NOBLE ROT - REEL FOUR

REEL FOUR

INT.   STEVEN GATES' BEDROOM - DAY

Gates' giant bedroom suite is overflowing with large plants.
Suitcases are laid open on top of his huge Hugh Hefner-type bed.
He is packing his suitcases when the PHONE RINGS. He answers it.

GATES
Alex!
(pause)
Well, I'm glad you got the message I left.
I was quite concerned I wouldn't be able to
get a hold of you before you came to the ship.
(pause)
I've got some bad news. The charter company had
some problems with the plane. They won't be able
to pick up Christine until tomorrow. And the last
commercial flight left at two o'clock. I don't know
what to do. I've got to leave tonight, what with
everything else coming down on me next week.
(pause)
Well, here's my proposal. Ill take the cash, and you and
Christine keep the diamonds. We both know the eventual
worth of the diamonds is much greater, but I've got no choice.
(pause)
Okay, I'll meet you there, then, as planned.

He hangs up phone and returns to his packing.

INT. JAIL LOCKUP - DAY

We see POLICEMEN walking down aisle
of cells, waving as they pass one cell.

COP #1
Hey Aldo. How'ya doin'?

Another cop approaches cell, paper in hand.

COP #2
Mr. Cella, would you mind signing an autograph for my
father-in-law? He always watches your commercials.

INT. CELL - DAY

Aldo Cella is in small cell along with Johnny,
Orson Welles, and Franco Bolla. Aldo Cella
gets up from cot and walks to bars, signing paper.

ALDO
Yeah, sure. Who should I sign it to?

COP #2
Put it "To Pop", that's what we call him.

ALDO
Just "Pop", no last name?

COP #2
Just Pop will be fine, we all call him that.

ALDO
It seems so impersonal.

JOHNNY
Why don't you just sign the goddamn thing.

ALDO
What's it to you?

WELLES
Glorioso, don't you think you've
caused enough trouble already?

BOLLA
(to Welles)
What a marvelous voice you have. Would
you consider doing a commercial for Riuniti?

WELLES
I'm exclusive to Gallo for everything
except liqueurs. It's not a liqueur, is it?

BOLLA
Why not.

WELLES
Okay, I'll do it.

JOHNNY
(sitting up in bunk)
It's not a liqueur.

WELLES
Who asked you?

JOHNNY
Nobody asked me, I just know it's not a liqueur.

A cop walks past their cell to one next to it.

COP
(hollering)
Somebody's here to bail out the monks, let's go.

Cop unlocks door -- about fifteen monks file out down
hallway where a distinguished, serious-looking priest waits.

INT. GATES HOUSE - DAY

Gates is standing next to a large open window in the music room.
A table behind him is piled with birdcages, and he is opening the
cages, letting the birds fly free out the window. He turns to see
Alfred standing in the doorway with a frightened look on his face.

GATES
Alfred, you startled me.

Alfred just stands there, not saying anything.
Gates continues freeing birds.

GATES
(after a few moments)
Well, what is it?

Alfred doesn't respond, hesitating. Gates
looks at the serious expression on his face.

GATES
Something troubling you?

ALFRED
It's Christine, sir.

GATES
Don't tell me you're worried for
Christine's safety, that's a new one.

ALFRED
No, sir. She's behind me, sir.

CHRISTINE
(from behind Alfred)
Go on in, Alfred.

Alfred walks forward, revealing Christine.
From where Gates stands, he cannot see her gun.
Suitcases can be seen in the hall behind Christine.

GATES
Christine.

CHRISTINE
(cold)
Hello, Steven.

GATES
(shaken)
What a surprise.

CHRISTINE
Really?

GATES
The charter company had some engine trouble.
We weren't expecting you until tomorrow.

CHRISTINE
I'm glad I decided to fly commercially.

She moves into room; Gates sees she is holding gun.

CHRISTINE
One's travel plans have a way of becoming
less public that way, don't you think?

GATES
(referring to gun)
I see you've been snooping in the glove compartment.
Alfred, I told you not to keep that in there.

CHRISTINE
Steven, I'm surprised you would leave
without the diamonds. It's not like you.

