ABC ALBUM

JUNE 21, 1953

NO. 11

"THE TURNING POINT"

(Sub-title)

"THE OASIS"

Executive Producer..................Herbert Brodkin

Written by....................Halstead Welles

Director....................Martin Ritt

Art Director..................James McNaughton

VIDEO

AUDIO

(WE SEE AN ELECTRIC SIGN SLOWLY BLINKING ON
AND OFF: IT FILLS THE FRAME LIKE A TITLE.)

**************
* THE OASIS *  
*          *  
*          *  
*          ***  
* DANCING *  
*          *  
*          *  
*          ***  
* CABINS *  
*          *  
**************

(OFF SOMEWHERE, FAINTLY BUT CLEARLY, WE HEAR
A REALLY EXCELLENT BOOGIE-WOOGIE PIANO WITH
A SLOW, BROODY, HEAVY ROLLING BASS.)

(A PATCH OF CIGARETTE SMOKE DRIFTS ACROSS THE
SIGN.)

(AS THE SIGN BLINKS OFF, EVERYTHING IS BLACK
EXCEPT FOR THE EDDY OF CIGARETTE SMOKE, AND
WE GET THE FIRST CREDIT WITH THE SMOKE
DRIFTING ACROSS IT. SIGN BLINKS ON, BLINKS
OFF, THEN THE SECOND CREDIT, ETC.)

(WE HEAR A TRUCK GO ROARING BY AT A HELL OF A
SPEED: WE MUST BE RIGHT NEXT TO A SUPER
HIGHWAY: THE TRUCK WASHES OUT THE PIANO FOR
A MOMENT.)

-1-

(WE PULL BACK A BIT UNTIL WE SEE THAT THE SIGN IS ON SOME SORT OF A ROAD HOUSE: AND THEN WE GLANCE TO THE SIDE A BIT AND NOTICE A YOUNG FELLOW..KENNY..STANDING IN FRONT OF A SCREEN DOOR, SMOKING. HE CAN'T BE MORE THAN SEVENTEEN: HE WEARS A T-SHIRT, SEEMS SKINNY AND SCARED AND HOT. BEHIND HIM, THROUGH THE SCREEN DOOR WE CAN SEE A LITTLE COUNTER....MUST BE A KIND OF DINER IN THERE.

(ANOTHER TRUCK GOES ZOOMING BY.)

(NOW BEHIND THE SCREEN DOOR A GIRL APPEARS.. MARCIA..SEEMS ABOUT SIXTEEN. SHE STANDS CLOSE TO THE DOOR, FACING OUT. WE HAVE THEIR TWO FACES SIDE BY SIDE: THE BOY'S FACE THE CLEAR, THE GIRLS'S FACE CROSS-HATCHED BY THE HEAVY-DUTY MESH ON THE SCREEN DOOR. THERE SEEMS TO BE ABOUT THE TWO KIDS SOMETHING KIND OF SWEET AND SAD AND MAD, AND A LITTLE TAWDRY. SLIGHT PAUSE, THEN:)

**MARCIA:**

You mad, Kenny?

**KENNY:**

Sure.

**MARCIA:**

'Cause I'm dancin' with Sharky?

-2-

**KENNY:**

'Cause you won't go home with me. It's two o'clock.

**MARCIA:**

I'm havin' fun.

**KENNY:**

Yeah? What kinda fun?

(WE PULL BACK AS KENNY STROLLS AWAY FROM THE DOOR AND TOWARDS US. NOW WE GET A SLICE OF A GAS PUMP IN THE DIM FOREGROUND AND MARCIA, FULL LENGTH IN THE DOORWAY. SHE STANDS THERE WATCHING KENNY, THEN TURNS AND GOES RATHER SADLY OUT OF THE SHOT.)

(KENNY IS BY THE GAS PUMP: HE LOOKS UP AT THE SKY, THEN SNAPS HIS CIGARETTE STRAIGHT UP AS IF HE WERE AIMING AT A STAR.)

(WE HEAR A CAR BLOWING A WARNING HORN AS THE CAR GOES BY AT HIGH SPEED.)

(THEN ANOTHER CAR ROLLS ACROSS OUR SHOT AND STOPS. KENNY LOOKS AT IT. IT'S A CONVERTIBLE WITH A WELL-DRESSED, ATTRACTIVE MAN AND WOMAN IN IT: THEY SEEM WEARY AND HOT. THE WOMAN IS DOZING: THE MAN RESTS A SECOND, WIPES HIS FACE WITH A HANDKERCHIEF, LOOKS AT KENNY.)

-3-

**MAN:**

You know if they got any cabins?

**KENNY:**

Yeah, I guess so.

(KENNY TURNS, GOES TO OPEN THE SCREEN DOOR.
THE MAN STARTS TO GET OUT OF THE CAR.)

(CUT TO KENNY AS HE COMES INTO A KIND OF
LITTLE DINER, AND UP TO AN OLD GUY..
COUNTERMAN, I GUESS... SITTING DOZING IN
FRONT OF A SMALL ELECTRIC FAN THAT IS ON THE
COUNTER.)

**KENNY:** (CONT)

Hey, pop. Cabin.

(KENNY GOES TO DRAW HIMSELF A GLASS OF WATER.
POP COMES TO, RISES TO HEAD FOR THE DOOR. AT
THE DOOR HE MEETS THE MAN COMING IN.)

**MAN:**

Got a cabin?

**POP:**

You want to register over here?

