Bus Stop Page #8

Synopsis: Innocent rodeo cowboy Bo falls in love with cafe singer Cherie in Phoenix. She tries to run away to Los Angeles but he finds her and forces her to board the bus to his home in Montana. When the bus stops at Grace's Diner the passengers learn that the road ahead is blocked. By now everyone knows of the kidnapping, but Bo is determined to have Cherie.
Genre: Comedy, Drama, Romance
Director(s): Joshua Logan
Production: 20th Century Fox Film Corporation
  Nominated for 1 Oscar. Another 1 win & 6 nominations.
 
IMDB:
6.7
Rotten Tomatoes:
79%
APPROVED
Year:
1956
96 min
1,702 Views


The road's clear, folks.

Bus'll be ready to leave soon as I get

the chains on and pull it up front.

Anybody wanna help me?

Sit here, Bo. I'll help him.

Bo?

Yeah?

I just wanted to tell you something.

It's kinda personal and embarrassing too.

But I ain't the kind of girl you thought I was.

What do you mean, Cherry?

Well, I guess a lot of people'd say

I led a real wicked life,

and I guess I have too.

What are you tryin' to tell me?

Well, I just figure that

since you met me at the Blue Dragon,

that you just took it for granted that

I'd had other boyfriends 'fore you.

You had?

Yes, Bo.

Quite a few.

Virge tried to tell me that,

but I wouldn't believe him.

Well, it's true.

So you can see,

it...

You're better off,

'cause I ain't the kind

of gal you thought I was at all.

(BUS ENGINE REWING)

I'll go wake the children.

Cherry,

would I be molestin' you

if I was to tell you somethin'?

No.

Since you brought the subject up,

you are the first gal

that I ever had anything to do with.

I never thought I'd hear myself

sayin' that, but I said it.

Virge told me that,

but I couldn't hardly believe him.

That's the truth.

You see, I lived all my life on a ranch and...

I guess I just didn't know

anything about women...

'Cause they're different from men.

Well, naturally.

All ready to roll, folks.

Feelin' better, cowboy?

I ain't the happiest critter

that's ever been born.

I feel a little shook up myself.

How 'bout shaking hands?

Well...

Go ahead, Bo. He's just tryin' to be friends.

- I don't mind.

- No hard feelin's?

No hard feelin's.

There's a nice state, miss. Montana.

How 'bout a cup of coffee

for the road, Grace?

- Nice fella, Bo.

- Maybe I'll think so someday.

Maybe we'd better be boarding the bus.

- (TUNING GUITAR)

- Cherry?

Hi, Bo.

Cherry, you won't be gettin' on this bus.

I know that I promised not to molest ya,

but if you give your permission

that it'd be all right,

I... I'd like to kiss you good-bye.

I'd like for you to kiss me, Bo.

I really would.

- Bo!

- What?

I think this time it oughta be different.

Oh!

Golly,

when you kiss somebody for serious,

it's kinda scary, ain't it?

Yes, it is.

- Here they are. All breakfasted.

- I'm still hungry.

- See you Wednesday.

- Keep that beer on ice, will ya, Grace?

Maybe next time

I'll get a chance to finish it.

All aboard!

- Come on, kids.

- I turned down the heater.

Honey, will you throw this water

on the fire?

Sure.

This bus stop is closed

as of now! (YAWNING)

Cherry?

Yes?

Virge has been figurin' things out.

And, well, he says

that seeing as how you had

all them other boyfriends before me,

and seeing as I never even

had one single gal friend before you,

well, Virge figures

that between the two of us

it kinda averages out

to things being proper and right.

That's what Virge thinks.

What do you think, Bo?

Well...

Well, I've been thinkin'

about them other fellas, Cherry,

and, well, what I mean is,

I like you the way you are,

so what do I care how you got that way?

Bo!

That is the sweetest,

tenderest thing anyone ever said to me.

It's awful hard for a fella

after he's been turned down once,

to get up enough guts to try again.

You don't need guts, Bo.

I don't?

That's the last thing in this world you need.

Well, anyhow,

I just don't have any now.

So I'll just have to tell you

what I feel in my heart.

Yes?

I still wish you was

goin' back to the ranch with me,

more than anything I know.

You do?

Yeah, I do.

I'd go anywhere in the world with you now.

Anywhere at all!

(STAMMERING) You would?

Anywhere at all!

You, you would?

- Yes, I would!

- You would?

I would, I would, I would!

(LAUGHING) You would? You would?

You would?

Yes, I would. I would.

Virge!

Oops!

She's gonna marry me!

Ain't it wonderful when somebody

so terrible turns out to be so nice?

Our ranch is gonna be

the nicest place in the world

'cause we're gonna have an angel on it!

- Here's your map.

- Here's your bag.

Oh, this ol' thing!

That's right, Cherry!

I'll show you the way to Montana!

Hey, Captain! You got yourself

another passenger.

- Okay!

- Come on, Virge.

- Wait a second, Bo.

- Doggone it, come on!

- Now listen!

- Come on, Virge, what you waitin' for?

You asked for a second!

You gotta hear me. Bo, I ain't goin'.

You ain't what?

You don't need me to look after you.

Fact is, you got someone

you gotta look after.

Here's your wedding ring.

Virge, I wish you'd come.

I liked you long 'fore I ever liked Bo.

Gettin' late, folks.

You better hurry. The bus can't wait all day.

Doggone it, Virge! You're my buddy!

I ain't gonna let you go.

You're comin' with Cherry and me,

'cause we want you to!

- Let me be! Let me be!

- Bo! Bo!

You just can't do it that way. You just can't!

If he don't wanna come,

you can't make him.

Whatever I got left up there,

the boys can have it.

- Bye, Bo.

- C'mon, Cherry, let's make it fast.

Well, Cherry!

You're liable to freeze

to death in that skimpy little thing!

But what about you?

You'll need something.

Ya-hoo!

Uh-oh.

Bye, everybody!

Bye! Bye!

You can have my everything

My house, my money, my wedding ring

And in the bargain I'll throw in me

If you will marry me

Rate this script:0.0 / 0 votes

George Axelrod

George Axelrod (June 9, 1922 – June 21, 2003) was an American screenwriter, producer, playwright and film director, best known for his play, The Seven Year Itch (1952), which was adapted into a movie of the same name starring Marilyn Monroe. He was nominated for an Academy Award for his 1961 adaptation of Truman Capote's Breakfast at Tiffany's and also adapted Richard Condon's The Manchurian Candidate (1962). more…

All George Axelrod scripts | George Axelrod Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Bus Stop" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/bus_stop_4859>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Bus Stop

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "blocking" in screenwriting?
    A The planning of actors' movements on stage or set
    B The construction of sets
    C The end of a scene
    D The prevention of story progress