Mildred Pierce

Synopsis: When Mildred Pierce's wealthy husband leaves her for another woman, Mildred decides to raise her two daughters on her own. Despite Mildred's financial successes in the restaurant business, her oldest daughter, Veda, resents her mother for degrading their social status. In the midst of a police investigation after the death of her second husband, Mildred must evaluate her own freedom and her complicated relationship with her daughter.
Director(s): Michael Curtiz
Production: MGM Home Entertainment
  Won 1 Oscar. Another 2 wins & 6 nominations.
 
IMDB:
8.0
Rotten Tomatoes:
84%
PASSED
Year:
1945
111 min
1,224 Views


Mildred.

What's on your mind, lady?

You know what l think? l think maybe

you had an idea you'd take a swim.

Leave me alone.

lf you take a swim, l'd have

to take a swim. ls that fair?

Because you feel like killing yourself,

l gotta get pneumonia.

Never thought about that, did you?

Okay. Think about it.

Go on, beat it now.

Go on home before we both take a swim.

Mildred. What are you doing

around this pigeon perch? Slumming?

-What?

-You sick or something?

No. l don't think so.

lf you're feeling weak, why not come

have a drink on the house? For free.

Come on.

Buying this joint was

the smartest move l ever made.

-Give us a couple drinks, will you, Tony?

-Yes, sir.

l hope you're not sore at me about

this afternoon. Strictly business, see?

lt might just as well have been you

selling me out. You can't expect--

What are you looking

at me like that for?

You can talk your way out of anything.

You're good at that.

ln my business you have to be.

Only now, l'd rather talk myself into

something. Do you know what l mean?

-Still trying?

-lt's a habit.

-l've tried once a week since we were kids.

-Twice a week.

Twice.

Anyhow, l'm still drawing blanks.

You never used to drink it

straight like that.

l've learned how these last few months.

l've learned a lot of things.

-Like, for instance?

-Like, for instance, that's rotten liquor.

There's better stuff to drink

at the beach house, Wally.

-ls that a dare?

-Could be.

All right. l'll take it.

You know l like good stuff.

-Maybe this is my lucky day.

-Maybe.

-Come in.

-How about your husband?

ls he getting broad-minded

all of a sudden?

Monte isn't here. Besides, you can talk

your way out of anything, can't you?

l get by all right.

-You keep saying that.

-Do l?

-Nervous, Wally?

-No, l'm cold. Temporarily.

-lsn't this more comfortable?

-Yeah, l guess so, but....

-What's the matter?

-Nothing.

-You don't seem very happy here.

-l'm happy. Believe me.

lnside, my heart is singing.

-That's pretty corny, Wally.

-Well, l'm a corny guy, but smart too.

-l wonder about things.

-What things?

For instance, l wonder why

you brought me here tonight.

All of a sudden, husband gone,

soft lights, quiet room, opportunity.

-Why?

-Maybe l find you irresistible, Wally.

You make me shiver, Mildred.

You always have.

You make love so nicely.

You always have.

All my life when l've wanted something,

l've gone after it. l get it too.

lt may take me a little time,

but l get what l want.

-Do you? lt must be nice.

-Yeah. lt is.

-l'm sorry.

-Hey, what's the score?

l feel sticky.

l think l'd better change my dress.

Yeah, sure, Mildred.

lt's a good idea.

l'll only be a minute.

-Leave the door open so we can talk.

-l like to hear you talk.

So do l. Something about the sound

of my own voice fascinates me.

l'm glad you're not sore about me

taking you over the hurdles.

l didn't mean to cut up your business.

l just got started and couldn't stop.

l see an angle, l start cutting myself

a piece of throat. lt's an instinct.

With me, being smart's a disease.

Know what l mean?

Hey, Mildred!

Hurry up!

You know l don't like to drink alone.

Say something. This one-sided

conversation is beginning to bore me.

Mildred.

Mildred.

Come on. Don't play any games.

l'm a nice guy up to a certain point,

but don't get me sore. Mildred.

What's the matter?

What kind of business is this, anyway?

Hit that house with the light.

Stop, you!

Okay, okay.

What's the hurry, pal?

