(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 children. Sit down, Sally. Let's 
face the situation.

SALLY
(deciding to face the issue) 
All right--but what is there to face? It's finished. 

LOTHER 
You ran away because you were afraid. I don't want it 
to end like that.

SALLY
I didn't want to see you again--that's my privilege. 

LOTHER
It wasn't smart. Even if you'd gotten away without me 
--I'd have found you--no matter where you were. 

SALLY
(her voice staccato) 
Why don't you leave me alone? 

LOTHER
(He moves close to her) 
Because I want you--will always want you--no other 
woman'll ever take your place.
(His voice is tense with emotion) 
I want you more now than I did that first night--
(He puts his arms around her--
she tries to push him away) 
You've forgotten all that, I suppose? 

SALLY
I wish I could.

LOTHER
Get wise to yourself, Sally--you're no sob story. 

Sally wrenches herself free. Her voice is tense with 
emotion.

SALLY
You get wise to yourself! If you know what's good for 
you, you'll leave me alone. Everybody's entitled to one 
mistake--Well--you're mine. When the going got too 
rough, I pulled up stakes and quit. We stay quit!--Get 
that!--And what're you going to do about it? 

LOTHER
That's more like the old Sally--a little bit of fire. 
(casually, lighting a cigarette) 
How about Ned?

SALLY 
He's all right.

LOTHER 
Thanks to me.

SALLY
You leave the kid alone.

LOTHER 
A tipoff in the right quarter to take his fingerprints 
and--

SALLY 
--you'd go with him!

LOTHER
Don't kid yourself--you know how I stand back there. 

He picks up the passenger list.

CUT TO: 

124 CLOSE SHOT
As his fingers trace down the names. He stops 
underneath that of Inspector McKinney. 

LOTHER'S VOICE 
Why do you think he's aboard?

CUT TO:

125 MEDIUM SHOT (TWO)

SALLY
Not because of Ned.

LOTHER 
Of course not--
(politely) 
--but isn't it a coincidence that he's from the eighteenth 
precinct--where they made the squawk? 

SALLY 
You can't bluff me any more.

CUT BACK TO:

126 BRETT AND DAN IN LOUNGE

BRETT
(trying to be polite) 
I'm sorry, Mr. Campbell, but I'm waiting for someone. 
I'd appreciate it if you'd--

At this point Mary enters; sees Dan.

Mary enters scene on way to rehearsal, with paper 
in her hand.

MARY 
Oh, there you are--

DAN
That's right--you're the one I was looking for. 
(to Brett) 
You'll excuse me.
(Brett reacts relief) 
(back to Mary)
How about you and I being alone? 

MARY
Not now, Toots--Which is the right way to say this? 
You're dumber than me--or--you're dumber than I? 

DAN 
Let me see now--Don't tell me-- 
(trying to figure out) 
You're dumber than me and I'm dumber than you. I 
don't get it.

MARY 
Never mind.

She continues reading. Denby enters and sees 
Mary.

DENBY
H'mm ... no wonder I have trouble rounding up this 
show--Don't you know there's a rehearsal going on?--
And you wanted a raise.--Come on--get going or you'll 
get it!

MARY 
Oh, all right--
(to Dan) 
See you later, Toots.


DAN
Nobody is any help to me at ail. 

Mary exits followed by Dan. 

BRETT 
Oh, Denby--have you seen Sally around?

DENBY
No--I'm looking for Miss Marsh myself. I thought you 
might know where she is--

BRETT
She was to meet me here--why don't you wait? She 
ought to be here any minute.

DENBY
I would--but our rehearsal starts right away. 
(starts to leave) 
Before I go I want to ask you a little favor. Sally is an 
important part of my show. Some day--not now--when 
you get a chance--let her come to just one rehearsal. I'll 
appreciate it.

Brett reacts with a grin, as Denby exits toward 
rehearsal room.

CUT TO: 

126A MEDIUM SHOT--CORRIDOR
Denby meets Ned, on way to rehearsal room. 

DENBY
Seen Sally?

NED
She went over to the ship's photographers.

CUT TO:

127 LOTHER'S CABIN
Sally is sitting on the lounge, Lother next to her. 
The fight seems to have gone out of her and she 
looks desperately unhappy. 

SALLY
I'm crazy about the kid and I got him into it. 
(She looks at him) 
What do you want me to do?

LOTHER
Just smile again and be reasonable. 
(his voice cajoling)
I'll order dinner here--just the two of us--like old
times.

SALLY
--and you swear when you get to the other side, you'll
never come near either of us again? 

LOTHER 
That's a bet--but I couldn't let you walk out like that, 
Sally. I'd have gone cuckoo back there--just thinking 
about you--

He puts his arm around her--tries to draw her 
to him.

SALLY
Don't, Lee--that's dead.

LOTHER 
(grabbing her)
Let's see if I can bring it back to life.

Hungrily his lips meet hers. She tries to struggle 
but his arms are tight about her. He bends her 
back across the lounge, his lips still to hers. Slowly 
her resistance ceases. Her arms drop limp. He 
kisses her eyes, her throat, then back to her lips. 
She remains inanimate. Suddenly he lets her go 
and stands towering over her in a fury. 

LOTHER
So it's as cold as that, is it?


CUT TO: 

128 THE DOOR
It opens quickly and Anya, enters. Behind her 
stands Summers. She takes in the situation. An 
ironical little smile plays about the corner of her 
mouth. Summers, behind her, is signaling to Lother 
that he couldn't help it. They enter the room.

CUT TO: 

129 FULL SHOT
Anya eyes Lother with a deadly calm. 

ANYA
Hope we're not intruding.

LOTHER
(ill at ease)
This is Miss Marsh.

ANYA
Yes--I met Miss Marsh. In fact, she always seems to be 
turning up in the most unusual circumstances. 
(solicitously) 
What's the matter, Miss Marsh--aren't you feeling 
well? 

There is a long, awkward pause. 

ANYA 
(gaily) 
Well--shall we go into dinner?

LOTHER
I'll join you later.

ANYA
And do bring Miss Marsh--
(She surveys the disheveled Sally) 
--when she's had time to tidy up a bit. 

SALLY
(jumping to her feet) 
You're Anya Rosson, aren't you? I've heard of you 
back in New York. 

ANYA
(ironically) 
Sorry I can't return the compliment. 

SALLY
You were indiscreet enough to leave your gloves in my
apartment one evening--
(She points to Lother) 
--and he was gentleman enough to boast why you'd been 
there and show me a snapshot of you.

ANYA
I don't understand.

SALLY
I think you do.

She goes quickly to the door and turns.

CUT TO:

130 CLOSE SHOT--SALLY--AS SHE TURNS

SALLY
I was jealous of you then--I'm sorry for you now. 

She exits, closing the door.

CUT TO:

131 FULL SHOT

ANYA
So that's your little dancer that you were playing
around with in New York.
(She shrugs) 
Oh--there's no accounting for tastes--
(She eyes him up and down) 
Mine, too, seem to be in the gutter.

LOTHER 
I can explain--

ANYA
Sure! You're never at a loss for words. 

SUMMERS 
Will you pardon me?

ANYA
Gladly.

LOTHER 
Scram!

Summers makes a beeline for the door and exits. 

ANYA
Don't look so uncomfortable, Lee--it interferes with 
your good looks. Give me a cigarette. 
(as he lights it for her) 
What did you do--persuade her to come on this voyage 
with you?

LOTHER
Don't talk such bunk! She's one of the acts on the ship. 
I just ran into her by accident. 

ANYA
(sweetly)
Did you muss up her hair by accident, too? 

LOTHER 
You mind your own business! She's an old friend of 
mine and I like her--what're you going to do about it?

ANYA
(with a smile) 

Just make it as difficult as possible for you to see her. 

LOTHER 
I didn't ask you to come away with me--

ANYA 
Oh--a hundred times--

LOTHER 
(furiously)
--and I can tell you where to get off. 

ANYA 
And when you do I'll convey your respects by wireless 
to Herbert.
(She smiles sweetly) 
Take it easy, Lee--no other woman'll ever get you. At 
least I'm honest when I tell you there must be something 
pretty low down in me--because I like you.
(He throws himself on the 
lounge and puffs at his 
cigarette. She sits on the 
lounge--strokes his face)
You're such a swine!

LOTHER 
Will you leave me alone?

ANYA 
(laughing as she pinches his 
cheek) 
I like touching you--poison ivy.
(Suddenly the banter leaves 
her voice) 
You'd just been kissing that girl when I came in, hadn't 
you? 

