Pat and Mike Page #5

Synopsis: Pat's a brilliant athlete, except when her domineering fiance is around. The lady's golf championship is in her reach until she gets flustered by his presence at the final holes. He wants them to get married and forget the whole thing, but she can't give up on herself that easily. She enlists the help of Mike, a slightly shady sports promoter. Together they face mobsters, a jealous boxer, and a growing mutual attraction.
Genre: Comedy, Romance, Sport
Director(s): George Cukor
Production: MGM Home Entertainment
  Nominated for 1 Oscar. Another 4 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
90%
Year:
1952
95 min
278 Views


Hey, what is this?

What's happened here?

What's happened?

Hey. Hey, hey, slow down.

- How you holding?

- Okay.

- Feet heavy?

- Mine's heavy, Mike.

Well, yours are supposed to be heavy.

You're a heavyweight, ain't you?

Yeah, that's right.

Like I told you.

Don't feel like running, slow down.

You're supposed to feel like it.

That shows you're in condition.

People do like they feel,

they go on sometimes...

...practically forever, some of them.

Guess you'll go on practically forever

if you stay on that bike.

You're the best

because you feel right.

I tell you, last week I was worried.

I'd just like to mention.

And it was my fault, too.

I'm sorry.

- Nothing to do with you.

- Yeah, pushed you too hard, too fast.

I know what it was.

- Can't you tell me?

- Too personal.

Hey.

Hey.

There should be nothing too personal

between the two of you and me.

It was Collier.

I never can do anything

when he's watching me.

It's always been that way.

- Why?

- Love with him, I guess.

- Oh, like me with lobster.

- What?

Lobster.

The one thing I'm nuts about.

The one thing

that don't agree with me.

- Like you and him.

- Not exactly.

Why?

Well, you see,

this is a question of getting married.

You've never been married

to a lobster.

That's what you think.

- Hey, knock it off!

- Lights.

What do you think is this?

- Hold it, will you?

- It's Mike. Hurry up.

- What is this?

- Just finishing, Mike.

- Do you know what time it is?

- In a minute.

- Ten after 9.

- Oh, gee, now we'll never know.

I want you in bed,

asleep in five minutes, you get it?

No comic books.

Go right to sleep, get that?

Right to sleep, yeah, Mike.

- I'll give it to you for letting him.

- I lost my head.

In your position,

you shouldn't get so engrossed.

Let's go.

I was thinking about all that stuff

on the road.

- Me too.

- Yeah.

Funny how things come out like that.

Yeah, sure is.

- Good night.

- Well, I'll go in with you.

- Yeah? Why?

- Some things I wanna go over with you.

Well, couldn't they wait?

Well, maybe they could,

but I don't know if I could.

- The only thing is my manager.

- Your manager?

He's a little strict, and to tell you

the truth, I'm a bit scared of him.

You are?

I don't drink.

That's on account of him.

Or smoke. That's him too.

- The thing he's strictest about is men.

- Men, huh?

Yeah, you know, dates and late hours

and emotional involvements.

- And...

- He's got a point there.

In fact, he doesn't even want me

to have anything to do with my fella.

- No.

- No.

You make him sound

like an awful gumboil.

Oh, I don't know.

He's not so bad, really.

I think I'm just an animal to him,

like Little Nell.

- Is that what you think?

- Yeah.

You sound like a gumboil yourself.

- Good night.

- Good night.

Come here, little girl.

Come here.

If you only were, honey.

Hey, Barn.

Hey, where'd you drop from?

- Hello, Barn.

- Something happen?

- The bout off?

- No, on.

- So far.

- Then what?

I have to talk to him,

Mike, is all I know.

- So why couldn't you use the phone?

- Because people hang up.

- Where is he?

- Inside.

With her.

You go to the head of the class.

- What are they doing?

- He's examining her.

- Why?

- Why do you think?

He wants to see into her condition.

Why don't he examine me?

Ain't I fighting Friday?

Because you he's not worried about.

- He's worried about her.

- He's worried about her condition.

He'd like to see her make out

next week down at that pro match.

Why don't he examine

into my condition?

Ain't I fighting Friday?

Davie, talking to you sometime is like

taking a ride on a merry-go-round.

The last time I was

on a merry-go-round, I threw up.

- That's good.

- I went on that up-and-down one.

- That's what did it.

- Going up and down?

Everybody goes up and down.

Why don't he examine me?