**MAN:**

We were planning to drive all night, but...

-4-

POP:

Okay. Out the back. Had 'em built there
so's to be away from the road.

(HE TURNS, HEADS FOR A DARK ARCH HUNG WITH
BAMBOO CURTAINS: THE MAN FOLLOWS.)

(CUT TO THE OTHER SIDE OF THE ARCH: WE ARE
IN A BIG GLOOMY PLACE....MUST BE A DANCE
FLOOR. WE CAN SEE THE TWO MEN IN THE
BRIGHT DINER COMING TOWARDS THE ARCH.)

(THE MUSIC IS CLOSE AND SLOW. FULL-PULSING)

(THE DIM HEADS OF TWO YOUNG PEOPLE DANCING
MOVE ACROSS THE FOREGROUND. IN THE
BACKGROUND WE SEE THE CURTAINS PART AND THE
MEN COME THROUGH. THEY COME TOWARDS US, THEN
TURN. WE TURN WITH THEM, COME UPON ANOTHER
COUPLE DANCING. WE LET THE MEN GO OUT OF THE
SHOT, HOLD ON THE COUPLE WHO ARE DANCING VERY
SLOWLY, CHEEK TO CHEEK. WE FOLLOW THEM AS
THEY MOVE BACK TOWARDS THE ARCH, GET IN
FRONT OF IT, GET SOME LIGHT SPILLED ON THEM
FROM THE DINER SO WE CAN SEE MORE OF THEIR
FACES. THE GIRL IS MARCIA. THE FELLOW MUST
BE SHARKY....OLDER, AND A TOUGH ITEM.)

-6-

**SHARKY:**

Go find out.

(MARCIA TURNS, GOES THROUGH THE ARCH. SHARKY STANDS WATCHING.)

(CUT TO THE PINBALL MACHINE: KENNY IS PLAYING: MARCIA COMES UP TO HIM.)

**MARCIA:**

Why don't you go home? I'll come later.

**KENNY:**

Listen, if you don't come with me I'll phone your old man.

**MARCIA:**

So what...he works nights.

**KENNY:**

Okay, I'll call him tomorrow. I'll tell him everything goes on here.

**MARCIA:**

D. D. T.

**KENNY:**

He ever finds out about the cabin he'll beat you black an' blue.

**MARCIA:**

Think my old man can stop me?

-8-

**KENNY:**

Okay, then I'll call the cops.

**MARCIA:**

Are you crazy?

(CUT TO SHARKY LISTENING... A SLICE OF HIS HEAD IN THE FOREGROUND IN PARTIAL SILHOUETTE: BEYOND HIM WE SEE MARCIA AND KENNY. NOW THE SCREEN DOOR OPENS AND MRS. PATTERSON COMES IN. SHE SAYS SOMETHING TO THE KIDS. WE CAN'T HEAR BECAUSE THE JUKE BOX MUSIC IS SO NEAR US. BUT WE CAN SEE KENNY POINT TO THE ARCH. SHE COMES ALONG, COMES THROUGH THE CURTAINS, STOPS A LITTLE STARTLED AS SHE SEES SHARKY STANDING THERE, A LITTLE PUZZLED BY THE DARK GLOOMY ROOM. SLIGHT PAUSE.)

**SHARKY:**

The Cabins are out back, lady.

(HE INDICATES THE DIRECTION. SHE STARTS ALONG. WE FOLLOW HER. SHE PASSES A COUPLE THAT IS STANDING STILL, ALMOST TRANCE-LIKE, SWAYING SLIGHTLY TO THE MUSIC.)

(SHE NOTICES THEM, SKIRTS AROUND THEM, HEADS FOR A DOOR, REACHES TO OPEN IT.)

-9-

(CUT TO OUTSIDE AS SHE COMES OUT INTO A LATTICED BREEZEWAY....DARK, EXCEPT FOR THE MOONLIGHT. SHE STOPS, LOOKS AROUND, CALLS TENTATIVELY.)

MRS. PATTERSON:

Jim?

(NO ANSWER)

Jim.

(NO ANSWER)

(SHE STARTS ALONG, COMES TO A CABIN..IT'S DARK. SHE HESITATES.)

MRS. PATTERSON: (CONT)

Jim?

(NO ANSWER)

(SHE MOVES ON TO THE NEXT CABIN..IT'S LIGHTED. PATTERSON AND POP ARE COMING OUT.)

PATTERSON:

Oh, hello. What happened, Ely? Did you wake up? Nice clean cabins.

POP:

I'll bring your car around.

(POP GOES. MRS. PATTERSON HAS COME UP CLOSE TO HER HUSBAND TO CUDDLE UP AGAINST HIM.)

-10-

**PATTERSON:**

I was getting so sleepy I couldn't drive...
thought if we could stretch out for a couple
of hours....

(HIS ARM IS AROUND HER, THEY START STROLLING
TO THE CABIN DOOR.)

**PATTERSON:** (CONT)

What's the matter?

**ELY:**

I don't know, I just feel scared. I woke
up and you were gone, and I didn't know where
I was for a minute and that scared me. And
then this place. Don't you think this place
is kind of scary?

**PATTERSON:**

No, I think it's nice.

(HE OPENS THE DOOR.)

(CUT TO INSIDE THE CABIN AS THEY COME IN.)

**ELY:**

Lock the door, please.

**PATTERSON:**

Wait till he brings the car. I want to put
the top up.