LOTHER 
Baloney!

ANYA 
No, darling, lip rouge--all over your mouth.

CUT TO:

132 LARGE CLOSE SHOT--ANYA'S HEAD 
As she bends slowly toward him. 

ANYA 
(slowly) 
Let me wipe it off for you.
(She kisses him sensuously, 
then looks at him, her eyes 
blazing) 
I adore you--you gorilla!

She slaps his face none too gently. 

LOTHER
And I'm nuts about you--
(He pinches her face roughly)
--beautiful!

He returns her slap in the face playfully--but with 
interest.

ANYA
(breathlessly)
I couldn't live without you!

Again she hits him across the face but this time 
with all her force. Before he can retaliate she has 
again fastened her lips to his. We see his clenched 
fist in the air hesitate a moment then relax. His 
arms go about her--he crushes her to him.

CUT TO:

133 BRETT AND MARY--LOUNGE
Brett is very nervous and impatient. He paces 
back and forth.

MARY 
Why don't you answer my question? 

BRETT
(impatiently) 
I didn't even hear it.

MARY
Then I'll repeat it.

Brett continues pacing to and fro. 

MARY
If spinach makes iron, what makes a boat rock?

BRETT
(uninterested) 
Who cares?

MARY
(laughing) 
I'll have to tell that to Denby. He'll use it on the radio. 

Denby passes by door and hears remark. 

DENBY
(sticking head in door) 
I don't know what it is, but I won't use it. 
(then to Brett) 
Is she entertaining you?

BRETT
I should say not.

DENBY 
Good!
(then to Mary) 
At last you're making yourself useful. So long! 

Denby leaves. A steward enters. 

STEWARD 
No, sir--she's not on the upper deck either. 

BRETT
(handing him a bill) 
Thank you.
(to Mary) 
You'll excuse me, please--

He walks away toward dining room.

DISSOLVE TO:

134 MEDIUM CLOSE 
As Brett exits from scene with Mary, he sees Sally, 
who is walking dejectedly.

BRETT
(calling)
Oh, Sally!

SALLY
(enters apologizing)
I'm sorry I'm late, but something happened. 

BRETT 
You're forgiven if you don't make dates with anybody 
except me for the rest of the voyage. 

SALLY
I must say you're persistent--
(pleased) 
--it's kind of flattering.

Occasionally a passenger passes them but the deck 
is more or less deserted.

BRETT 
(studying her) 
You're unhappy about something, aren't you? 

She hesitates before replying. 

SALLY
A little.

BRETT 
Sorry.

SALLY
Thanks.

BRETT 
Anything I can do?
(She shakes her head) 
I'd jump overboard if it'd help you. 

She puts her hand over his and pats it. 

SALLY
Mighty decent of you, pal.

BRETT 
Decent?
(His expression hardens) 
I guess any guy could be decent--if you were interested. 

They stop near lifeboat (PROCESS SHOT).

SALLY 
(suddenly)
What are you thinking?

BRETT 
A lot of things I'd like to forget. 

SALLY
That's funny--so was I.
(another pause) 
Guess the ocean makes one sentimental

BRETT
I can't blame the ocean--it's you. 

SALLY 
You don't know anything about me. If you did, you
probably wouldn't be here.

He leans toward her--their heads are very close
together.

BRETT 
Can you keep a secret? 
(She nods) 
You're the first girl I ever met I wanted to build a fence
around.

She looks at him steadily. 

SALLY
Don't kid me. I'm in no mood for it. 

BRETT
For once I'm dead on the level--
(He lowers his voice) 
--crazy about you!

SALLY
Will you take some advice?
(He nods) 
If you're looking for romance--count me out--
(as an afterthought) 
--if you know what's good for you. 

BRETT
But--

SALLY
--I know what I'm talking about. I'm no high-school
girl looking through a window--reaching for the moon. 
(She starts to rise) 
Guess I'll be going.

BRETT
(detaining her)
Sally--!

SALLY
Let's forget it--can't you see I kind of like you, too 
... and I don't want to get involved. 

BRETT 
(eagerly) 
You mean that?

SALLY
Don't let's talk about it.

BRETT 
(gaily)
You said it! How about a little action?

He leans over and kisses her. For a moment she 
resists him, then her arms go around his neck. 

VOICE 
Sandwiches?

As they look up, Sally breaks away from him and 
runs out of scene, leaving him.

CUT TO:

135 REVERSE ANGLE
Two stewards--one carrying a tray of sandwiches, 
the other, a tray of bouillon--are standing before 
him. Brett is oblivious of their presence. The 
steward places a cup of bouillon and a sandwich in 
his hand. 

They exit.

He comes out of his daze--notices the food in his 
hand and places it on rail by lifeboat.

PAN TO:

136 CLOSE SHOT OF LIFEBOAT
From the canvas covering of the lifeboat a head 
slowly appears. It is Ballinger (the man we saw 
drop the cop's uniform). He is gaunt and haggard. 
He looks around furtively. For a moment he looks 
down--sees the sandwich--reaches for it--brings 
it back into the lifeboat--and disappears.

FADE-OUT

FADE-IN 

137 LONG SHOT--BOAT AT NIGHT 

LAP DISSOLVE TO: 

138 LONG SHOT--AUDITORIUM
The music is playing--a few couples are dancing--
other people are being seated--stewards are looking 
in through windows.

CUT TO: 

139 CLOSE-UP--LOTHER, ANYA, AND SUMMERS
In doorway--Brett is standing near by--Summers
sees Brett.

SUMMERS 
(looking toward Brett)
There's the chump--over there--
(He points)

LOTHER
(dubiously) 
I wonder!

Lother, Anya, and Summers walk over to Brett. 

SUMMERS 
(to Brett) 
How's your mother feeling?

BRETT 
Much better--thank you--

LOTHER
How about a little game later? 

BRETT
Fine--I'll be glad to.

CUT TO: 

140 MEDIUM CLOSE SHOT--BRETT AND ANYA
Anya is wearing a thin bracelet (quite unlike the 
one she had been wearing in previous scenes). Brett 
notices this.

CUT TO: 

141 MEDIUM CLOSE SHOT--BRETT
He reacts when he sees the bracelet as if an idea 
has just struck him.

BRETT
(to Anya)
Will you please excuse me? I'll be right back.

ANYA 
We'll save you a place at our table. 

BRETT 
Thanks.

He exits.

CUT TO:

142 MEDIUM CLOSE SHOT--SHORTIE 
He is standing by the window and sees Brett leaving. 
He follows Brett on to the deck. 

WALKING SHOT

SHORTIE 
(in an undertone)
What's up?

BRETT
The ice is in the storage.

CAMERA FOLLOWS Brett and Shortie to Anya's
stateroom, where they stop.

143 MEDIUM CLOSE SHOT--OUTSIDE ANYA'S STATEROOM DOOR.
Brett is glancing up and down corridor furtively. 

BRETT
Keep a lookout, Shortie--

Brett takes a bunch of keys from his pocket--he 
inserts a key in the door and goes in.

CUT TO: 

144 INTERIOR OF ANYA'S STATEROOM--LIGHT EFFECT
Brett starts to search for the bracelet.

CUT TO:

145 SHORTIE OUTSIDE--CAMERA SHOT DOWN CORRIDOR

QUICK CUT TO:

146 MCKINNEY--MEDIUM CLOSE SHOT
He sticks his head out of stateroom door--he is in 
evening dress with dress tie untied--he calls to 
Shortie.

MCKINNEY
Oh, boy!

147 CLOSE-UP--SHORTIE
He turns toward McKinney and reacts nervously. 

SHORTIE 
(timidly)
Yes, sir.

He goes to McKinney. McKinney takes him by the 
arm without saying a word, and takes him into his 
room. Shortie is obviously scared to death. McKinney, 
slightly embarrassed, speaks softly. 

MCKINNEY
Can you tie a bow tie?

SHORTIE
(trembling)
Yes, sir--

He starts fumbling with tie, and ties it very badly. 

CUT TO: 

148 MEDIUM CLOSE SHOT--BRETT
He has the bracelet which he puts in his pocket and 
starts to exit to exterior of room. Outside he looks 
for Shortie.

CUT TO: 

149 MEDIUM CLOSE SHOT--MCKINNEY AND SHORTIE
They are coming out of McKinney's room. Brett 
sees them and starts down corridor toward auditorium.

MCKINNEY
(calling) 
What's your hurry, young feller?

Brett turns. He stops and smiles. By this time 
McKinney has reached Brett's side.

