White Christmas Page #4

Synopsis: Having left the Army following W.W.II, Bob Wallace and Phil Davis team up to become a top song-and-dance act. Davis plays matchmaker and introduces Wallace to a pair of beautiful sisters (Betty and Judy) who also have a song-and-dance act. When Betty and Judy travel to a Vermont lodge to perform a Christmas show, Wallace and Davis follow, only to find their former commander, General Waverly, as the lodge owner. A series of romantic mix-ups ensue as the performers try to help the General.
Director(s): Michael Curtiz
Production: Paramount Pictures
 
IMDB:
7.6
Rotten Tomatoes:
78%
NOT RATED
Year:
1954
120 min
7,681 Views


We don't want to cause you any trouble.

- It's no trouble, honey.

- I know, but Mr. Wallace already...

Will you stop worrying

about Mr. Wallace?

We like to take care of our friends.

- We're practically strangers.

- We'd like to take care of that, too.

But you might get yourself

in an awful jam. Why should you?

- I mean, what's in it for you?

- Forty-five minutes all to myself.

- What?

- Now, come on. Will you hurry, girls?

Come on. Come on. Go on. You go back

to the office and stall the sheriff.

- But, Mr. Davis, how will I stall...

- Make up a story. Tell him anything.

Tell him the girls have

to finish the show or something.

Bob. All right, Bob, the girls

are in jam. We'll have to help them.

- What's the beef?

- Come on. They're in big trouble now.

- What's the picture?

- Somebody is trying to get... Come on.

Let me ask you something.

Why don't we pay the fellow the $200?

Are you kidding?

Pay off a chiseling rat like that?

Will you send a cab out back,

and I'll meet you in the dressing room?

I don't know how I get mixed up

in these things.

Why do I listen to you?

Give me one good reason.

Let's just say we're doing it

for an old pal in the Army.

- It's not good, but it's a reason.

- Will you go on?

You kids get down to the station

and hop on a train.

- Here, Phil.

- We can't.

Our tickets aren't good until tomorrow.

But you've got to get out tonight.

Tickets. Wait a minute. Here,

take these. Now, get going. Come on.

We can't take your tickets.

What will Mr. Wallace think?

Well, honey, it was his idea.

Now, will you please get going?

- His idea? Are you sure?

- Yeah.

He won't think

it's some kind of an angle?

I told you it was his idea.

Now, come on. Upsy-daisy. Here we go!

That's right.

We'll pay you back.

Where can we reach you?

Don't worry. We'll be in touch. Come on.

Our trunks, our phonograph

and the recording.

Honey, we'll get them to you. Would

you please go? The taxi is coming.

- Don't stop for anything. Bye.

- Bye, Phil.

- Here.

- Here.

- Open the door. Bye.

- Bye, now.

And I can't stall him much longer.

Hey, whatever happened

to paying the $200?

Well, we've got to give the girls

five or ten minutes' start.

Wait a minute, I've got an idea.

If you could just stall him

for just a few minutes.

I'll try, but he's eating me

out of business already.

- Well, keep punching, will you?

- OK.

Come on, Bob, I think this will work.

I got a feeling I'm not gonna like it.

I got a feeling you're gonna hate it.

- What am I doing it for?

- Let's just say

we're doing it for a pal in the Army.

- Yeah.

- Yeah, I know. I've heard that...

Listen, Sheriff, I haven't got all night

to wait here while you eat free food.

You got your warrant,

now arrest those girls.

Now, we agreed to let them finish

their show first.

I didn't agree. It was his idea.

I got some rights, too.

You don't get those girls

till after they've done their number.

Well, how long is it going to take?

Well, it'll only be...

Wait a minute, there's their music.

- How's your coffee holding up? Yeah.

- Warm it up a little.

Ladies and gentlemen,

an impromptu surprise for you.

The Haynes Sisters.

