(Note: This is a draft script and includes a part for Mary Livingstone which never made it into the final movie.)
1 CREDIT TITLES reach the screen--superimposed
on a background of steaming funnels belching
steam--accompanied by a musical score of ex-
2 LONG SHOT--NIGHT
Large ocean liner, plowing through darkened
waters, its decks and portholes brilliantly
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.
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.
5 CLOSE SHOT--SARGENT AND PARKER
6 CAMERA PANS TO MEDIUM CLOSE SHOT of Denby
at microphone. He is reading from a sheet of
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!
Oh-h, Mister Den-n-by--
Yep--everybody's having a good time but me--What
do you want, Mary?
I just wrote a poem about the Atlantic Ocean--
But, Mary--everybody's having such a great time--
why spoil it?
Somebody's got to do it--
Well, let's hear the poem--
(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--
Very good, 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--
What's the matter, Mary?
I'm getting seasick--
Mr. Denby--What do you think I ought to do with
Put the whole thing in an envelope and mail it through
The voices of Frank Parker and Jean Sargent can
be heard during this announcement.
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
Oh, Mr. Den-n-by!
Everyone but me--what do you want now, Mary?
I feel better now--I've got a riddle! When is a plate
of bean soup not a plate of bean soup?
All right. When is a plate of bean soup not a plate of
When it falls off the table and turns turtle--Cute?
Mary--fall off the boat and turn to the left--
7 LONG SHOT
Finale of act of trio in which Sally is prominent.
8 CLOSE SHOT
Trio taking bows.
9 DENBY AT MICROPHONE
(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!
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.
Good night, Captain.
Good night, Mr. Lother.
SLOW DISSOLVE TO:
11 LOTHER WALKS DOWN COMPANIONWAY TO SALLY'S
WE DOLLY WITH HIM IN CLOSE SHOT.
He goes in door, closes it, and we hear the door
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
12 MEDIUM CLOSE SHOT--LOTHER
He is lying on the floor--dead.
13 CLOSE SHOT--EXTERIOR DOOR
The Steward comes up and starts pounding on
LAP DISSOLVE TO:
14 INSIDE CHARTHOUSE
First and Second Navigation Officers leaning over
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,
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
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
Paper!--Extra!--Ballinger breaks jail!
(Note: Throughout this entire departure sequence
we occasionally hear this boy's voice calling the
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
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
18 REVERSE ANGLE
He jumps out, pays taxi; porter grabs his hand baggage.
Name and reservation, sir?
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.
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.
They'll be a lot of shooting before they get that guy
again--slippery as an eel.
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
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.
Going to miss me?
Rosson nods his head--his voice is a little husky.
Send me a wireless when you arrive--and have a good
time--that's the important thing.
It's all happened so suddenly--I can hardly believe I'm
As she is speaking these lines her eyes are
searching for someone on the ship.
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
Too bad you couldn't come, too, Herbert.
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.
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?
You can pick up your letter of credit at Cook's in
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
24 DOLLY SHOT--HE HURRIES BACK THROUGH THE CROWD
Finds a porter--hands him a check.
Get my baggage out of the check room and put it
aboard this ship.
Yes, sir--where's your reservation?
(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.
Take these things to 51C and the other trunk has my
name on it just like this.
You get aboard, Miss--I'll take care of it.
It's very important--it has our costumes in it.
Chad Denby, Master of Ceremonies, comes into
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.
Well, that's something--even if only the fish can see it.
Are you happy?
Will be--as soon as the ship sails.
I thought I had our sailing covered up--
--and here it is.
Do you think Lother could have seen it?
You'd better get on board. I'll take care of the trunks.
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.
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
Say, these steamship companies are going into the show
business in a big way.
I should say so--this transatlantic showboat idea is a
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.
Ha! Ha! That's a dirty trick to play on the fish!
Do they pay any kind of money on these big ships?
Sixty-two fifty for teams and a hundred and a quarter
I wouldn't sing on a rowboat for that kind of dough!
The foregoing lines are more or less spoken together--
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
26 CLOSE SHOT--THE PASSPORT, SHOWING:
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.
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.
Now listen, Jimmy--!
Brett doesn't even glance at him but continues to
walk past, speaking as he does so.
Not here--follow me around the shed.
27 BACK OF SHED--BRETT AND SHORTIE
(looking around furtively.
He then turns to Shortie)
Don't you know better than to talk to me with people
Oh, putting on the swell, eh?
I thought you were a smart guy.
If I was smart I wouldn't be working my way over on
(He lights a cigarette)
We didn't have enough dough for two tickets, did we?
We coulda got two third-class!
No bank roll there, boy.
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
Oh, I'm not squawkin', but I'm not used to working and
it's a bad habit to get into.
It'll never hurt you---Got any money?
A dollar seventy and I'm gonna keep it!
No, you're not. Give me that dollar seventy.
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.
Nix, the law!
(immediately becomes servile)
Yes, sir!--I will, sir--Certainly, sir!
(Speaking casually as
the man comes near)
He's a colored man in chauffeur's uniform carrying a
basket of fruit.
I'll watch for him, sir.
The cops have stopped and are eying Shortie.
Thank you, and here's seventy cents for your trouble.
Shortie pockets the money and is about to start
Just a minute!
Shortie swallows hard--turns.
You speaking to me, sir?
Can't you read?
Shortie looks to what Cop is pointing at.
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.
You ought to know better than that.
The two dicks move off around the shed.
30 BRETT AND SHORTIE
Quick, let me have that money. I'm broke and I'll need
it for tips.
Oh, no--You're not gonna give my hard-earned money
31 ONE OF THE STEWARDS APPROACHING
32 BRETT AND SHORTIE
Brett takes advantage of the situation knowing the
steward is Shortie's boss.
Nix--here comes my boss.
(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
You're a wise guy--Gimme back--
33 WHAT THEY SEE
Two plain-clothes detectives are shaking hands
with INSPECTOR MCKINNEY. Behind McKinney is
a porter carrying his suitcase, etc.
Well, pleasant trip, Inspector.
Thanks. I've been waiting fifteen years for this
vacation. What are you boys doing here?
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.
McKinney!--The smartest dick in Manhattan.
You don't think--?
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.
(But Brett is gone)
36 INSPECTOR MCKINNEY AND THE TWO DETECTIVES
We got a tip Ballinger might jump this boat.
Not interested, boys. When I left headquarters this
morning--I cut the words "police" and "criminals"
right out of my vocabulary.
Don't blame you, sir--you've earned a rest.
Brett comes quickly into scene.
Pardon me, gentlemen--have you noticed a colored man
in chauffeur's uniform, carrying a l-a-r-g-e basket of--
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:
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.
39 CLOSE SHOT--COFFIN AS THE RICE HITS IT.
CUT BACK TO:
40 SALLY AND VAUDEVILLIANS
You're darlings to see me off--I'll write you as soon as
I get there.
Coming back on the same boat?
Guess not--we're going to try and line up some kind of
bookings over there.
Well, good-by, beautiful--I've wanted an excuse to do
this for a long time.
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
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.
I'm so sorry!
Want to take it back?
He leans toward her hopefully.
I thought you were one of my friends.
I'd like to be.
Sailing on the Progress?
(looking her straight in the
eye and smiling)
I wouldn't miss this boat for a million.
(looking at boat with
She looks like a lot of other boats. I grant you she's
(still looking at boat)
(who hasn't taken his eyes
off Sally for an instant)
I'll say she is!