**ELY:**

-11-

I put it up.

**PATTERSON:**

Well, maybe you want some luggage.

**ELY:**

I'm not going to undress. Please lock the
door.

**PATTERSON:**

(HALF-AMUSED, HALF-SERIOUS)

Ely, you're crazy, honey.

**ELY:**

I'm sorry, but I just have this feeling
that we shouldn't have stopped here.

**PATTERSON:**

All right, we'll go on. Do you want to
go on?

**ELY:**

But you have to get some sleep.

(THE LIGHTS FROM THE CAR SWERVE AROUND,
SHOOT IN THE OPEN DOOR. THE CAR SEEMS TO
DRIVE RIGHT SMACK UP TO THE DOOR, STOP.
PATTERSON AND ELY STAND CLOSE TOGETHER
LOOKING OUT. CAR LIGHTS GO OUT.)

(CAR DOOR SLAMS)

(PATTERSON GOES OUT.)

-12-

(CUT TO OUTSIDE THE CABIN DOOR: POP COMES UP, HANDS HIM THE KEYS.)

**POP:**

You want anything from the car?

**PATTERSON:**

I don't think so; I just want to make sure it's locked.

(HE GOES OUT OF THE SHOT. WE HOLD ON POP OUTSIDE THE SCREEN DOOR. ELY COMES UP INSIDE, STANDS LOOKING OUT. SLIGHT PAUSE.)

(THE MUSIC IS DRIFTING ACROSS FROM THE ROAD HOUSE.)

**ELY:**

How long's that music going to keep up?

**POP:**

It's just those kids. It's kind of a little club. They'll go home.

(A TRUCK ROARS BY)

**POP:** (CONT)

An' if they don't I stop the music. That's my rule...I always stop the music at three.

(CAR DOOR SLAMS)

-13-

(ELY PUSHES OPEN THE SCREEN DOOR. PATTERSON
COMES INTO THE SHOT. ELY DISAPPEARS.)

POP:

If you want anything just phone.

PATTERSON:

Good night.

(CUT TO INSIDE THE CABIN AS PATTERSON COMES
IN. HE SHUTS THE DOOR, LOCKS IT.)

(ELY IS BY THE DOUBLE BED. SHE STARTS
TO UNDRESS.)

PATTERSON:

I thought you weren't going to take off
your clothes.

ELY:

Just my dress. I don't want to muss it.

(SHE TAKES OFF HER DRESS. HE TAKES OFF HIS
SUMMER JACKET, TIE. THEN HE COMES TO THE
BED, PULLS THE COVERS OFF.)

PATTERSON:

Sheets look clean. Actually the whole place
looks nice and clean; it's just kind of worn
out.

ELY:

So am I.

-14-

(SHE STRETCHES OUT ON THE BED IN HER SLIP.
HE STRETCHES OUT. THEY ARE LYING ON THEIR
BACKS: THEY SEEM QUITE SAD AND FAR APART.)

(THE JUKE BOX MUSIC COMES SNEAKING THROUGH
THE WINDOW.)

PATTERSON:

You're worn out...what do you think I am?

ELY:

I wasn't thinking about driving.

PATTERSON:

Oh?

(SLIGHT PAUSE)

PATTERSON: (CONT)

We should call the kids in the morning, see
if everything's all right.

(SLIGHT PAUSE. THE CLARINET FILLS IT,
SOFT AND SEXY)

PATTERSON: (CONT)

I'm sure it will be. They're probably
delighted for us to go and leave them.

(NEITHER MOVES: EACH LIES THERE LOOKING UP
AT THE CEILING.)

PATTERSON: (CONT)

Good idea to spend vacation apart.

-15-

ELY:

Would you like to spend it apart?

PATTERSON:

What do you mean? We are.

ELY:

I mean apart from me.

PATTERSON:

Oh.

(SLIGHT PAUSE)

I suppose I hadn't really thought.

ELY:

I had.

(HE RISES UP ON ONE ELBOW, LOOKS AT HER.)

PATTERSON:

What are you so sad about?

ELY:

Nothing, I was just listening to that clarinet.

PATTERSON:

That isn't the truth.

ELY:

Do you want the truth?

-16-

PATTERSON:

Why not?

ELY:

I'm sad because you don't love me.

PATTERSON:

Well, so am I.

ELY:

So are you what?

PATTERSON:

Sad because I don't love you.

(HE LIES BACK AGAIN: BOTH ARE STILL: THE
CLARINET SEEMS THE ONLY THING IN THE ROOM
THAT'S ALIVE: THEN THAT DIES. STILLNESS.)

PATTERSON: (CONT)

I'm sad because you're a wonderful woman
and I don't love anyone else but I don't
love you, either and I don't know why.

ELY:

You used to.

PATTERSON:

Sure.

ELY:

I still love you. I love you more than
anything in life.

-17-

(THEY LIE LOOKING UP AT THE CEILING.)

(CUT TO THREE HEADS IN A HUDDLE: SHARKY, MARCIA AND THE SECOND FELLOW, JOE. THEY ARE IN THE DANCE HALL, JUST BEHIND THE BAMBOO CURTAIN, THE BRIGHT DINER BEYOND.)

SHARKY: (HALF-WHISPER)

You know we got to take him around back,
work him over a little.

MARCIA:

It's the priest. He went to the priest
an' he told him to tell the cops.

SHARKY:

I mean I got responsibilities. He starts
talkin' I'm in real trouble.

