Love Me or Leave Me

Synopsis: In 1920's Chicago, Ruth Etting wants to be a renowned singer, which is a far step away from her current work as a taxi dancer. Upon walking into the dance hall and seeing her, Chicago gangster Marty Snyder immediately falls for Ruth, and works toward being her lover, which he believes he can achieve by opening up singing opportunities for her. Ruth is initially wary of Marty, but makes it clear that she is not interested in him in a romantic sense. Regardless, he does help her professionally, and through his opportunities, which are achieved through intimidation and fear, Ruth does quickly start to gain a name as a singer, which she is able to do because of her talent and despite Marty's intimidation tactics. However, the greater her success, the more reliant she becomes on him. This becomes an issue in their relationship as she believes he can take her only so far before he becomes a liability, however he will never let her go that easily. The one person who tried and tries to get Rut
Director(s): Charles Vidor
Production: MGM Home Entertainment
  Won 1 Oscar. Another 1 win & 6 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
67%
PASSED
Year:
1955
122 min
234 Views


Now, Marty, don't get sore.

Who's sore? When Georgie tells me

a customer don't want to pay up his bill...

naturally I want to hear why.

Because I'm tired of being milked

like a cow every week.

Why can't I pay you off once and for all?

Cut that out, Orry.

I run a legitimate laundry.

What laundry says how many tablecloths

and napkins you gotta take?

My laundry. It's our policy.

We want our customers should be clean.

Who needs so many tablecloths?

Who comes into a place like this to eat?

Every customer has a quota.

Otherwise it wouldn't pay me.

Mr. Orry.

- That's all right.

- I saw the whole thing.

It's you again.

She broke my leg. I'm gonna sue this joint.

My dear man, so a girl steps on your toe.

It was an accident.

Accident nothing.

She kicked me on purpose.

- Impossible.

- I can explain everything.

Did you deliberately kick this customer?

- Yes, I did. But I warned him three times.

- You're fired. Now you...

That's not fair.

He's wrong. It wasn't my fault.

He's got 10 cents for a dance.

He can't be wrong.

Cash in your tickets and get out of here.

The next dance is on the house.

Enjoy yourself.

But be careful the way you dance.

Get him a girl.

Marty, you gotta understand my angle.

Now, business hasn't been so...

Not bad, huh? I could fix it up for you.

She's one of those stage-struck ones.

You know the type.

Too bad, kid.

You gonna pay up, Orry, or you want

we should suspend our service?

What did you have to go

and make a fuss for?

Why should I let that big ape paw me?

- It's natural. They all do it.

- Not to me, they don't.

Yeah, I forgot.

You're different. You're going places.

That's right.

Get wise to yourself, duchess.

You're not going anyplace.

Not till you stop hollering, "Hands off. "

I'll stop hollering when I want to.

Not because the customer's always right.

Have you had a good look?

I understand you wanna go on the stage.

Maybe I can help you.

You get out of here,

or I'll call the manager.

This happens to be

a private dressing room.

Private for employees,

which you're not no longer.

You want me to help you go on the stage?

Why don't you buy a ticket and

try your line on one of the employees?

- That is, if you have 10 cents.

- If he has 10 cents?

He's the owner of

the biggest night club laundry in Chicago...

- eight trucks, a payroll of 43.

- I know everybody in the business.

- They're my customers.

- He can introduce you...

- to a dozen guys...

- Shut up.

What're you butting in for? I can't talk?

I'll give you one of my own personal cards.

Why should you?

Why not? I like to help a girl when I can.

And you've got a very excellent

personality, I can see that.

I only need to write something on my card

and they'll put you to work.

I must have left them out in my car.

Meet me outside, and I'll...

Now what's the matter?

I'm not getting into any car with you.

Who said you should?

Who invited you?

I said, "Meet me at the car. "

You dope, he's trying to give you

a break. Take advantage.

Or don't. If you want it, okay. If not, not.

- Come on, Claire. Get out.

- What?

Here, buy yourself a horse and buggy.

Only beat it.

What's the matter?

You invite me out for a pleasant evening.

- I wait who knows how long...