Sally turns--sees he's looking at her--smiles.
Like her paint job?
(Searching for handkerchief)
You've got lipstick all over you.
I could stand some more--
--You'll have all the boys tipping their hats to you--
(she reaches up with her
--let me wipe it off.
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.
Come on, Sally.
As they move off toward ship.
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
44 QUICK FLASH--ANYA
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
Who are those flowers for?
(looking at label)
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.
But I'm supposed to--
(in lordly manner)
--don't argue or I'll close my account!
Okay. What's her name?--
--With the red hair--Hurry!
He gives the boy a push, shoving him out of picture.
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
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.
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.
Come on--get out of there!
Gentlemen--a toast! Here's to--
He's got a ticket for England--some guy loaded him
into my cab.
They yank him to the sidewalk and send him on
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.
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
With your dry wit and humor--
Oh yeah?--My personality put this thing over--
Maurice Chevalier! There's a fellow with personality.
What's he got that I haven't got?
Well, he has a straw hat--
So have I--I can get it right out of my trunk.
--And he has sex appeal.
Get that out of your trunk.
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!
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.
Don't blame it on the ocean!--All right, you'll get the
Dan Campbell staggers in between them--Chad
grabs hold of him to brace him up.
Is that one of the Who's Who?
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--
I'll say--how fast is this boat going?
(winks to Mary)
Oh,--we're doing about thirty--
(speaking to himself)
Pretty good--thirty miles an hour--
I can see you're no gentleman--
He's funny--maybe you can use him in the show, Mr.
Denby!--Are you Chad Denby?
Not the real Chad Denby?--
Where's your dry humor now, Chad?
Be careful--come on--I better pour you on the boat--
As the three start away--Denby is still sore at the
I can see where I won't talk much to you.
Nuts to you too!
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.
51 QUICK FLASH--THE LAST OF THE FREIGHT BEING
SWUNG ABOARD IN THE NETS.
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:
Steady, old boy--I've got you.
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.
He's not there, Inspector--we've searched every inch of
Okay--Report back to the desk.
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.
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
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.
ONE OR TWO ATMOSPHERIC SHOTS ABOARD SHIP
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.
Took your time getting here.
Yer lucky I'm here at all. I tell you, Jimmy--my feet'll
never hold out.
Stop squawking! You were doing this job on a ship four
years ago when I first picked you up, weren't you?
Yeah--but high livin's made me soft.
How're the tips?
A dollar forty.
I'll need it--gave my last buck to the bedroom steward.
Not a chance.
(He extends his hand)
I'll promote a card game, and we'll be sitting pretty.
Until then--the dollar forty stays with me.
Is that a nice way to talk to a pal?
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.
(his voice is casual)
--there's a girl on this ship--
--there's thousands of 'em!
A thousand? She's one in a million--right off the top of
He takes it big.
(sternly--with a quick look)
This is a business trip!
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)
Maybe she's in the show--One of the troupers--did you
ever think of that?
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.
Everything in order, sir?
(He sees Shortie and favors
him with an unfriendly look)
What are you doing here, my lad?
Well--get a move on yer--then get back to yer station.
Shortie casts a look of despair at Jimmy and
commences to exit.
Just a minute, steward--haven't you forgotten something?
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.
Not bad--I'll use these to get even.
60 MEDIUM SHOT
As he moves toward door.
Shortie!--you know my motto?
Pleasure first if it don't interfere with business.
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.
Now you're talkin'!
61 OUTSIDE--TRUCKING SHOT
Shortie coming down corridor with a big basket of
flowers and the parcel.
62 MEDIUM CLOSE SHOT--LADY PASSENGER
She sticks her head out of her stateroom door and
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.
Shortie is just closing the door. Sally Marsh enters
I'm looking for 48.
Right down there, Miss.
64 DOOR 48
Chad Denby's office on board.
65 MEDIUM CLOSE SHOT
Ned and Denby. Ned is sitting there very worried
about Sally because Lother is aboard ship.
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
Oh--you don't like it, eh?
Chad--Lother's on the boat, and I'm worried sick about
Oh!--So that's it. Does she know he's on board?
No--but I'm going to keep my eye on--
The door opens--Sally enters.
Am I a member of this club?
(forcing a laugh)
You're the President. Come in! Your brother was just
telling me a few jokes I can use on the radio--
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)
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,
Looks like your old workshop back on 42nd Street.
Swell--You've got Times Square right here--all but the
Yep--spending lots of time aboard--you see, Sally, I
sold this Transatlantic idea to the shipping company.
And you've put it over--haven't you?
Why not? I give 'em a great show--and you know--
We're doing capacity, Sally--and all Nice people--
You never fail at anything, do you, Chad?
(looks at her steadily)
(glances at her picture on wall)
Still got my picture, I see--I was pretty dumb then,
wasn't I, Chad?
(looks at picture)
A red-headed kid--homemade clothes--Broadway was
Paradise--and a slot at the Automat was a Banquet.
I came to tell you what a swell guy I think you are to
(places her hand on his arm
You made it possible for us to get away at a few hours'
notice--you never asked why, but I guess you know.
News travels fast on Broadway--you had to get away
from a rat--
It wasn't only that--Ned was in a jam.
I get it--Lee Lother have a hand in that, too?
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.
I felt pretty low, Sally, when I heard you were running
around with a racketeer--
(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!
Stay on the other side of the pond for a couple of
months--you'll soon forget all about it.
Chad Denby broadcasting--
(She kisses him lightly on the
--the nicest man I ever knew--
But not nice enough to marry--eh?
Come on, now--you've forgotten all about that.
I'll never love anybody else.
Sally looks at him a moment before speaking--her
eyes are moist.
Women are such fools!--Why do so many of us pass up
Guess they're dull--nothing for you to reform.
67 INQUIRY OFFICE--BRETT AND SHIP'S CLERK
Can you give me names of the people in the show?
68 REVERSE ANGLE--CLOSE SHOT--BRETT
Looking up at the wall above the clerk's head. He
69 WHAT HE SEES
An announcement of the entertainers in a frame. It
includes a photograph of Sally with her name
70 TWO-SHOT--BRETT AND CLERK
Sally Marsh is the lady I'm looking for--where's her
51C--around to the left--second tier.
Almost before he finishes, Brett is on his way.
Lother comes into scene and addresses the clerk.
What stateroom has Miss Marsh?
Miss Sally Marsh?--51C.
Where would that be?
Around to the left, sir--second tier.
(as he moves off)
71 CLOSE-UP OF ANYA.
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
74 CLOSE SHOT--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.
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.
Well ... guess we'd better have a drink on it.
(as they start to walk)
77 BRETT KNOCKING BRISKLY ON THE DOOR OF 51C.
No answer. He knocks again. A stewardess comes
out of Sally's room.
The lady is not in her cabin, sir.
Brett looks disappointed, leans against the
opposite wall, and fishes for a cigarette.
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.
You're still surprised, aren't you?
Anya, I think you're crazy.
Any woman's crazy to feel about a man the way I do
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.
Then why the sudden exit without even telling me?
Do you want the truth, Anya?
It would be a nice change from you.
I had an idea your husband was getting suspicious.
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--
How'd you ever get away with it?
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
(with a smile)
I never want to go back....
The steward arrives with the drinks.
(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?