GATES
I didn't want to. I was quite disappointed, actually.
If you think you're going to get the cash from me,
Christine, you're seriously mistaken. Alex is meeting
me at the ship with it. I'm surprised you didn't believe
us when we told you that on the phone this morning.

CHRISTINE
Alex is bringing ten million dollars to
the ship. And what are you bringing.

GATES
He thought he'd be sharing the diamonds with you.
He's an old fool, you know. He doesn't know you like I do.
I told Alex I thought you might take off with the diamonds,
but I never expected you to try for the money, too.

Christine has been eyeing Gates' suit jacket,
which is folded over a chair. She takes out the
travel folder sticking out of the inside pocket.

CHRISTINE
(looking at folder)
Tell me, Steven, did the same travel agent handle Mr.
Glorioso's ticket to Maine? And how about those three
morons? Did you buy tickets for them, or did you take the
chance they could follow him up there by themselves?

GATES
Henrietta and her friends were in Maine?

CHRISTINE
Cut the crap, Steven. Where are the diamonds.

GATES
Don't you have them? They didn't
steal them from you, did they?

CHRISTINE
That would have been too bad. Then I never would have
known for sure that they were fake. You picked up the
diamonds on the day you had me fly out to California,
didn't you? When Henrietta and her friends were busy
following me. That's when you hightailed it to Maine.
And you gave those fishermen fake diamonds to give to me.
But now, Steven, it's you who is going to give the diamonds to me.

INT. POLICE STATION - DAY

Cop #2 walks down the corridor, stopping in
front of Johnny's cell, unlocking the door.

COP #2
Glorioso, someone is here to bail you out.

There are MOANS from his cell-mates and
others in cells nearby. Johnny gets up from cot.

ALDO
(to Johnny)
How'd you rate to get someone down here so quick?
What are ya, a relative of the Corleone family or something?

JOHNNY
(to Cop)
There must be some mistake. I didn't even ...

COP #2
There's no mistake, you're the only Glorioso we got.

The Cop leads Johnny down the line of cells, all filled
with people from the wine contest -- judges, Hasidics,
Greeks, the Thunderbird contingent, etc. The people
in their cells yell and jeer at Johnny as he passes,
some shaking their fists at him. Johnny walks proud,
looking straight ahead, ignoring them. He smiles
slightly at Borker and Kasden when he sees them
looking through the bars from one of the cells.

He follows the cop through a door to a large room
where booking are made and bail paid. A handsome
EUROPEAN-LOOKING MAN, around forty, gets up
from a bench as the cop leads Johnny to a desk in
the front of the room. The cop motions for the man
to join them, pointing at a chair next to the one
Johnny sits in. Cop sits on opposite side of desk.

COP #2
(to European man)
You want to come over here?

The European sits down at desk next to Johnny.
Johnny looks puzzled, not recognizing
the man, wondering what's happening.

JOHNNY
Do I know you?

The man puts out his hand to shake, introducing
himself, speaking with a heavy French accent.

CLAUDE
Claude LeLuc, Chateau Ducru-Beaucaillou.

Johnny shakes his hand halfheartedly, eyes
cringing slightly upon hearing his accent.

JOHNNY
You're not French, are you?

The cop turns the form he is beginning to fill out
so that it faces Claude, handing him his pen.

COP #2
Maybe you ought to just write your name in there
yourself. I don't think I'm going to be able to spell it.

JOHNNY
Are you sure I'm the person you want to bail out? I
think maybe you've got me mixed up with someone else.

CLAUDE
(filling out form)
I'm quite sure.

JOHNNY
Do you mind if I ask why?

CLAUDE
I would like to talk to you about your wine.
I won't take up much of your time.

JOHNNY
(to Cop)
What if a person doesn't want to be bailed out,
do you have to be bailed out if you don't want to?

COP #2
No. You want to go back in?

Johnny thinks for a minute. Claude and Cop
both looking at him, waiting for an answer.

JOHNNY
I don't know ...
(to Claude)
You say it won't take long?

CLAUDE
Not long.

JOHNNY
Okay, I'll take the bail.

INT. FRONT ROOM GATES HOUSE - LATE AFTERNOON

Christine holds a gun pointed at Alfred as he finishes tying
Gates to a straight-backed chair. Ropes bind Gates' ankles
to the chair legs, and his hands are tied behind his back.