(HE STARTS.)

MARCIA:

Sharky, what you goin' to do to him?

SHARKY:

See he don't talk.

(HE SAYS THIS QUIETLY, SIMPLY. HE AND JOE GO
THROUGH THE CURTAINS. MARCIA STANDS WATCHING.
THE OTHER GIRL COMES FROM BEHIND AND INTO THE
SHOT, STANDS WATCHING WITH MARCIA.)

-18-

(SHARKY LETS THE OTHER TWO HOLD KENNY, TURNS BACK TO POP.)

**SHARKY:**

Whadja say, pop?

**POP:**

Let him alone.

(SUDDENLY SHARKY SLAPS HIS FACE THREE TIMES BACK AND FORTH.)

**SHARKY:**

What do you say now, pop?

(NO ANSWER. AS SHARKY TURNS TO THE OTHERS TO START FOR THE DOOR THE DOOR OPENS, A STATE TROOPER COMES IN, STOPS. EVERYBODY IS IN HIS WAY: THEY SEPARATE.)

(KENNY TAKES THE OPPORTUNITY TO GO BACK TO THE COUNTER. THE STATE TROOPER TAKES OUT A TABLOID, HEADS FOR THE OTHER END OF THE COUNTER, SITS. POP FOLLOWS INTO THE SHOT BRINGING COFFEE AND A MAE WEST. THE TROOPER TAKES IT WITHOUT A WORD, AS IF THIS WERE A REGULAR ROUTINE AT THIS TIME EVERY NIGHT.)

(CUT TO THE TWO FELLOWS STANDING BY THE ARCH.)

-20-

**SHARKY:**

Be seein' you, Kenny.

(THEY GO THROUGH THE ARCH.)

(CUT TO KENNY AT THE COUNTER. KENNY IS
NURSING HIS STRAWBERRY COKE. POP COMES BACK,
PUTS A NICKEL IN THE JUKE BOX SELECTOR, SITS
NEXT TO HIM, LEANS CLOSE.)

**POP:** (VERY LOW)

What happened?

**KENNY:**

I told Marcia I was goin' to the cops. But
I didn't really mean it. I was only tryin'
to scare her into quittin'.

**POP:**

Too bad you said it. They'll beat you up now.

**KENNY:**

Yeah, I know.

(SLIGHT PAUSE)

**POP:**

Why don't you go home when the trooper goes?

**KENNY:**

They'd just come around tomorrow, beat me
up worse. Might as well take it now.

-21-

**POP:**

Look, have another coke. I won't charge you
nothin'.

**KENNY:**

No thanks.

(HE SWINGS AROUND ON THE STOOL, STAYS
LOOKING OUT THE DOOR. POP LEANS CLOSER.)

**POP:**

Too bad Marcia told 'em.

**KENNY:**

She's changed. Judas, when she first moved
here she was all big blue eyes like somethin'
wrapped up at Christmas.

(A GREAT TRUCK ROLLS BY, MAKING THE GLASSES
SHIVER.)

**KENNY:** (CONT)

We were crazy for each other, almost sick
we were so serious. You know what communion
is? It was like that.

(A SICKENING SCREECH OF BRAKES)

**KENNY:** (CONT)

An' then we had to meet Sharky, an' start
comin' out here! I still think we could marry,
go up north, maybe work on a farm where she
came from. (MORE)

-22-

KENNY: (CONT)

Only she won't. Not anymore. She's all
goofed up and gone.

(THE STATE TROOPER CROSSES THE SHOT FOR A
TOOTHPICK, STANDS USING IT, AND READING HIS
PAPER, WE TURN WITH HIM, SEE MARCIA COMING
OUT FROM THE ARCH. WE FOLLOW HER BACK AS
SHE COMES UP TO KENNY.)

MARCIA:

Kenny, can you come outside?

(NO ANSWER)

I changed my mind; I'm ready to go.

(SHE HOLDS OUT HER HAND: KENNY RISES, GOES
WITH HER OUT THE DOOR.)

(CUT TO POP WATCHING THEM AS HE IS MAKING
CHANGE FOR THE STATE TROOPER.)

(SCREEN DOOR SLAMS)

(TROOPER GETS HIS CHANGE, GOES.)

(WE START TO FOLLOW HIM TOWARDS THE DOOR,
THEN LET HIM GO OUT OF THE SHOT, SEE BEYOND
THAT SHARKY IS IN THE ARCHWAY, HAS SEEN
THE TROOPER GO.)

(SCREEN DOOR SLAMS)

-23-

(SHARKY'S FACE WITHDRAWS INTO THE DARK ROOM.)

(PURPLE NIGHT STARTS ON THE JUKE BOX.)

(CUT TO THE CABIN. ELY AND PATTERSON ARE JUST AS THEY WERE, EXCEPT THE LAMP HAS BEEN TURNED OFF, AND WE SEE THEM NOW IN MOONLIGHT)

(PURPLE NIGHT COMES SOFTLY THROUGH THE WINDOW)

(THEY LIE THERE AS IF LISTENING: THEN:)

ELY:

I never felt so alone.

PATTERSON:

Nor I. But maybe it'll change. Maybe this vacation off by ourselves will change everything. God knows I want it to.

(HE SITS UP.)

PATTERSON: (CONT)

You know I think sometimes kids can separate parents...I mean even wonderful kids but there always seems so many duties, and things; and never any time for the parents to have any fun by themselves, as they used to.

