BUtterfield 8 Page #5

Synopsis: Beautiful Gloria Wandrous, a New York fashion model engages in an illicit affair with married socialite Weston Liggett. However, Gloria's desire for respectability causes her to reconsider her lifestyle.
Genre: Drama
Director(s): Daniel Mann
Production: MGM Home Entertainment
  Won 1 Oscar. Another 6 nominations.
 
IMDB:
6.4
Rotten Tomatoes:
47%
NOT RATED
Year:
1960
109 min
612 Views


It never has been.

It was in me...

...but it isn't there anymore.

It's no longer just men for me.

There's only one man. One.

Just one.

Maybe it's too late for marriage...

...but it's not too late for love.

Now...

...by some miracle,

I'm like everybody else.

I'm in love.

You can look at me, Mama...

...without wishing

I'd never been born.

Hi, Bing.

Hi, Ligg.

Well?

Is that offer still open?

Yes or no?

So you finally came to your senses.

Well, what brought this on?

Something just woke me up.

I won't ask what it was...

...because I wish it had

happened five years ago.

- You prepared to work hard?

- Harder than you.

We keep regular hours.

Law and liquor don't go together.

It'll take six months

of study to catch up.

I'll catch up in three.

All right, Ligg, old friend.

Let's go.

She's here, doctor.

Good afternoon, Dr. Tredman.

I don't know if I care to talk

with you, Miss Wandrous.

Then why did you let me in?

Don't try to analyze me.

You don't have the training.

Not in books, perhaps.

You missed three sessions in a row,

and you're late for this one.

I have only so much time a day.

If you don't need the time,

there are people who desperately do.

Now, let's get to work

without anymore nonsense.

I'm sure after all that,

we'll have no rapport.

But if you get mad enough,

I might find something.

Doctor Tredman, are you

hard of hearing?

No.

- I'm trying to tell you something.

- What?

I don't need you anymore.

I have no problems anymore.

I'm in love.

I am in love.

I am really in love.

I'm delighted to hear it.

Goodbye, Dr. Tredman.

Thank you for everything.

While it is sometimes possible

that love can solve many things...

...love is not so simple that you can

rely on it as a complete solution.

So...

...if it isn't all that

you hoped it would be...

...if it doesn't work out,

don't hesitate to come back...

...quickly.

But it will work out.

And I'm gonna make it work.

But if it doesn't...

But it will.

It has to.

Happy birthday, Steve!

Come on in.

Norma's on the phone.

Give her my best.

Sorry, Norma.

Yeah, that place sounds fine.

I'll pick you up in a half-hour.

What?

That was just a studio messenger.

See you later. Bye.

What are you trying to do to me?

Drive you wild with desire!

Where have you been all this time?

I've been chained to the wall in

a sanitarium to keep away from you.

Indifference.

You can't drive me away

this time with indifference.

Norma's waiting. I gotta...

Flesh and blood can only stand

so much voluptuous torture.

You have 30 seconds, buddy-boy.

Have you gone on the needle?

I am hooked.

I am hooked.

- I'm hooked on you.

- Cut it out.

You have 20 seconds.

19...

...18...

...17...

The coat!

Oh, Lord, the coat!

She's coming back to town today!

- What am I gonna do?

- 16...

...15, 14...

- You're crazier than I am.

- ... 13, 12...

- Bye. Happy birthday!

- ... 11...

...10, 9, 8, 7...

Mrs. Liggett.

Welcome home.

It's good to have you back.

- How nice of you, George.

- How is Mrs. Jescott?

She's coming along fine,

out of danger.

Darling, I didn't even

hear you come in.

- You been standing there long?

- A minute.

Welcome home.

Thank you, Wes.

Thank you.

I must say, you're looking

surprisingly youthful.

I'm far from being an old man,

as yet, I hope.

I didn't mean that you ever were old.

It's just that...

...there's a certain

aliveness about you.

I don't know what I mean.

Is your mother feeling better?

Yes. Much.

