION OFFICER
Have you taken the soundings?
SECOND NAVIGATION OFFICER
Yes, Sir--here's our position now.
As the officers lean over the chart,
CUT TO:
15 CLOSE SHOT--Officer's hand tracing the progress
of the ship on the chart.
SECOND NAVIGATION OFFICER
We're off the southeastern point of Newfoundland--
43€ West and 52€ North--running dead to time.
(His hand traces backward on the chart)
Twenty-four hours ago--38€, 41€--
(His hand continues going backwards)
Thirty-six hours off the point light--fifty-eight hours
--back in--New York!
As he says "New York" the setup becomes dif-
fused. SOUND TRACK CARRIES a honking and toot-
ing of motor horns--the sound of many voices--
an orchestra playing.
SLOW DISSOLVE TO:
16 SIGN IN GIGANTIC FIGURES:
"PIER 13" (New York Docks)
Over this the SOUND TRACK carries miscellaneous
noises in fast tempo--hooting of taxicabs--
screeching of brakes--babble of excited voices--
hawkers, porters, passengers. CAMERA PANS DOWN
to the passenger entrance at Dock 13 of the Green
Funnel Line.
Within the entire radius of the CAMERA LENS teem-
ing humanity; passengers--vendors selling stream-
ers--steamship officials--a couple of plain-clothes
men--porters, stewards, messenger boys with
flowers, and policemen who keep them moving.
17 MEDIUM SHOT--NEWSBOY
NEWSBOY
(calling)
Paper!--Extra!--Ballinger breaks jail!
(Note: Throughout this entire departure sequence
we occasionally hear this boy's voice calling the
above)
PULL CAMERA BACK TO VERY LONG SHOT. Private
cars and taxis are arriving in a stream, tooting
impatiently as they jockey for a position to drop
their passengers and baggage. In the distance can
be heard the occasional wailing whistles of crafts
in the stream and, from the decks of the S. S.
Progress, the ships orchestra playing gay, familiar
tunes.
As a taxi drives up, CAMERA DOLLIES BACK TO
MEDIUM SHOT, shooting from the roadway through
taxi window to the entrance of the dock. Its
occupant is LEE LOTHER (the man we saw dead in
first sequence).
18 REVERSE ANGLE
He jumps out, pays taxi; porter grabs his hand baggage.
PORTER
Name and reservation, sir?
LOTHER
Lee Lother--4C.
19 TRAVEL SHOT
As they move through the crowd. SOUND TRACK
carries paper boy's voice calling the extra. Lother
stops and buys a paper. In close proximity is a
man reading one of the papers--a woman is looking
over his shoulder.
MAN
(heatedly)
Escaped again!--More bank robberies!--More hold-
ups!--What we need is a police force!
Lother overhears this as he pays for paper and
moves on reading paper, followed by porter, also
trying to read it over Lother's shoulder.
PORTER
They'll be a lot of shooting before they get that guy
again--slippery as an eel.
CUT TO:
20 EXTERIOR DOCKS
A limousine discharges its passengers. A taxi
behind it is tooting impatiently to get alongside.
21 INTERIOR TAXI--ANYA ROSSON AND HER HUSBAND
Anya is a young Russian, blonde, extremely attractive,
beautifully dressed--speaks with a slight
accent. She is puffing nervously at a cigarette.
Her husband is young, middle-aged Grand Mitchell
type. They get quickly out of the car and move
toward dock. At first-class gangplank they stop.
Porter carrying their baggage starts to take it
aboard.
ANYA
Wait a minute, porter--my husband's not going aboard.
Porter bows away to a respectful distance. Anya
places her hand on her husband's arm.
ANYA
(quietly)
Going to miss me?
Rosson nods his head--his voice is a little husky.
ROSSON
Send me a wireless when you arrive--and have a good
time--that's the important thing.
ANYA
(smiling)
It's all happened so suddenly--I can hardly believe I'm
going--
As she is speaking these lines her eyes are
searching for someone on the ship.
CUT TO:
22 WHAT SHE SEES---QUICK FLASH--LOTHER--
Near the rail. He is looking in another direction--
obviously does not see her.
CUT BACK TO:
23 ANYA AND HER HUSBAND
ANYA
Too bad you couldn't come, too, Herbert.
ROSSON
(kindly)
As long as we can indulge your whims--somebody in the
family has to work.
(He kisses her quickly.)
Good-bye, my dear. If I keep those Duluth people waiting
another minute, I'll lose the deal.
ANYA
Don't let me go without the jewel case.
(He puts his hand in his pocket and hands
her a small case.)
The American Express cheques are in there, aren't they?
ROSSON
(nodding)
You can pick up your letter of credit at Cook's in
Cherbourg. Goodbye.
They embrace. Quickly she takes a flower from the
corsage she is wearing and places it affectionately in his
lapel, pats his cheek, and, without another word, goes
up the gangplank followed by the porter. Rosson stands
bareheaded watching her for a moment. CAMERA MOVES
IN CLOSE to him. We see that his mildness is belied by
his eyes and that he is under an emotional strain. His
hand goes to the lapel of his coat. He pulls out the
flower, crushes it in his hand, and let's it slowly fall to
the ground.
24 DOLLY SHOT--HE HURRIES BACK THROUGH THE CROWD
Finds a porter--hands him a check.
ROSSON
Get my baggage out of the check room and put it
aboard this ship.
PORTER
Yes, sir--where's your reservation?
ROSSON
(pulling out passport and steamship ticket)
Cabin 108--Second Class--I'll see you aboard.
Rosson disappears through the crowd. The porter,
who was already carrying a bag when approached
by Rosson, puts its down on top of a theatrical
trunk while he goes to collect Rosson's baggage
from the check room. CAMERA STAYS ON TRUNK on
which is printed: "Sally Marsh--Marsh Trio." A
girl is leaning against the trunk, her back to the
CAMERA. She turns slowly--it is SALLY MARSH.
Beside her is NED, turning the pages of Variety.
Also a porter.
SALLY
(to Porter)
Take these things to 51C and the other trunk has my
name on it just like this.
PORTER
You get aboard, Miss--I'll take care of it.
SALLY
It's very important--it has our costumes in it.
VOICE
Hey, Sally.
Chad Denby, Master of Ceremonies, comes into
scene.
DENBY
The big star of Chad Denby's big seagoing show. We'll
have your name up in lighthouses from here to England.
Sally is looking around rather nervously.
SALLY
Well, that's something--even if only the fish can see it.
DENBY
Are you happy?
SALLY
Will be--as soon as the ship sails.
NED
I thought I had our sailing covered up--
(indicates paper)
--and here it is.
SALLY
(alarmed)
Do you think Lother could have seen it?
DENBY
You'd better get on board. I'll take care of the trunks.
Hey, porter!
Sally moves near gangplank near which is standing
a gang of five or six vaudevillians of various types,
etc., etc. Suddenly they see Sally and rush forward
with enthusiastic greetings.
FIRST VAUDEVILLIAN
Just read in Variety you were sailing. Picked up some
of the boys and girls to come down and give you a cheer.
General ad-lib as they give Sally flowers, wish her
luck, etc. Sally is ill at ease--she ad-libs with the
others.
FIRST VAUDEVILLIAN
Say, these steamship companies are going into the show
business in a big way.
SECOND VAUDEVILLIAN
I should say so--this transatlantic showboat idea is a
novelty.
THIRD VAUDEVILLIAN
I think it's a conspiracy--They want to take all the
vaudeville acts out to the middle of the Atlantic and
dump them overboard.
FOURTH VAUDEVILLIAN
Ha! Ha! That's a dirty trick to play on the fish!
FIFTH VAUDEVILLIAN
Do they pay any kind of money on these big ships?
FIRST VAUDEVILLIAN
Sixty-two fifty for teams and a hundred and a quarter
for quartets.
25
FIFTH VAUDEVILLIAN
I wouldn't sing on a rowboat for that kind of dough!
The foregoing lines are more or less spoken together--
disjointedly.