Don't be crazy--I'm tickled to death to see you.
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.
I beg your pardon.
He looks up.
80 MEDIUM CLOSE SHOT
The man is Inspector McKinney.
Hello, young fellow. Did you find that basket of flowers?
(with a grin as he goes out
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.
How are you, Mr. Lother?
(He looks at Anya)
Not intruding, I hope?
This is Jack Summers--Mrs. Rosson.
Summers beams good-naturedly.
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.
Lumber, ma'am--spent all my life out there piling up a
(He slaps his thigh)
--and now gosh darn it--"Honest Jack"--that's what
they call me--is goin' to see the world.
You're wasting your time--she's a friend of mine.
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.
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.
Keep your voice down--that blonde boy is looking
straight over here.
82 CLOSE SHOT--BRETT
CUT BACK TO:
83 ANYA--LOTHER AND SUMMERS
(looking up and lowering his voice)
That's him! That's the sucker!!
Looks lonesome--Bring him over here.
85 INTERIOR SECOND-CLASS BUFFET--MEDIUM CLOSE
Mr. Rosson and fellow passenger standing at bar
in second-class buffet.
Something about an ocean voyage that makes everybody
Oh! Going over on business, eh?
(raising his eyebrow)
--Er--Yes--you might call it that--
91 MEDIUM CLOSE SHOT--ANYA AND BRETT, LOTHER
BRETT has Anya's hand, and is looking at her
We'll have cocktails and then a few rubbers of bridge.
(still looking at bracelet)
I can think of nothing nicer. It's very kind of you to
I'm just commencing to enjoy this trip.
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
92-A MEDIUM SHOT
Suddenly Brett stares--he has seen Sally and for
a moment struggles between courtesy and desire.
Hmm! So am I. If you'll excuse me I have some important
unfinished business. I'll see you all later.
We'll be expecting you.
Quickly Brett moves away. CAMERA STAYS ON
ANYA for a second. Lother and Summers nod
Sally has not seen Brett--she moves out onto
deck. A steward appears carrying a small tray
94 COMPANIONWAY LEADING TO SPORTS DECK
Sally is just about to ascend as Brett comes
quickly into scene.
Where have you been hiding?
I got the flowers. That was sweet of you--thank you.
Don't thank me. Do you recognize me without the lipstick?
(with mock disappointment)
So you washed it off!
(With a grin)
How about giving me another coat?
(She moves up a step)
Wait a minute!--They're dancing in the palm court--
There's soft music--
(as she starts to climb)
--sorry--got an appointment to play shuffle-board.
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.
I thought I put you to bed.
Oh, was that me you put to bed? Thanks. I've been looking
all over for you.
Well, did you find me?
Say, where is this boat headed for?
This is a fine time to be asking that. You're on your
way to France.
That's news to me. I'd better cable my wife.
Denby calls a steward--it is Shortie.
Hey, boy--give this man a cablegram blank.
(continues to Dan)
Where is your wife?
She's in New York.
Here you are, sir.
(He hands Dan cablegram blank
(starts to write)
What'll I say?
Tell her you're on your way to France and will be back
in four weeks.
He writes and utters aloud as he writes.
Cablegram which reads:
"Will be back in New York in four weeks."
How much will that be?
97 MEDIUM CLOSE SHOT--SHORTIE AND DAN
(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.
Shortie reads cable aloud. "Will be back in New
York in four weeks." He turns to Dan.
Where do you live?
In New York.
Your wife knows that, don't she?
Then you don't have to tell her--cut out New York.
Shortie crosses it out.
"Will be back in four weeks"--
(turns to Dan)
--that saves you eighty cents right there!
That's right--here's the eighty cents for you. I'd rather
see you get it than the company--send it right off.
Wait a minute--I think I can cut out a couple o' more
(reads cable aloud slowly)
"Will--be--back--in--four--weeks." You don't need
the "will be." Just say "Back in four weeks."
That's right. I owe you a dollar sixty.
He hands Shortie the money.
(getting enthused. He's found
a soft racket)
Wait a minute--I think I can cut something else out.
"Back in four weeks." Instead of "in four weeks"--say
"next month"--That saves another word.
Right. Here's eighty cents. Send it.
He hands Shortie the money.
Just a minute--I don't think we need the word "Back"
--Where is "Back"?
Back is in New York.
Your wife knows that, don't she?
Cut it out.
He crosses the word out.
(looking at cable)
Now we get it down to two words--"next month."
Wait a minute--What is next month?
Next month is June.
Fine! Instead of saying "next month"--we'll use one
word and say "June."
June? That's my wife's name.
That's great! There's the address and message all in
O.K.! Send that!
Just a minute--Your wife knows her own name, doesn't
Well, there's no use in sending it.
(He tears up cable)
See that--I saved you seven twenty!
Well. I'd rather see you get it than the company.
He hands Shortie the money.
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.
This is great. I'll be able to watch your act every night.
You're not very ambitious, are you?
Oh, yes, I am, because afterwards--up here in the
You work too fast for me, young man.
Aw--give a feller a break. My cards are on the table--
I want to know you. How about dining with me tonight?
Never eat before the show.
(She laughs and shakes her head)
By this time they arrive into:
100 DENBY AND MCKINNEY STANDING BY SHUFFLEBOARD
Sorry I'm late.
As she comes into scene, pursued by Brett, Denby
(giving Brett the once-over)
I was just about to start a game with this gentleman.
McKinney's the name.
She acknowledges introduction.
This is Mr.--er--
Brett is the name.
Mr Denby and Mr. McKinney.
They all shake hands.
I think I've met you before, Mr. Brett.
Oh, yes. On the pier.
(smiling, but looking straight
into his eyes)
Before that. Your face is very familiar.
Yours, too. Are you the McKinney, the dentist on
Calumet Avenue in Chicago?
Their faces are familiar--but not to each other.
Now that that's settled, why not make the game a
They all agree.
Fine! ... O.K.!
Miss Marsh and I will play against you two.
No--I'll take Sally and give you the best of it.
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.
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
101 INSERT OF COIN IN DENBY'S PALM
It has two heads on it.
101A CLOSE-UP--REACTION OF DENBY
He is rubbing his head.
(with polite sarcasm)
That's too bad.
(rubbing his head)
I'm O.K. It didn't hurt much.
(glances at the two-headed coin)
I'm sorry to hear that.
I think you're very unkind.
At this point a young fellow in athletic shirt
(to Brett, apologetically)
I'm awfully sorry.
(interrupting the Young Fellow)
That's perfectly all right. Don't mention it.
The young man exits.
(to Denby--obviously peeved)
You're just a Master of Ceremonies. He might have
knocked his head off.
What's the difference? He's got more heads than he
I don't get the humor of that remark.
(looking at Brett)
He does. Here's your quarter, Brett.
He tosses the coin to him. Brett catches it and
nods his thanks.
103 BRETT AND SALLY
Is there a bump on my head?
She runs her hand through his hair.
Don't feel any--yes, I do!--Oh--that's a shame.
She rubs his head gently then stops.
Don't stop, nurse--I think I'm going to faint.
You are a lunatic!
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.
You know, you're not a bad-looking girl. In fact--I
think you're lovely.
Keep your eyes on the ball, Mister.
Nothing to speak of. What is this--third degree?
I want you to get used to my voice--you're going to
hear it a lot.
What a horrible death! Do you know what you remind
A little boy that has escaped from his nurse and--
--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.
