Synopsis: After a drunken binge on the San Pablo waterfront, longshoreman Bobo fears he may have killed a man. In his uncertainty, he takes a job on an isolated bait barge. That night, he rescues lovely Anna from a watery suicide attempt and installs her on the barge. But Tiny, Bobo's longtime pal and parasite, hopes to drive Anna away before domestic bliss tears Bobo away from him; the still unsolved murder may be just the wedge Tiny needs. There's fog on the water and evil brewing...
Director(s): Archie Mayo, Fritz Lang
Production: 20th Century Fox Film Corporation
  Nominated for 1 Oscar. Another 2 wins.
94 min

One manhattan, one alexander

and one champagne cocktail.

- What did you say?

- One manhattan, one alexander...

and one champagne cocktail.

- How long have you been working here?

- Today's my first day.

And who asked for

those high-class drinks?

Them high-class jerks.

One manhattan, one alexander

and one champagne cocktail.

Hey, you.

Did you see a guy named Bobo?

One manhattan, one alexander...

and here we have

one champagne cocktail.

This place is run with class.

And anybody wants to make anything

out of it, spit right in his eye.

- Draw four!

- Listen.

- I'm looking for somebody. I'm in a hurry.

- Oh, in a hurry. In a hurry.

- Well, what can I do for you, young fella?

- A guy named Bobo- a dockworker.

- Did you see him in here tonight?

- This is Saturday.

I don't know every dockworker

comes in here Saturday.

Look. He's a French guy.

He was in here last night too.

So I didn't know him last night either.

Does that satisfy you?

I don't think it will. This young

man is going to be hard to satisfy.

Who asked you to butt in?

- Wise guy, eh?

- Well, I may be wrong...

- but it seems to me that you're

the one who butted in. - Ah, ya-

Look at ya.

You're tight now.


- Where you been?

- Eh?

Bobo. Where you been?

- Ah!

- If you must know, drinking with friends.

- Friends?

- Yeah.

- Hey. What friends?

- I'm sorry, but I saw no reason for asking their names.

- Oh, now look. Bobo-

- Hey.

- What do you do for a living?

- Who, me?

- Yeah.

- I'm a bartender.

Then earn your living.

Give me whiskey. But hey.

Not the little glass.

This one.

- Big one.

- What? All whiskey?

Sure. All whiskey.

Here. Bobo.

Ain't ya had enough?

Look. You asked me

to meet you at half past 8:00.

Well, it's half past 10:00 now.

Quarter of 11:

- Yeah.

- Hey, well, that job.

The guy wants to meet us at 12:00.

He's pulling out for San Diego.

Yeah, but it's a good job, Bobo.

A good job.

- You understand?

- Mm-hmm.

That's a good dock, San Diego.

Good dough.

Hey, Bobo.

Take it easy.

No. Not me.

Now, will you let up like I tell ya?


This is Tiny.

Tiny's trouble is he hurries.

He wants to go away.

So do I.

But I'm never in such a hurry as Tiny.

That's all.

What's the use?

I line him up for a good job, and look.

- Hey.

- Beat it.

Beat it?

You got a lot of nerve.

Beat it.

- You like me?

- Sure.

That's fine. First we have to have drinks.

That's right, isn't it?

- All right. I'll take a beer.

- Sure. Waiter.

She wants two beers,

and I want two whiskeys.

Two beers and two whiskeys.

I like you.


I like your dress too.

You with anybody?

Well, I'm with you, ain't I?

Now, yeah, but I mean later.

Oh, I got somebody to take me home,

if that's what you mean.

- That's what I mean.

- Yeah, I got somebody. Mac always takes me.

Well, maybe we can, you know

- we can make a plan to get rid of this Mr. Mac.

- Oh, I couldn't do that.

- Why?

No, I couldn't. You don't know Mac.

He's my steady. He gets awful mad.

And I don't blame him, darling.

I'd get mad too.

Ah. I have it.

This is very clever.

Go and say...

"Some fella named Bobo

wants to take me home...

and I'm going to

let him take me home. "

- That's what.

- Who's gonna take who home?

Oh, no, Mac.

Everything's all right.

Oh, this is Mr. Mac. We were just talking

about you. Sit down. Have a drink with us.

That's my dame you're trying to chisel,

and I don't like it. Get up.


What's that, "chisel"?

Oh, now, don't hit him, Mac.

It's Saturday night.

I said get up!

Why, you big lug!

Gee, Mac, did he hurt you, honey?

Rate this script:(0.00 / 0 votes)

John O'Hara

John Henry O'Hara (January 31, 1905 – April 11, 1970) was an American writer who earned his early literary reputation for short stories and became a best-selling novelist before the age of 30 with Appointment in Samarra and Butterfield 8. His work stands out among that of contemporaries for its unvarnished realism. While O'Hara's legacy as a writer is debated, his champions rank him highly among the underappreciated and unjustly neglected major American writers of the 20th century. Few college students educated after O'Hara's death in 1970 have discovered him, chiefly because he refused to allow his work to be reprinted in anthologies used to teach literature at college level. "O’Hara may not have been the best story writer of the twentieth century, but he is the most addictive," wrote Lorin Stein, editor-in-chief of the Paris Review, in a 2013 appreciation of O'Hara's work. Stein added, "You can binge on his collections the way some people binge on Mad Men, and for some of the same reasons. On the topics of class, sex, and alcohol—that is, the topics that mattered to him—his novels amount to a secret history of American life." Five of O'Hara's stories were adapted into popular films in the 1950s and 1960s, yet, during his lifetime, O'Hara's literary reputation was damaged by the detractors he accumulated due to his outsized and easily bruised ego, alcoholic crankiness, long held resentments and by politically conservative columns he wrote in the 1960s, all of which at times overshadowed his gift for story telling. John Updike, a fan of O'Hara's writing and a fellow Pennsylvanian, said that the prolific author "outproduced our capacity for appreciation; maybe now we can settle down and marvel at him all over again." more…

All John O'Hara scripts | John O'Hara Scripts

FAVORITE (0 fans)

Submitted on August 05, 2018


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)

Discuss this script with the community:



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


    "Moontide" STANDS4 LLC, 2020. Web. 23 Sep. 2020. <>.

    We need you!

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

    The Marketplace:

    Sell your Script !

    Get listed in the most prominent screenplays collection on the web!

    The Studio:

    ScreenWriting Tool

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

    Thanks for your vote! We truly appreciate your support.