CHRISTINE
Tie those ropes tight, Alfred. We
wouldn't want him to not feel any pain.

GATES
You really think Alex wouldn't do the same?
You're a fool, Christine. If he could get his hands
on those diamonds, he'd be gone in a flash.

CHRISTINE
Steven, I've got him tied around
my little finger, and you know it.

GATES
He thinks he's got you tied around his
finger, too. You're both egotistical fools!

CHRISTINE
That's enough, Steven. I'm going to take Alfred
and lock him in the wine cellar now. And when
I come back, I think we'll talk about diamonds.

She indicates with gun for Alfred to move.

INT. MANHATTAN BAR - LATE AFTERNOON

Johnny and Claude are sitting at a table in the crowded bar.
They have each had a few drinks and both are a little loose.

JOHNNY
Let me get this straight. You want to buy our entire stock,
you're offering to pay us twenty dollars a bottle, and you're
going to pay all the distribution and advertising costs?

CLAUDE
But, we want to keep the name. Glorioso!

JOHNNY
You're paying us to put our name on the bottle?

CLAUDE
Okay, we can pay a yearly fee for
the use of your name, that's fair.

JOHNNY
You think that name will help sell it in France, huh?

CLAUDE
Of course, in France they like everything from
California. The California wine isn't that popular
especially, but your wine ... with the noble rot ...

He gestures with his hands, meaning "magnifique".

JOHNNY
I wish I could tell you "yes" right now, but my father and
my brother are the ones who do the financial negotiations.
I'm mostly on the spending end of the business. You'll
have to phone and discuss all that money stuff with them.

Johnny takes his business card out of his wallet
and starts to hand it to Claude, but holds it back.

CLAUDE
Let's phone them now. We can negotiate now.

JOHNNY
Claude, why don't you phone them tomorrow, that would
be fine. And Claude, I have a favor to ask -- when you
talk to my father and my brother, I hope you won't
mention the problem at the judging. Maybe you could
just tell them there were no awards given this year because
a pipe broke in the hall or something like that. Okay?

CLAUDE
A pipe?

Johnny gives him card.

JOHNNY
(getting up)
Something like that, I don't care what you say.
When they mention it to me, I'll cover for you.
(shaking hands)
I've got to go now.

CLAUDE
You want to take my car?

JOHNNY
You got a car here?

CLAUDE
Yes, right outside. The big white one. My
company provides it for me. I don't need it
anymore today. I'm leaving for Chicago early
in the morning. My hotel is just down the street.

JOHNNY
Well, sure ... if you don't mind.

Claude takes out one of his business cards and
writes something on it, then gives it to Johnny.

CLAUDE
Tell him to take you wherever you want.

Johnny is a little puzzled, but thinks Claude said something
like that because he doesn't speak English perfectly.

JOHNNY
(a little puzzled)
Okay, fine.

Johnny remains standing there. Claude doesn't
understand why he doesn't leave. Both are uneasy.

JOHNNY
(finally)
You got the keys?

Claude gets up from the table and leads Johnny to the
window, pointing out a white limo parked in front.

SFX: LOUD ROCK & ROLL

EXT. HIGHWAY - EARLY EVENING

The white limo is going down a highway towards Long Island.

INT. LIMO - EARLY EVENING

MUSIC CONTINUES

Johnny is sitting in the back seat of the limo, legs stretched
out in front of him. He is holding a glass in his hands, there
is an empty bottle on the seat. He aggressively pushes the
buttons on the radio, switching rapidly from one station
to another. Suddenly the MUSIC DIMINISHES in volume.

JOHNNY
(to driver; mad)
What did you turn it down for?

DRIVER
This is our turnoff. I wanted to
know the name of the street again.

JOHNNY
(reading from Christine's card that
he takes from his breast pocket)
Harding. Thirty-seven Hardin. It doesn't say if
it's a street or an avenue or what. I hate that.

INT. GATES HOUSE - EARLY EVENING

Gates is still bound and now gagged with one of Christine's
silk scarves and barefoot. He looks like he's been through a lot.

Clothing from opened suitcases is strewn all over
the room. Christine is talking on the phone to Alex.
She is holding a small bag which contains the diamonds.

CHRISTINE
(on phone)
Alex, I was starting to lose hope.
He's a stubborn son of a bitch.
(pause)
Listen, we'd better decide where we
want to meet, I'd better get out of here.
(pause)
I'm surprised you really want that stuff.
(pause)
Okay, I'll meet you at the dock at eight-thirty.
(looking at clock)
I better get going. I still have to pack.

She hangs up telephone.

CHRISTINE
(to Gates)
Alex and I are going down to the ship to pick up the trunk
that you sent over there this afternoon. I didn't know he
liked your pistol collection so much. Isn't that a surprise?

INT. LIMO - EARLY EVENING

The car is in the immediate neighborhood, and
the Driver is driving slow, looking for the address.

JOHNNY
Since Claude said I could go anywhere I
wanted, does that mean that if I wanted to
drive around all night you would have to do it?

DRIVER
This is it.

He pulls in to Gates' circular drive.

EXT. GATES HOUSE - EARLY EVENING

Johnny gets out of limo.

JOHNNY
Wait here.

Johnny only walks a few feet before
the limo takes off down the driveway.

As Johnny walks towards the door, he peers in the window.
He sees Gates tied up inside. He continues watching as
Christine enters the room with a suitcase. She walks over
to the table where the bag of diamonds is, and takes one out,
examining it in the light. She then puts the small bag in her purse,
putting the purse back on the table. She walks out of the room.

Johnny starts to walk around the house in the direction she went.
He comes to the open window of the music room and climbs in.

INT. MUSIC ROOM - EARLY EVENING

Johnny climbs in through the window, miraculously not
tripping over any of the birdcages that cover the floor.
He walks through the music room into the hallway.

INT. FRONT ROOM, GATES HOUSE - EARLY EVENING

Johnny is standing over Gates. As he looks him over,
he helps himself to large handfuls of nuts from
a jar on a table nearby. Gates looks scared.

Christine enters. She jumps when suddenly
she sees Johnny.   Johnny hardly reacts.

JOHNNY
(chewing)
What's going on here?

CHRISTINE
Johnny.

JOHNNY
(looking at Gates)
And I thought you gave me trouble.

CHRISTINE
You don't look like you're very happy to see me.

JOHNNY
I'm happy to see you. I just didn't expect him.

CHRISTINE
Johnny, I've got to get out of here.
Why don't you come by some other time.

JOHNNY
I almost got killed this afternoon and I don't know why.

He walks over to Christine's purse, takes out the diamonds.

JOHNNY
(holding out the diamonds)
I guess maybe this is the reason.

As Christine grabs for them, Johnny pulls back
his hand, putting the diamonds in his pocket.

JOHNNY
Correct me if I'm wrong, but I think
you might be in some trouble.

CHRISTINE
It's a long story.

JOHNNY
No shit.

CHRISTINE
This is Steven Gates. He's the one I told you about.

Johnny raises his hand slightly, gesturing hello.

CHRISTINE
He lied to me, Johnny. I found out that he
had no intention of giving back the money he
collected from his insurance company after
he found the diamonds he reported missing.

Johnny shoots a look of contempt at Gates.

JOHNNY
Where do you find these guys?

CHRISTINE
I'm going to return the diamonds
to the insurance agency tonight.

JOHNNY
No, you're not. We're taking them to the police.

CHRISTINE
No, I can't do that. I've already talked to the
insurance company. They'll just forget about the
whole thing if they get back the diamonds. The police
would be another story. I could be charged as an accomplice.

JOHNNY
Listen, I was arrested today.   I've got a record in
New York State now. If I get into any more trouble,
I might have to end up getting a lawyer and everything.

CHRISTINE
Johnny, Steven Gates has two tickets to the Bahamas
on a ship that's leaving Manhattan in two hours.
Wouldn't it be great for us to use them? To be able to
spend three whole nights and days together -- all alone.
We'd be able to find out if we really do have a chance together.

JOHNNY
(hesitating)
I don't know.

She reaches up, putting her arms around his
neck, and gives him a long, passionate kiss.

JOHNNY
My clothes are still back at the hotel.

CHRISTINE
I'll pack some of Steven's clothes for you.

JOHNNY
I'm not wearing any of this guy's fag clothes.

CHRISTINE
(teasing)
I don't think we'll have to be worrying about clothes.

She walks over to telephone.

CHRISTINE
I've got to make a call first.

She dials.

CHRISTINE
(on phone)
Mr. Tisdale, this is Miss Walsh calling again.
I just wanted to reconfirm that I'll be meeting
with you at the dock as we planned. My
fiance, Mr. Glorioso, will be sailing with me.

Johnny's eyes light up as she refers to him and herself.

CHRISTINE
(on phone)
We want to give you back the diamonds
so we can just forget about the whole thing.
(pause)
Fine.
(pause)
Okay, goodbye.

She hangs up.

CHRISTINE
Johnny, we better get going. I'll go pack some
things for you. Why don't you call a cab?

EXT. CAB GOING DOWN HIGHWAY - NIGHT

We see cab on its way from Long Island to
Manhattan Pier where the boat is docked.

INT. CAB - NIGHT

Christine looks out the window,
worried. Johnny seems more relaxed.

CHRISTINE
I don't think we'll make it.

JOHNNY
We've got lots of time. The driver said
it's only twenty minutes further.

CHRISTINE
But the traffic might get worse.
(to Driver)
Do you think it's getting worse?

DRIVER
No, it's not getting worse. It's not geting better, but
it's not getting worse. Just like I told you last time.

JOHNNY
I think you're upsetting him.

CHRISTINE
I hope the traffic isn't this bad for Tisdale.
(she looks at her watch again)
What if he doesn't get there on time?

JOHNNY
He'll be there. People that age always leave
for where they're goin' way before they have to.

EXT. MANHATTAN PIER - NIGHT

The cab pulls into the parking lot next to the pier
building. Tisdale's limo is parked near the gate. The
cab pulls in next to the limo. The ship is not far away.
People can be seen waving and shouting to friends
on the pier. A few late arrivals are still boarding.

Johnny and Christine get out of the cab. Tisdale
gets out of the back seat of the limo. His chauffeur,
Hemmings, a bit too late in opening the door.

TISDALE
I didn't think you were going to make
it on time. She sails in thirty minutes.

JOHNNY
(to Christine)
Thirty minutes! We could
have stopped for a sandwich.

The taxi driver is taking Johnny's and Christine's
suitcases from the trunk and putting them on the ground.
Tisdale motions for Johnny and Christine to get into the limo.

TISDALE
Why don't we talk in here for a few minutes.
(to chauffeur)
Hemmings, why don't you put those
suitcases in our trunk for the time being.
(to Johnny)
It's better than leaving them on the ground.

Hemmings puts the four suitcases in the trunk
as the three get in the limo. About ten briefcases
are stacked on one of the seats. Christine and
Tisdale sit side by side, Johnny opposite them.

TISDALE
I want you both to know that you
are making a very wise decision.

JOHNNY
This car isn't bugged, is it?

TISDALE
(condescending)
I'm in the insurance business,
Mr. Glorioso, not the CIA.

JOHNNY
Then how do you know if it's bugged or
not? If you were in the CIA, you'd know.
(to Christine)
Maybe we ought to talk about this outside.

CHRISTINE
I don't think that's necessary.

TISDALE
Believe me, you have nothing to worry about.

JOHNNY
I'm gonna turn up the radio a little,
anyway. That will help jam it.

Johnny reaches over to turn UP the RADIO. It's
quite LOUD and they almost have to shout to be heard.
Hemmings returns and gets into the driver's seat.

JOHNNY
(referring to Hemmings)
How about him?

TISDALE
Excuse me?

Johnny leans in closer to Tisdale.

JOHNNY
Get rid of him.

TISDALE
(to Hemmings)
Hemmins, would you go inside the pier
building and get me some candy, please?

HEMMINGS
Pardon, sir?

TISDALE
(louder)
Would you please go and get me some candy!

Hemmings LOWERS the VOLUME of the
radio from the controls in the front seat.

HEMMINGS
I'm sorry, sir, the radio was quite loud.

JOHNNY
(to Hemmings)
So, you can control the radio
from the front seat, too, huh?

HEMMINGS
Yes, sir.

JOHNNY
(to Christine)
This thing's wired to the hilt. I thought so.

HEMMINGS
(inquiring what Tisdale asked for, one more time)
Sir?

TISDALE
Some candy. I'd like you to go inside the building
and buy Miss Welsh and myself some candy.

HEMMINGS
Any particular kind, sir?

TISDALE
No, anything. It doesn't matter.

HEMMINGS
(to Christine)
Any particular kind for you, Miss?

CHRISTINE
No. I don't care. Whatever they have.

HEMMINGS
(to Johnny)
Anything for you, sir?

JOHNNY
Yes, bring me a couple of Reese's cups.
And if they don't have that, get me a Bun bar.

As Hemmings gets out of the car, Johnny shouts after him:

JOHNNY
The vanilla, not the maple.

Hemmings leaves. Johnny turns UP the
RADIO again. He leans in close to Tisdale.

JOHNNY
Look, it's pretty simple, isn't it? The diamonds are
returned and everybody forgets about everything. Right?

TISDALE
Exactly.

CHRISTINE
Give him the diamonds.

Johnny takes the bag containing the diamonds out of his
pocket and gives it to Tisdale. Tisdale pours the diamonds
into his hand, examining them. There are only nine of them.

TISDALE
One is missing!

JOHNNY
That's our insurance. I'll give you the other one
when Christine and I are safe on board that ship.
Out of the jurisdiction of the State of New York.

TISDALE
I gave you my word, Mr. Glorioso, but
if you insist, I'll go on board with you.

JOHNNY
Nothing personal, but I would just feel more comfortable if
we could finish up this business out there on a foreign vessel.

Hemmings returns just as Johnny and Christine are
getting out of the car. Tisdale puts the diamonds in one
of his briefcases. When he unlocks it we see that it is
filled with stacks of money. He then locks the briefcase
and sets it down among the others before getting out.

Hemmings is holding two Reese's cups and two boxes of Good and
Plenty's in his hand. He hands a box of Good and Plenty's to Christine.

HEMMINGS
Miss.

She takes them, puts them in her pocket, smiling very
slightly. Hemmings hands the two Reese's cups to Johnny.

HEMMINGS
Sir.

JOHNNY
(appreciative)
Thanks.

Hemmings hands the Good and Plenty box
to Tisdale, just as he is getting out the door.

HEMMINGS
I hope this will be satisfactory, sir.

Tisdale takes the small box and throws it
lightly on the back seat, not saying anything.

TISDALE
(to Hemmings)
I'll be back soon, Hemmings.
Please don't leave the car.

CHRISTINE
(looking at her watch)
We'd better hurry.

Johnny waves for one of the porters standing
nearby to come and pick up the luggage.

TISDALE
Why don't you two run ahead, I'll take care of
the luggage for you. What's the cabin number?

Christine pulls out the tickets, checking for the cabin number.

CHRISTINE
A-5.

The porter pulls his cart towards the limo as Christine
and Johnny walk at a fast pace towards the gangplank,
excusing themselves as they push through the crowd.

INT. HALLWAY OF BAHAMIAN SHIP - DAY

Passengers are all getting settled in their cabins.

A CABIN BOY leads Johnny and Christine to their
room, Tisdale following behind ... Tisdale hollers up to
Cabin Boy as he slowly leads them down the hallway.

TISDALE
About how many more minutes is it until the ship leaves?

CABIN
Any minute now, mon.

TISDALE
Am I supposed to be off the ship already? I'm not a passenger.

CABIN BOY
What's the matter, mon, you don't want to go to the Bahamas?

TISDALE
Do they ring a bell or something?

CABIN BOY
Sometimes.

The Cabin Boy stops in front of cabin A-5,
unlocks the door, then hands the key to Johnny.

CABIN BOY
This is your cabin. Your luggage will delivered soon.
If there's anything you need, you can always find
me at the end of this corridor, at my station.
And if I'm not there, you can leave me a note.

He waits for a tip. Johnny takes out a ten-dollar
bill and gives it to him. The militant Cabin Boy
turns and leaves without saying thank you.

Johnny starts looking around the large, first-class cabin.

JOHNNY
Not bad. Not bad at all.

Tisdale is nervous. He wants to get the diamond and leave.

TISDALE
Mr. Glorioso, if you wouldnt' mind ...

CHRISTINE
Johnny, give him the diamond.
The boat is going to leave soon.

JOHNNY
Yeah, alright. I guess it's alright,
now that we're in territorial waters.

Johnny takes the diamond out of his pocket and
gives it to Tisdale, who quickly puts it in his pocket.

Instead of chimes, NOTES PLAYED ON A STEEL DRUM\
precede an announcement over the INTERCOM system.

VOICE
(in heavy Carribean accent)
Ladies and gentlemen, the Captain has advised us
that we will be departing shortly. Guests of passengers
who are going ashore are advised to do so immediately.

Johnny puts his hand out to shake with Tisdale.

JOHNNY
No hard feelings, huh?

TISDALE
Of course not.

Tisdale reluctantly shakes Johnny's hand, trying to
make it quick, but Johnny holds on, trying to be friendly.

JOHNNY
It's just that I've had some problems with
insurance agents before. The scalded dog doesn't
go near the boiling pot, you know what I mean?

TISDALE
Yes, of course.   I really better get going.

Christine opens the cabin door.

CHRISTINE
(to Johnny)
I'll help him find his way off.
(to Tisdale)
You could get lost very easily on a ship this size.

Tisdale starts to follow her out the door.

JOHNNY
I'll come, too.

Johnny follows them out the door.

EXT. DECK OF SHIP - DAY

Johnny and Christine are looking down -- watching
Tisdale walk down the gangplank to the dock. A
few other straggling guests are also leaving. Some
large crates are still being loaded onto the ship.

A steel drum band plays on the deck.

JOHNNY
I wonder when they start giving out the bouillon.
My friend went on a cruise ship like this, and he
said they give out bouillon twenty-four hours a day.

CHRISTINE
I'm feeling a little seasick. It must be from the
rocking. I think I'm going to lie down for a while.

She kisses him on the cheek and starts to walk away.

JOHNNY
(following her)
Good idea.

INT. SHIP - NIGHT

Johnny and Christine are walking through the
crowded lobby of the ship, past the various shops.
Johnny stops in front of a small drug store.

SFX: REGGAE MUSIC

JOHNNY
Maybe we can pick up some medicine for your seasickness here.

CHRISTINE
That would be sweet of you.
I'll meet you in the room.

JOHNNY
(looking into the drug store)
It's kind of crowded. I'll come back later.

CHRISTINE
You don't trust me, do you?

JOHNNY
What do you mean?

CHRISTINE
You know exactly what I mean. You think
I'm going to run away again, don't you?

JOHNNY
I do not. It's just that it's ... ahh ...
(looking back at two customers
standing at drug store counter)
... kind of crowded. Maybe later it won't be as crowded.

Christine sees that there are only two people in line.

CHRISTINE
(smiling)
I don't mind the crowd. I'll meet
you in the room in a few minutes.

JOHNNY
You don't want me to wait for you?

CHRISTINE
If you trust me, I'll find you waiting for me in
our cabin. Maybe we can even have a little nap.

She kisses him on the lips. It's a short kiss, but firm and
promising. She gives him a sensual look before turning
and walking into the small drugstore, not looking back.

He startgs walking towards their room, but just a short way
down the hall, he turns and starts sneaking back towards
the drug store. He hides behind a postcard display, watching
her as she stands at the counter behind another customer.
Johnny tries not to look too conspicuous, pretending
to be looking at the postcards as he spies on her.

SFX: THE MUZAK IS INTERRUPTED
BY AN ANNOUNCEMENT, PRECEDED
BY THE STEEL DRUM CHIMES

VOICE
Ladies and gentlemen, the Captain has kindly
informed us that our departure will begin in exactly
ten minutes. At this time, all guests of passengers who
are going ashore should be ashore. At this time, the
Captain wishes to invite all first class passengers to join
him immediately after tonight's Bon Voyage buffet to view
the film "The Harder They Come", starring Jimmy Cliff.

The woman in front of Christine leaves the store after making
a purchase. Johnny can see Christine talking to the clerk,
as she rings up a purchase. Just as she starts to leave the
drug store, Johnny starts walking, fast, towards the room.

INT. HALLWAY OF SHIP - NIGHT

Johnny walks fast, almost running down the corridor to his
room. He has trouble with the key opening the door. When it
finally opens, he rushes in, quickly closing the door behind him.

INT. JOHNNY AND CHRISTINE'S CABIN - NIGHT

Johnny sits down on a comfortable chair, stretching
out, trying to make it look like he's been sitting there for
a while, waiting for Christine to arrive at any moment.

INT. SHIP - NIGHT

Christine is walking down the ship's main hallway, in
the direction of their cabin. We see her nonchalantly
looking around, wondering if Johnny is somewhere
watching her. She starts walking a little faster, trying
to look calmer than she feels. She turns in the opposite
direction of their room, now almost running.

INT. JOHNNY'S CABIN - NIGHT

Johnny is still sitting in the chair, waiting for Christine.

EXT. DECK OF SHIP - NIGHT

Christine is walking, as fast as she can, across the crowded
deck towards the gangplank. It is very NOISY. Passengers
are SHOUTING their final goodbye to friends on the dock.
   The steel drum band is LOUDER than ever. Christine arrives
at the gangplank, just as it is being pulled away from the ship.

She talks briefly to a young ship's officer, who points her towards
the back end of the ship. She starts running in that direction.

INT. JOHNNY'S CABIN - NIGHT

Johnny is still sitting in the chair. There is a KNOCK on the door.
He gets up, smiling, and opens the door, thinking it's Christine.

JOHNNY
(relieved)
Finally!

The Cabin Boy enters carrying Johnny's suitcases.

CABIN BOY
You're one of the first to get their luggage.
I don't know what you're complaining about.

JOHNNY
(taken back)
Oh, no, that's okay. I was expecting someone else.

Cabin Boy puts down the suitcase and waits for a tip.
Johnny is still thrown by not finding Christine at the
door. He steps out the door, looking down the hallway.

CABIN BOY
Usually we get $10 per suitcase.

JOHNNY
(snapping back)
Right.

Johnny puts his hand in his pocket for the money, and
at the same time realizes that there is only one suitcase.

JOHNNY
There's two more, you know.

CABIN BOY
No, mon. I checked.

JOHNNY
Are you sure?

CABIN BOY
Oh, yes, mon. Only one suitcase for this cabin.

INT. HALLWAY OF SHIP - DAY
Johnny runs out the door and down the hallway.

EXT. CARGO GANGPLANK OF SHIP - NIGHT

Christine has to run to the end of the ship to the other
gangplank. As she arrives there, she seems relieved to find
it is still connected. She tries to compose herself as she
walks, out of breath, down the gangplank and into the crowd.

EXT. DOCK - NIGHT

Christine pushes her way towards the back of the crowd
and sees Tisdale standing half-hidden behind a large
post. He sees her a second after she spots him. Christine
runs up to him and they embrace and kiss. Passionately.

SFX: SHIP'S WHISTLE

The ship's WHISTLE, indicating that it is about to leave, and
the ROAR FROM THE CROWD, interrupt their embrace. They
watch the ship pull away from the dock. People are throwing
streamers and confetti from the boat. Everybody is yelling and waving.

Christine and Tisdale kiss again. Hemmings approaches,
carrying a box of Good and Plenty in his hand. He stands
a respectable distance away, patiently waiting for them to
finish kissing. As soon as they do, he walks up to Tisdale,
and holds out the box of candy for Tisdale to take.

HEMMINGS
Excuse me, sir. Here are your Good and Plenty's.

TISDALE
What are you doing here? You were supposed
to stay with the car. Who's watching the car?

HEMMINGS
Everything's fine, sir. Mr. Glorioso is with the car.
He said you wanted me to bring you your candy.

Tisdale and Chirstine run out of the dock area, towards the parking
lot. Hemmings runs behind them, wondering what's wrong.

EXT. DOCK PARKING LOT - NIGHT

The three run through the gate, into the parking lot.
The limo is gone. They stand there in silence. Shocked.

From out of nowhere, the limo, with Johnny behind the
wheel, swoops down on them, missing them by inches.

Johnny HONKS and waves as he drives
out of the dock area onto the highway.

EXT. HIGHWAY - NIGHT

SFX: MUSIC

END CREDITS ROLL OER THE SHOT OF
THE LIMO GOING DOWN THE HIGHWAY.

FADE OUT.

THE END