104 MEDIUM CLOSE DENBY AND MCKINNEY
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--
What is this thing--a racket or a mallet?
Looks to me like standard equipment for the Department
of Street Cleaning--
(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
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.
CAMERA PULLS BACK AND FOCUSES ON McKinney
and Denby as they start returning the disks from
You can always tell how much a man's traveled by the
way he plays shuffle-board.
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
Feeling a little better, I see.
Yes, yes--the air--
(He looks at Sally)
--I'm getting plenty of air.
(He introduces them)
Miss Marsh--Mrs. Rosson.
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.
Thanks, no. I despise any form of exercise.
Don't forget we have an engagement for cocktails and
Thanks. I'll be there. About seven-thirty?
Sooner--if you like.
See you again, I hope.
She crosses to the other side of the deck.
(trying to get a rise out of Sally)
Isn't she attractive?
Don't be a c-a-t.
You asked me to dine with you tonight.
Well, I can't.
Don't rub it in.
But I'll have cocktails with you.
Sooner it you like.
Fatal fascination of James Brett wins out.
(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.
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.
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.
(grabs the check)
That's all right. I'll attend to this.
Wait a minute--let's match for it.
Never mind--I'll pay for it now. It'll save time.
Well--thanks for the game and the drinks, and now if
you'll excuse me--
107 TRAVEL SHOT
As Brett follows Sally.
See you at seven-thirty in the lounge.
I'll be there--Good-by.
CUT BACK TO:
107A CLOSE-UP--REACTION OF DENBY TAKING THIS.
Those kids seem to be getting along fine!--
It must be the sea air--it gets everybody.
He's a likable chap--he's got an honest face--
It's all right--if you like honest faces--let's have
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
(Again he taps his pockets)
109 AN OPEN BILLFOLD AND A HAND EXTRACTING A
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
(With wide eyes)
Where'd you get the dough?
Brett waves the pocketbook and grins.
Are you screwy?
I fell in his arms--Couldn't resist it.
You know where that sense of humor's goin' to get you
one of these days--
Brett throws him the pocketbook.
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
You take some awful chances.
Well, I had to get some dough to play with those suckers.
Here, get this changed.
He hands Shortie the fifty-dollar bill.
Get a lot of one's and a couple of five's. It'll be a good
Brett picks up a deck of cards and rifles them expertly.
LAP DISSOLVE TO:
110 PURSER'S OFFICE--SHORTIE AND MCKINNEY
(presenting check to purser)
Will you cash a fifty-dollar American Express check
And will you please give me thirty one's and two ten's
(He hands him the fifty-dollar bill)
The Purser takes the fifty from Shortie and hands
it to McKinney.
There you are, sir.
Thirty one's and two ten's?
The Purser starts to count out Shortie's change
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.
Can you read 'em Jack?
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
112 MEDIUM FULL SHOT
The man that marks them is an artist--two hundred
and fifty bucks for six decks--and they're worth it.
(looking at his watch)
The country boy's about due.
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.
Here y'are. Now don't take too many chances on that
They won't squawk--they're professionals.
(Shrugs his shoulders)
Well, if that's the case, you're sure of winning the first
couple of hands--But what about after that?
That's where you come in. Now, listen, Shortie--
114 INTERIOR OF ANYA'S CABIN
And don't forget--you won't play cards because you've
got a headache. After the three of us get started you
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.
(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.
Isn't that interesting?
(He opens the door)
(Standing at threshold)
Hope I didn't keep you waiting.
Shortie passes in the corridor. Brett sees him and
Shortie comes into scene. Brett reaches in his
pocket and pulls out a check.
Have the purser give you twenty-five hundred dollars
for this check--and bring the cash here.
Yes, Mr. Brett--right away.
Shortie leaves with check.
Lother and Summers and Anya react by exchanging
(looking at bracelet)
Glad to see you again.
Brett seats himself next to Anya while Summers
and Lother start to pour drinks.
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.
But, Anya, dear! Unless you play we won't have a fourth.
I'm sorry, but you three men can play poker or something.
(She turns to Brett)
Shall I see you tomorrow?
I hope so.
That's a date.
(She extends her hand)
Brett shakes it gently and it is evident that the
bracelet fascinates him.
You'll excuse me.
Well, it'll have to be poker--but I'm so unlucky in that
If you gentlemen play a heavy game, perhaps you'd better
count me out.
Summers and Lother exchange disappointed glances.
I never play higher than--say a $200 limit.
Lother and Summers are obviously delighted.
We haven't any chips, Mr. Brett--Do you mind playing
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.
115 MEDIUM CLOSE--BRETT
I'll bet a couple of hundred--
(glances toward door)
I wonder what's keeping that boy.
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?
(showing his hand)
That beats two Pairs. I'm glad I didn't win the first pot.
Take the money, Mr. Brett.
Brett scoops in the stakes.
Well, I'm off to a pretty good start.
If I ever won a pot that large the boat would sink.
(takes the cards and starts to deal)
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.
Here's your twenty-five hundred, Mr. Brett.
(he peels a ten dollar bill from
the top of the roll)
I owe you a dollar forty--here--keep the change.
Thank you, sir.
I'll take one.
(Lother deals him a card)
One will be enough for me.
Lother deals him one.
I should pass, but I'll trail along--I'll take three.
(He takes three)
I'll bet a couple of hundred.
Out my way in Montana we always call a bluff.
(He throws two hundred into the pot)
Well, I helped my hand so I'll have to see you.
(Showing his hand)
And me coming in with two pair--
I thought my straight was O.K., but--
Brett scoops in the money. Lother's hand goes to
his ear for the high sign to Summers.
It's your deal.
It's a pleasure.
As he starts to deal the cards there is a knock on
Sorry to interrupt you, Mr Brett, but I have a message
What is it?
Your mother is feeling seasick and would like to see you
Oh, is she? What a shame!
(He rises, puts the money in his pocket)
You'll pardon me?
You're coming back--
That depends on how mother's feeling. You'll excuse me,
He leaves followed by Shortie. The two men rise
slowly and look at each other and then toward the
How much did you lose?
About twelve hundred.
I went for four.
It's a long trip and we'll get that sucker later.
116 MEDIUM CLOSE TRUCK SHOT -- BRETT AND SHORTIE
Walking down corridor.
What did you win?
About sixteen hundred.
Partners, ain't we?
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
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.
(pointing to a large bouquet
See that Miss Sally Marsh gets that bouquet with my
He tosses a bill on the counter.
If there's any change, keep it.
Thank you. I'll attend to it right away.
117 INTERIOR SALLY'S CABIN
She is standing at a large bouquet reading the
card that is attached.
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.
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.
Isn't it great to be away from it all? Aren't you happy?
It seems too good to be true.
(turns and pats her hand
affectionately--he smiles to
hide his innermost feelings)
Aren't the roses beautiful?
The phone rings, interrupting whatever Ned might
have said. Sally answers the phone.
119 CLOSE SHOT--AS SALLY ANSWERS TELEPHONE
Hello! ... Yes, it is. ...
120 CLOSE SHOT--SUMMERS AT PHONE
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?
121 FULL SHOT
Brett walks to a table in the lounge. He looks at
his watch. He watches the entrance expectantly.
Dan Campbell enters.
(staggering over to Brett)
Don't you hate a pest?
I certainly do--
So do I. There are times when a fellow likes to be alone.
