Love Before Breakfast Page #3

Synopsis: A rich businessman stalks another man's fiancée.
Genre: Comedy
Director(s): Walter Lang
Production: Universal
 
IMDB:
6.5
APPROVED
Year:
1936
70 min
82 Views


Flowers, darling.

Flowers.

What a queer basket.

Was that a bark?

Kay, look at the little angel.

You come to me,

you itsy-bitsy tiny thing.

Who sent the little darling?

Aren't you going to see?

I know who sent it.

Get away from me.

Go away. Go.

"Introducing Junior and his own doghouse,

so you'll let me out of mine. Scott. "

Isn't that cute?

Yes. Yuki.

What are you going to do?

Send him back, of course.

You'll do nothing of the kind.

Dumb thing. Sit up!

Look at that smart, little precious.

I won't have you send him back.

I'll keep him myself.

You come to Mother.

Yes, I will. I'll just take

care of you, my darling.

I think you ought to call Scott up

right away and thank him.

Which reminds me. Couldn't possibly have been you who

told Scott Miller I was going to the beauty parlor?

Me? Why, darling, certainly not. Don't

tell me he turned up at the beauty parlor.

Whatever for?

Hello. Oh, hello,

Kay. How are you today?

Miss "Kruby" no come on phone now.

Miss "Kruby" very busy

drowning nasty "rittle" dog.

And incidentally, how did he

get our new telephone number?

Why, I-

Why, isn't that the strangest thing?

Yes. Isn't it?

Going out alone today,

Miss Colby? I hope so.

Whoa, Diamond.

Diamond.

There we are.

Oh, Dickson.

Should a gentlemen come here asking for me-

a big chap in a town car with a mustache-

be on your guard.

On my guard, Miss Colby?

He's not quite right in the head.

No?

No. He'll probably want a horse,

so give him Daisy.

Oh, but, Miss Colby,

we don't send Daisy out anymore.

You never know

when she's going to act up.

That's the whole idea.

But if the gentleman's balmy-

Don't you see, Dickson? The doctor

thinks maybe if he falls on his head-

Oh, I see.

But he's not violent, miss?

Oh, no. Not if you humor him. Just agree

to everything he says. Thank you, Dickson.

Come on, Diamond.

Boss, she mean that?

A crazy man's coming in here?

And we gotta be very cautious.

Yes, sir.

What's the matter, boys?

Careful. Don't excite him.

I won't.

Where's the boss?

Hey.

Where'd everybody go? Uh-

What kind of a place is this?

Would you mind telling me

what's going on here?

Just the boys having

a bit of fun, sir. Oh.

Is, uh, Miss Colby on

the bridle path? Yes, sir.

Oh, yes, sir. Yes indeed, sir.

Then get me a horse quickly.

Uh, yes, sir. We've got just the

horse for you, sir. Get Daisy.

Is, uh, Daisy all right?

I mean, uh, a little tired of it all?

You see, I haven't ridden in years.

I understand, sir. Uh,

she'll fix you up, sir. Easy.

Whoa. Whoa. Haven't you got

something a little nearer the ground?

Oh, you'll like this one, sir.

Give me a hand, son.

What's the matter with you fellas?

You all crazy?

Yes, sir.

No, sir.

No, sir.

Come on.

Well, he who is about to die

salutes you.

Whoa. Whoa.

Quiet down. Quiet down.

Come on. Come on.

Whoa. Oh, now. Whoa!

Oh, now. Whoa! Whoa!

Hello there.

What a charming coincidence.

Yes. Isn't it? As a matter of fact, the past three

weeks have been one charming coincidence after another.

Are you actually smiling?

No. I'm only giving my face a rest.

How's Junior?

Junior? I haven't the vaguest idea.

Mother doesn't allow him in my room

on account of I set mousetraps for him.

That's sweet of you.

He loves mice.

Speaking ofJunior, how is

the countess? "Campy Nella. "

Wonderful, wonderful. I hope she

and all the little pekes are well.

Very well.

They're wonderful.

What do you hear from George?

George? Oh.

We call George Bill for short.

He's wonderful too.

Isn't that wonderful? Yes. We're

all wonderful. Just wonderful.

Whoa!

Oh.

Whoa.

Scott, are you hurt?

Scott.

Sorry to disappoint you,

but I'm afraid I'm all right.

That's too bad.

Nice horse.

Might have broken my neck.

That was the idea.

Fine thing.