BRETT
I'm going to the show--

MCKINNEY 
(good-naturedly)
I'll go with you--

CUT TO:

150 AUDITORIUM--INTRODUCTION OF THE SONG
ENTITLED Oh, Leo IS PLAYING 

CUT TO:

151 STAGE--FRANK PARKER, MARY LIVINGSTON, AND 
JEAN SARGENT are singing verse of song. (The 
business for this number as worked out by Larry 
Ceballos.) Parker sings one verse and chorus and 
starts to sing a second chorus, but is interrupted 
by Denby's voice.

DENBY'S VOICE 
Wait a minute--

CUT TO: 

152 MEDIUM CLOSE SHOT--DENBY 
He is carrying a baby spotlight--he stops the 
orchestra--

DENBY 
(to orchestra)
That's enough, boys--
(then to Parker) 
That was fine, Frank--you've already sung a verse and 
chorus, and everybody enjoyed it--I hope--Now I have 
a good idea--sit down, Frank, Mary, Jean. 

The trio sits down.

DENBY 
Here's the idea--we're going to reverse things around 
here--you've entertained the audience, and now for a 
change they're going to entertain you--
(He turns to audience) 
aren't we?--I'll sing the chorus up until I get to the 
words, "Oh, Leo," then I'll put the spotlight on some 
lady or gentleman, and whoever the lucky one might be, 
he or she will then sing the words, "Oh, Leo--Oh Leo--
Oh Leo--Oh--" 

Denby sings the best he can, which is bad enough. 

DENBY
We'll try it once--
(He addresses the orchestra)
Play, boys!

The orchestra plays. Denby sings until he reaches 
"Oh Leo," then puts the spotlight on someone in 
the audience, and we 

CUT TO: 

153 CLOSE-UP--THAT SOMEONE 
(Note: We continue this routine, in which we 
utilize all principals as well as outsiders.) The
number concludes with entire audience singing song 
enthusiastically.

CUT TO: 

154 MEDIUM CLOSE SHOT--PARKER, LIVINGSTON, AND 
SARGENT
They are applauding the audience.

CUT TO: 

155 CLOSE-UP--DENBY
He also is applauding the audience--he is laughing 
and having a good time--he addresses the passengers.

DENBY
That was fine, folks--now we'll try it again. 

Mary walks into scene and interrupts him. 

MARY 
Oh, Chad--what about the rest of the show?

DENBY
Oh,--I was having so much fun I almost forgot--

Mary, Parker, and Sargent take him by the arm 
and start to lead him off stage--as they do so he 
announces the next act while walking toward the 
wings.

DENBY
The next act will be Sally Marsh and her troupe of
trained adagio dancers.

Denby exits with trio--orchestra starts introduction 
of It Was Sweet of You.

CUT TO: 

156 MEDIUM SHOT--STAGE
The curtains part and Sally Marsh and Frank 
Parker appear.

CUT TO: 

157 CLOSE SHOT--TABLE IN AUDITORIUM
Brett, Lother, Summers, Anya, and McKinney are 
seated around it--Frank Parker's voice comes over 
this scene. Anya is sitting between Brett and 
Lother--Brett is looking toward stage and beaming 
with pride as he looks at Sally.

CUT TO:

158 MEDIUM CLOSE SHOT--BACKSTAGE IN WINGS
Ned and Denby--Parker is still singing--

DENBY
Does she know Lother's aboard yet? 

NED 
No--but I'm going to tell her as soon as the act's 
finished.

CUT BACK TO: 

159 MEDIUM CLOSE SHOT--TABLE IN AUDITORIUM
Where Anya, Lother, Brett, Summers, McKinney 
are sitting.

BRETT
(to Anya)
Isn't she lovely?

ANYA
Yes--and very popular--
(She glances meaningly at Lother) 

Lother responds to the glance with a faint smile--
by this time Parker has finished the song.

CUT TO: 

160 CLOSE SHOT--STAGE
Where we see Sally quickly removing her dress and 
throwing it off stage--she is underdressed in her 
adagio dance costume. Ned and Hans enter for 
Adagio routine (Note: This will be staged by 
Larry Ceballos.) During the dance, the following 
dialogue is cut into the routine while dancing. 

NED 
What's the matter, Sally?--you're shaking. 

SALLY
I'm all right.

NED
(anxiously) 
You saw him sitting out there in front, didn't you? 

SALLY
I was in his cabin--

NED
What!--are you crazy?

SALLY 
I'll explain later--

NED
If he comes near you again, I'll break his neck--

They continue at a faster tempo which interrupts 
their dialogue. The music works up to a gradual 
increase in tempo for a whirlwind finish. (Note: 
This is to be determined by Ceballos.)

CUT TO: 

161 LONG SHOT--AUDIENCE APPLAUDING
This shot is from behind, taking in stage and backs 
of people in audience.

LAP DISSOLVE TO: 

162 MEDIUM LONG SHOT--PASSENGERS DANCING
There is a perceptible rocking of the boat--individual 
orchestra specialties are also introduced here.

CUT TO: 

163 MEDIUM CLOSE SHOT--TABLE IN AUDITORIUM
Where Brett, Summers, Anya, Lother, and McKinney 
are seated--dishes are now on the table, 
napkins, etc.

SUMMERS
Now that the entertainment is over, how about a little
game of cards?

BRETT
(to McKinney)
Care to join us?

MCKINNEY
(smiling)
No, thanks--I never gambled in my life. 

SUMMERS
(laughing) 
You're lucky--out my way, in Montana, there's nothing 
else to do--

ANYA
(rising) 
I'm going down to my cabin. I have to send a wireless-- 
see you later.

Anya leaves. Lother rises--he addresses the group. 

LOTHER
Excuse me, gentlemen--I'll see you at the card game--

CUT TO:

164 MEDIUM CLOSE SHOT--HERBERT ROSSON
In second-class buffet with three other men--they 
are seated at the table with drinks in front of
them.

FIRST PASSENGER
(smiling)
All right--if you must know the truth--I'm going to 
Carlsbad for my health.

SECOND PASSENGER 
(a Frenchman)
And, gentlemen--I'm going home, because my wife is 
going to have a baby.

THIRD PASSENGER 
(embarrassed--speaks softly) 
I'm on my honeymoon--

FIRST PASSENGER
(turns to Rosson) 
How about you--why are you on the boat? 

ROSSON 
(has the glass almost to his 
lips when the question is asked
--he calmly drinks--puts the 
glass down quietly, and 
earnestly says) 
I'm going to kill a man. 

He exits.

CUT TO: 

165 CLOSE SHOT--REACTION OF OTHER THREE MEN
They look at Rosson and then at each other. 
There's a dead silence, for a moment. 

FIRST PASSENGER
Was he kidding us?

CUT TO:

166 MEDIUM SHOT--OUTSIDE DOORWAY OF AUDITORIUM 
The purser is standing there--Anya enters.

CUT TO: 

167 MEDIUM CLOSE SHOT--ANYA
She is very nervous and excited--she addresses the 
purser.

ANYA
A very valuable bracelet of mine's been stolen!

PURSER
Where did you have it last?

ANYA
In my cabin. I didn't wear it this evening--when I went 
downstairs just now, I found the lock of my jewel box 
broken open.

By this time McKinney and Summers come up. 

ANYA
(excitedly as she addresses them) 
A bracelet's been stolen from my cabin! 

MCKINNEY
Where is your cabin?

CUT TO:

168 MEDIUM CLOSE SHOT--TABLE IN AUDITORIUM
Brett--he looks off scene.

CUT TO: 

169 MEDIUM CLOSE SHOT--SHORTIE
His eyes shift furtively from left to right, 
ascertaining that he is not being watched by anyone. He 
nods his head in the affirmative to Brett.

QUICK CUT BACK TO:

170 CLOSE SHOT--BRETT'S HAND UNDER TABLE
He takes bracelet from his pocket, wraps it up in 
a napkin and puts it on the table.

CUT BACK TO: 

171 MEDIUM CLOSE SHOT--SHORTIE
He leaves the window--picks up a tray from a 
table near by and starts toward Brett's table. 
TRUCK WITH HIM UP to table, as he starts to
clear the dishes and pile them on to the tray, also 
taking napkins. A waiter enters and puts a halt to 
Shortie's activities.

WAITER
This is my job--you've got no business in here--

He takes the tray with the piled dishes, including 
the napkin which envelops the bracelet from 
Shortie, and starts sway.