I'd like to be alone right now.
So would I. Let's sit down and talk it over.
He sits down. Steward enters.
Will you try and locate Miss Marsh, please?
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.
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.
(deciding to face the issue)
All right--but what is there to face? It's finished.
You ran away because you were afraid. I don't want it
to end like that.
I didn't want to see you again--that's my privilege.
It wasn't smart. Even if you'd gotten away without me
--I'd have found you--no matter where you were.
(her voice staccato)
Why don't you leave me alone?
(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?
I wish I could.
Get wise to yourself, Sally--you're no sob story.
Sally wrenches herself free. Her voice is tense with
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?
That's more like the old Sally--a little bit of fire.
(casually, lighting a cigarette)
How about Ned?
He's all right.
Thanks to me.
You leave the kid alone.
A tipoff in the right quarter to take his fingerprints
--you'd go with him!
Don't kid yourself--you know how I stand back there.
He picks up the passenger list.
124 CLOSE SHOT
As his fingers trace down the names. He stops
underneath that of Inspector McKinney.
Why do you think he's aboard?
125 MEDIUM SHOT (TWO)
Not because of Ned.
Of course not--
--but isn't it a coincidence that he's from the eighteenth
precinct--where they made the squawk?
You can't bluff me any more.
CUT BACK TO:
126 BRETT AND DAN IN LOUNGE
(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.
Oh, there you are--
That's right--you're the one I was looking for.
You'll excuse me.
(Brett reacts relief)
(back to Mary)
How about you and I being alone?
Not now, Toots--Which is the right way to say this?
You're dumber than me--or--you're dumber than I?
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.
She continues reading. Denby enters and sees
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
Oh, all right--
See you later, Toots.
Nobody is any help to me at ail.
Mary exits followed by Dan.
Oh, Denby--have you seen Sally around?
No--I'm looking for Miss Marsh myself. I thought you
might know where she is--
She was to meet me here--why don't you wait? She
ought to be here any minute.
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
Brett reacts with a grin, as Denby exits toward
126A MEDIUM SHOT--CORRIDOR
Denby meets Ned, on way to rehearsal room.
She went over to the ship's photographers.
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.
I'm crazy about the kid and I got him into it.
(She looks at him)
What do you want me to do?
Just smile again and be reasonable.
(his voice cajoling)
I'll order dinner here--just the two of us--like old
--and you swear when you get to the other side, you'll
never come near either of us again?
That's a bet--but I couldn't let you walk out like that,
Sally. I'd have gone cuckoo back there--just thinking
He puts his arm around her--tries to draw her
Don't, Lee--that's dead.
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.
So it's as cold as that, is it?
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.
129 FULL SHOT
Anya eyes Lother with a deadly calm.
Hope we're not intruding.
(ill at ease)
This is Miss Marsh.
Yes--I met Miss Marsh. In fact, she always seems to be
turning up in the most unusual circumstances.
What's the matter, Miss Marsh--aren't you feeling
There is a long, awkward pause.
Well--shall we go into dinner?
I'll join you later.
And do bring Miss Marsh--
(She surveys the disheveled Sally)
--when she's had time to tidy up a bit.
(jumping to her feet)
You're Anya Rosson, aren't you? I've heard of you
back in New York.
Sorry I can't return the compliment.
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.
I don't understand.
I think you do.
She goes quickly to the door and turns.
130 CLOSE SHOT--SALLY--AS SHE TURNS
I was jealous of you then--I'm sorry for you now.
She exits, closing the door.
131 FULL SHOT
So that's your little dancer that you were playing
around with in New York.
Oh--there's no accounting for tastes--
(She eyes him up and down)
Mine, too, seem to be in the gutter.
I can explain--
Sure! You're never at a loss for words.
Will you pardon me?
Summers makes a beeline for the door and exits.
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
Don't talk such bunk! She's one of the acts on the ship.
I just ran into her by accident.
Did you muss up her hair by accident, too?
You mind your own business! She's an old friend of
mine and I like her--what're you going to do about it?
(with a smile)
Just make it as difficult as possible for you to see her.
I didn't ask you to come away with me--
Oh--a hundred times--
--and I can tell you where to get off.
And when you do I'll convey your respects by wireless
(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!
Will you leave me alone?
(laughing as she pinches his
I like touching you--poison ivy.
(Suddenly the banter leaves
You'd just been kissing that girl when I came in, hadn't
No, darling, lip rouge--all over your mouth.
132 LARGE CLOSE SHOT--ANYA'S HEAD
As she bends slowly toward him.
Let me wipe it off for you.
(She kisses him sensuously,
then looks at him, her eyes
I adore you--you gorilla!
She slaps his face none too gently.
And I'm nuts about you--
(He pinches her face roughly)
He returns her slap in the face playfully--but with
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.
133 BRETT AND MARY--LOUNGE
Brett is very nervous and impatient. He paces
back and forth.
Why don't you answer my question?
I didn't even hear it.
Then I'll repeat it.
Brett continues pacing to and fro.
If spinach makes iron, what makes a boat rock?
I'll have to tell that to Denby. He'll use it on the radio.
Denby passes by door and hears remark.
(sticking head in door)
I don't know what it is, but I won't use it.
(then to Brett)
Is she entertaining you?
I should say not.
(then to Mary)
At last you're making yourself useful. So long!
Denby leaves. A steward enters.
No, sir--she's not on the upper deck either.
(handing him a bill)
You'll excuse me, please--
He walks away toward dining room.
134 MEDIUM CLOSE
As Brett exits from scene with Mary, he sees Sally,
who is walking dejectedly.
I'm sorry I'm late, but something happened.
You're forgiven if you don't make dates with anybody
except me for the rest of the voyage.
I must say you're persistent--
--it's kind of flattering.
Occasionally a passenger passes them but the deck
is more or less deserted.
You're unhappy about something, aren't you?
She hesitates before replying.
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.
Mighty decent of you, pal.
(His expression hardens)
I guess any guy could be decent--if you were interested.
They stop near lifeboat (PROCESS SHOT).
What are you thinking?
A lot of things I'd like to forget.
That's funny--so was I.
Guess the ocean makes one sentimental
I can't blame the ocean--it's you.
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
Can you keep a secret?
You're the first girl I ever met I wanted to build a fence
She looks at him steadily.
Don't kid me. I'm in no mood for it.
For once I'm dead on the level--
(He lowers his voice)
--crazy about you!
Will you take some advice?
If you're looking for romance--count me out--
(as an afterthought)
--if you know what's good for you.
--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.
Let's forget it--can't you see I kind of like you, too
... and I don't want to get involved.
You mean that?
Don't let's talk about it.
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.
As they look up, Sally breaks away from him and
runs out of scene, leaving him.
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
He comes out of his daze--notices the food in his
hand and places it on rail by lifeboat.
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.
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.
139 CLOSE-UP--LOTHER, ANYA, AND SUMMERS
In doorway--Brett is standing near by--Summers
(looking toward Brett)
There's the chump--over there--
Lother, Anya, and Summers walk over to Brett.
How's your mother feeling?
Much better--thank you--
How about a little game later?
Fine--I'll be glad 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
141 MEDIUM CLOSE SHOT--BRETT
He reacts when he sees the bracelet as if an idea
has just struck him.
Will you please excuse me? I'll be right back.
We'll save you a place at our table.