(HE RISES SADLY)

PATTERSON: (CONT)

I'm afraid love isn't a domestic article.

-24-

(HE GOES TO THE DOOR, UNLOCKS IT.)

**ELY:**

Where are you going?

**PATTERSON:**

I don't know, honey. Just outside for a
little while; I feel jittery.

(HE OPENS THE DOOR, GOES OUT QUIETLY.)

(CUT TO OUTSIDE. HE STANDS IN THE MOONLIGHT.
HE HEARS SOMETHING, TURNS.)

(CUT TO WHAT HE SEES: MARCIA AND KENNY IN
THE ARBOR, HAND IN HAND.)

**KENNY:**

Come on, let's get in the car an' go.

**MARCIA:**

Wait a minute. Give me a kiss first. Give
me a long one for old times.

(THEY KISS. SHE PUTS HER ARMS AROUND HIM.)

(CUT TO PATTERSON IN FRONT OF HIS SCREEN DOOR,
WATCHING. THE LIGHT IS SNAPPED ON BEHIND HIM.)

**ELY:** (OFF)

Darling, where are you? Darling, don't stay
out; I get worried.

-25-

(HE GOES IN. THE MAIN DOOR IS SHUT, SHUTTING
OUT THE LIGHT THAT WAS COMING THROUGH THE
SCREEN DOOR.)

(CUT TO MARCIA AND KENNY. HE BREAKS THE KISS)

KENNY:

Judas, Marcia, whadya kiss that way for? You
mean it?

MARCIA:

'Course I mean it. You want the longest kiss
you'll ever get?

(SHE KISSES HIM AGAIN, RATHER DESPERATELY.
WE ARE IN TIGHT ON THEM, AND NOW BEYOND,
BEHIND KENNY'S BACK, WE CAN SEE SHARKY AND JOE
MOVING QUIETLY CLOSER AND CLOSER UNDER THE
MOON-SHADOWED ARBOR.)

(CUT TO THE CABIN: ELY AND PATTERSON ARE
SITTING SIDE BY SIDE ON THE BED. NEITHER
SPEAKS FOR A MOMENT.)

ELY:

Want me to read you something?

PATTERSON:

I don't care; if you want to.

ELY:

Want to read the Gideon Bible?

-26-

**PATTERSON:**

Wait a second..I heard something.

**ELY:**

Heard what?

**PATTERSON:**

A groan. Didn't you hear a groan?

(HE HEADS FOR THE DOOR.)

(CUT TO OUTSIDE AS HE COMES OUT. HE LOOKS DOWN THE PATH WHERE HE SAW THE KIDS KISSING, GOES ALONG, STOPS AS HE COMES TO SOMETHING, LOOKS, SEES A BODY FLOPPED ON THE GROUND, BENDS DOWN, TOUCHES IT, GOES FAST BACK TO THE CABIN.)

(CUT TO INSIDE THE CABIN, ELY STANDING BY THE BED PUTTING ON HER DRESS. PATTERSON COMES IN QUICKLY.)

**PATTERSON:**

Hey, honey. there's a guy killed out there.

**ELY:**

What?

**PATTERSON:**

A kid. A kid I saw with a girl kissing.

**ELY:**

No! No, it couldn't be.

-27-

**PATTERSON:**

Come on and look.

(HE GOES OUT. SHE FOLLOWS)

(CUT TO THE SPOT UNDER THE ARBOR. WE ARE LOOKING FROM THE DOOR OF THE ROAD HOUSE DOWN THE PATH THAT GOES BY THE CABINS. WE SEE ELY AND PATTERSON COMING ALONG. THEY COME RIGHT UP TO US, STOP, LOOK DOWN. WE LOOK DOWN: NO BODY.)

(WE LOOK UP AS THEY LOOK UP AND AT EACH OTHER)

**ELY:**

Where is he?

**PATTERSON:**

In a second! In one second he's gone!

(HE STARTS TO LOOK AROUND, FINDS POP STANDING BY ONE OF THE POSTS THAT SUPPORTS THE ARBOR)

**PATTERSON:** (CONT)

Did you see what..were you here all the time?

**POP:**

All what time?

**PATTERSON:**

Did you see the kid killed? There was a boy.
There was a boy kissing a girl and then he
was killed.

-28-

**POP:**

Why do you say he was killed?

**PATTERSON:**

Because he was lying right here.

**POP:**

Oh, that. That was one of them kids come out
stiff drunk an' falls flat.

**PATTERSON:**

No, there was blood. I put my hand in blood.

**POP:**

So he banged himself.

**ELY:**

Well, where are those kids? Why don't we ask
them?

**POP:**

They went already. Mister, don't worry. I saw
the kid lying here. I saw him get up an'
stagger off with the others.

**PATTERSON:**

I could swear I...

**POP:**

Call the cops if you like. State troopers'
barracks just up the road.

(HE LOOKS AT HIM A SECOND. PATTERSON IS
PUZZLED. POP TURNS AND GOES IN THE ROAD HOUSE.
ELY AND PATTERSON STROLL BACK ALONG THE PATH,
HAND IN HAND.)

-29-

PATTERSON: (QUIETLY)

What do you think?

ELY:

Well, if that old guy saw him get up...

PATTERSON:

How do we *know* he did?

ELY:

But who would kill the boy? The girl that was
kissing him?

PATTERSON:

Maybe she was bait. Maybe those fellows that
were around.

ELY:

Darling, are you sure that when you touched
him, he was dead?