171A CAMERA PANS WITH SHORTIE AS HE FOLLOWS
WAITER, who goes to chute where dirty linen is de-
posited. He lays the tray down and takes one of 
the five napkins on the tray and throws it down the 
chute,--he repeats this operation with two more 
napkins. Shortie almost faints--he takes a napkin 
from the tray and feels the weight of it quickly--
satisfied that it contains nothing, he throws it 
down the chute and grabs the only remaining napkin 
off the tray. He readily realizes that this contains 
the bracelet and jams it quickly into his pocket and 
exits.

LAP DISSOLVE TO:

172 MEDIUM SHOT--INTERIOR OF ANYA'S CABIN
Purser, Brett, Anya, McKinney. 

BRETT
This is exciting--but if it's been stolen they can't get 
away with it on a ship--

MCKINNEY
Some of the smartest robberies have taken place aboard 
ships--

BRETT 
It'll be very interesting to see how you go about solving 
this, Inspector--

MCKINNEY 
Sorry--but I'm on a vacation--

BRETT
(to Anya) 
If he lets you down I'll try my hand at sleuthing--
(Brett takes cigarette) 
Bet I could find that bracelet--

MCKINNEY
(strikes a match) 
I wouldn't be surprised--

The two men look at each other. 


PURSER
Mrs. Rosson, was the bracelet insured? 

ANYA 
Yes--for $10,000--

PURSER
If you'll give me the details in the morning, we'll notify 
the insurance company--and rest assured if it's on the
boat we'll locate it--

Purser exits.

BRETT 
(to Anya)
I wouldn't worry about it--it'll turn up--
(to McKinney) 
How about a nightcap, Inspector? 

MCKINNEY 
No, thanks--I'll take a walk around the deck and then
turn in--

BRETT
Good night!

Brett exits. 

ANYA
(to McKinney)
He's a nice boy--

MCKINNEY
Yes--he's very nave--

He exits as Summers enters. 

SUMMERS 
Did you find it?

ANYA
No!--Did you take that bracelet?

SUMMERS 
No-o!

ANYA 
Where's Lother? 

CUT TO: 

173 MEDIUM SHOT--SALLY'S DRESSING ROOM
She is still in her adagio costume. Lother is present. 

SALLY
(to Lother) 
Do you mind getting out of here now--I want to 
change--

LOTHER 
Go ahead--you didn't used to be so fussy--

SALLY
I've lost my taste for knickknacks--

LOTHER
Don't be a mug all your life--I'm trying to help you--
you need me more than I need you--have you figured
they might pick the kid up in France and extradite him?

SALLY
Have you ever figured they might extradite you? 

LOTHER 
I'm not so clumsy with fingerprints--

There's a knock at the door. Sally goes quickly to
it and half opens it--Brett is in the companionway
--from his position he is unable to see Lother. 

BRETT
Would you like to take a turn around the deck with me? 

SALLY
(anxious to escape from Lother) 
Yes--is it all right if I come like this? 
(She grabs a cloak and goes out) 

CUT TO: 

174 WALKING SHOT--BRETT AND SALLY IN COMPANIONWAY

SALLY
This time I'm really glad you showed up. 

BRETT
Lonesome?

SALLY
We'll let it go at that--

They exit from companionway.

CUT TO: 

175 MEDIUM CLOSE SHOT--EXTERIOR OF SALLY'S
DRESSING ROOM
Ned meets Lother coming out of Sally's cabin--
he stops momentarily--then rushes into Sally's 
cabin--he sees that Sally is not there--he comes 
out quickly--

NED
(grabbing Lother by the arm) 
What are you doing around here? 

LOTHER 
(very calmly) 
Take it easy--you'll last longer--

Ned goes after Lother with a clenched fist. 

NED 
Why don't you leave Sally alone--you dirty--

Lother is too quick for Ned and hits him a terrific 
punch on the jaw, knocking him down. Lother then 
exits. Denby enters scene--he goes to Ned and 
helps him to his feet.

DENBY
(alarmed)
What happened to you?

NED
You've got a gun, haven't you, Chad? Will you let me
have it?

DENBY
What for?

NED
Don't ask any questions--just give it to me. 

DENBY
(trying to quiet him) 
Easy kid--easy....
(puts his hand on Ned's shoulder) 
Come on--I want to talk to you.

He takes Ned by his arm and leads him away.

CUT TO:

176 MEDIUM CLOSE SHOT--SALLY AND BRETT ON 
DECK at the rail.

BRETT
(looking at moon)
That's a beautiful moon, Sally? 

SALLY
(smiles sweetly)
What, again?

BRETT 
(very seriously)
Yes--you know what I've been thinking, Sally?--

SALLY
What?--

BRETT
I think we'll live in Europe after we're married? 

SALLY
(is speechless for a moment, 
then laughs) 
I didn't know we were going to be married.

BRETT
You didn't?--I guess I forgot to tell you--

SALLY
You're a little ahead of yourself--the usual routine
would be for you to propose, and if I accept, then you'd 
give me an engagement ring--

BRETT
I'll give you plenty of rings as soon as I get the stones 
set--what do you think?

SALLY
I think we ought to walk.

They walk out of scene.

177 CAMERA PULLS BACK ON DECK--MEDIUM LONG SHOT
McKinney is walking along deck. He sees Sally and 
Brett--an idea has struck him--he immediately 
turns and goes the other way.

CUT TO: 

178 MEDIUM CLOSE SHOT--DAN CAMPBELL, STAGGERING 
AND SINGING Oh, Leo
He sees McKinney suddenly, and reacts with a 
start--he then continues staggering down deck, 
singing, "Oh, Leo, Oh, Leo." He stops abruptly, 
and a frightened look replaces his happy smile. 

CUT TO: 

179 CLOSE-UP--WHAT HE SEES
Lifeboat--the canvas covering raises slowly, and 
Ballinger's haggard face is revealed.

CUT BACK TO: 

180 MEDIUM CLOSE SHOT--DAN CAMPBELL
He stiffens up--turns on his heel, and makes a bee-
line for the barroom.

CUT TO: 

180A CLOSE-UP--SHORTIE
In companionway--He sees McKinney go into 
Brett's room.

CUT TO: 

181 MEDIUM SHOT--MCKINNEY IN BRETT'S ROOM 
He is searching.

CUT TO:

182 CLOSE SHOT--MCKINNEY 
Coming out of Brett's room and exiting toward
deck.

LAP DISSOLVE TO:

183 DECK
Where Brett and Sally are sauntering along, and
are met by McKinney.

BRETT
(to McKinney) 
Thought you were going to turn in, Inspector. 

MCKINNEY 
Nervous. Couldn't sleep. Feel like a nightcap? 
(inviting them both)

SALLY
It's getting kind of chilly on deck. If you'll excuse me, I
think I'll go to bed. Good night, Mr. McKinney!

MCKINNEY
Good night!

BRETT
(softly)
Good night, Mrs. Brett!

SALLY
Good night, idiot!

MCKINNEY
(to Brett)
How about you?

BRETT
No, thanks. I've promised to play cards. 

MCKINNEY
You know what I'd do, if I were you--before the card
game I'd go to the Purser's office. 

BRETT 
Why?

MCKINNEY
Well, someone else besides myself may have seen you 
in the vicinity of Mrs. Rosson's cabin this evening--even 
the stewards in that corridor insisted on being searched.
Get me?

BRETT
Sure, I'll go.

MCKINNEY
I'll go with you. 

BRETT
Swell!

DISSOLVE TO:

184 PURSER'S OFFICE -- MCKINNEY, BRETT, AND PURSER 

PURSER
Well, you insist--

He runs his hands through Brett's pockets. 

MCKINNEY
(laughing) 
It's easy to see the Purser hasn't had much practice. 

BRETT 
(smiling) 
How about trying your fine Italian hand?

MCKINNEY
This has nothing to do with me--
(He moves to Brett) 
But always remember, Purser, when you're searching 
anybody, take the lining of their coat, like this--
(He suits the action to the words) 
--run your fingers all along these seams.... Then--
back of the collar--here--that used to be a favorite 
trick--and never forget to put your finger down inside 
of the shoe--like this.

BRETT 
Hey!--you're tickling me.

MCKINNEY
(ignoring the interruption) 
Then we run our hands down a man's arms and legs--
like this--in case they got what you're looking for 
attached to a string.
(He stands off and surveys 
Brett, slightly disappointed) 
See what I mean, Purser?

PURSER 
Very interesting.

BRETT
(good-naturedly)
Well, I guess that's all--good night!

He flips them a salute and goes nonchalantly out.

PURSER 
He's certainly good-natured.

MCKINNEY 
"Smooth's" the word.