CAMERA PANS slowly over to the roped-off passport
enclosure at which an official is sitting stamping
visas. CAMERA MOVES IN close to his hand holding a
passport.
CUT TO:
26 CLOSE SHOT--THE PASSPORT, SHOWING:
PHOTO
JAMES BRETT
New York
Age: 28
Single
Occupation: Architect
We see the official stamp come down on the passport as
CAMERA PANS UP TO MEDIUM CLOSE SHOT OF JIMMY
BRETT (Gene Raymond). He takes back his passport.
BRETT
Thanks.
He is scanning the dock, obviously in search of
someone. He moves toward steerage gangplank in
the direction of SHORTIE--a depressed-looking
individual in steward's white coat.
Shortie's eyes are anxiously searching the crowd.
His expression is anything but happy. He sees
Brett and moves toward him.
SHORTIE
Now listen, Jimmy--!
Brett doesn't even glance at him but continues to
walk past, speaking as he does so.
BRETT
Not here--follow me around the shed.
DISSOLVE TO:
27 BACK OF SHED--BRETT AND SHORTIE
BRETT
(looking around furtively.
He then turns to Shortie)
Don't you know better than to talk to me with people
around?
SHORTIE
(sarcastically)
Oh, putting on the swell, eh?
BRETT
I thought you were a smart guy.
SHORTIE
If I was smart I wouldn't be working my way over on
this ship.
(He lights a cigarette)
BRETT
We didn't have enough dough for two tickets, did we?
SHORTIE
We coulda got two third-class!
BRETT
No bank roll there, boy.
(quickly)
Lucky I could get you signed on--they picked up that
Pittsburgh jeweler--made him talk. The heat's on,
Shortie--and those Atlantic breezes are going to be
mighty welcome.
SHORTIE
Oh, I'm not squawkin', but I'm not used to working and
it's a bad habit to get into.
BRETT
It'll never hurt you---Got any money?
SHORTIE
A dollar seventy and I'm gonna keep it!
BRETT
No, you're not. Give me that dollar seventy.
SHORTIE
I'll give you half of it.
(He goes to his pocket and extracts money)
Here's seventy cents.
(Brett takes it)
At this point two uniformed cops approach.
Brett sees them.
BRETT
Nix, the law!
SHORTIE
(immediately becomes servile)
Yes, sir!--I will, sir--Certainly, sir!
BRETT
(Speaking casually as
the man comes near)
He's a colored man in chauffeur's uniform carrying a
basket of fruit.
SHORTIE
I'll watch for him, sir.
The cops have stopped and are eying Shortie.
BRETT
Thank you, and here's seventy cents for your trouble.
Shortie pockets the money and is about to start
away.
COP
Just a minute!
Shortie swallows hard--turns.
SHORTIE
You speaking to me, sir?
COP
(gruffly)
Can't you read?
(He points)
Shortie looks to what Cop is pointing at.
CUT TO:
28 LARGE SIGN: "NO SMOKING"
CUT BACK TO:
29 SHORTIE AND TWO COPS
Shortie heaves a sigh of relief and drops his cig-
arette. The cop puts his foot on it.
FIRST COP
You ought to know better than that.
The two dicks move off around the shed.
CUT TO:
30 BRETT AND SHORTIE
BRETT
Quick, let me have that money. I'm broke and I'll need
it for tips.
SHORTIE
Oh, no--You're not gonna give my hard-earned money
away.
CUT TO:
31 ONE OF THE STEWARDS APPROACHING
CUT TO:
32 BRETT AND SHORTIE
Brett takes advantage of the situation knowing the
steward is Shortie's boss.
SHORTIE
Nix--here comes my boss.
BRETT
(to Shortie--loud enough for steward to hear)
Don't forget that $l.70 change.
Shortie, in a spot, hands it to Brett. The steward
walks away.
SHORTIE
You're a wise guy--Gimme back--
BRETT
(interrupts)
Shortie, look!
CUT TO:
33 WHAT THEY SEE
Two plain-clothes detectives are shaking hands
with INSPECTOR MCKINNEY. Behind McKinney is
a porter carrying his suitcase, etc.
FIRST DETECTIVE
Well, pleasant trip, Inspector.
INSPECTOR
Thanks. I've been waiting fifteen years for this
vacation. What are you boys doing here?
CUT TO:
34 CLOSE SHOT--NEWSPAPER IN DETECTIVE'S HAND
As he lets it fall open. Headlines:
"Ballinger Breaks Jail Again"
And a picture of Ballinger.
CUT BACK TO:
35 MEDIUM CLOSE SHOT--BRETT AND SHORTIE
WATCHING THE INSPECTOR.
BRETT
McKinney!--The smartest dick in Manhattan.
SHORTIE
You don't think--?
BRETT
Looks like he's taking a trip--see the baggage? The
only time they ever picked me up, McKinney walked
through the room while they were grilling--let's see how
good his memory is.
As he moves forward.
SHORTIE
Jimmy, don't!
(But Brett is gone)
CUT TO:
36 INSPECTOR MCKINNEY AND THE TWO DETECTIVES
FIRST DETECTIVE
We got a tip Ballinger might jump this boat.
MCKINNEY
(Smiling)
Not interested, boys. When I left headquarters this
morning--I cut the words "police" and "criminals"
right out of my vocabulary.
SECOND DETECTIVE
Don't blame you, sir--you've earned a rest.
Brett comes quickly into scene.
BRETT
Pardon me, gentlemen--have you noticed a colored man
in chauffeur's uniform, carrying a l-a-r-g-e basket of--
fruit?
As he says this he looks the Inspector straight in
the eye. There is no sign of recognition on McKinney's
part, who replies casually:
MCKINNEY
No, I haven't.
A little smile of satisfaction overspreads Brett's
countenance as he thanks them and hurries on
through the crowd.
CUT BACK TO:
37 BRETT AND INSPECTOR
CAMERA PANS TO coffin on a truck being pushed by
a docker. A woman in mourning follows and gets
on the boat. All through this scene policemen are
seen at short intervals making their way hurriedly
through the crowd.
38 TRAVEL SHOT
Until the coffin becomes the background of a bride
and groom who are being showered with rice.
CUT TO:
39 CLOSE SHOT--COFFIN AS THE RICE HITS IT.
CUT BACK TO:
40 SALLY AND VAUDEVILLIANS
SALLY
You're darlings to see me off--I'll write you as soon as
I get there.
VAUDEVILLIAN
Coming back on the same boat?
SALLY
Guess not--we're going to try and line up some kind of
bookings over there.
VAUDEVILLIAN
Well, good-by, beautiful--I've wanted an excuse to do
this for a long time.
ANOTHER VAUDEVILLIAN
Line up, boys!
He grabs Sally and kisses her. The next moment
there is general confusion. The gang are all
patting her on the back, wishing her luck, etc.
Mechanically she kisses each one of them.
As she is doing this, Jimmy Brett, hurrying from
left to right, gets mixed up in the group. Sally
mechanically kisses him, the next moment realizes
her mistake and smiles with embarrassment as the
vaudevillians laugh.
BRETT
(after kiss)
That was sweet of you.
The orchestra from the deck commences to play
Sweet of You. Brett removes his hat, looks at Sally
admiringly and grins.
SALLY
I'm so sorry!
BRETT
(facetiously)
Want to take it back?
He leans toward her hopefully.
SALLY
I thought you were one of my friends.
BRETT
I'd like to be.
(anxiously)
Sailing on the Progress?
SALLY
Yes--are you?
BRETT
(looking her straight in the
eye and smiling)
I wouldn't miss this boat for a million.
SALLY
(looking at boat with
admiration)
She looks like a lot of other boats. I grant you she's
beautiful.
(still looking at boat)
BRETT
(who hasn't taken his eyes
off Sally for an instant)
I'll say she is!
SALLY
Nice lines--
BRETT
Yes--
Sally turns--sees he's looking at her--smiles.
SALLY
Like her paint job?
BRETT
Very much--
SALLY
(Searching for handkerchief)
You've got lipstick all over you.