142 MEDIUM CLOSE SHOT--SHORTIE
He is standing by the window and sees Brett leaving.
He follows Brett on to the deck.
(in an undertone)
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.
Keep a lookout, Shortie--
Brett takes a bunch of keys from his pocket--he
inserts a key in the door and goes in.
144 INTERIOR OF ANYA'S STATEROOM--LIGHT EFFECT
Brett starts to search for the bracelet.
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
He turns toward McKinney and reacts nervously.
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.
Can you tie a bow tie?
He starts fumbling with tie, and ties it very badly.
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
149 MEDIUM CLOSE SHOT--MCKINNEY AND SHORTIE
They are coming out of McKinney's room. Brett
sees them and starts down corridor toward auditorium.
What's your hurry, young feller?
Brett turns. He stops and smiles. By this time
McKinney has reached Brett's side.
I'm going to the show--
I'll go with you--
150 AUDITORIUM--INTRODUCTION OF THE SONG
ENTITLED Oh, Leo IS PLAYING
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.
Wait a minute--
152 MEDIUM CLOSE SHOT--DENBY
He is carrying a baby spotlight--he stops the
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.
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--
Denby sings the best he can, which is bad enough.
We'll try it once--
(He addresses the orchestra)
The orchestra plays. Denby sings until he reaches
"Oh Leo," then puts the spotlight on someone in
the audience, and we
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
154 MEDIUM CLOSE SHOT--PARKER, LIVINGSTON, AND
They are applauding the audience.
He also is applauding the audience--he is laughing
and having a good time--he addresses the passengers.
That was fine, folks--now we'll try it again.
Mary walks into scene and interrupts him.
Oh, Chad--what about the rest of the show?
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
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.
156 MEDIUM SHOT--STAGE
The curtains part and Sally Marsh and Frank
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.
158 MEDIUM CLOSE SHOT--BACKSTAGE IN WINGS
Ned and Denby--Parker is still singing--
Does she know Lother's aboard yet?
No--but I'm going to tell her as soon as the act's
CUT BACK TO:
159 MEDIUM CLOSE SHOT--TABLE IN AUDITORIUM
Where Anya, Lother, Brett, Summers, McKinney
Isn't she lovely?
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.
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.
What's the matter, Sally?--you're shaking.
I'm all right.
You saw him sitting out there in front, didn't you?
I was in his cabin--
What!--are you crazy?
I'll explain later--
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.)
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.
163 MEDIUM CLOSE SHOT--TABLE IN AUDITORIUM
Where Brett, Summers, Anya, Lother, and McKinney
are seated--dishes are now on the table,
Now that the entertainment is over, how about a little
game of cards?
Care to join us?
No, thanks--I never gambled in my life.
You're lucky--out my way, in Montana, there's nothing
else to do--
I'm going down to my cabin. I have to send a wireless--
see you later.
Anya leaves. Lother rises--he addresses the group.
Excuse me, gentlemen--I'll see you at the card game--
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
All right--if you must know the truth--I'm going to
Carlsbad for my health.
And, gentlemen--I'm going home, because my wife is
going to have a baby.
I'm on my honeymoon--
(turns to Rosson)
How about you--why are you on the boat?
(has the glass almost to his
lips when the question is asked
--he calmly drinks--puts the
glass down quietly, and
I'm going to kill a man.
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.
Was he kidding us?
166 MEDIUM SHOT--OUTSIDE DOORWAY OF AUDITORIUM
The purser is standing there--Anya enters.
167 MEDIUM CLOSE SHOT--ANYA
She is very nervous and excited--she addresses the
A very valuable bracelet of mine's been stolen!
Where did you have it last?
In my cabin. I didn't wear it this evening--when I went
downstairs just now, I found the lock of my jewel box
By this time McKinney and Summers come up.
(excitedly as she addresses them)
A bracelet's been stolen from my cabin!
Where is your cabin?
168 MEDIUM CLOSE SHOT--TABLE IN AUDITORIUM
Brett--he looks off scene.
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
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
LAP DISSOLVE TO:
172 MEDIUM SHOT--INTERIOR OF ANYA'S CABIN
Purser, Brett, Anya, McKinney.
This is exciting--but if it's been stolen they can't get
away with it on a ship--
Some of the smartest robberies have taken place aboard
It'll be very interesting to see how you go about solving
Sorry--but I'm on a vacation--
If he lets you down I'll try my hand at sleuthing--
(Brett takes cigarette)
Bet I could find that bracelet--
(strikes a match)
I wouldn't be surprised--
The two men look at each other.
Mrs. Rosson, was the bracelet insured?
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--
I wouldn't worry about it--it'll turn up--
How about a nightcap, Inspector?
No, thanks--I'll take a walk around the deck and then
He's a nice boy--
Yes--he's very naïve--
He exits as Summers enters.
Did you find it?
No!--Did you take that bracelet?
173 MEDIUM SHOT--SALLY'S DRESSING ROOM
She is still in her adagio costume. Lother is present.
Do you mind getting out of here now--I want to
Go ahead--you didn't used to be so fussy--
I've lost my taste for knickknacks--
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?
Have you ever figured they might extradite you?
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.
Would you like to take a turn around the deck with me?
(anxious to escape from Lother)
Yes--is it all right if I come like this?
(She grabs a cloak and goes out)
174 WALKING SHOT--BRETT AND SALLY IN COMPANIONWAY
This time I'm really glad you showed up.
We'll let it go at that--
They exit from companionway.
175 MEDIUM CLOSE SHOT--EXTERIOR OF SALLY'S
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
(grabbing Lother by the arm)
What are you doing around here?
Take it easy--you'll last longer--
Ned goes after Lother with a clenched fist.
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.
What happened to you?
You've got a gun, haven't you, Chad? Will you let me
Don't ask any questions--just give it to me.
(trying to quiet him)
(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.
176 MEDIUM CLOSE SHOT--SALLY AND BRETT ON
DECK at the rail.
(looking at moon)
That's a beautiful moon, Sally?
Yes--you know what I've been thinking, Sally?--
I think we'll live in Europe after we're married?
(is speechless for a moment,
I didn't know we were going to be married.
You didn't?--I guess I forgot to tell you--
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--
I'll give you plenty of rings as soon as I get the stones
set--what do you think?
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.
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.
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.
In companionway--He sees McKinney go into
181 MEDIUM SHOT--MCKINNEY IN BRETT'S ROOM
He is searching.
182 CLOSE SHOT--MCKINNEY
Coming out of Brett's room and exiting toward
LAP DISSOLVE TO:
Where Brett and Sally are sauntering along, and
are met by McKinney.
Thought you were going to turn in, Inspector.
Nervous. Couldn't sleep. Feel like a nightcap?
(inviting them both)
It's getting kind of chilly on deck. If you'll excuse me, I
think I'll go to bed. Good night, Mr. McKinney!
Good night, Mrs. Brett!
Good night, idiot!
How about you?
No, thanks. I've promised to play cards.
You know what I'd do, if I were you--before the card
game I'd go to the Purser's office.
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.
Sure, I'll go.
I'll go with you.
184 PURSER'S OFFICE -- MCKINNEY, BRETT, AND PURSER
Well, you insist--
He runs his hands through Brett's pockets.
It's easy to see the Purser hasn't had much practice.
How about trying your fine Italian hand?
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.
Hey!--you're tickling me.
(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?
Well, I guess that's all--good night!
He flips them a salute and goes nonchalantly out.