PATTERSON:

No, I'm not.

ELY:

Did you feel any kind of a wound?

PATTERSON:

Just the blood.

ELY:

Well, he could be drunk and banged up.

(THEY ARE AT THEIR CABIN, READY TO GO IN)

PATTERSON:

Tell you what, Ely; go in and I'll come as
soon as I have a look around.

-30-

**ELY:**

What good will that do?

**PATTERSON:**

I don't know. But I'll be back in ten minutes.

**ELY:**

Five.

**PATTERSON:**

Lock the door.

**ELY:**

Don't worry; I will.

(SHE GOES IN, SHUTS THE DOOR, LOCKS IT.)

(PATTERSON STARTS ALONG THE PATH, LOOKS AT THE DARK CABIN NEXT TO HIS, LISTENS A SECOND, HEARS NOTHING, GOES ALONG THROUGH THE ARBOR, AND INTO THE ROAD, STOPS, TURNS BACK TO LISTEN, STEPS BACK IN A SHADOW)

(CUT BACK TO THE DARK CABIN. THE DOOR OPENS, SOMEBODY LOOKS OUT CAUTIOUSLY: IT'S SHARKY. THEN HE TURNS BACK AND MARCIA COMES OUT, THEY STAND CLOSE TOGETHER, WHISPER, FAST AND PANICKY:)

**SHARKY:**

Look, as long as you live don't open your trap.

**MARCIA:**

You shouldn'ta done it! I..I..You..

**SHARKY:**

Sh!

(CUT TO PATTERSON LISTENING)

(CUT BACK TO MARCIA AND SHARKY)

-31-

**MARCIA:**

You told me you were only goin' to scare him.

**SHARKY:**

I was!

**MARCIA:**

Then why did you do it?

**SHARKY:**

He jumped me. How did I know a squirt like
that'd jump me?

(CUT TO PATTERSON: WE HEAR THEIR VOICES
AS WE WATCH HIS FACE)

**SHARKY:** (OFF)

Why don't you wait -- I'll drive you.

**MARCIA:** (OFF)

I'll go hitch a ride.

**SHARKY:** (OFF)

Come on, wait.

**MARCIA:** (OFF)

No, I'm sick.

(CUT BACK TO SHARKY AND MARCIA: HIS ARMS ARE AROUND HER, HE IS TRYING TO GET HER TO STAY)

**SHARKY:**

Okay.

(HE TRIES TO KISS HER: SHE PULLS AWAY)

-32-

**SHARKY:** (CONT)

Now remember you got to stay away from me
for awhile.

**MARCIA:**

I will.

**SHARKY:**

No matter how bad you feel, don't call me
for anything.

**MARCIA:**

Don't worry, I'm swearin' off.

**SHARKY:**

Yeah? That's what you think -- you'll die
first.

**MARCIA:**

Okay, then I'll die.

**SHARKY:**

So who's stoppin' you?

(HE GOES IN THE DARK CABIN, DOOR SHUTS. SHE TURNS, GOES ALONG THE ARBOR, TURNS TO START AROUND THE ROAD HOUSE, HEADING FOR THE ROAD)

**PATTERSON:** (OFF - SOFTLY)

Marcia!

(SHE STOPS, TURNS TO SEE WHERE THE WHISPER CAME FROM. PATTERSON STEPS OUT OF THE SHADOWS)

-33-

**MARCIA:**

Who are you? Were you there all the time?

**PATTERSON:**

Sh! I'm trying to help you. Believe me, I just want to talk with you a second.

**MARCIA:**

What about?

**PATTERSON:**

Your boy friend that was killed.

(SHE HEARS THIS AS IF IT WERE A DEATH SENTENCE, LOWERS HER HEAD, STARTS TO CRY SOFTLY, LETS PATTERSON LEAD HER ALONG.)

(CUT TO INSIDE THE DARK CABIN. (N.B. WE CAN USE THE INTERIOR OF THE PATTERSON'S CABIN OVER AGAIN) ALL WE SEE ARE THE TWO FELLOWS, THE SECOND GIRL HUDDLED CLOSE TOGETHER ON THE BED, NO LIGHT BUT THE FLICKER FROM A CIGARETTE LIGHTER THAT ONE OF THEM HOLDS. THE BOYS ARE TALKING; THE GIRL IS LISTENING, CHEWING GUM; THE LIGHTER IS HELD LOW, THE FLAME PLAYING UP FIRMLY ON THEIR FACES)

**SHARKY:**

Sure we can unload him, that's easy. But what if those jerks next door decide to call the cops?

-34-

**JOE:**

They won't call.

**SHARKY:**

Who can tell? You heard what they said
right out there. Look, what I say is, let's
play safe. Let's sound them out.

(HE GETS UP)

**JOE:**

How?

**SPARKY:**

Never mind how. You get on the phone an'
stay on it, stay right at the switchboard
so they don't put no call through.

(SHARKY HAS GOT JOE UP, IS HEADING FOR THE
DOOR, TURNS BACK TO THE GIRL)

**SHARKY:** (CONT)

An' you stay here. Lock the door.

(THE GIRL LOOKS SCARED)

**SHARKY:** (CONT)

What's the matter? Can he bite you from
under the bed?