BRETT
I could stand some more--
SALLY
(laughing)
--You'll have all the boys tipping their hats to you--
(she reaches up with her
handkerchief)
--let me wipe it off.
BRETT
No! Don't touch it! I want the world to see my shame.
NED comes quickly into scene--he's impatient to
get her aboard.
NED
Come on, Sally.
As they move off toward ship.
CUT TO:
41 QUICK FLASH---ORCHESTRA PLAYING Sweet of You
With one of its members singing the refrain
through a megaphone.
42 CLOSE SHOT--SALLY
Looking back over her shoulder at Brett
43 QUICK FLASH--LOTHER'S FACE--
Among the crowded passengers at the railing,
watching Sally. He smiles to himself and steps
back.
44 QUICK FLASH--ANYA
Watching Lother.
45 CLOSE SHOT--BRETT
His eyes are twinkling--there is a smile on his lips
--he is evidently very much impressed. He watches
Sally move toward gangplank.
46 MEDIUM SHOT
As Brett starts to move away he bumps into a
messenger boy carrying a beautiful bouquet of
flowers.
BRETT
(quickly)
Who are those flowers for?
MESSENGER BOY
(looking at label)
Mrs. Armitich.
BRETT
Glad I caught you in time--Mrs. Armitich is not sailing
--so give them to my sister--that lady with the beautiful
red hair going up the gangplank.
He tears label from bouquet.
MESSENGER BOY
But I'm supposed to--
BRETT
(in lordly manner)
--don't argue or I'll close my account!
MESSENGER BOY
Okay. What's her name?--
BRETT
--With the red hair--Hurry!
He gives the boy a push, shoving him out of picture.
CUT TO:
47 GANGPLANK--LONG SHOT FROM BRETT'S ANGLE
We see the boy overtake Sally just before she steps
aboard. She takes the flowers--looks surprised--
evidently asks the boy who they came from. We
see the boy point in Brett's direction. She smiles
her thanks just as the fellow singing through the
megaphone comes to the phrase--"It was sweet of
you."
CUT TO:
48 TAXI ARRIVING-APPARENTLY EMPTY
Porter yanks open the door. Seated on a suitcase
on the floor, the befuddled victim of alcohol, is
DAN CAMPBELL (Sidney Howard). He has a bottle
in his hand and beams at the porter.
DAN
Come in, my dear fellow--pull up a chair--delighted to
meet you! My name's Campbell.
He extends his hand. By now the taxi driver has
reached the door. There is an impatient tooting of
cars from behind.
DRIVER
Come on--get out of there!
DAN
Gentlemen--a toast! Here's to--
DRIVER
(to porter)
He's got a ticket for England--some guy loaded him
into my cab.
They yank him to the sidewalk and send him on
his way.
49 TRAVEL SHOT--DAN
As he staggers through the crowd--pauses to
search through his pockets for something, as he
comes to Mary Livingston and Chad Denby, CAMERA
PANS TO favor them. Chad is talking to Mary.
DENBY
Mary--I've got a great show for this trip--and with
my dry wit and humor--h'mm--a few more trips and
we'll have to furnish straphangers for the passengers to
hang on!
MARY
(sarcastically)
With your dry wit and humor--
DENBY
Oh yeah?--My personality put this thing over--
MARY
Maurice Chevalier! There's a fellow with personality.
DENBY
What's he got that I haven't got?
MARY
Well, he has a straw hat--
DENBY
(interrupting)
So have I--I can get it right out of my trunk.
MARY
--And he has sex appeal.
DENBY
So what?
MARY
Get that out of your trunk.
DENBY
All right--don't spoil the trip with any of those jokes--
there's a nice bunch of people on this trip--nothing but
class--I looked over the passenger list and they're all
members of the Who's Who!
MARY
Never mind the Who's Who--Before I get on this boat
I want to know What's What! How about my raise? All
I get out of these ocean trips is dizzy.
DENBY
Don't blame it on the ocean!--All right, you'll get the
raise!
Dan Campbell staggers in between them--Chad
grabs hold of him to brace him up.
MARY
Is that one of the Who's Who?
DENBY
(embarrassed)
No--He's probably one of the "Here's How."
(holding up Dan to steady him)
Take it easy--the ocean's pretty rough today--
DAN
I'll say--how fast is this boat going?
DENBY
(winks to Mary)
Oh,--we're doing about thirty--
DAN
(speaking to himself)
Pretty good--thirty miles an hour--
DENBY
No. Knots!
DAN
What?
DENBY
Knots!
DAN
I can see you're no gentleman--
MARY
He's funny--maybe you can use him in the show, Mr.
Denby.
DAN
Denby!--Are you Chad Denby?
DENBY
That's me!
DAN
Not the real Chad Denby?--
DENBY
Yes--Me--in person!
DAN
So what?
MARY
(laughing)
Where's your dry humor now, Chad?
Dan staggers.
DENBY
Be careful--come on--I better pour you on the boat--
As the three start away--Denby is still sore at the
last remark.
DENBY
I can see where I won't talk much to you.
DAN
(misunderstanding)
Nuts to you too!
CUT TO:
50 LONG SHOT--THE DOCKS
The steerage and second-class gangways are
already being lowered--visitors are streaming
down the gangplanks from the first saloon. The
orchestra is playing--quartermasters are shouting
instructions--paper streamers are commencing to
be thrown aboard.
CUT TO:
51 QUICK FLASH--THE LAST OF THE FREIGHT BEING
SWUNG ABOARD IN THE NETS.
CUT TO:
52 GANGPLANK--MEDIUM SHOT
Denby has Campbell by the arm helping him up
the gangplank. Campbell stumbles and his rubber
legs buckle under him. Denby has some difficulty
helping Campbell back on his feet. After Campbell
is put on his feet again, he turns to Denby,
and very seriously remarks:
CAMPBELL
(to Denby)
Steady, old boy--I've got you.
DENBY
Thanks--I appreciate it.
They proceed up gangplank, toward deck of boat.
Two or three policemen in uniform are seen coming
down gangplank, obviously leaving the boat.
FIRST POLICEMAN
He's not there, Inspector--we've searched every inch of
the boat.
INSPECTOR
Okay--Report back to the desk.
CUT TO:
53 LONG SHOT--SHIP AND DOCKS
The last gangplank is dragged ashore. The orchestra
strikes up Rock and Roll. People are cheering
--streamers are flying in great profusion.
CUT TO:
54 LONG SHOT--FROM DOCKS
Slowly the big ship majestically maneuvers from
the mooring. The streamers become taut--snap as
the S. S. Progress--music playing--passengers
waving--whistles blowing--move out into the
stream.
CUT TO:
55 MEDIUM CLOSE SHOT--LIFEBOAT UPPER DECK
Slowly the CAMERA is raised and we see the face of
Ballinger, which we recognize from the newspaper.
It immediately disappears and his hand comes up
and drops a policeman's uniform and cap over the
side of the boat into the water.
FADE-OUT.
56 FADE-IN:
ONE OR TWO ATMOSPHERIC SHOTS ABOARD SHIP
CUT TO:
57 BRETT'S CABIN ABOARD THE S. S. PROGRESS
Brett has changed into flannels and is fixing his tie.
The door opens and Shortie, carrying a heavy
package and a bundle of telegrams, enters. Brett
sees him in the mirror, speaks without turning.
BRETT
Took your time getting here.
SHORTIE
Yer lucky I'm here at all. I tell you, Jimmy--my feet'll
never hold out.
BRETT
Stop squawking! You were doing this job on a ship four
years ago when I first picked you up, weren't you?
SHORTIE
Yeah--but high livin's made me soft.
BRETT
How're the tips?
SHORTIE
(depressed)
A dollar forty.
BRETT
I'll need it--gave my last buck to the bedroom steward.
SHORTIE
Not a chance.
BRETT
(coaxingly)
Come on--
(He extends his hand)
I'll promote a card game, and we'll be sitting pretty.
SHORTIE
Until then--the dollar forty stays with me.
BRETT
Is that a nice way to talk to a pal?
