No Man of Her Own Page #6

Synopsis: Clark Gable plays a card cheat who has to go on the lam to avoid a pesky cop. He meets a lonely, but slightly wild, librarian, Carole Lombard, while he is hiding out. The two get married after Lombard wins a coin flip and they move back to the city. Gable continues his gambling/cheating scheme unbeknownst to Lombard. When she discovers his "other life", she presures him to quit. Gable feels crowded and tells her that he is leaving for South America. In fact, Gable has decided he wants to go straight and turns himself in to the cop...
Genre: Drama, Romance
Director(s): Wesley Ruggles
Production: Paramount Pictures
 
IMDB:
6.7
Year:
1932
85 min
81 Views


I've met the guy

I want to settle down with.

And what's more, I could even

live in Glendale with him.

And that's saying something.

Oh, then I don't have to

decide what to do.

Of course you must decide.

Well, anyway, Jerry,

I want you to know that these few

months have been the happiest in my life.

Yes, and you saved me from...

I don't know what I'd have

done if you hadn't come along.

And always remember this,

I believe in you.

And someday you're going to settle

down and have a couple of kids.

Mind you, I'm not trying to

talk you into anything.

I know you need a lot of rope.

Whether you hang yourself or

bring the rope back, I don't know.

It's up to you,

but I'll be waiting for you.

What did you say?

I'll be waiting for you.

Wait a minute.

Now, let me get this straight.

Are you trying to tell me

I want to settle down?

Have a couple of kids,

is that it?

(SCOFFS)

Hey, look, I've got an idea.

I don't know how good it is,

but I'll take a gamble.

What is it?

Now, don't ask any questions.

Where's a match?

Here.

I changed my mind about your staying

here, you're going back to Glendale.

But I like it here.

I'm not going to leave you

in this hard-boiled town.

You're going back to Glendale

on the next train.

But, Jerry... Listen, I'm

still running this family.

(PHONE RINGING)

Hello?

I told you not to phone this

hotel. I said I'd see you later.

Come on, I'll help you pack.

I thank you very much.

You know, if I wasn't such a

toughie, you'd get under my skin.

You're not so tough.

No? You don't think so, huh?

Darling, keep this.

Is this the one?

Listen, there won't be

any letters.

No?

No. I'll cable you.

Then you are going

to South America?

Yes.

But don't you worry, honey.

I won't worry.

MAN:
Aboard!

Sweetie, I have to get off.

How much time have we?

MAN:
About half a minute.

Thank you.

Hey, hey, skipper.

That's no way to...

I'm not crying, I'm...

We won't be away from each other,

darling. I'll be with you every minute.

MAN 1:
Aboard!

MAN 2:
Board!

Honey, I'll only be gone

three months.

Goodbye, darling.

No more crying now,

you understand?

(MAN BLOWING WHISTLE)

What's keeping that bohunk?

I don't know.

You mug, you want to

give us heart failures?

She's pulling out in five

minutes. I'm not going.

You're what?

Not going?

Say, what is this?

Something big has come up

and I got to stick around.

Well, then, I stick with you.

Oh, no, you don't.

This is personal.

I'm not going without you.

Well, I'm going anyway.

Yes, yes. I want you

to go, Vargas.

You'll be doing me a big favor

and I need you down there.

Now look, here are some cables. I

want you to send them to my wife.

I want her to think that I'm in South

America and that they're coming from me.

You get it?

Yes.

Send one each week to Glendale.

Now here, the notes are all here.

Just be sure to send the

right cable on the right date.

You understand?

Yeah.

All right, thanks.

I won't forget it.

Goodbye and good luck.

Goodbye, Babe.

Goodbye, Vane.

Bye-bye.

Goodbye.

Come on, now, what's up?

Now listen, pie-face,

I can't tell you yet.

Just lay low till I get in

touch with you. All right?

Okay.

Hello, Babe.

Hi, Collins.

What's on your mind?

Say, look.

For six years you've been trying

to pin a record on me, haven't you?

Yeah.

You've been working hard.

Well, here's your chance.

I'm going to give you a break.

Well...

I'm thinking of running out to

Blackwell's Island for little while.