He's certainly good-natured.
"Smooth's" the word.
I mean--a lot of gentlemen would be offended if you
searched them like that.
It all depends on what you're used to.
McKinney suddenly bangs his fist on the desk.
Well, I'll be a son of a sea cook!
What's the matter?
(He pulls out his billfold and grins)
--I just remembered the name of a guy that owes me
BRETT'S CABIN--NEXT MORNING
Brett in bathing suit and dressing gown, talking
to Shortie. Shortie is puffing a cigarette nervously.
This is the first chance I've had to get away to tell you
--McKinney was snooping around in this cabin last
It's O.K., Shortie--it's still there. Better bring it in.
Shortie goes to porthole and puts his head through
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
CUT BACK TO:
What're you goin' to do with it?
You keep it--
Sure! McKinney will never suspect you--
He moves toward door.
Say--wait a minute!
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.
Large package of Luckies--Good morning, Inspector!
Hello, young fellow!
Coming to the pool for a swim?
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,
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:
McKinney exits from cigar stand to where Chad
Denby has been watching. Denby greets him with--
Hello, Inspector--I hear your vacation's been spoiled.
Somebody lost a bracelet.
Yes, a bracelet's been lost, but I'm still on my vacation.
I understand you searched Brett for it last night. By
the way--what do you know about him?
Well, I've seen him here and there. What's on your
Oh, nothing--only I wondered why you suspected him.
Well, I'll tell you--we picked him up about a year ago--
but could never pin anything on him.
Maybe he just travels in bad company.
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.
Tell me--did you find your bracelet?
No--I'm furious!--Nobody seems to do anything about
(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.
Strike out harder with your feet--now exhale as your
arms go back.
He holds Anya up as she strikes out.
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.
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.
194 SALLY DIVES IN
Brett just coming out of the water.
195 SALLY AND BRETT
I thought you were never coming--
(looking in the direction of Anya)
I could see you were pining away--
Oh, that's Mrs. Rosson--remember, you met her yesterday?
They sit on the side of the pool and dangle their
(after a pause)
How well do you know her?
Just met her on the boat--supposed to play bridge with
her yesterday--but she wouldn't--so we played poker
(with a start)
A Mr. Summers and a man called Lother.
Oh, you infant! How much did you lose?
Lose?--I won a little--
That was the come-on--promise me you won't play with
What do you know about them?
Too much--Remember--I warned you about me--
(She looks him straight in the eye)
I used to be Lee Lother's girl--
You can live that down, can't you?
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
She dives off edge of pool and Brett swims after
(catches up to her)
You can't lose me, Sally--I'm no lily myself!
(half to herself)
I'm beginning to think you're a pretty swell guy.
(avoiding her eyes)
Come on--let's take a swim.
As they start to rise.
196 BRETT AND SALLY AS THEY DIVE
Short underwater sequence which is very graceful.
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.
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.
Blime!--wot's that yer got?
(moving toward door)
(increasing his pace)
Let me look at it.
(moving away from him faster)
Ain't got time.
(moves quickly toward him)
Hey--you! Where you going?
199 FULL SHOT
There is only one thing for Shortie to do. He beats
it, pursued by steward out of room onto deck.
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
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.
202 CLOSE SHOT--BRETT'S HEAD
Appearing above water. He takes in the situation.
He dives into pool.
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.
I tell yuh I ain't got no bracelet--
(threateningly--pointing to shoes)
I saw him take the bracelet out of that shoe.
Yer crazy!--I ain't got no bracelet.
Then why did you run away?
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.
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.
Take your places, folks. The winner of this horse race
will be presented with a handsome autographed ocean
208 MEDIUM SHOT
They are all lined up à la wheelbarrow. Their
positions will naturally be funnier than can be
209 MEDIUM CLOSE--SALLY AND DAN
Sally is having extreme difficulty with her horse
(Dan). His arms collapse and he falls flat on his
(complaining. She yells to Denby)
I want a new horse. His front legs are full of rubber.
Denby enters scene.
(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.
(lifting his face from the deck)
Well, you got the first down--there's one more to go.
Come on, we're ready to start right now. Come on. Just
I was never stiffer in my life.
(addresses everybody with a laugh)
All right, folks, get on your mark. When you hear the
He reaches for his gun but discovers that it is not
in his pocket.
I forgot my gun.
(He takes his pocket
I'll drop this handkerchief instead--
He drops handkerchief--the race starts.
210 MEDIUM LONG SHOT
The passengers watching and cheering their favorites.
211 MEDIUM CLOSE SHOT
Come on, Sally.
Bet you a hundred dollars she wins!
Wouldn't bet against her.
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.
It's a bet--come on, Sally!
212 CUT OF FAT DAME (GAG)
213 FINISHING LINE
We see the finish of the race. Dan Campbell slides
over the finish line on his nose.
The winner, Sally Marsh! And--
(He raises Sally's hand)
(He pulls a sliver out of Dan's nose)
--wins by a sliver!
214 MEDIUM CLOSE--DECK
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
(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.
Could I see you a minute?
215 CROWD CUT--SALLY ACCLAIMED
216 MCKINNEY AND SALLY
Exciting, wasn't it? Where's Jimmy?
He'll be back.
What would you do if anybody gave you a bracelet?
Say, "Thanks very much!"
I mean if you knew it were stolen.
Well, of course, I wouldn't take it.
And if you liked the person, you'd naturally persuade
him to give it back and go straight, wouldn't you?
Sure I would--but I don't get what you're driving at.
Maybe you will after you've thought it over.
Brett, Lother, and Summers drinking--apparently
Well--when are we going to have our little poker game?
Well, to tell you the truth, gentlemen, I've sworn off
Why, you wouldn't quit when you're ahead, would you?
Why isn't that a good time to quit?
No gentleman would do that.
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.
I thought you were a sucker--
In that case--you owe us exactly sixteen hundred dollars.
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.
(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.
That goes two ways.
Make it three, boys--I'll play this hand pat.
And I'll lay odds you got that bracelet.
I'll lay odds you get a pair of 'em--Why, a high-school
kid could take you saps--and another thing--Lay off
(He laughs in Summer's face)
--"Honest Jack"! One look at your mug and the whole
world buttons up its pockets.
STEWARD BLOWING THE DINNER BUGLE. NIGHT
BACKGROUND. (FOG EFFECT THROUGH SEQUENCE.)
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.
220 MEDIUM SHOT--BARBER SHOP
Ballinger enters in evening clothes--gets into
Quite a growth, sir--been seasick?
As barber leans him back in chair--
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.
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.
223 EXTERIOR OF BARBER SHOP
Steward going by McKinney--
Boy--let me have that radiogram blank--
Steward gives him pencil and blank--he starts to
"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
Pardon me, sir--that table's reserved--
(in husky voice)
I've been in my cabin--ill--this is the first time I've
come to the dining room.
(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.
226 CAMPBELL'S CABIN--
Campbell in his underwear is excitedly gesticulating
to a steward.
I tell you--my dress clothes have been stolen!--
--but I laid 'em out on that bed for you, sir!
I know you did! I went to take a shower and when I
came back they'd gone--even the shoes.
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
Why--don't you like him?
(breaks off as he changes his manner)
There's your cue--hurry up--
He watches her run out of scene as Lother enters
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)
Say, Denby--how soon before Sally'll be through?
I've got a date with her.