I'm so glad you didn't break your leg,

because there's two miles back to the

stables, but it's a lovely day for a walk.

I'll get a hitch. I'm sure you will

with that winning smile of yours.

Oh, do let me help you mount.

Oh, thank you.

You're so very kind.

Scott Miller,

don't you get on that horse!

You hear me? Get off my horse!

Sorry, lady. This is now our horse.

Providing you care to hop

up behind me. No, thank you.

It's a long way back.

I'll get a lift.

Oh, I'm sure you will

with that winning smile of yours.

You better hop up.

Get off that horse!

Abyssinia!

Scott Miller!

Scott, you-

Oh! Oh!

Oh!

What's the matter, little girl?

Are you lost?

Well, well. Bless my soul.

If it isn't Miss Colby.

Fancy seeing you here. Hop

aboard and I'll give you a lift.

No? Just trying to be accommodating.

Don't waste your time.

Don't look now, but there's

a snake following you.

Oh! Not so fast!

Hello!

For heaven's sake, Kay, light somewhere. It's

like being in the room with a restless peacock.

Why do men always have to be

late? It's fashionable to be late.

I hate being fashionable. You really like

this? It's a good means of identification.

Do you mean you think it's too-

You could use another spangle or two.

What kind of a costume

is Stuart wearing?

I don't know. He said something

about going as a fudge sundae.

How appealing.

There he is now.

I'll get it, Theodore.

Very good, miss.

Good evening.

Now what?

I've come to take you to the ball.

Oh, you have?

I hope you can bear up on it, but I'm going

with Stuart Farnum. Sorry. You're going with me.

I told you I was going with Stu.

Stu? How vulgar.

Is that a name or a condition?

That's his name.

Strange. It's also his condition. He's

gonna take me if he has to go on a stretcher.

I guess that's the way

it'll have to be.

Stu!

Hmm? Another scotch and-

You see?

He's temporarily indisposed.

Did I hear a-

What's that?

Just my escort. You did this. You deliberately

got him drunk so he couldn't take me.

Kay, please don't say that. I ran across him at the club

- Accidentally, of course.

Of course. He was nervous about his costume, so I

suggested he have a couple of drinks to bolster up.

After he'd had about 12,

I discovered he couldn't hold his liquor.

I can understand that.

So, naturally, the only thing I could do was

offer to take you to the party. Stu! Stu, get up!

Mother, help me, or do something. I'm

afraid he's past help. Tsk, tsk, tsk.

Scott, don't you think

this is going a little too far?

I know. I don't know what

I'm going to do with me.

I'm not going. What? And

waste that lovely costume?

If I go, I'm going alone.

May I offer you my car?

That's sweet of you, Scott.

I'll get your wrap.

Do you mind if I, uh,

sit with the chauffeur?

I'll appreciate it. I'll just take you there and

bring you back. I promise not to spoil your evening.

See, I'm not in costume. Really? I thought

you were masquerading as a gentleman.

Now, children.

Have a good time.

Good-bye.

Good night.

Oh, Kay, wait! What are

you going to do with this?

The question is, darling,

what are you gonna do with it?

I don't believe it.

Rate this script:0.0 / 0 votes

Herbert Fields

Herbert Fields (July 26, 1897 – March 24, 1958) was an American librettist and screenwriter. Born in New York City, Fields began his career as an actor, then graduated to choreography and stage direction before turning to writing. From 1925 until his death, he contributed to the libretti of many Broadway musicals. He wrote the book for most of the Rodgers and Hart musicals of the 1930s and later collaborated with his sister Dorothy on several musicals, including Annie Get Your Gun, Something for the Boys, Up in Central Park, and Arms and the Girl. He won the 1959 Tony Award for Best Musical for Redhead. Fields wrote the screenplays for a string of mostly B-movies, including Let's Fall in Love (1933), Hands Across the Table (1935), Love Before Breakfast (1936), Fools for Scandal (1938), Honolulu (1939), and Father Takes a Wife (1941). He was also one of several writers who worked on The Wizard of Oz, although he did not receive a screen credit for his contribution. Fields was the son of Lew Fields and brother of Dorothy and Joseph Fields. more…

All Herbert Fields scripts | Herbert Fields 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

    "Love Before Breakfast" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/love_before_breakfast_12914>.

    We need you!

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

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what does the term "subplot" refer to?
    A The main storyline
    B A secondary storyline that supports and enhances the main plot
    C The opening scene
    D The closing scene