I'm kind of run-down.

Might build you up a tad.

Cook up any charge you like

and I'll plead guilty.

You following me?

I'm right behind you.

I'll take a 90-day stretch in the workhouse

and that's got to clean me up, see?

Ninety days, your uncle. We

can send you up for five years.

Sure, if you could convict,

but you can't and you know it.

And then what?

I do my bit, come out,

and we're washed up.

You get me?

Yeah.

But I don't get you.

Come on, let's have it.

What's back of all this?

Just this. I don't want

any more gumshoes trailing me.

Things have got to be

different from now on.

Oh, now I get you.

She's a blonde, isn't she?

Let's see the DA.

And by the way, you can't put

a black ten on a black jack.

GUARD:
Time's up, Kenton.

Goodbye, little gal.

Say goodbye to Daddy.

Goodbye, Daddy. Goodbye, Daddy.

Goodbye, Daddy.

Hello, you mug.

Hi, pie-face.

Did you get to Glendale?

Just got back.

Everything's okay.

Connie better?

It was only a cold. She

didn't get on you were there?

No. I got all my news from that

Palace Hotel phone operator.

What's her name? Emma.

I'm in swell with her. Took her to

the dance up at Lake Inspiration.

Yeah, it's a great spot

up there.

Connie been getting my cables

from South America?

Good old Vargas,

he's right on the dot.

I saw the one

that came through on Saturday.

Here's the copy.

You know the telephone

operator, too?

Sure.

I took her to the movies.

And I played a five-cent-limit

poker with her brother, Joel.

That paid for the trip.

Come on, read the cable.

"Leaving for New York next Wednesday.

Can hardly wait. Love, Jerry."

Yeah, that's right.

I leave from Rio Wednesday and

it takes 21 days to get here.

Yeah, that's right.

Well, Babe, there's only one thing

more. I don't know if I should tell you.

What is it?

Nothing to worry about.

Only, Connie is coming

to New York in two weeks.

Why?

I don't know.

She sent a card to the hotel

to open the apartment.

And she's bringing her mother.

Well, sure.

She's expecting me home.

Now there's a girl for you,

thinks of everything.

Well, that's all right.

Then what else?

Yeah, but it's not so right.

I ran into Kay again

yesterday.

What about it?

Yeah, you can say that

all right, safe in prison.

That Jane pops up out of

my coffee every morning.

Hey, you keep her away from

there when Connie gets there.

What'll I do, chloroform her?

No, give her ether.

It lasts longer.

I can't understand it.

And you're sure there is

no boat from Rio tomorrow?

Thank you.

Beats me.

Man away for three months, and doesn't

even tell you what boat he's coming on.

Maybe he's coming by plane.

Plane.

Well, you brought it

all on yourself.

Letting him go away without

leaving any address to reach him by.

I know if I were a man, I'd want to

know it if I was going to have a baby.

It'll be a bigger surprise.

(PHONE RINGING)

Hello?

Yes, this is Mrs. Stewart.

Who?

I don't seem to

recall your name.

Yes.

Come right up.

Well, must I ask you?

Who was it?

A friend of Jerry's.

Mother. Mother, would you

mind leaving us alone?

Goings-on I don't know

anything about.

All right. Don't tell me,

I'm not asking you.

Was it some woman? I'll bet it

was. Popping in on people this way.

(DOORBELL BUZZING)

Mrs. Stewart?

Yes.

I'm Kay Everly. I used to

know your husband

back in the good old days

of three months ago.

Come in, won't you?

Thanks.

Yes, I remember.

He had a photograph of you.

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Maurine Dallas Watkins

Maurine Dallas Watkins (July 27, 1896 – August 10, 1969) was an American journalist and playwright. In the 1920s she wrote the stage play Chicago (1926), about women accused of murder, the press, celebrity criminals, and the corruption of justice. Her play had a successful run on Broadway, during the roaring twenties — the play was then adapted twice for film. Watkins went on to write screen-plays in Hollywood, eventually retiring to Florida. After her death in 1969, Chicago was adapted in 1977 as a successful Broadway stage musical, which developed into an award winning 2002 film version. more…

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Submitted on August 05, 2018

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