(wise to him)
I'll give you another chance to tell the truth, Lother.
What do you mean?
Why don't you be a good little boy and leave her alone?
Oh--I understand you were an important part of her
education when she came to New York.
(softly, with a smile)
I just tried to show her the difference between the
squirrels and the skunks.
(narrowing his eyes)
You don't shoot squirrels.
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.
The music comes to a finish. Denby exits out of
scene applauding à 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.
He follows her.
229 MEDIUM SHOT--LOTHER AND SALLY
Sally is still in her costume.
Are you going to meet the blonde?
(anxious to get away from him)
That's my affair.
Lother takes her by the arm.
I know he is. You change those clothes and then come to
my cabin. I'll expect you around twelve o'clock.
(as she jerks her arm away from him)
Not a chance--I'm through.
(She exits quickly in the
direction of her cabin)
230 CLOSE-UP OF LOTHER--
He looks after her and then grimly walks out in
the direction she has taken.
230-A MEDIUM CLOSE SHOT
Brett as Sally enters to him.
I'll change and be with you in ten minutes.
Make it five.
Seven-fifty. Positively my last offer.
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
... dead on time as we passed the point light--
(His finger hesitates a moment
--twenty-four hours ago--38€, 41€--
(His finger continues to
--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,
233 MAN POUNDING ON DOOR (THE SAME MAN WE
SAW IN OPENING OF PICTURE)
He is in exactly the same position, at the same
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.
(pounding on door, yells)
Open the door!
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
237 CLOSE-UP REACTION OF CAPTAIN AND PASSENGERS
CROWDED IN THE DOORWAY OF SALLY'S CABIN
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--
238 LONG SHOT--SHOOTING TOWARD DOOR--
McKinney comes in through the group to the Captain.
Inspector, for the first time in the history of this line a
passenger has been murdered. Won't you please take
239 CLOSE-UP OF MCKINNEY
He thinks--then suddenly turns and dashes out of
239-A OUTSIDE BAR
Dan just coming out as McKinney runs by. Dan
turns and goes back into bar.
240 LONG SHOT--COMPANIONWAY
FOLLOW MCKINNEY DOWNSTAIRS INTO ENGINE ROOM.
241 LONG SHOT OF ENGINE ROOM
McKinney enters--draws gun from his pocket--
cautiously goes to corner of engine room (secluded
242 CLOSE-UP OF MAN--HIS BACK TO CAMERA--ASLEEP--
243 LONGER SHOT--
McKinney cautiously approaches the sleeping figure,
sticks gun in his back:
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
McKinney searches him--takes revolver from his
Where'd you get it?
Lifted it out of a guy's cabin last night.
What did you want a gun for?
Stick-up. Needed dough to get ashore.
Is that why you killed Lee Lother?
Guess again, copper.
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.
244 INTERIOR SALLY'S CABIN--GROUP AS BEFORE--
McKinney enters with Ballinger, who is now handcuffed.
245 CLOSE-UP MCKINNEY AND BALLINGER
All right, spill it!
Ballinger looks down at dead man--
I didn't do it.
246 LONGER SHOT--GROUP
Who is he?
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.
247 TWO-SHOT--MCKINNEY AND CAPTAIN
Captain, I want you to get the following passengers 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.
That's the truth--every single word!
I sincerely hope so--
Why should I kill him?
For a very excellent reason from your own admission--
--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.
Thought you might need me--don't talk, kid, and don't
let him scare you--
(He points to 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
249 FULL SHOT--MCKINNEY AND SUMMERS
(turns to Summers)
Where were you when the murder happened?
In my cabin playing solitaire.
Oh, you couldn't get a friendly little poker game
(He turns to Ned)
Still sticking to the same story, Marsh?
You didn't have a gun in your hand last night?
S'pose you've never thought of killing him--
I wouldn't say that--
I'm glad he's dead--yes--I'd thought of killing him--
but I didn't--
Because I was yellow, I guess--
Don't get yourself all worked up--
You keep out of this--
You admit you thought of killing him--how were you
going to do it?
I tried to borrow a gun from Chad, but--
(as he rises)
This is interesting--
(turns quickly to Denby)
Why didn't you tell me you gave this kid your gun last
He asked for a loan of it, didn't he?
Yes--but I didn't give it to him--
(Smiles--takes gun he got from
Ballinger out of his pocket)
Is this your gun?
(Surprised at seeing gun--
examines it closely)
(He turns to Brett)
Now, Jimmy, what were you doing in that corridor before
the shots were fired?
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.
250 LONG SHOT--DOOR BURSTS OPEN
A steward enters--he is very excited.
(He is white)
The lady in cabin--has been killed!
Are you sure?--
This scene is shot so that the door in the
background is not in the picture--we hear a
That's right, Inspector!--
CAMERA PANS OVER TO DOORWAY.
She's dead!--I killed Lother too!
As Inspector, Captain, and Officers go to him--
251-A CLOSE SHOT--DENBY--NED--SALLY
Denby enters scene where Ned is standing with his
arm around Sally.
Take her to her cabin--she's all in.
251AA CLOSE SHOT CORNER OF PURSER'S OFFICE--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
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.
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?
Very clear. That's one favor I'll be glad to do you.
(offering his hand)
(They shake hands)
I'm only sorry for one thing.
If you hadn't agreed--I was going to throw you overboard--
Brett grins and leaves him.
As he walks away, Shortie comes up to Brett.
Hello, Jimmy. What's up?
Listen, Runt--Quick! Where's the ice?
Why--I--er thought with all this heat turned on I'd
Where did you hide it?
On the drunk.
251-B MEDIUM SHOT-DAN-STAGGERING DOWN CORRIDOR.
Shortie follows him.
251-C SECTION OF DECK OUTSIDE PURSER'S OFFICE--
CLOSE SHOT--CAPTAIN OF SHIP AND MCKINNEY
Well, Inspector--now that that's over--you can go
back to your vacation.
Not quite yet. There's still a loose bracelet floating
around here somewhere.
CAMERA DOLLIES BACK TO BRETT AND SALLY
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.
Now you know.
(repeating her words)
If you have an appointment elsewhere--I'll excuse you.
She looks at him for a moment.
Sorry to intrude.
Brett hastily puts bracelet in his pocket.
McKinney comes into scene.
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.
I've got a hunch you're going to win that bet, Inspector.
I hope so. Well, I guess you two can do without me. I'll
be seeing you.
253 MEDIUM CLOSE SHOT--BRETT AND SALLY
I'm going to return the bracelet right now and face the
His hand goes to his pocket.
Well, I'll be--!!!
What's the matter?
They both react seriously and look off down the
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
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.
Here's your fifty.
Thanks. That makes us square.
Sally enters scene. McKinney grins and moves off.
CAMERA PANS WITH HIM.
Next time I get a vacation I'll spend it at headquarters.
254-A CLOSE-UP--SALLY AND BRETT WATCHING HIM
He's a swell person. He told me he'd rather turn one guy
straight than jug a million.
255 QUICK FLASH---THE SHOW GOING ON
Chorus, fast tempo, etc.
SUPERIMPOSE Denby at microphone.
This is the Transatlantic Merry-Go-Round program
signing off--station W-A-V-E--Chad Denby speaking.
Oh, Mr. Denby, I wrote a poem about a bracelet--
Screen Play by Joseph Moncure March and Harry W. Conn
Original Story by Leon Gordon