PURSER
I mean--a lot of gentlemen would be offended if you 
searched them like that.

MCKINNEY 
(casually)
It all depends on what you're used to.

McKinney suddenly bangs his fist on the desk. 

MCKINNEY
Well, I'll be a son of a sea cook! 

PURSER
What's the matter?

MCKINNEY
Nothin--
(He pulls out his billfold and grins) 
--I just remembered the name of a guy that owes me 
fifty bucks.

FADE-OUT

185 FADE-IN 
BRETT'S CABIN--NEXT MORNING
Brett in bathing suit and dressing gown, talking 
to Shortie. Shortie is puffing a cigarette nervously. 

SHORTIE
This is the first chance I've had to get away to tell you 
--McKinney was snooping around in this cabin last 
night.

BRETT
(smiling)
It's O.K., Shortie--it's still there. Better bring it in. 

Shortie goes to porthole and puts his head through 
window.

CUT TO: 

186 REVERSE ANGLE -- SHORTIE'S HEAD THROUGH PORTHOLE
Stuck to the side of the ship with adhesive tape is 
the bracelet. As Shortie takes it and his head 
disappears, 

CUT BACK TO: 

187 INSIDE

SHORTIE 
What're you goin' to do with it? 

BRETT
You keep it--
(indicating porthole)

SHORTIE 
(protesting)
Me!

BRETT 
Sure! McKinney will never suspect you--

He moves toward door.

SHORTIE
(Still protesting) 
Say--wait a minute!

BRETT
(breezily)
See you later, Shortie--I'm off to the pool.

As Brett exits, Shortie takes bracelet and puts it 
in his shoe.

188 DOLLY SHOT IN CORRIDOR OUTSIDE 
TRUCK AHEAD OF BRETT until we reach cigar and
news stand. At the news stand buying books is 
McKinney. He has two books in his hand, making 
a decision on which one to buy. He looks up as he 
hears Brett speak.

BRETT
Large package of Luckies--Good morning, Inspector! 

MCKINNEY
Hello, young fellow!

BRETT
Coming to the pool for a swim?

MCKINNEY
Nooooo!--going to catch up on my reading. 
(to the store attendant as he 
hands him the money) 
I'll take this one.

He puts a copy of Monte Cristo under his arm and 
drops the other book in front of Brett. As Brett 
looks at its title,

189 INSERT--BOOK:

Crime Doesn't Pay

190 MEDIUM SHOT--BRETT
He looks up from the book to the retreating 
McKinney, smiles, takes his cigarettes and commences 
to move out of scene.

LAP DISSOLVE TO: 

190A CORRIDOR
McKinney exits from cigar stand to where Chad 
Denby has been watching. Denby greets him with--

DENBY
Hello, Inspector--I hear your vacation's been spoiled. 
Somebody lost a bracelet.

MCKINNEY
Yes, a bracelet's been lost, but I'm still on my vacation. 

DENBY
I understand you searched Brett for it last night. By 
the way--what do you know about him? 

MCKINNEY
Well, I've seen him here and there. What's on your
mind?

DENBY
Oh, nothing--only I wondered why you suspected him. 

MCKINNEY 
Well, I'll tell you--we picked him up about a year ago--
but could never pin anything on him. 

DENBY
Maybe he just travels in bad company. 

MCKINNEY
Yeah--

He exits.

DISSOLVE TO:

191 BRETT AND ANYA IN THE POOL AT THE SHALLOW END.
It is crowded with many beautiful girls in colorful 
bathing suits. People are diving in and out of the
water--huge colored balls are being thrown--the 
usual hilarity of a crowded pool. 

BRETT 
(anxiously) 
Tell me--did you find your bracelet? 

ANYA
No--I'm furious!--Nobody seems to do anything about
it--

BRETT
(with an ingratiating smile) 
Why worry? It was insured--how about that swimming 
lesson I promised you?

By now they are just about up to their waists in 
water. He starts to teach her to swim--his hand 
is under her chin.

BRETT
Strike out harder with your feet--now exhale as your 
arms go back.

He holds Anya up as she strikes out.

CUT TO: 

192 OTHER END OF POOL--SEMICLOSE SHOT--SALLY
She has just arrived. She throws off her wrap and 
she looks very fetching in her bathing suit. She 
sees Brett smile and waves.

CUT TO: 

193 BRETT 
He has just seen her--forgets Anya and goes 
quickly toward Sally. Anya, without his support, 
promptly sinks. He goes back, stands her on her 
feet, mumbles an apology, and swims quickly 
toward the other end of the pool.

CUT TO: 

194 SALLY DIVES IN
Brett just coming out of the water.

195 SALLY AND BRETT

BRETT
I thought you were never coming--

SALLY
(looking in the direction of Anya) 
I could see you were pining away--

BRETT 
Oh, that's Mrs. Rosson--remember, you met her yesterday?

SALLY
(drily)
Yes--I remember--

They sit on the side of the pool and dangle their 
feet.

SALLY
(after a pause)
How well do you know her?

BRETT 
(casually) 
Just met her on the boat--supposed to play bridge with 
her yesterday--but she wouldn't--so we played poker 
instead.

SALLY
(with a start)
Who with?

BRETT
A Mr. Summers and a man called Lother. 

SALLY
Oh, you infant! How much did you lose? 

BRETT 
Lose?--I won a little--

SALLY
That was the come-on--promise me you won't play with 
them again--

BRETT 
(quickly) 
What do you know about them? 

SALLY 
Too much--Remember--I warned you about me--
(She looks him straight in the eye) 
I used to be Lee Lother's girl--

BRETT
You can live that down, can't you?

SALLY
He's a con man--crooked as a tree--and I was part 
of the racket--helped him!
(She throws her head back 
and looks at him)
Now--if you have an appointment elsewhere--I'll excuse 
you!

She dives off edge of pool and Brett swims after 
her.

BRETT 
(catches up to her)
You can't lose me, Sally--I'm no lily myself! 

SALLY
(half to herself) 
I'm beginning to think you're a pretty swell guy. 

BRETT
(avoiding her eyes) 
Come on--let's take a swim. 

As they start to rise.

CUT TO: 

196 BRETT AND SALLY AS THEY DIVE
Short underwater sequence which is very graceful. 

CUT TO: 

197 STEWARDS' GLORY HOLE
Shortie, limping, takes a quick look around to 
make sure he's not observed and commences to take 
bracelet from his shoe.

CUT TO: 

198 OTHER END OF ROOM
Hidden from Shortie's view by a locker, is another 
steward. He glances casually toward Shortie, sees 
bracelet, looks surprised, and takes a step forward. 

STEWARD
Blime!--wot's that yer got?

SHORTIE
(moving toward door)
Nothin'.

STEWARD
(increasing his pace)
Let me look at it.

SHORTIE
(moving away from him faster) 
Ain't got time.

STEWARD
(moves quickly toward him) 
Hey--you! Where you going?

CUT TO: 

199 FULL SHOT
There is only one thing for Shortie to do. He beats
it, pursued by steward out of room onto deck. 

CUT TO:

200 SHORTIE RUNNING ALONG DECK PURSUED BY STEWARD
Campbell staggers out of bar as Shortie runs by 
him. The pursuing steward grazes Campbell's 
shoulder and swings him around. He goes back to 
the bar for a drink.

201 SHORTIE RUSHING DOWN STEPS FROM "A" DECK--
Closely pursued by steward. He throws a terrified 
glance over his shoulder. The steward is shouting 
at him to stop. At the bottom of the steps is the 
quartermaster.

STEWARD
Stop him! Stop him! He's got the bracelet! 

Shortie manages to elude quartermaster and runs 
toward pool, pursued by quartermaster and steward. 
He rushes through the crowd to the edge of 
the pool, his eyes searching wildly for Brett. 
Quartermaster and steward arrive and make a 
grab for Shortie.

CUT TO: 

202 CLOSE SHOT--BRETT'S HEAD
Appearing above water. He takes in the situation. 

CUT TO:

203 SHORTIE
He dives into pool.

CUT TO: 

204 UNDERWATER SHOT
Brett swims to him. Shortie pulls the bracelet out 
of his pocket. Brett grabs it and tucks it in his 
trunks. Shortie rises to the surface. Brett swims 
under water toward opposite end of the pool. 

LAP DISSOLVE TO:

205 PURSER'S OFFICE--SHORTIE (DRIPPING WET). 
ASSISTANT PURSER, STEWARD, AND QUARTERMASTER. 
Shortie's wet shoes are on the desk. 