SHORTIE
Don't let money spoil a beautiful friendship. Look at
these here telegrams to be delivered! This ain't a job--
it's a marathon.
He moves to door.
BRETT
Oh, Shortie!--
(his voice is casual)
--there's a girl on this ship--
SHORTIE
(contemptuously)
--there's thousands of 'em!
BRETT
(enthusiastically)
A thousand? She's one in a million--right off the top of
the rosebush!
He takes it big.
SHORTIE
(sternly--with a quick look)
This is a business trip!
BRETT
She was wearing a white dress with a cute, black hat--
and carrying a bag with S. M. on it.
(half to himself)
Funny--her name's not on the passenger list.
(He picks up passenger list)
SHORTIE
Maybe she's in the show--One of the troupers--did you
ever think of that?
BRETT
(happily)
Why didn't I think of that?--I am going to scout
around and see if I can find her.
A stateroom steward knocks and enters quickly.
STEWARD
Everything in order, sir?
(He sees Shortie and favors
him with an unfriendly look)
What are you doing here, my lad?
SHORTIE
Telegrams.
STEWARD
(aggressively)
Well--get a move on yer--then get back to yer station.
Shortie casts a look of despair at Jimmy and
commences to exit.
BRETT
Just a minute, steward--haven't you forgotten something?
SHORTIE
No, sir?
BRETT
My change.
SHORTIE
Change?
BRETT
A dollar forty--out of the two dollars I gave you.
He extends his hand. Shortie favors him with a
dirty look, hands him the dollar forty. The steward
eyes him grimly and exits. Shortie starts to follow,
suddenly gets an idea, and moves quickly to Brett's
cabin trunk. He pulls out the top drawer.
58 CLOSE SHOT--IT'S CONTENTS
Gambling paraphernalia, cards, dice, etc.
59 CLOSE SHOT--SHORTIE'S HAND
Takes key and opens his drawer in Brett's trunk.
He takes out a pair of dice and rolls them quickly
two or three times on top of the trunk. Each time
they throw a seven.
SHORTIE'S VOICE
Not bad--I'll use these to get even.
60 MEDIUM SHOT
As he moves toward door.
BRETT
Shortie!--you know my motto?
SHORTIE
Pleasure first if it don't interfere with business.
BRETT
Right!--but it doesn't have to apply to you--Keep
your eyes open for anybody wearing a lot of cracked ice
and give me the office.
SHORTIE
(Visibly brightening)
Now you're talkin'!
He exits.
CUT TO:
61 OUTSIDE--TRUCKING SHOT
Shortie coming down corridor with a big basket of
flowers and the parcel.
CUT TO:
62 MEDIUM CLOSE SHOT--LADY PASSENGER
She sticks her head out of her stateroom door and
sees Shortie.
LADY
Boy!
SHORTIE
Yes, ma'am.
LADY
Will you come in and fix my porthole?
Shortie enters stateroom. CAMERA FOLLOWS him to
porthole which he closes quickly. The lady tips him
and Shortie starts out.
CUT TO:
63 OUTSIDE
Shortie is just closing the door. Sally Marsh enters
scene.
SALLY
I'm looking for 48.
SHORTIE
Right down there, Miss.
He points.
CUT TO:
64 DOOR 48
Chad Denby's office on board.
DISSOLVE TO:
65 MEDIUM CLOSE SHOT
Ned and Denby. Ned is sitting there very worried
about Sally because Lother is aboard ship.
DENBY
(speaking)
Then, after the first number, I tell the one about the
Scotchman trying to open a Pullman window--the
Scotchman says to the window--"Gee you're tight."--
and the window says--"You loosen up a bit and so will
I."--Good?--And then I do the one--
(he stops--sees no reaction
from Ned)
Oh--you don't like it, eh?
NED
Chad--Lother's on the boat, and I'm worried sick about
Sally--
DENBY
Oh!--So that's it. Does she know he's on board?
NED
No--but I'm going to keep my eye on--
The door opens--Sally enters.
SALLY
(gaily)
Am I a member of this club?
DENBY
(forcing a laugh)
You're the President. Come in! Your brother was just
telling me a few jokes I can use on the radio--
SALLY
Are you paying any attention to his jokes?--the first
thing you know, you'll be taking piano lessons from
Venus de Milo--
(then to Ned)
Get out of here.
(She pushes him good-naturedly
and he leaves)
DENBY
Everything O.K.?
SALLY
Just what the doctor ordered.
She glances around the large cabin which has been
turned into an office for the Master of Ceremonies.
It contains the usual paraphernalia, including
stacks of music orchestrations, a few theatrical
photographs, a violin in a case, a portable mike,
etc.
SALLY
(looking around)
Looks like your old workshop back on 42nd Street.
DENBY
Like it?
SALLY
Swell--You've got Times Square right here--all but the
noises--
DENBY
Yep--spending lots of time aboard--you see, Sally, I
sold this Transatlantic idea to the shipping company.
SALLY
And you've put it over--haven't you?
DENBY
Why not? I give 'em a great show--and you know--
We're doing capacity, Sally--and all Nice people--
SALLY
(admiringly)
You never fail at anything, do you, Chad?
DENBY
No--not much--excepting--
(looks at her steadily)
SALLY
(glances at her picture on wall)
Still got my picture, I see--I was pretty dumb then,
wasn't I, Chad?
DENBY
No--Inexperienced--
(looks at picture)
A red-headed kid--homemade clothes--Broadway was
Paradise--and a slot at the Automat was a Banquet.
SALLY
I came to tell you what a swell guy I think you are to
do this--
DENBY
Do what--
SALLY
(places her hand on his arm
affectionately)
You made it possible for us to get away at a few hours'
notice--you never asked why, but I guess you know.
DENBY
News travels fast on Broadway--you had to get away
from a rat--
SALLY
It wasn't only that--Ned was in a jam.
DENBY
I get it--Lee Lother have a hand in that, too?
SALLY
(nodding)
I was so crazy about him--anything he did or said was
O.K. by me.
(She avoids his eye)
I introduced him to people--even after I knew his stock
promoting was phoney and the card games were crooked.
It didn't seem to matter--I didn't care--
(her voice lowers)
--until he roped Ned in. Some confidence game--and the
kid left his fingerprints on a drinking glass.
DENBY
I felt pretty low, Sally, when I heard you were running
around with a racketeer--
SALLY
(With a wan smile)
Women have a curious taste for knickknacks. When I
found out about Ned--tried to make a break--Lee
wouldn't stand for it and--well--here I am!
DENBY
Stay on the other side of the pond for a couple of
months--you'll soon forget all about it.
SALLY
Chad Denby broadcasting--
(She kisses him lightly on the
cheek)
--the nicest man I ever knew--
DENBY
But not nice enough to marry--eh?
SALLY
(coaxingly)
Come on, now--you've forgotten all about that.
DENBY
I'll never love anybody else.
Sally looks at him a moment before speaking--her
eyes are moist.
SALLY
(moodily)
Women are such fools!--Why do so many of us pass up
right guys?
DENBY
Guess they're dull--nothing for you to reform.
CUT TO:
67 INQUIRY OFFICE--BRETT AND SHIP'S CLERK
BRETT
Can you give me names of the people in the show?
CLERK
(thinking)
Well, sir--there's--
BRETT
--don't bother.
68 REVERSE ANGLE--CLOSE SHOT--BRETT
Looking up at the wall above the clerk's head. He
smiles.
CUT TO:
69 WHAT HE SEES
An announcement of the entertainers in a frame. It
includes a photograph of Sally with her name
under it.
CUT TO:
70 TWO-SHOT--BRETT AND CLERK
BRETT
Sally Marsh is the lady I'm looking for--where's her
cabin?
CLERK
51C--around to the left--second tier.
Almost before he finishes, Brett is on his way.
Lother comes into scene and addresses the clerk.
LOTHER
What stateroom has Miss Marsh?
CLERK
Miss Sally Marsh?--51C.
LOTHER
Where would that be?