Sisters, sisters

There were never such devoted sisters

Never had to have a chaperone no, sir

I'm here to keep my eye on her

Caring, sharing

Every little thing that we are wearing

When a certain gentleman

Arrived from Rome

She wore the dress

And I stayed home

All kinds of weather

We stick together

The same in the rain or sun

Two different faces

But in tight places

We think and we act as one

Those who've seen us

Know that not a thing

Could come between us

Many men have tried to split us up

But no one can

Lord help the mister

Who comes between me and my sister

And Lord help the sister

Who comes between me and my man

Sisters!

Sisters!

Sister, don't come between me

And my man

Hey, we're a smash. Let's take a bow.

Are you crazy? We'll be taking a bow

down at the jailhouse. Come on.

- Hey! Hey, you!

- The sheriff!

- Open up! Come on. Open up.

- You've done it again.

It was your fault.

If we get out of this...

Let's go.

Taxi!

- Boy, girl, boy, girl.

- Let's get over the... Hold this.

Here we go.

You gentlemen made it just in time.

- Is this the right car...

- You say you have space on this train?

Show him the tickets, buster.

- Tickets?

- The tickets.

- Tickets. Yeah.

- Yes.

Hold this just a minute.

- What's the matter with you?

- No. I'm looking for the tickets.

- Get them up.

- I'll get them.

- Railroad tickets...

- Yeah.

I have the... No, it's...

I don't seem to have them.

Maybe you've got them, Bob.

Me? You crazy?

I saw you put them in your pocket.

Well, they're gone. They're gone.

I must have left them in my girdle.

Gentlemen, either you have tickets

or you haven't tickets.

We've got a drawing room.

Every available space

on this train is occupied.

However, if you care

to purchase tickets,

you can sit up all night

in the club car.

Well, that's fine.

How much are two fares to New York?

Now, let me see. $97.24.

- How much more is it to Vermont?

- Vermont? We're going to New York.

It must be beautiful this time of year

in Vermont, Bob. All that snow?

- Two tickets to New York.

- How much more to Vermont?

Vermont? Who cares?

Who's going to Vermont?

We are. I mean, we should.

It'll do us a lot of good, Bob,

all that snow and the fir trees

and the clean fresh air and...

Great change of pace,

just what we need.

- Two tickets to New York.

- It's still $97.24 though.

- OK, buster, get it out. Come on.

- I don't seem to have any cash.

What did you do with that?

Leave it in your snood? Here.

- $97.24.

- OK. There you are.

- Where are you going?

- It's for breakfast.

- Breakfast! Get some peanuts.

- All right.

- Club car's straight ahead.

- OK.

Excuse me, gentlemen.

I certainly don't get this.

We had space in our names.

They're not allowed to give it away

to somebody else.

Well, with the holiday rush and all

there could have been a slip-up.

- Excuse me.

- The club car's in there, I think.

Well, this is great, just great.

We've paid for our tickets twice,

and now we've got to sit up all night.

What are you screaming about?

If we took a plane,

we'd be sitting up all night.

We're not taking a plane.

We're taking a train,

a train on which we had tickets.

Tickets for a drawing room with

two nice, warm, soft comfortable beds,

where, at this very moment, two...

No, you wouldn't do this to me.

- Wouldn't do what?

- After you dressed me up like a dame,

you get me involved with a sheriff.

I almost lose my life

trying to catch a train. I know...

I just know on top of all that,

you wouldn't take away

my nice warm bed

and let me spend the night

out here in a drafty old club car.

You wouldn't do this to old Bob,

would you?

Whatever are you talking about?

I'm going down there to Drawing

Room A, I'm gonna open up that door,

Rate this script:5.0 / 2 votes

Norman Krasna

Norman Krasna (November 7, 1909 – November 1, 1984) was an American screenwriter, playwright, producer, and film director. He is best known for penning screwball comedies which centered on a case of mistaken identity. Krasna also directed three films during a forty-year career in Hollywood. He garnered four Academy Award screenwriting nominations, winning once for 1943's Princess O'Rourke, a film he also directed. more…

All Norman Krasna scripts | Norman Krasna 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

    "White Christmas" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/white_christmas_23374>.

    We need you!

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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "CUT TO:" indicate in a screenplay?
    A A transition to a new scene
    B The end of a scene
    C The beginning of the screenplay
    D A camera movement