Well, that's nice. I'm glad.

- Emily, there's something...

- I know. Missing.

- What?

- I noticed it as soon as I came in.

- What are you talking about?

- My coat.

- What coat?

- My mink.

- Your mink is missing?

- Didn't you know it was gone?

Of course not.

See?

- You must have misplaced it.

- I checked every closet.

Maybe you left it out

at Long Island.

Just to make certain, I called Mother.

But it's not there.

How could it be gone?

I don't know.

I've been here every day...

...and nobody else

has been in here but me.

None of our friends...

...nobody.

Wes?

Have you thought of something?

Yes, I was thinking...

Yes?

- You know, those...?

- What?

Those magazine salesmen and people

who solicit for charities?

I've heard some are

fronts for burglaries.

You sound like a Park Avenue

Sherlock Holmes.

Go ahead and laugh.

Stranger things have happened.

The best thing to do

is call the police.

No!

Why not?

- The cheap publicity and all.

- Expensive fur isn't cheap publicity.

And the insurance companies.

If something's stolen, you're labeled

a bad risk and your premium goes up.

You're ridiculous.

I don't understand it.

Well, I do!

I'll get a private detective.

I know a good one.

Private detective?

This is real life,

not a television serial.

- Mother lost a diamond...

- Let me do it without your mother.

I didn't mean it that way.

Which way did you mean it?

I don't know.

Wes, I'm your wife.

- I wanna do things your way, even if...

- Think they're stupid?

I'll see you later.

Tom...

...you know Gloria,

dark-haired, this high...

You don't have to describe

Gloria to me.

I'd know her with my eyes

closed, in a coal mine...

...during an eclipse.

- Has she been here tonight?

- Not for over a week.

Let me tell you something.

Without her, this place is dead.

She's like catnip

to every cat in town.

- Give me a scotch and water.

- Liggett!

- Haven't seen you around.

- Make that a double.

- How are you?

- Two brandies.

That's right.

I've been kind of busy.

I heard. That's the business

I wouldn't mind having again.

- What're you talking about?

- Come on, Liggett. Come on.

Gloria!

Sure.

She's frantic, isn't she?

Like a rocket right off the Earth.

Who should know better

than yours truly?

Mother, help me.

I'd have left home for that.

She's got a traveling itch

like a flea.

Hop, hop, hop. One dog to another.

She picks you up, and she drops you.

Well, welcome to the fraternity.

We meet once a year in Yankee Stadium.

Now, listen, Butterfield 8...

...I've called her hundreds of times.

I'm her closest friend.

You've got to tell me where she is.

It's a matter of life and death!

You're liars.

Liars, all of you!

Thieves and liars!

Now tell me!

- Do you know the speed limit here?

- No.

40 miles an hour,

posted every half-mile.

- Do you know how fast you were going?

- No.

65 miles an hour.

Let me see your license, please.

Thank you.

Turn your face around toward me.

Now breathe out.

Thank you.

You got troubled?

- Yes.

- I thought so.

Let me give you some advice.

Don't try to drive your troubles away.

First, you're gonna be

mad at the world.

You push your foot down on that

gas pedal, and then you go.

Tomorrow, the sun will come out

like it did this morning.

Take it easy.

Cookies.

So what was I saying?

So she said to herself,

"You get in solid with the director.

He puts you in solid

with the producer.

You wind up with a big partnership".

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Charles Schnee

For the American producer (1920-2009), see Charles Schneer.Charles Schnee (6 August 1916 Bridgeport, Connecticut - 29 November 1963 Beverly Hills, California) gave up law to become a screenwriter in the mid-1940s, crafting scripts for the classic Westerns Red River (1948) and The Furies (1950), the social melodrama They Live By Night (1949), and the cynical Hollywood saga The Bad and the Beautiful (1952), for which he won an Academy Award. He worked primarily as a film producer and production executive during the mid-1950s (credits include Until They Sail), but he eventually turned his attention back to scriptwriting. more…

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Submitted on August 05, 2018

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