CLERK
Around to the left, sir--second tier.
LOTHER
(as he moves off)
Thanks.
CUT TO:
71 CLOSE-UP OF ANYA.
CUT TO:
72 CORRIDOR--STATEROOMS ON EITHER SIDE
Lother is on his way to find Sally--Brett a few
yards ahead of him with the same purpose in mind.
As Lother passes a cabin the door opens quickly
and Anya steps in the corridor.
73 CLOSE-UP OF NED
Watching.
74 CLOSE SHOT--ANYA
ANYA
Looking for me?
75 REVERSE SHOT--LOTHER
Unable to believe his eyes, it is a moment before he
speaks. During this, Brett continues down the corridor.
LOTHER
Anya!
76 TWO-SHOT
ANYA
Don't you hate people that surprise you? ... I do.
(She slips her arm through his--
looks up at him and smiles)
We can't stand here.
Lother gulps.
LOTHER
Well ... guess we'd better have a drink on it.
(as they start to walk)
CUT TO:
77 BRETT KNOCKING BRISKLY ON THE DOOR OF 51C.
No answer. He knocks again. A stewardess comes
out of Sally's room.
STEWARDESS
The lady is not in her cabin, sir.
Brett looks disappointed, leans against the
opposite wall, and fishes for a cigarette.
BRETT
Thank you.
Looks around--exits.
CUT TO:
78 MEDIUM CLOSE SHOT--LEE LOTHER AND ANYA ROSSON.
Sitting in wicker chairs, in a quiet part of the palm
court. Anya's mood is very gay. She smiles at
Lee. His is very thoughtful--and none too pleasant.
The music is playing and passengers are dancing.
ANYA
You're still surprised, aren't you?
LOTHER
Anya, I think you're crazy.
ANYA
Any woman's crazy to feel about a man the way I do
about you.
LOTHER
I wasn't running out on you. When I got over there--
made my plans--I'd have sent for you.
She smiles disbelievingly. She is in love with Lee
and quite contented as long as she's with him.
ANYA
Then why the sudden exit without even telling me?
LOTHER
Do you want the truth, Anya?
ANYA
(sweetly)
It would be a nice change from you.
LOTHER
I had an idea your husband was getting suspicious.
ANYA
(gaily)
You're a charming liar. You know, Herbert's too dull to
be suspicious about anything--even when I suddenly
decided to come to Europe at a few hours' notice--
LOTHER
How'd you ever get away with it?
ANYA
When I found out you were going I just had an attack of
nerves--a few tears--and Herbert was on his way
downtown to get my passport ... so who cares ...
I'm here with you ... and that's all that matters to
me.
LOTHER
(half-heartedly)
Sure!
ANYA
(with a smile)
I never want to go back....
The steward arrives with the drinks.
ANYA
(raising her glass)
Here's to Europe!
(They drink--she gives him a
quick look--her tone is sharper)
Couldn't try to look a little less glum, could you?
LOTHER
Don't be crazy--I'm tickled to death to see you.
ANYA
That's fine--because you're going to see a lot of me
... for the rest of your life.
79 DOLLY BACK FROM ANYA AND LOTHER TO A MEDIUM
SHOT OF PALM COURT FROM DECK ANGLE
Brett is coming along the deck. As he enters Palm
Court he bumps into a man who is just leaving.
BRETT
I beg your pardon.
He looks up.
80 MEDIUM CLOSE SHOT
The man is Inspector McKinney.
MCKINNEY
(genially)
Hello, young fellow. Did you find that basket of flowers?
BRETT
(with a grin as he goes out
out scene)
Fruit!
McKinney watches him a moment thoughtfully.
CUT BACK TO:
81 MEDIUM SHOT--ANYA AND LOTHER
Summers is coming toward them with outstretched
hands, his face beaming.
SUMMERS
How are you, Mr. Lother?
(He looks at Anya)
Not intruding, I hope?
LOTHER
This is Jack Summers--Mrs. Rosson.
Summers beams good-naturedly.
SUMMERS
A rare pleasure to meet you, ma'am! Where I come from
--out in Montana--we have some pretty women, but I
guess if you walked down Main Street they'd turn out
the fire brigade.
ANYA
Montana?
SUMMERS
Lumber, ma'am--spent all my life out there piling up a
bank balance--
(He slaps his thigh)
--and now gosh darn it--"Honest Jack"--that's what
they call me--is goin' to see the world.
LOTHER
(grinning)
You're wasting your time--she's a friend of mine.
SUMMERS
(suddenly subsiding)
Eh?... Oh.
LOTHER
(to Anya)
He works the boats as a "come-on" man. We ought to
make a fair combination and do a little business. Jack's
a pretty good dealer himself.
SUMMERS
There's a lot of trout in this stream just waitin' for a
fly. I've already been workin' on a young fellow from
Chicago--related to one of the big packin' families--on
his way to Biarritz for a good time. Likes a little game
of bridge and poker.
He winks.
ANYA
(quietly)
Keep your voice down--that blonde boy is looking
straight over here.
CUT TO:
82 CLOSE SHOT--BRETT
At table.
CUT BACK TO:
83 ANYA--LOTHER AND SUMMERS
SUMMERS
(looking up and lowering his voice)
That's him! That's the sucker!!
LOTHER
Looks lonesome--Bring him over here.
Summers exits.
CUT TO:
(84 out)
85 INTERIOR SECOND-CLASS BUFFET--MEDIUM CLOSE
Mr. Rosson and fellow passenger standing at bar
in second-class buffet.
PASSENGER
(to Rosson--enthusiastically)
Something about an ocean voyage that makes everybody
happy!
ROSSON
(evenly)
Not necessarily.
PASSENGER
Oh! Going over on business, eh?
ROSSON
(raising his eyebrow)
--Er--Yes--you might call it that--
CUT TO:
(86-90 out)
91 MEDIUM CLOSE SHOT--ANYA AND BRETT, LOTHER
AND SUMMERS
BRETT has Anya's hand, and is looking at her
bracelet.
ANYA
We'll have cocktails and then a few rubbers of bridge.
BRETT
(still looking at bracelet)
I can think of nothing nicer. It's very kind of you to
invite me--
ANYA
I'm just commencing to enjoy this trip.
CUT TO:
92 OPPOSITE END OF PALM COURT
SALLY IS JUST COMING OUT OF LIBRARY. She
carries a couple of books under her arm. She
pauses a moment to watch the dancers through the
archway.
CUT TO:
92-A MEDIUM SHOT
Suddenly Brett stares--he has seen Sally and for
a moment struggles between courtesy and desire.
Desire wins.
BRETT
Hmm! So am I. If you'll excuse me I have some important
unfinished business. I'll see you all later.
LOTHER
We'll be expecting you.
Quickly Brett moves away. CAMERA STAYS ON
ANYA for a second. Lother and Summers nod
approvingly.
CUT TO:
93 ARCHWAY
Sally has not seen Brett--she moves out onto
deck. A steward appears carrying a small tray
of crackers.
CUT TO:
94 COMPANIONWAY LEADING TO SPORTS DECK
Sally is just about to ascend as Brett comes
quickly into scene.
BRETT
Where have you been hiding?
SALLY
(slightly vague)
Oh--hello!
(suddenly remembering)
I got the flowers. That was sweet of you--thank you.
BRETT
Don't thank me. Do you recognize me without the lipstick?
SALLY
(with mock disappointment)
So you washed it off!
BRETT
(With a grin)
How about giving me another coat?
SALLY
(She moves up a step)
Good-by.
BRETT
(quickly)
Wait a minute!--They're dancing in the palm court--
SALLY
Good-by!
BRETT
(dreamily)
There's soft music--
SALLY
(as she starts to climb)
--sorry--got an appointment to play shuffle-board.
BRETT
(nonchalantly)
Have we?--Well, I'd just as soon play shuffle-board.
He takes her by the arm. Dan Campbell staggers
down the stairway in background.
Denby comes to stairway.
DAN
Hello, Denby!
DENBY
I thought I put you to bed.