SHORTIE
I tell yuh I ain't got no bracelet--

STEWARD
(threateningly--pointing to shoes) 
I saw him take the bracelet out of that shoe. 

SHORTIE
Yer crazy!--I ain't got no bracelet. 

STEWARD 
Then why did you run away?

SHORTIE
(innocently) 
Because you ran after me.

LAP DISSOLVE TO:

206 MEDIUM SHOT--DECK OF BOAT
There are several young ladies (probably six or 
eight). They are dressed either in sport dresses or 
athletic shorts and blouses or in the dresses they 
would ordinarily wear on board ship. They are all 
lined up at the starting line, ready for a "Horse 
Race." Each of the girls has a boy (or man) for 
a partner. The idea is this:

The men place their hands on the deck and the 
ladies take hold of their feet, while the men move 
forward being partially pushed by the ladies 
wheelbarrow fashion. All principals are participants 
and a PAN SHOT discloses Dan Campbell and 
Sally Marsh as an entry.

CUT TO: 

207 MEDIUM CLOSE--DENBY
He is the starter and has full charge. All the 
contestants are smiling and chatting merrily in 
anticipation of the coming race. We hear their 
merriment coming in over Denby's close-up. 

DENBY
(addresses contestants) 
Take your places, folks. The winner of this horse race
will be presented with a handsome autographed ocean
wave.

CUT TO: 

208 MEDIUM SHOT
They are all lined up la wheelbarrow. Their 
positions will naturally be funnier than can be 
described here.

CUT TO: 

209 MEDIUM CLOSE--SALLY AND DAN 
Sally is having extreme difficulty with her horse 
(Dan). His arms collapse and he falls flat on his 
face.

SALLY
(complaining. She yells to Denby) 
I want a new horse. His front legs are full of rubber. 

Denby enters scene.

DENBY
(looking at Dan)
Come on, get up.
(He imitates the sound a driver 
uses to urge his horse with--
then to Sally) 
That horse is carrying too much of a load. 

DAN 
(lifting his face from the deck) 
Who won?

DENBY
Well, you got the first down--there's one more to go. 
Come on, we're ready to start right now. Come on. Just 
keep stiff.

DAN
I was never stiffer in my life.

DENBY
(addresses everybody with a laugh) 
All right, folks, get on your mark. When you hear the 
pistol shot--

He reaches for his gun but discovers that it is not 
in his pocket.

DENBY
(apologetically)
I forgot my gun.
(He takes his pocket 
handkerchief instead) 
I'll drop this handkerchief instead--
Get ready--One!--Two!--Three!

He drops handkerchief--the race starts.

CUT TO:

210 MEDIUM LONG SHOT
The passengers watching and cheering their favorites.

CUT TO: 

211 MEDIUM CLOSE SHOT

BRETT
Come on, Sally.
(excitedly) 
Bet you a hundred dollars she wins! 

MCKINNEY
Wouldn't bet against her.
(A pause) 
Tell you what I will do--bet you I find that bracelet 
before we hit France.
(Brett gives him a side glance 
as he continues drily) 
Not a hundred, though--just fifty. 

BRETT
It's a bet--come on, Sally!

212 CUT OF FAT DAME (GAG)

CUT TO: 

213 FINISHING LINE 
We see the finish of the race. Dan Campbell slides
over the finish line on his nose. 

DENBY
The winner, Sally Marsh! And--
(He raises Sally's hand)
--Dan Campbell--
(He pulls a sliver out of Dan's nose)
--wins by a sliver!

CUT TO: 

214 MEDIUM CLOSE--DECK

MCKINNEY
(watching Sally) 
Nice girl, that--
(looking at Brett) 
I'd hate to see her get a raw deal. 
(as he fills his pipe) 
You know, the great trouble with crooks is they're too 
smart. Now if I'd taken that bracelet, I'd find some way 
to slip it back--I'd know I could never get ashore with
it.

BRETT
(with assumed casualness) 
Anybody that's taken the trouble to get it would be a 
mug to put it back.

CAMERA PANS TO THE RACE. Sally is smiling over
at Brett. CAMERA SWINGS TO HIM. A hand taps 
him on the shoulder. He looks up. CAMERA PANS
WITH HIM. Lother is standing behind him. 

LOTHER 
Could I see you a minute?

BRETT 
Sure!
(He rises) 
Excuse me.

215 CROWD CUT--SALLY ACCLAIMED

CUT TO:

216 MCKINNEY AND SALLY 

MCKINNEY
Congratulations.

SALLY 
Exciting, wasn't it? Where's Jimmy?

MCKINNEY
He'll be back.
(suddenly) 
What would you do if anybody gave you a bracelet?

SALLY
(laughing) 
Say, "Thanks very much!" 

MCKINNEY
I mean if you knew it were stolen. 

SALLY
Well, of course, I wouldn't take it.

MCKINNEY 
And if you liked the person, you'd naturally persuade 
him to give it back and go straight, wouldn't you? 

SALLY 
Sure I would--but I don't get what you're driving at. 

MCKINNEY 
Maybe you will after you've thought it over. 

He exits.

CUT TO: 

217 BAR 
Brett, Lother, and Summers drinking--apparently 
quite affable.

LOTHER 
(gently) 
Well--when are we going to have our little poker game? 

BRETT 
Well, to tell you the truth, gentlemen, I've sworn off 
playing poker.

SUMMERS 
(reproachfully) 
Why, you wouldn't quit when you're ahead, would you? 

BRETT 
Why isn't that a good time to quit? 

LOTHER 
(reproachfully) 
No gentleman would do that.

BRETT 
I agree with you--no gentleman, would--But I would--
(He smiles cheerfully and continues) 
--especially when my opponents have taken the precaution 
of marking the cards.

Lother and Summers look at each other in amazement.

SUMMERS 
I thought you were a sucker--

BRETT
(pleasantly)
Think again--

LOTHER 
(flatly)
In that case--you owe us exactly sixteen hundred dollars.

BRETT 
Oh, no--I played with your cards--in your cabin--at 
your suggestion--If you've got a kick coming, make it 
to the Purser.

LOTHER 
(in deadly, even tone) 
I'm making it to you. If I don't get it by tonight--you'll 
find it a rough voyage.

SUMMERS 
(grimly)
That goes two ways.

BRETT 
Make it three, boys--I'll play this hand pat. 

LOTHER 
And I'll lay odds you got that bracelet. 

BRETT 
(unperturbed) 
I'll lay odds you get a pair of 'em--Why, a high-school 
kid could take you saps--and another thing--Lay off 
Sally Marsh.
(He laughs in Summer's face) 
--"Honest Jack"! One look at your mug and the whole 
world buttons up its pockets. 

He exits.

FADE-OUT

218 FADE-IN 
STEWARD BLOWING THE DINNER BUGLE. NIGHT 
BACKGROUND. (FOG EFFECT THROUGH SEQUENCE.) 

CUT TO: 

219 LIFEBOAT
The sound of the bugle blowing is still coming over
SOUND TRACK. Ballinger climbs cautiously out--
jumps to the ground, and stretches his cramped 
limbs. Taking the protection of the shadows he 
moves stealthily toward steps.

DISSOLVE TO:

220 MEDIUM SHOT--BARBER SHOP 
Ballinger enters in evening clothes--gets into 
barber's chair.

BARBER 
Quite a growth, sir--been seasick? 

As barber leans him back in chair--

BALLINGER 
Yes--leave the moustache on--

221 DOLLY BACK TO INCLUDE ANOTHER CHAIR 
Which the barber pulls to upright position, 
disclosing McKinney sitting there. McKinney glances 
over and notices Ballinger.

CUT TO: 

222 CLOSE-UP--MCKINNEY 
Recognizing Ballinger--as he looks at Ballinger, 
barber puts hot towel over Ballinger's face. By 
this time the other barber is finished with 
McKinney, who pays him and exits.

CUT TO: 

223 EXTERIOR OF BARBER SHOP 
Steward going by McKinney--

MCKINNEY 
Boy--let me have that radiogram blank--

Steward gives him pencil and blank--he starts to 
write--

CUT TO: 

224 INSERT 
"Chief of Detectives--New York City--

LAP DISSOLVE TO: 

225 MEDIUM SHOT--DINING ROOM 
Ballinger dressed in tuxedo, glances around, and 
sinks into seat at table near door--steward comes 
in.

STEWARD 
Pardon me, sir--that table's reserved--

BALLINGER 
(in husky voice) 
I've been in my cabin--ill--this is the first time I've 
come to the dining room.