(HE GOES OUT WITH JOE)

-35-

(CUT TO OUTSIDE AS THEY COME OUT. JOE
GOES OFF TOWARD THE ROAD HOUSE. SHARKY
STROLLS ALONG TO PATTERSONS' CABIN; WE GO
WITH HIM. HE KNOCKS SOFTLY ON THE DOOR. NO
ANSWER. HE KNOCKS AGAIN.)

(CUT TO INSIDE: ELY LISTENING, BY THE DOOR,
SCARED)

ELY:

Jim?

(KNOCK COMES AGAIN)

Jim, is that you?

SHARKY: (OFF)

Excuse me, ma'am, but I'm stayin' in the
next cabin an' I thought I heard someone
yellin' out like he was hurt.

(CUT TO OUTSIDE--SHARKY AT THE DOOR)

SHARKY: (CONT)

Did you hear anything like that?

(CUT TO INSIDE)

ELY:

No, but my husband did. He thought somebody
was killed.

SHARKY: (OFF)

Then why don't he call the cops?

-36-

**ELY:**

That's what he's doing now. He's trying to
find some clue or something and then he'll
call.

**SHARKY: (OFF)**

Okay, ma'am thanks.

(ELY LISTENS A SECOND, GOES TO THE BED,
PICKS UP THE BIBLE, SITS TO READ)

(CUT TO A BENCH IN A NOOK OF SHRUBBERY. WE
ARE LOOKING FROM BEHIND, SEE PATTERSON AND
MARCIA ON IT. IN THE BACKGROUND WE CAN SEE
THE GAS PUMP IN THE LIGHT SPILLING FROM THE
DINER. EVERYTHING IS AS LONELY AND
MYSTERIOUS AS IF HOPPER HAD PAINTED IT.)

(MARCIA IS TALKING QUIETLY TO PATTERSON)

**MARICA:**

I can't hardly remember how it started, it
was so easy. See, I always fight with my
mother. I can't stand her yellin' at me.
See, my old man yells at her, she yells at
me--everybody in our family yells. So one
time we had a terrible fight because she
wouldn't let me wear lipstick to school.

(MORE)

-37-

MARCIA: (CONT)

So that night I stayed out late with this kid--it was Kenny--and we didn't know what to do because we were in love, an' all the time we kept talkin' about goin' back to live on the farm I grew up on--it's by a lake, it's up north by the bluest lake in the world. . .

(SHE STOPS, TURNS AS THE SCREEN DOOR FROM THE DINER OPENS AND SHARKY STROLLS OUT TO THE GAS PUMP, HAS A LOOK AROUND. WE SEE HIM BETWEEN THEIR HEADS--A TINY FIGURE IN THE BACKGROUND. THEN HE GOES BACK IN. SHE TURNS BACK TO GO ON TALKING TO PATTERSON. WE HOLD THEM BOTH IN PROFILE AS THEY SIT ON THE BENCH FACING EACH OTHER, AND WE'RE BEHIND IT.)

MARCIA: (QUIETER -- CONT)

But somehow we knew we'd never get married, and nothin' ever good would happen to us except to grow old and yell at each other like our folks. So then it was three o'clock in the morning an' we stopped in here, an' that's how it started when Sharky offered us a cigarette.

(SLIGHT PAUSE)

MARCIA: (CONT)

Then after that it all got worse.

-38-

**PATTERSON:**

Marcia, I want you to do something--you take this money, you call a cab and go home.

Then tomorrow I'm going to come around and we'll find a doctor for you to see. Will you take the money?

**MARCIA:**

No, it's better to hitch a ride. 'Cause if I call I'll have to go inside.

**PATTERSON:**

All right.

(HE RISES. SHE RISES)

(CUT TO A REVERSE SHOT)

**MARCIA:**

You goin' to call the cops when I go?

**PATTERSON:**

Yes.

**MARCIA:**

Please don't -- for your sake. Sharky'll get even.

**PATTERSON:**

But I have to.

-39-

**MARCIA:**

But Sharky works for an outfit, don't you
see--I mean big shots an' everything.

That's why he's scared--that's why he's got
to be tough like he is.

**PATTERSON:**

You better go.

**MARCIA:**

Please don't call the cops. Just drive off.

I mean Kenny's dead so what good will it
do just harm to you.

**PATTERSON:**

Well we'll see. I'll think it over. Good
night.

(SHE PUTS HER ARMS AROUND HIM, GIVES HIM A
GOOD KISS, PULLS BACK, TURNS AND GOES. HE
WATCHES HER A SECOND, STARTS ALONG TO THE
ENTRANCE.)

(CUT TO THE _OASIS_ ENTRANCE. PATTERSON COMES INTO THE SHOT, LOOKS ABOUT, LOOKS INSIDE TO SEE IF ANYONE IS THERE, SEES NO ONE, GOES IN.)

(CUT TO INSIDE: POP SITTING BY THE
SWITCHBOARD AT THE DESK. WE ARE LOOKING
ACROSS HIM, SEE PATTERSON ENTER.)

-40-

(HE COMES BY POP, HEADS FOR THE DARK ARCH)

(CUT TO A PHONE BOOTH IN THE FOREGROUND.)

WE ARE LOOKING THROUGH IT, CAN SEE THE
BAMBOO ARCH, SEE PATTERSON COME THROUGH,
LOOK AROUND, SPOT THE PHONE BOOTH. HE COMES
RIGHT UP AT US, COMES INSIDE, SITS DOWN,
DIALS OPERATOR, SHUTS THE DOOR--LIGHT POPS
ON.)

**PATTERSON:**

Operator? Give me the State troopers'
barracks, will you?