-No gun.

-Better take a look in that house.

This guy came through that window

like he was shot out of a cannon.

-Get that from the window?

-l cut myself shaving.

Get going, smart guy.

You need some fixing.

Oh, brother.

l'm so smart, it's a disease.

All right, go ahead.

What were you doing in there, pal?

Picking up souvenirs?

No, pal. Nothing petty.

This is a pretty big night for you.

Lots of excitement.

There's a stiff in there.

ls that so?

And l suppose you were running

right to the station to report it?

He says there's a dead guy

in the house.

-You never saw deader.

-Better call headquarters.

Car 93 calling K-Q-V-B.

Car 93 calling K-Q-V-B.

Mother, where have you been?

They won't tell me anything.

-Who won't tell you? Who's ''they''?

-These men.

Mrs. Beragon? We're from headquarters.

The inspector would like you

to have a little talk with him.

-Why? What's the matter?

-l'm sorry.

We only ask the questions. Besides,

we don't know what the trouble is.

-lt's probably just something about the car.

-At this time of night?

Whatever it is, l'll take care of it.

Don't think about it. Now, go to bed.

-Mother.

-Please, go on.

-Can't you tell me what's happened?

-We'd better go.

-What's the matter?

-l didn't want your daughter to hear.

lt's your husband. He's been murdered.

Murdered?

-Hi, Joe, what'd you get?

-This is Mrs. Pierce. l mean, Beragon.

Which? Pierce or Beragon?

Make up your mind.

-Mildred Pierce Beragon.

-Okay. Wheel her in.

Right over there, please.

Mrs. Beragon just came in.

Sit down. He'll be right with you.

Look. l bruise easy.

-lda, what are you--?

-No talking.

lda Corwin.

-Well, what is this, a class reunion?

-Looks like it.

lt'll be tough talking

my way out of this.

-Keep moving.

-All right, all right.

Hi, Ed.

-Charley, what's the good word?

-My feet hurt.

l'm crying. How about a nice,

juicy item for the morning edition?

-Nope. Not today.

-What's she in for?

Parking gum under her seat

in a movie. Satisfied?

Okay, Charley. Okay.

-l'm sorry. l just couldn't help it.

-No talking.

Take a seat.

You know that guy?

Yes. We were married once.

Paper, lady?

No, thank you.

Okay.

He wants you now.

Now you can talk.

lnspector Peterson, Mrs. Beragon.

-How do you do?

-How do you do?

Won't you sit down?

Sorry about your husband.

lt must be a shock to you.

Well, l....

l'm afraid l don't quite know

how to begin.

You see, the fact of the matter is,

Mrs. Beragon, we don't need you.

You don't need me?

l don't know how to apologize for

bringing you down here for nothing.

But, you understand, we had to be sure.

Well, now we are sure.

Aren't you going to ask me questions?

l thought you would.

l know. Everybody thinks detectives

do nothing but ask questions...

...but detectives have souls,

the same as anyone else.

-Cigarette?

-No, thank you.

Go ahead. lt's all right.

Mrs. Beragon, being a detective is like,

well, like making an automobile.

You take all the pieces

and put them together one by one.

First thing you know, you got

an automobile. Or a murderer.

And we got him.

You're in the clear, Mrs. Beragon.

The case is on ice.

Well, you can go now.

All right, men.

Could you--?

-Would you tell me who---?

-Who did it?

Sure. You're entitled to know.

No.

No!

Yes, he did it.

-Your first husband. Pierce.

-No, Bert, l won't let you do this.

And Wally Fay?

How do you know he didn't do it?

Fay had no motive. This man had.

Rate this script:5.0 / 2 votes

Ranald MacDougall

Ranald MacDougall (March 10, 1915 – December 12, 1973) was an American screenwriter who scripted such films as Mildred Pierce (1945), The Unsuspected (1947), June Bride (1948), and The Naked Jungle (1954), and shared screenwriting credit for 1963's Cleopatra. He also directed a number of films, including 1957's Man on Fire with Bing Crosby and 1959's The World, the Flesh and the Devil, both of which featured actress Inger Stevens. more…

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Submitted on August 05, 2018

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