DAN
Oh, was that me you put to bed? Thanks. I've been looking
all over for you.
DENBY
Well, did you find me?
DAN
Not yet.
(He continues)
Say, where is this boat headed for?
DENBY
This is a fine time to be asking that. You're on your
way to France.
DAN
That's news to me. I'd better cable my wife.
Denby calls a steward--it is Shortie.
DENBY
Hey, boy--give this man a cablegram blank.
(continues to Dan)
Where is your wife?
DAN
She's in New York.
SHORTIE
Here you are, sir.
(He hands Dan cablegram blank
and pencil)
DAN
(starts to write)
What'll I say?
DENBY
Tell her you're on your way to France and will be back
in four weeks.
DAN
That's fine.
He writes and utters aloud as he writes.
Denby exits.
CUT TO:
(95 out)
96 INSERT
Cablegram which reads:
"Will be back in New York in four weeks."
DAN'S VOICE
How much will that be?
97 MEDIUM CLOSE SHOT--SHORTIE AND DAN
SHORTIE
(counting words in the cablegram)
Eighty cents a word--three--six--nine words. That'll
be seven twenty, but it's too much--I'll show you how
to save some money.
DAN
How?
Shortie reads cable aloud. "Will be back in New
York in four weeks." He turns to Dan.
SHORTIE
Where do you live?
DAN
In New York.
SHORTIE
Your wife knows that, don't she?
DAN
Sure.
SHORTIE
Then you don't have to tell her--cut out New York.
Shortie crosses it out.
SHORTIE
(reading)
"Will be back in four weeks"--
(turns to Dan)
--that saves you eighty cents right there!
DAN
That's right--here's the eighty cents for you. I'd rather
see you get it than the company--send it right off.
SHORTIE
Wait a minute--I think I can cut out a couple o' more
words.
DAN
How?
SHORTIE
(reads cable aloud slowly)
"Will--be--back--in--four--weeks." You don't need
the "will be." Just say "Back in four weeks."
DAN
That's right. I owe you a dollar sixty.
He hands Shortie the money.
SHORTIE
(getting enthused. He's found
a soft racket)
Wait a minute--I think I can cut something else out.
(reads)
"Back in four weeks." Instead of "in four weeks"--say
"next month"--That saves another word.
DAN
Right. Here's eighty cents. Send it.
He hands Shortie the money.
SHORTIE
Just a minute--I don't think we need the word "Back"
--Where is "Back"?
DAN
Back is in New York.
SHORTIE
Your wife knows that, don't she?
DAN
Sure.
SHORTIE
Cut it out.
He crosses the word out.
SHORTIE
(looking at cable)
Now we get it down to two words--"next month."
DAN
Send that.
SHORTIE
Wait a minute--What is next month?
DAN
Next month is June.
SHORTIE
Fine! Instead of saying "next month"--we'll use one
word and say "June."
DAN
June? That's my wife's name.
SHORTIE
That's great! There's the address and message all in
one word.
DAN
O.K.! Send that!
SHORTIE
Just a minute--Your wife knows her own name, doesn't
she?
DAN
Sure.
SHORTIE
Well, there's no use in sending it.
(He tears up cable)
See that--I saved you seven twenty!
DAN
Well. I'd rather see you get it than the company.
He hands Shortie the money.
CUT TO:
98 LONG SHOT--SPORTS DECK
Four attractive girls are squealing excitedly as
they play deck tennis in shorts.
99 MEDIUM SHOT--BRETT AND SALLY
As they move along the deck.
BRETT
This is great. I'll be able to watch your act every night.
SALLY
You're not very ambitious, are you?
BRETT
Oh, yes, I am, because afterwards--up here in the
moonlight.
SALLY
You work too fast for me, young man.
BRETT
(sincerely)
Aw--give a feller a break. My cards are on the table--
I want to know you. How about dining with me tonight?
SALLY
Never eat before the show.
BRETT
Well--breakfast?
(She laughs and shakes her head)
Lunch?
By this time they arrive into:
100 DENBY AND MCKINNEY STANDING BY SHUFFLEBOARD
SALLY'S VOICE
Sorry I'm late.
As she comes into scene, pursued by Brett, Denby
turns.
DENBY
(giving Brett the once-over)
I was just about to start a game with this gentleman.
McKinney turns.
MCKINNEY
(introduces himself)
McKinney's the name.
DENBY
(introduces Sally)
Miss Marsh.
She acknowledges introduction.
SALLY
(introduces Brett)
This is Mr.--er--
BRETT
Brett is the name.
SALLY
Mr Denby and Mr. McKinney.
They all shake hands.
MCKINNEY
I think I've met you before, Mr. Brett.
BRETT
(Smiling)
Oh, yes. On the pier.
MCKINNEY
(smiling, but looking straight
into his eyes)
Before that. Your face is very familiar.
BRETT
Yours, too. Are you the McKinney, the dentist on
Calumet Avenue in Chicago?
MCKINNEY
(smiling)
No--not quite.
DENBY
(facetiously)
Their faces are familiar--but not to each other.
BRETT
(smiles)
Now that that's settled, why not make the game a
foursome?
They all agree.
AD-LIB
Fine! ... O.K.!
BRETT
Miss Marsh and I will play against you two.
DENBY
No--I'll take Sally and give you the best of it.
BRETT
Tell you what I'll do.
(He takes a coin out of his pocket)
I'll toss you for her--heads she plays with me.
DENBY
O.K. Heads you win.
Brett flips coin; it comes heads. A medicine ball
comes whizzing through the air striking him
squarely on the head. He drops the coin and falls
into the arms of McKinney. They both stagger
with the impact. Denby picks up the coin that
Brett dropped.
CUT TO:
101 INSERT OF COIN IN DENBY'S PALM
It has two heads on it.
101A CLOSE-UP--REACTION OF DENBY
CUT TO:
102 BRETT
He is rubbing his head.
DENBY
(with polite sarcasm)
That's too bad.
BRETT
(rubbing his head)
I'm O.K. It didn't hurt much.
DENBY
(glances at the two-headed coin)
I'm sorry to hear that.
SALLY
(reprimands Denby)
I think you're very unkind.
At this point a young fellow in athletic shirt
enters.
YOUNG FELLOW
(to Brett, apologetically)
I'm awfully sorry.
DENBY
(interrupting the Young Fellow)
That's perfectly all right. Don't mention it.
The young man exits.
SALLY
(to Denby--obviously peeved)
You're just a Master of Ceremonies. He might have
knocked his head off.
DENBY
(laughing)
What's the difference? He's got more heads than he
needs.
SALLY
(puzzled)
I don't get the humor of that remark.
DENBY
(looking at Brett)
He does. Here's your quarter, Brett.
He tosses the coin to him. Brett catches it and
nods his thanks.
CUT TO:
103 BRETT AND SALLY
While walking.
BRETT
Is there a bump on my head?
She runs her hand through his hair.
SALLY
Don't feel any--yes, I do!--Oh--that's a shame.
She rubs his head gently then stops.
BRETT
Don't stop, nurse--I think I'm going to faint.
SALLY
You are a lunatic!
BRETT
Even Cupid's becoming modern, using medicine balls
instead of darts.
She pushes him aside and takes her shot. The following
dialogue is read as they each shoot down
three disks--Sally being very businesslike with her
shots--Brett seldom taking his eyes off Sally.
BRETT
You know, you're not a bad-looking girl. In fact--I
think you're lovely.
SALLY
Keep your eyes on the ball, Mister.
BRETT
Married?
SALLY
Nothing to speak of. What is this--third degree?
BRETT
I want you to get used to my voice--you're going to
hear it a lot.
SALLY
What a horrible death! Do you know what you remind
me of?
BRETT
(hopefully)
Tell me.
SALLY
A little boy that has escaped from his nurse and--
BRETT
(interrupts)
--you want to adopt him!--Good for you!
He drops his punter and shakes her heartily by
the hand. She shakes her head at him and grins.