STEWARD 
(indicating next table) 
You can sit over here tonight, sir--I'll have the Chief 
Steward allot you a table tomorrow--

Ballinger goes over--sits down--and Steward 
hands him a menu. As he is looking at menu, CAMERA 
PANS AROUND TO DOOR. McKinney enters unseen by 
Ballinger, and quietly goes around palm tree, and 
seats himself at table.

CUT TO: 

226 CAMPBELL'S CABIN--
Campbell in his underwear is excitedly gesticulating 
to a steward.

CAMPBELL 
I tell you--my dress clothes have been stolen!--

STEWARD 
(amazed) 
--but I laid 'em out on that bed for you, sir! 

CAMPBELL 
(raving) 
I know you did! I went to take a shower and when I 
came back they'd gone--even the shoes.

DISSOLVE TO:

227 CLOSE-UP 
Brett and Sally kissing. They step apart, showing 
us Denby, frowning as he watches in background. 
CAMERA DRAWS BACK TO CLOSE SHOT Sally as 
Denby comes into scene, watching Brett as he goes 
off.

DENBY
Serious? 

SALLY
Yes.

DENBY
Very serious?

SALLY
(soberly)
Very--

Denby frowns.

SALLY
Why--don't you like him?

DENBY
Of course--but--
(breaks off as he changes his manner) 
There's your cue--hurry up--

He watches her run out of scene as Lother enters 
to him.

CUT TO:

227 MEDIUM CLOSE--BACKSTAGE--DENBY AND LOTHER
Actors going on stage which we do not see. 
Parker's voice singing Sweet of You can be heard. 
Lother walks into Denby who is standing in wings. 
(Scene played quietly)

LOTHER 
(affably)
Say, Denby--how soon before Sally'll be through? 
I've got a date with her. 

DENBY
(wise to him) 
I'll give you another chance to tell the truth, Lother. 

LOTHER 
(innocently) 
What do you mean?

DENBY
(quietly) 
Why don't you be a good little boy and leave her alone? 

LOTHER
Oh--I understand you were an important part of her 
education when she came to New York. 

DENBY
(softly, with a smile)
I just tried to show her the difference between the 
squirrels and the skunks.

LOTHER
(narrowing his eyes)
Meaning what?

DENBY
(evenly)
You don't shoot squirrels.

DISSOLVE TO:

228 HERBERT ROSSON'S CABIN
Jealousy has driven him to despair. He is the victim 
of his own imagination. A half-empty whisky 
bottle and glass are close at hand. The clock on 
the dressing table discloses the time--11:30. Rosson 
is a very different individual from the quiet 
businessman we met on the dock. He goes to his 
valise, takes out a revolver, loads it carefully, and 
starts to leave cabin.

DISSOLVE TO: 

228-A BACKSTAGE
The music comes to a finish. Denby exits out of 
scene applauding la master of ceremonies, to 
announce next act. CAMERA STAYS ON LOTHER--
Denby's voice and the applause of the audience 
can be heard.

Sally runs through MEDIUM SHOT of Lother. He 
sees her and calls.

LOTHER
Oh, Sally!

He follows her.

CUT TO: 

229 MEDIUM SHOT--LOTHER AND SALLY
Sally is still in her costume. 

LOTHER
Are you going to meet the blonde?

SALLY
(anxious to get away from him) 
That's my affair.

Lother takes her by the arm. 

LOTHER
I know he is. You change those clothes and then come to 
my cabin. I'll expect you around twelve o'clock. 

SALLY
(as she jerks her arm away from him)
Not a chance--I'm through.
(She exits quickly in the 
direction of her cabin)

CUT TO:

230 CLOSE-UP OF LOTHER--
He looks after her and then grimly walks out in 
the direction she has taken.

CUT TO: 

230-A MEDIUM CLOSE SHOT
Brett as Sally enters to him.

SALLY
I'll change and be with you in ten minutes. 

BRETT 
Make it five.

SALLY
Seven-fifty. Positively my last offer. 

BRETT
(laughing) 
I'll be waiting on deck.

231 COMPANIONWAY-EXTERIOR OF SALLY'S CABIN 
Sally opens the door and enters. 
(Through this scene a foghorn blows)

LAP DISSOLVE TO:

232 INTERIOR CHARTHOUSE--(exactly as in Scene 14) 
CLOSE SHOT--OFFICER'S HAND--
Still pointing to New York. Slowly he retraces the
course.

FIRST NAVIGATION 
OFFICER'S VOICE
... dead on time as we passed the point light--
(His finger hesitates a moment 
then continues) 
--twenty-four hours ago--38, 41--
(His finger continues to 
trace forward) 
--and here we are off the southeastern point of 
Newfoundland--fifty-eight hours out--

His voice is lost as the ship's siren blows a long, 
low blast.

DISSOLVE TO:

233 MAN POUNDING ON DOOR (THE SAME MAN WE 
SAW IN OPENING OF PICTURE)
He is in exactly the same position, at the same 
door.

CUT TO:

234 LONG SHOT--SHOW HEADS OF PASSENGERS STARTING 
TO APPEAR IN COMPANIONWAY FROM THEIR CABINS--
Purser, Officers, Captain start to gather around 
door, all talking excitedly. 

CAPTAIN
(pounding on door, yells)
Open the door!

CUT TO:

235 INTERIOR OF SALLY'S CABIN--CLOSE-UP OF SALLY
Terrified she goes to door and opens it, letting 
them in. They see the dead man. React.

236 CLOSE-UP OF DEAD MAN ON FLOOR

CUT TO:

237 CLOSE-UP REACTION OF CAPTAIN AND PASSENGERS 
CROWDED IN THE DOORWAY OF SALLY'S CABIN 

CAPTAIN
(to Sally)
What happened?

SALLY
He followed me into my cabin, locked the door and as 
he started to come toward me I heard two shots--That's
all I know--

At this point--

CUT TO: 

238 LONG SHOT--SHOOTING TOWARD DOOR--
McKinney comes in through the group to the Captain.

CAPTAIN
(to McKinney) 
Inspector, for the first time in the history of this line a 
passenger has been murdered. Won't you please take
charge?

CUT TO: 

239 CLOSE-UP OF MCKINNEY
He thinks--then suddenly turns and dashes out of
the room.

CUT TO:

239-A OUTSIDE BAR
Dan just coming out as McKinney runs by. Dan 
turns and goes back into bar.

CUT TO: 

240 LONG SHOT--COMPANIONWAY 
FOLLOW MCKINNEY DOWNSTAIRS INTO ENGINE ROOM.

CUT TO: 

241 LONG SHOT OF ENGINE ROOM
McKinney enters--draws gun from his pocket--
cautiously goes to corner of engine room (secluded 
spot)

CUT TO:

242 CLOSE-UP OF MAN--HIS BACK TO CAMERA--ASLEEP--

CUT TO: 

243 LONGER SHOT--
McKinney cautiously approaches the sleeping figure, 
sticks gun in his back: 

MCKINNEY 
All right, Joe. Get up out of there.

The man stands up and turns around. We see it is 
Ballinger--in the same tuxedo he wore in previous 
scenes.

McKinney searches him--takes revolver from his 
side pocket.

MCKINNEY
Where'd you get it?

BALLINGER 
Lifted it out of a guy's cabin last night. 

MCKINNEY 
(gruffly)
What did you want a gun for?

BALLINGER
Stick-up. Needed dough to get ashore. 

MCKINNEY 
Is that why you killed Lee Lother?

BALLINGER
Guess again, copper.

MCKINNEY 
Get moving--

LAP DISSOLVE TO:

243-A OUTSIDE BAR
Dan is just coming out of the bar again as McKinney, 
holding his gun toward Ballinger passes. Dan 
turns and staggers back into the bar.

CUT TO:

244 INTERIOR SALLY'S CABIN--GROUP AS BEFORE--
McKinney enters with Ballinger, who is now handcuffed.

CUT TO: 

245 CLOSE-UP MCKINNEY AND BALLINGER 

MCKINNEY
All right, spill it!

Ballinger looks down at dead man--

BALLINGER
I didn't do it.

CUT TO:

246 LONGER SHOT--GROUP

CAPTAIN
(to McKinney)
Who is he?

MCKINNEY
A rat with a long tail.
(giving orders to two ship's officers) 
Take him below--I'll get back to him later. 
(He turns to the passengers) 
I'll have to ask you all to leave.