Quit bugging me, will you?

I mentioned about my stitch,

but he don't care.

Because I've been knocked out

the last four times, he's lost faith in me.

- Funny guy.

- I don't think it's his fault.

I think it's her fault.

Boy, I'd like to take a poke at her.

What are you looking for,

five straight knockouts?

Fifty hops.

Better turn out you're okay.

Otherwise we skip

the whole tournament.

- Feel fine.

- I'll let you know soon how you feel.

- I'd feel even better if I didn't do this.

- Quiet.

Forty-eight, 49, 50.

- Still going?

- What?

I say, is it still going?

- All right, lay down.

- Gladly. On my back or what?

On your what.

If I hurt you, just yell out.

- You got a knot in there.

- Can work it out.

Hello. Hello. Hello.

Who?

What?

Long distance?

Okay, wait a minute. Wait a minute.

It's for you.

Yes?

How are you, dear?

Oh, fine.

No, honestly, much better.

In fact, all.

What?

Yeah.

Well, to tell you the truth, Coll...

...I'd just as soon you didn't,

such a long trip and all...

...and you know how I get when you...

Nothing, really.

He wants to come to the tournament.

Tell him not to, will you?

He won't listen to me.

Don't come.

What? No. No, wait.

You do understand, don't you, darling?

Well, all right. No, no.

I'll write to you too.

L... What?

Now we gotta build

that left arm up...

...otherwise your whole swing

goes cockeyed.

Sit up.

When you gonna get wise

to this Collier bash?

Know what happened

when I was rubbing?

You know what happened

to your muscles, huh?

You got as tense as cold spaghetti.

I could feel it.

- I'll get over it.

- Five'll get you 10 you don't.

- Bet.

- Okay, I'll tell you what you do.

Don't use the right at all, see?

Use the left until I tell differently.

Don't use the right for nothing.

Not even to eat with, see?

Everything with the left.

All right, lay down.

Come on, push.

Push.

Push.

- Now, to get back to this Collier thing.

- Yeah.

- Yeah, I don't think so.

- In what way?

- In no way.

- I mean, in what way not?

- In no way not.

- How would you know?

Oh, just by keeping my ears

and my eyes open and my so forth.

I've been around. This man-woman thing,

that's gotta be a fifty-fifty thing.

My feeling.

He's 75.

You'll never be 5-0-5-0 with him.

Why do you get yourself hooked

with a guy who's got his horns on you?

That's all.

- Let me ask you, Barney.

- Ask.

- Why don't he examine me? Ain't I...?

- What?

What's this? What are you doing?

You should be weighing in.

- Tomorrow.

- What are you hanging around here for?

- What's the matter with you?

- I don't wanna go in alone no more.

Like lately.

What do you want us to do?

All go with you? That'd be fine.

The three of us could lick the guy,

but you're a big boy now.

- You gotta learn to go in alone.

- I mean in the corner. You used to.

- I'm busy.

- Yeah...

- Busy.

- I gotta get ready to go south.

What do you want me to do?

Tear myself into little pieces?

Sure not.

Trouble is, I haven't asked

the three big questions lately.

- I don't wanna go in alone no more.

- Who made you, Hucko?

What's the matter?

Rate this script:0.0 / 0 votes

Ruth Gordon

Ruth Gordon Jones (October 30, 1896 – August 28, 1985) was an American film, stage, and television actress, as well as a screenwriter and playwright. Gordon began her career performing on Broadway at age nineteen. Known for her nasal voice and distinctive personality, she gained international recognition and critical acclaim for film roles that continued into her seventies and eighties. Her later work included performances in Rosemary's Baby (1968), Harold and Maude (1971), and the Clint Eastwood films Every Which Way but Loose (1978) and Any Which Way You Can (1980).In addition to her acting career, Gordon wrote numerous plays, film scripts, and books, most notably co-writing the screenplay for the 1949 film Adam's Rib. Gordon won an Academy Award, an Emmy, and two Golden Globe Awards for her acting, as well as receiving three Academy Award nominations for her writing. more…

All Ruth Gordon scripts | Ruth Gordon 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

    "Pat and Mike" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/pat_and_mike_15657>.

    We need you!

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

    Watch the movie trailer

    Pat and Mike

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is a "MacGuffin" in screenwriting?
    A A type of camera shot
    B A character's inner monologue
    C An object or goal that drives the plot
    D A subplot