CUT TO:
104 MEDIUM CLOSE DENBY AND MCKINNEY
DENBY
Here we are, folks--eighty thousand wild-eyed fans go
mad--they go mad as Chad Denby--with the arms of
iron, and the nerves of steel--picks up his racket--
(to McKinney)
What is this thing--a racket or a mallet?
MCKINNEY
Looks to me like standard equipment for the Department
of Street Cleaning--
DENBY
(looks toward Brett and Sally
obviously jealous and annoyed)
Too bad we're not making a trip around the world--
maybe we could finish this game.
(He then yells to Brett)
Hey! When you get through with that conference, shoot
that last disk!
CUT BACK TO:
105 SALLY AND BRETT
BRETT
Watch this one.
He takes a careful shot. CAMERA FOLLOWS the
disk down the deck. It scatters the others and lands
dead center in a ring.
MCKINNEY'S VOICE
Nice shot!
CAMERA PULLS BACK AND FOCUSES ON McKinney
and Denby as they start returning the disks from
their end.
MCKINNEY
You can always tell how much a man's traveled by the
way he plays shuffle-board.
DENBY
Yeah--if he'd only stick to shuffle-board.
FOLLOW THEIR FIRST SHOT back to Sally and
Brett, then PULL BACK TO SEMIWIDE SHOT. During
the following dialogue the disks are being shot
at their feet from the opposite side. Anya come
into scene. She smiles sarcastically at Brett as she
approaches him.
ANYA
Feeling a little better, I see.
BRETT
Yes, yes--the air--
(He looks at Sally)
--I'm getting plenty of air.
(He introduces them)
Miss Marsh--Mrs. Rosson.
SALLY
How do you do. Would you care to finish the game? I
have a slight earache.
(She looks at Brett)
--and it's so noisy up here.
ANYA
Thanks, no. I despise any form of exercise.
(to Brett)
Don't forget we have an engagement for cocktails and
cards.
BRETT
Thanks. I'll be there. About seven-thirty?
ANYA
(vamping)
Sooner--if you like.
(to Sally)
See you again, I hope.
She crosses to the other side of the deck.
BRETT
(trying to get a rise out of Sally)
Isn't she attractive?
SALLY
(drily)
Very--your mother?
BRETT
Don't be a c-a-t.
SALLY
You asked me to dine with you tonight.
BRETT
Yes?
SALLY
Well, I can't.
BRETT
Don't rub it in.
SALLY
But I'll have cocktails with you.
BRETT
When?
SALLY
At seven-thirty?
BRETT
Sooner it you like.
SALLY
Okay.
BRETT
Fatal fascination of James Brett wins out.
SALLY
(quickly)
Wrong again--
(She looks out of picture in
the direction that Anya left)
But I dislike possessive women.
She turns and looks at him--they both grin, then
giggle, and end up with a good laugh.
DISSOLVE TO:
106 SMOKING ROOM
The competitors, Denby, Brett, Sally, and McKinney
are seated at the table in the order named.
The steward has just placed the cool drinks in
front of them. He hands the check to Brett.
McKinney grabs it.
MCKINNEY
No! no! You trimmed us. The drinks are on me.
(He feels in his pocket, looks
a little surprised, then feels
in his other pocket)
That's funny, I must have left my wallet in the cabin.
DENBY
(grabs the check)
That's all right. I'll attend to this.
BRETT
Wait a minute--let's match for it.
DENBY
Never mind--I'll pay for it now. It'll save time.
SALLY
(rising)
Well--thanks for the game and the drinks, and now if
you'll excuse me--
107 TRAVEL SHOT
As Brett follows Sally.
BRETT
See you at seven-thirty in the lounge.
SALLY
I'll be there--Good-by.
She exits.
CUT BACK TO:
107A CLOSE-UP--REACTION OF DENBY TAKING THIS.
CUT TO:
108 TABLE
MCKINNEY
(to Denby)
Those kids seem to be getting along fine!--
DENBY
It must be the sea air--it gets everybody.
MCKINNEY
He's a likable chap--he's got an honest face--
DENBY
It's all right--if you like honest faces--let's have
another drink--Steward!
MCKINNEY
Oh no--I don't want to impose on you--
(half to himself)
It's funny about that billfold--I could have sworn I had
it-
(Again he taps his pockets)
DISSOLVE TO:
109 AN OPEN BILLFOLD AND A HAND EXTRACTING A
FIFTY-DOLLAR BILL
PULL CAMERA BACK TO MEDIUM SHOT. Brett is in
his cabin in Tuxedo trousers and dress shirt. He
hands the bill to Shortie who looks slightly
surprised.
SHORTIE
(With wide eyes)
Where'd you get the dough?
Brett waves the pocketbook and grins.
BRETT
Inspector McKinney.
SHORTIE
Are you screwy?
BRETT
I fell in his arms--Couldn't resist it.
SHORTIE
You know where that sense of humor's goin' to get you
one of these days--
Brett throws him the pocketbook.
BRETT
Here--drop it where they'll find it and return it to him.
He's not a bad egg. I'll ship him back the fifty before we
arrive.
SHORTIE
(takes pocketbook)
You take some awful chances.
BRETT
Well, I had to get some dough to play with those suckers.
Here, get this changed.
He hands Shortie the fifty-dollar bill.
BRETT
Get a lot of one's and a couple of five's. It'll be a good
flash.
Brett picks up a deck of cards and rifles them expertly.
LAP DISSOLVE TO:
110 PURSER'S OFFICE--SHORTIE AND MCKINNEY
MCKINNEY
(presenting check to purser)
Will you cash a fifty-dollar American Express check
for me?
SHORTIE
(to Purser)
And will you please give me thirty one's and two ten's
for this?
(He hands him the fifty-dollar bill)
The Purser takes the fifty from Shortie and hands
it to McKinney.
PURSER
(to McKinney)
There you are, sir.
MCKINNEY
Thank you.
PURSER
(to Shortie)
Thirty one's and two ten's?
SHORTIE
Yes, sir.
The Purser starts to count out Shortie's change
as we
DISSOLVE TO:
111 MEDIUM CLOSE--LOTHER AND SUMMERS
In Anya's cabin.
Lother and Summers are seated at table. Anya is
curled up on the divan with a generous display of
shapely legs. Lother and Summers are examining
carefully the backs of a deck of playing cards.
Summers picks up a card and a smile of satisfaction
lights his countenance.
LOTHER
Can you read 'em Jack?
SUMMERS
They're a cinch to read--Queen of Clubs--
(We see the hand turn over the
Queen of Clubs)
--Ace of Diamonds.
(Hand turns up the Ace of
Diamonds)
112 MEDIUM FULL SHOT
LOTHER
The man that marks them is an artist--two hundred
and fifty bucks for six decks--and they're worth it.
SUMMERS
(looking at his watch)
The country boy's about due.
LOTHER
Better unlock the door.
(then to Anya)
Sit up, darling, and be dignified.
113 MEDIUM SHOT--INTERIOR OF BRETT'S CABIN
Shortie and Brett. Shortie has the change for
Brett's fifty-dollar bill.
SHORTIE
Here y'are. Now don't take too many chances on that
card game.
BRETT
(smiling)
They won't squawk--they're professionals.
SHORTIE
(Shrugs his shoulders)
Well, if that's the case, you're sure of winning the first
couple of hands--But what about after that?
BRETT
That's where you come in. Now, listen, Shortie--
DISSOLVE TO:
114 INTERIOR OF ANYA'S CABIN
LOTHER
(to Anya)
And don't forget--you won't play cards because you've
got a headache. After the three of us get started you
can scram.
(to Summers)
Give him the come-on--let him win the first few hands.
When I give you the office
(he pulls the lobe of his ear)
--Start taking him.
There is a knock at the door. In a flash Lother is
at the table playing "Patience." Summers is sitting
next to Anya. Another knock.
SUMMERS
(in a loud voice as he starts
toward the door)
--that's what we call double-a grade lumber, ma'am;
You don't find a knot in a thousand feet.
ANYA
Isn't that interesting?
Another knock.
SUMMERS
Come in!
