Shockproof Page #5

Synopsis: Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined to make Jenny go straight. For lack of other prospects Griff finds Jenny a job in his own home, and his objectivity about her wavers, while Jenny continues to meet Harry secretly. However, when Jenny transfers her affections from Harry to Griff, the situation becomes even more dangerous...
Director(s): Douglas Sirk
Production: Columbia Pictures
 
IMDB:
6.6
Rotten Tomatoes:
89%
APPROVED
Year:
1949
79 min
90 Views


and a little brother who worships him.

And he needs that job

because he's got political ambitions.

Don't you see, Jenny?

Once you're married to him,

you can do anything,

and he won't dare give you away.

I can't do that, Harry.

The minute that marriage license

is in your pocket,

Griff Marat is where he belongs,

right behind the eight ball.

- I can't, Harry. I can't!

- Would passengers Duffy, Waterman

and Wesson please board the limousine?

Monte will know where I am.

The minute you're married,

get out of that house and wire me.

- Bye, darling.

- But... Harry.

Good afternoon, Bureau of Paroles.

Hello. Yeah, Mom.

When?

She just packed a few things and left.

She told me, Griff, about you and herself.

She said that she couldn't live here

with you,

and it wasn't fair to marry you, so...

Have you got any idea where she went?

Did she say anything to...

No. She just left, that's all.

But, Griff, there was something.

I don't know what it is.

It's something printed, I think.

It seems to be a leaflet of some sort.

It was on her bed.

I have the list of passengers of Flight 615.

There's a Mr. Harry Duffy,

Mr. Allen Waterman,

- J.J. Jennings...

- Jennings, a man or woman?

That was a man.

- Mr. Harry Wesson.

- Harry Wesson!

Yeah, I thought you were looking for a lady.

Yeah, that's right. Go on, please.

Any other woman?

Well, the only other woman

is Miss Mary Wilson.

- What did she look like?

- I remember her.

- She was very nervous, sort of worried.

- What did she look like?

Well, she had gray hair,

was about 65 years old, short and stout.

Attention, please.

Passengers on Flight 56 for Seattle,

Flight 56 is leaving from Gate 3.

Flight 56 for Seattle is leaving from Gate 3.

- Jenny!

- Griff.

Why are you running away from me?

Because I don't know what else to do!

- That's no answer.

- I'm just no good for you, Griff!

Don't say that.

Look, is it something I've done?

No, no. I can't explain it to you.

But being in your house, being with you, I...

You're going to marry me now, today.

- No, no.

- Why? Don't you want to marry me?

- You do love me, Jenny, don't you?

- I thought I didn't.

I was ready to leave. But, darling, it can't be.

No, we'll manage. It'll be all right.

We'll have to keep it a secret

till you get your release, but it'll work out.

But we'd be breaking the parole rule.

No, just bending it a little.

It'll ruin you if they find out,

your job, your career.

Nobody needs to know.

We just tell Mom maybe, that's all.

- But you do love me?

- Yes, yes, yes, yes.

We can get a plane right here

for Las Vegas and get married.

Parolees can't leave the state,

but you'll be in the custody

of a parole officer, so that makes it all right.

Griff. Griff.

For you two to stay apart

would have been wrong,

but we must trust nobody with this secret.

Griffin has much to lose if it is discovered,

his whole career.

But Jenny has more to lose, her whole life.

We must all be very careful.

God bless you.

- Hello.

- Hello, Jenny?

Yes, I'm home. Just got in.

Why didn't I hear from you?

Well, I... I couldn't. I...

Couldn't you get him to take the leap?

I thought you had him hooked when I left.

What happened?

You aren't alone. