Platinum Blonde Page #8

He moistens a finger, touches it to his wrist, and makes a

sizzle noise.

Gallagher looks over quizzically—a little suspicious—a

little jealous.

GALLAGHER:

(a drawn-out knowing

utterance)

O-o-oh! Came the dawn, came the

dawn!

CLOSE SHOT - STEW

Over Gallagher's shoulder.

STEW:

And with it came love! Oh Gallagher,

you've got to meet her. She's it—

GALLAGHER:

—and that—

STEW:

(enthusing)

—and those and them.

Gallagher takes a sip of her drink before answering.

GALLAGHER:

Well, I've seen her pictures, and

I don't think she's so hot.

STEW:

(disparaging gesture)

Oh, you don't appreciate it. Her

pictures don't do her justice.

Why, Gallagher, she's queenly -

she is queenly - and I know queens!

(continues in

exaltation)

And oh, has she got herself a nose -

and I know noses too. That little

snozzle of hers is the berries, I

tell you. And is she cute when she

throws that little snozzle to the

high heavens!

52. DOUBLE SHOT

GALLAGHER:

Of course I haven't got a nose.

Stew gives her a hurt look.

STEW:

(shaking his head)

Sure, sure. You've got a nose,

Gallagher. You've got a nose. But

there's different women, Gallagher.

You know, like brewery horses and

thoroughbreds.

GALLAGHER:

(deliberately

misunderstanding)

On now, Stew, don't be too hard on

her. I wouldn't call her a brewery

horse.

STEW:

Gallagher! She's the real McCoy!

GALLAGHER:

And the rest of us are truck horses?

STEW:

(reproachfully)

There you go, talking like a woman!

GALLAGHER:

(a trifle resentfully)

Well!

STEW:

Well, you're my pal, aren't you?

Then don't turn female on me.

During these last few speeches, Gallagher has been regarding

him with a curious expression. She loves being his pal,

but wishes he would realize she is also a woman.

53. MEDIUM SHOT

Stew seems a little resentful of her attitude. He rises.

STEW:

Pay that check, will you Gallagher?

I'll give it back to you some time.

Maybe.

He flourishes the book of Conrad, which has been lying on

the table in front of him, and makes a grand gesture.

STEW:

I go now - I go with Conrad in

quest of my youth! Fry those

tomatoes, will you, Gallagher?

He strikes a pose—and exits.

Gallagher, sits, looking after him, considerably disturbed.

CLOSER SHOT - GALLAGHER

Sitting, looking dismally after Stew.

She opens her bag and takes out a mirror, surveying herself

with frank disapproval. She pulls out a curl of hair before

each ear, tries to soften the severe brim of the hat. She

puts a finger to the tip of her nose and tilts it up,

studying the effect. Then, with a sigh of disgust, she

throws mirror and bag onto the table.

LAP DISSOLVE TO:

INT. SCHUYLER ENTRANCE HALL - DAY - LONG SHOT

Smythe, the butler, previously introduced, comes from the

direction of the rear of the house, and proceeds down the

long, vast hallway towards the front door. The bell keeps

ringing steadily.

The butler reaches the wide front door.

56. CLOSER SHOT

As the butler opens the door and reveals Stew standing

outside, hatless, a book in his hand, a spring overcoat

slightly askew, the pockets bulging with contents. The

butler quickly tries to slam the door in Stew's face, but

Stew's right foot comes forward with a practiced

newspaperman's gesture and he forces his way into the room.

STEW:

(reproachfully)

Now, now Jeeves.[5] Was that nice?

Was that being a gentleman, Jeeves?

Was it, Jeeves? Your name is Jeeves,

isn't it?

SMYTHE:

(stiffly)

The name is Smythe.

STEW:

Smythe! Well, well, well! With a Y

, huh?

(wags his head)

Congratulations! What a small world.

Brothers under livery. Shake!

(he grabs the

butler's hand)

Now, as a Smith to a Smythe—

SMYTHE:

(glacially)

Mrs. Schuyler is not at home.

TWO SHOT - ANOTHER ANGLE

STEW:

I know, I know. I waited outside

till she went out. She's a very

nice lady, but we don't vibrate

well together.

Rate this script:4.0 / 1 vote