(He opens the door)
BRETT
(Standing at threshold)
Hope I didn't keep you waiting.
Shortie passes in the corridor. Brett sees him and
calls.
BRETT
Oh, boy--
Shortie comes into scene. Brett reaches in his
pocket and pulls out a check.
BRETT
Have the purser give you twenty-five hundred dollars
for this check--and bring the cash here.
SHORTIE
Yes, Mr. Brett--right away.
Shortie leaves with check.
Lother and Summers and Anya react by exchanging
glances.
ANYA
Good afternoon--
BRETT
(looking at bracelet)
Glad to see you again.
Brett seats himself next to Anya while Summers
and Lother start to pour drinks.
ANYA
(sweetly)
Do you mind if I don't play? I've a beastly headache.
She puts her hand on her forehead and Brett gazes
longingly at the bracelet on her wrist.
LOTHER
But, Anya, dear! Unless you play we won't have a fourth.
ANYA
(rises)
I'm sorry, but you three men can play poker or something.
(She turns to Brett)
Shall I see you tomorrow?
BRETT
I hope so.
ANYA
That's a date.
(She extends her hand)
Brett shakes it gently and it is evident that the
bracelet fascinates him.
ANYA
(to others)
You'll excuse me.
(She exits)
SUMMERS
Well, it'll have to be poker--but I'm so unlucky in that
game.
BRETT
(timidly)
If you gentlemen play a heavy game, perhaps you'd better
count me out.
Summers and Lother exchange disappointed glances.
BRETT
(smiling apologetically)
I never play higher than--say a $200 limit.
Lother and Summers are obviously delighted.
LOTHER
(apologetically)
We haven't any chips, Mr. Brett--Do you mind playing
with cash?
BRETT
Not at all.
It is difficult for Lother and Summers to conceal
their glee as they pull their chairs up to the table.
The cards are shuffled by Summers. He places
them in front of Lother for the cut. Lother cuts
the cards and Summers deals them.
LAP DISSOLVE:
115 MEDIUM CLOSE--BRETT
BRETT
I'll bet a couple of hundred--
(glances toward door)
I wonder what's keeping that boy.
SUMMERS
(magnanimously)
Don't worry about that.
(He throws in a couple hundred)
We'll settle after the hand. Out in Montana where I
come from a man's word is all that's necessary. What
have you got?
BRETT
(showing his hand)
Three Jacks.
SUMMERS
(good-naturedly)
That beats two Pairs. I'm glad I didn't win the first pot.
Take the money, Mr. Brett.
Brett scoops in the stakes.
BRETT
Well, I'm off to a pretty good start.
LOTHER
If I ever won a pot that large the boat would sink.
(takes the cards and starts to deal)
SUMMERS
Well, as I said before, I don't like to win the first pot.
Out my way in Montana we're very superstitious--we
always say a good beginning is a bad ending.
(He addresses Brett and laughs)
I hope that won't apply to you.
Shortie comes into scene with thirty one-dollar bills
and two ten's rolled up in such a manner that it
looks like twenty million.
SHORTIE
Here's your twenty-five hundred, Mr. Brett.
BRETT
(takes it)
Thank you.
(he peels a ten dollar bill from
the top of the roll)
I owe you a dollar forty--here--keep the change.
SHORTIE
Thank you, sir.
(He exits)
BRETT
I'll take one.
(Lother deals him a card)
SUMMERS
One will be enough for me.
Lother deals him one.
LOTHER
I should pass, but I'll trail along--I'll take three.
(He takes three)
BRETT
I'll bet a couple of hundred.
SUMMERS
Out my way in Montana we always call a bluff.
(He throws two hundred into the pot)
LOTHER
Well, I helped my hand so I'll have to see you.
BRETT
(Showing his hand)
Aces full.
LOTHER
And me coming in with two pair--
(Sighs)
SUMMERS
I thought my straight was O.K., but--
(Sighs)
Brett scoops in the money. Lother's hand goes to
his ear for the high sign to Summers.
SUMMERS
(to Brett)
It's your deal.
BRETT
It's a pleasure.
As he starts to deal the cards there is a knock on
the door.
LOTHER
Come in!
Shortie enters.
SHORTIE
Sorry to interrupt you, Mr Brett, but I have a message
for you.
BRETT
(shuffling cards)
What is it?
SHORTIE
Your mother is feeling seasick and would like to see you
right away.
BRETT
(much concerned)
Oh, is she? What a shame!
(He rises, puts the money in his pocket)
You'll pardon me?
LOTHER
(quickly)
You're coming back--
BRETT
That depends on how mother's feeling. You'll excuse me,
gentlemen?
He leaves followed by Shortie. The two men rise
slowly and look at each other and then toward the
door.
LOTHER
(to Summers)
How much did you lose?
SUMMERS
About twelve hundred.
LOTHER
I went for four.
SUMMERS
It's a long trip and we'll get that sucker later.
They exit.
CUT TO:
116 MEDIUM CLOSE TRUCK SHOT -- BRETT AND SHORTIE
Walking down corridor.
SHORTIE
What did you win?
BRETT
About sixteen hundred.
SHORTIE
Partners, ain't we?
BRETT
Sure--and to show you I'm a regular fella--
(He extracts the roll that
Shortie brought into him out
of his pocket)
Here's that twenty-five hundred.
(He turns down the corridor to
the left, leaving Shortie
speechless)
CAMERA STAYS WITH BRETT FOR TRUCK SHOT to
Florist shop at the end of corridor. He writes on a
card and hands it to florist.
BRETT
(pointing to a large bouquet
of roses)
See that Miss Sally Marsh gets that bouquet with my
card immediately.
He tosses a bill on the counter.
BRETT
If there's any change, keep it.
FLORIST
Thank you. I'll attend to it right away.
WIPE TO:
117 INTERIOR SALLY'S CABIN
She is standing at a large bouquet reading the
card that is attached.
CUT TO:
118 INSERT: CARD--"These roses are beautiful, but
they run second to you. Don't forget we have a
date. I'm waiting with love.
Jimmy."
Sally smiles sweetly and buries her face in the
roses. Her brother Ned is seated with his back to
her and she doesn't notice that he is evidently
worried. She can't see his face. She approaches him
and embraces him.
SALLY
Isn't it great to be away from it all? Aren't you happy?
It seems too good to be true.
NED
(turns and pats her hand
affectionately--he smiles to
hide his innermost feelings)
Sure, Sis.
SALLY
Aren't the roses beautiful?
The phone rings, interrupting whatever Ned might
have said. Sally answers the phone.
CUT TO:
119 CLOSE SHOT--AS SALLY ANSWERS TELEPHONE
SALLY
Hello! ... Yes, it is. ...
CUT TO:
120 CLOSE SHOT--SUMMERS AT PHONE
SUMMERS
This is the ship's photographer speaking--could I get
a couple of pictures of you for the Radio News? ...
Thanks very much ... Cabin 4C ... Right away?
... Thanks.
121 FULL SHOT
SUMMERS
She's comin'.
LOTHER
Beat it.
Summers exits.
CUT TO:
122 LOUNGE
Brett walks to a table in the lounge. He looks at
his watch. He watches the entrance expectantly.
Dan Campbell enters.
DAN
(staggering over to Brett)
Don't you hate a pest?
BRETT
I certainly do--
DAN
So do I. There are times when a fellow likes to be alone.
BRETT
(impatiently)
I'd like to be alone right now.
DAN
So would I. Let's sit down and talk it over.
He sits down. Steward enters.
BRETT
(to steward)
Will you try and locate Miss Marsh, please?
STEWARD
Yes, sir.
(He leaves)
CUT BACK TO:
123 LOTHER'S CABIN
There is knock at the door. Lother opens it in
such a way that he is almost behind it. Sally enters.
He closes the door quickly. He smiles. She
stands staring at him speechless. There is a pause.
LOTHER
Well--aren't you going to say something? I've gone to a
lot of trouble to give you this little surprise.
(She makes a quick move to
leave--he leans against the door)
Don't let's behave like childre