(HE WAITS A SECOND. THROUGH THE DOOR WE
SEE SHARKY AND JOE COME UP. JOE PUSHES THE
DOOR OPEN, REACHES IN, PUTS HIS HAND DOWN
ON THE HOOK.)

**JOE:**

Sorry, mister, phone's out of order.

**PATTERSON:**

It isn't. I just got the operator.

**JOE:**

It is now,

(HE RIPS THE CORD OUT. PATTERSON LOOKS AT
HIM FOR A SECOND, THEN GETS UP CAUTIOUSLY,
COMES OUT BETWEEN THEM AND HEADS ACROSS THE
DANCE FLOOR. THEY LET HIM GO, BUT FOLLOW
QUIETLY ALONG AFTER HIM)

-41-

(HE OPENS THE DOOR, GOES OUT.)

(CUT TO THE ARBOR: HE IS COMING OUT AND THEY ARE FOLLOWING. THEY STOP IN THE DOORWAY, WATCHING. HE COMES RIGHT UP AT US. WE CAN SEE HIS SCARED FACE. WE TURN WITH HIM, TAKE HIM TO HIS CABIN. HE KNOCKS, LOOKS BACK)

(CUT TO INSIDE: ELY COMING TO OPEN THE DOOR. HE COMES IN QUICKLY, LOCKS IT, BOLTS IT, TURNS TO ELY)

PATTERSON: (WHISPER)

Listen, Ely, they did kill him. Look up State Police Barracks in the phone book. I think they're just outside. And maybe the old man will let a number go through if --

(HE HAS GONE TO CLOSE THE WINDOW, LOCK IT, CHECKS TO SEE THE BLINDS ARE TIGHT. SHE IS LOOKING UP THE NUMBER. HE GOES BACK TO THE PHONE.)

ELY:

Two seven nine one.

(HE LIFTS THE RECEIVER, CLICKS THE THING UP AND DOWN.)

(SHE COMES OVER, STANDS CLOSE. HIS ARM GOES AROUND HER.)

-42-

PATTERSON: (WAITING FOR THE CALL)

I'm so glad you're here. I was scared sick
because suddenly when I was coming up to
the door I thought what if you aren't inside
--Hello?

(CUT TO POP AT THE SWITCHBOARD)

POP:

Yes, sir.

PATTERSON:

My wife's very ill. I need a doctor right
away. Would you call two seven nine one
please?

(SLIGHT PAUSE)

PATTERSON:

Hello, is this the State Police?

(CUT TO THE SWITCHBOARD. SHARKY HAS
CROWDED IN, TAKEN OVER FROM POP.)

SHARKY:

That's right, sir, State Police...I'm
Lieutenant Evans. What can we do? ...
I see. . . I see. . . Yes. . . They did?
. . . Yeah? Okay, we'll be right over.
Just don't open the door till we come. And
don't try to go out the window or anything
like that. . . Okay.

-43-

(TEARS IN HER EYES SHE COMES INTO HIS ARMS.
THEY TURN, STROLL TO SIT ON THE BED. HE
SEES THE BIBLE SPREAD OPEN, FACE DOWN. HE
PICKS IT UP, LOOKS.)

PATTERSON:

What were you reading?

ELY:

Psalms. Proverbs.

PATTERSON: (READING)

Let thy fountain be blessed; and rejoice
with the wife of thy youth. Let her be a
loving hind and pleasing rose; let her
breasts satisfy thee at all times; and
be thou ravished always with her love.

(WE HAVE BEEN GLANCING DOWN SLOWLY FROM
THEIR FACES TO THE OPEN BIBLE IN HIS LAP.
NOW WE SEE THEIR HANDS REACH, TOUCH, LINK,
LOCK.)

(KNOCK ON THE DOOR)

(UP TO THEIR FACES)

(KNOCK AGAIN)

PATTERSON: (WHISPERING)

Isn't that kind of soon to get here?

(HE GETS UP, GOES TO THE DOOR)

-45-

**PATTERSON:** (CONT)

Yes? Who is it?

**SHARKY:** (OFF)

State troopers. Lieutenant O'Connor.

**PATTERSON:**

I don't believe you; you couldn't get here
that soon.

(SEVERAL SHOTS)

(LOCK IS SHOT IN; DOOR IS BANGED OPEN.)

SHARKY AND JOE ENTER.)

**SHARKY:**

Look, I got a suggestion. You play ball,
we play ball--nobody gets hurt. All I say
is shut your traps, get in your car, drive
off. How's that strike you? You like the
idea.

**PATTERSON:**

Not too good.

**SHARKY:**

What's the matter?

**PATTERSON:**

You killed someone. You have to be
punished.

**SHARKY:**

Says who?

-46-

**PATTERSON:**

Says life.

**SHARKY:**

Sure that's the answer? The missus, too?

(SILENCE)

Okay, sit on the bed.

(THEY SIT. SHARKY STARTS TO RELOAD HIS REVOLVER.)

(CUT TO THE DINER: THE STATE TROOPER COMES IN FAST THROUGH THE FRONT DOOR, UP TO POP)

**TROOPER:**

Pop! Pop!

**POP:**

What's up, someone call you?

**TROOPER:**

A girl comes into the barracks, see, said a kid had been killed and his body was in a cabin.

**POP:**

Well, now, I wouldn't know.

**TROOPER:**

You got a Mr. Patterson here?

**POP:**

Cabin two.

-47-