- So I changed my mind. Go on, blow.

Getting awful beat up, that Claire.

Been around too long.

Hi, baby.

- Honey, I'd like to...

- Up an alley.

What's your name?

Ruth Etting.

Take this over to the Circle.

You know where it is?

It's on the North Side.

They'll fix you up. Go on, take it.

Can I give you a lift someplace?

I'm just trying to be agreeable.

Don't do me no favors.

- Do you want the card back?

- Keep it.

Use it in good health.

You wanna know

what's your trouble, girlie?

You ain't got no faith in human nature.

That's all?

She's obligated, ain't she?

So, what're you sitting?

Maybe we can catch up with Claire.

So she's got a lot of mileage on her.

Eddie Fulton.

Thanks, kid.

Only one chorus in the next number, girls.

We're running late.

Hurray for Johnny Alderman,

the people's friend.

Taking in laundry? I got a sackful of socks.

I wish I had. These have to

last till payday.

The point is, can you last till payday?

I get tired just watching you out there.

I must be something to watch.

I'm just not a dancer, that's all.

It seems odd

you'd want a job dancing then.

I didn't. They made a mistake. I'm a singer.

- You had much experience?

- None so far. I'm just starting.

You going about it the right way?

What do you mean? Somebody gives me

a chance to sing, I'll sing.

I've seen a lot of singers fail

because they get off to a bad start.

Right now is when you need coaching,

before you have time to form bad habits.

You need special material, arrangements

to show off what you've got.

That is, if you're serious about it.

I'm serious, all right. I'm also broke.

That'd take a lot of money.

Tell you what.

I might work with you a little, if you like.

Odd hours after the show.

Would you? That would be wonderful.

It would be a pleasure.

One artist to another.

I have a piano at my place.

It isn't far from here.

We could squeeze in quite a bit of time.

Wouldn't that be

an awful lot of trouble for you?

There's some trouble

a man doesn't mind getting into.

- Get ready, girls. Five minutes.

- Saved by the gong.

Better get back to your piano.

Will you kindly use your head?

That one belongs to the Gimp,

bought and paid for.

- The Gimp?

- So don't make trouble for yourself, or me.

I got a big investment in this place.

It's funny. I would have sworn

she hasn't been around much.

Maybe she hasn't.

What she knows, they learn in the cradle.

Wait a minute, Frobisher.

- Etling, I'm here.

- Hello, Mr. Snyder.

I got my own laundry, eight trucks,

and she does her own washing. Cute, huh?

- They treating you right, kid?

- They're wonderful to me.

Okay, Frobisher, thanks. Blow.

I delivered, didn't I? Tell the truth.

You thought

I was giving you the business, right?

I've got to go.

Frobisher, the kid is staying

out of this one.

Sure, why not?

No, I better go.

- No...

- He won't mind.

There is something I want to ask you.

You see, I'm dancing.

That's great.

Tell me, have you ever been to Florida?

No, I haven't. I hate to bother you...

You'll be crazy about it. Take it from me.

All the girls are nuts about Miami.

Mr. Frobisher put me in the chorus...

He won't fire you, don't worry.

He wouldn't dare.

It's the worst weather here, freezing cold.

In Miami, you go swimming

in the ocean every day.

I don't want to dance, I want to sing.

Singing, dancing, what's the difference?

You're on the stage, ain't you?

- In here, Georgie.

- All set, Marty. Got the train tickets.

How do you like that?

We're leaving Friday night.

- Leaving for where?

- For where? For Florida.

Little girl, you gotta start

listening to me.

But I don't want to go to Florida.

Why not?

How do you know you won't like it?

Rate this script:0.0 / 0 votes

Daniel Fuchs

Daniel Fuchs (June 25, 1909 – July 26, 1993) was an American screenwriter, fiction writer, and essayist. more…

All Daniel Fuchs scripts | Daniel Fuchs 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 Me or Leave Me" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/love_me_or_leave_me_12944>.

    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 "FADE OUT:" signify in a screenplay?
    A A transition between scenes
    B The beginning of the screenplay
    C A camera movement
    D The end of the screenplay