CUT TO: 

247 TWO-SHOT--MCKINNEY AND CAPTAIN 

MCKINNEY
Captain, I want you to get the following passengers in 
your office--

LAP DISSOLVE:

248 FADE-IN
THE PURSER'S OFFICE
The lights of the cabin are burning. The ship 
has run into a dense fog. Throughout the following 
scene the screaming of the siren is 
heard intermittently. Sally is seated facing 
McKinney, her face drawn after a sleepless 
night. McKinney also looks tired. He has undone 
his tie and loosened his collar. Now that 
he is back in harness he doesn't spare himself. 

SALLY
That's the truth--every single word! 

MCKINNEY
I sincerely hope so--

SALLY
Why should I kill him?

MCKINNEY
(drily) 
For a very excellent reason from your own admission--
(quickly) 
--I'm not saying you did--but I think you know more 
than you're telling. Years of experience have taught me 
to mistrust circumstantial evidence. Nevertheless, in 
your case there's plenty of it.

Quartermaster enters with Brett. Brett quickly 
crosses to Sally--puts his hand on her shoulder. 

BRETT
Thought you might need me--don't talk, kid, and don't 
let him scare you--
(He points to McKinney)

MCKINNEY
Don't be too smart, Jimmy--you're out in the rough 
yourself. You had an argument with Lother a couple of 
hours before he was killed--but I'll deal with that 
later--

CUT TO: 

249 FULL SHOT--MCKINNEY AND SUMMERS 

MCKINNEY
(turns to Summers) 
Where were you when the murder happened? 

SUMMERS 
In my cabin playing solitaire.

MCKINNEY
Oh, you couldn't get a friendly little poker game 
together, eh?
(He turns to Ned)
Still sticking to the same story, Marsh? 

NED 
Yes, Yes!

MCKINNEY
You didn't have a gun in your hand last night? 

NED
No!

MCKINNEY
S'pose you've never thought of killing him--

NED 
I wouldn't say that--
(emotionally) 
I'm glad he's dead--yes--I'd thought of killing him--
but I didn't--

MCKINNEY
Why?

NED
Because I was yellow, I guess--

BRETT
(warningly) 
Don't get yourself all worked up--

MCKINNEY
(to Brett) 
You keep out of this--
(quickly--to Ned) 
You admit you thought of killing him--how were you 
going to do it?

NED
I tried to borrow a gun from Chad, but--

MCKINNEY 
(as he rises)
This is interesting--
(turns quickly to Denby) 
Why didn't you tell me you gave this kid your gun last 
night?

DENBY
I didn't--

MCKINNEY
(quickly) 
He asked for a loan of it, didn't he?

DENBY
Yes--but I didn't give it to him--

MCKINNEY
(Smiles--takes gun he got from 
Ballinger out of his pocket) 
Is this your gun?

DENBY
(Surprised at seeing gun--
examines it closely) 
Yes!

McKinney nods.

MCKINNEY 
Mmmmmmmmmhm....
(He turns to Brett) 
Now, Jimmy, what were you doing in that corridor before 
the shots were fired?

BRETT
(stalling)
Why, I--

DENBY
Just before the shots! Why, he was with me--backstage 
--we ran down together when we heard them. 

Both McKinney and Brett look at him in amazement.

CUT TO:

250 LONG SHOT--DOOR BURSTS OPEN
A steward enters--he is very excited. 

STEWARD
(He is white) 
The lady in cabin--has been killed! 

MCKINNEY 
Are you sure?--

This scene is shot so that the door in the 
background is not in the picture--we hear a 
voice say--

VOICE
That's right, Inspector!--

CAMERA PANS OVER TO DOORWAY.

251 CLOSE-UP--ROSSON 

ROSSON 
(calmly) 
She's dead!--I killed Lother too!

As Inspector, Captain, and Officers go to him--
we--
CUT TO: 

251-A CLOSE SHOT--DENBY--NED--SALLY
Denby enters scene where Ned is standing with his 
arm around Sally.

DENBY
Take her to her cabin--she's all in.

CUT TO:

251AA CLOSE SHOT CORNER OF PURSER'S OFFICE--BRETT 
AND DENBY--

BRETT
Thanks for establishing an alibi for me. If that guy 
hadn't confessed I would have been on the grill plenty, 
and I don't think I could have weathered it. Get me? 
Any time I can do you a favor don't hesitate to ask for
it.

DENBY
I won't--I'll ask for one right now.
(turns and looks Brett up and down) 
Sally tells me she's in love with you. 

BRETT 
She did?

DENBY
(continuing) 
Yes--but don't ask me why--because I could never tell 
you. I don't know what most guys want out of life--but 
that would be enough for me--I wouldn't care about--
easy money--or--showing off my smart brains--I'd 
just like to live my life so nothing I did would bounce 
back and ruin hers--Do I make myself clear?

BRETT 
(soberly)
Very clear. That's one favor I'll be glad to do you. 

DENBY
(offering his hand)
O.K., kid--
(They shake hands) 
I'm only sorry for one thing.

BRETT 
What's that?

DENBY
If you hadn't agreed--I was going to throw you overboard--
(Sighs) 

Brett grins and leaves him.

As he walks away, Shortie comes up to Brett. 

SHORTIE 
(nervously)
Hello, Jimmy. What's up?

BRETT 
Listen, Runt--Quick! Where's the ice? 

SHORTIE 
(nervously)
Why--I--er thought with all this heat turned on I'd 
hide it.

BRETT 
Where did you hide it?

SHORTIE
On the drunk.

BRETT 
Get it!

Shortie exits.

CUT TO:

251-B MEDIUM SHOT-DAN-STAGGERING DOWN CORRIDOR.
Shortie follows him.

CUT TO:

251-C SECTION OF DECK OUTSIDE PURSER'S OFFICE--
CLOSE SHOT--CAPTAIN OF SHIP AND MCKINNEY

CAPTAIN
Well, Inspector--now that that's over--you can go 
back to your vacation.

MCKINNEY
Not quite yet. There's still a loose bracelet floating 
around here somewhere.

DISSOLVE TO:

252 CLOSE-UP--BRACELET 
CAMERA DOLLIES BACK TO BRETT AND SALLY

BRETT
There comes a time in every guy's life when he has to 
stand off and take a look at himself. I've been doing that 
tonight--and what I saw is pretty phony. 

He shows her the bracelet. 

BRETT 
Now you know.
(repeating her words) 
If you have an appointment elsewhere--I'll excuse you. 

She looks at him for a moment. 

MCKINNEY'S VOICE 
Sorry to intrude.

Brett hastily puts bracelet in his pocket. 

McKinney comes into scene. 

MCKINNEY
Soon as I get that bracelet back I'm going to relax. 
Wish the guy that borrowed it would help me out--I got 
to win that fifty bucks.

SALLY
I've got a hunch you're going to win that bet, Inspector. 

MCKINNEY
I hope so. Well, I guess you two can do without me. I'll 
be seeing you.

CUT TO:

253 MEDIUM CLOSE SHOT--BRETT AND SALLY

BRETT
I'm going to return the bracelet right now and face the 
consequences.

SALLY 
Jimmy!

His hand goes to his pocket. 

BRETT
Well, I'll be--!!!

SALLY
What's the matter?

They both react seriously and look off down the
deck.

CUT TO: 

254 MEDIUM SHOT--MCKINNEY 
BACK TO CAMERA is walking down the deck. We
catch a flash of the bracelet as he tosses it in the
air.

BRETT'S VOICE 
Hey--wait a minute!

Quickly, McKinney slips the bracelet into his 
pocket. Brett comes into the setup. Silently he 
takes a roll of money from his pocket, peels off a 
fifty and hands it to McKinney with a quiet look. 

BRETT 
Here's your fifty.

MCKINNEY 
Thanks. That makes us square.

Sally enters scene. McKinney grins and moves off. 
CAMERA PANS WITH HIM.

MCKINNEY 
Next time I get a vacation I'll spend it at headquarters. 
Good-night.

CUT TO:

254-A CLOSE-UP--SALLY AND BRETT WATCHING HIM

SALLY
He's a swell person. He told me he'd rather turn one guy 
straight than jug a million.

CUT TO:

255 QUICK FLASH---THE SHOW GOING ON
Chorus, fast tempo, etc.
SUPERIMPOSE Denby at microphone.

DENBY
This is the Transatlantic Merry-Go-Round program 
signing off--station W-A-V-E--Chad Denby speaking. 

MARY 
(interrupting) 
Oh, Mr. Denby, I wrote a poem about a bracelet--

DENBY
Good-night, folks.


THE END









Screen Play by Joseph Moncure March and Harry W. Conn
Original Story by Leon Gordon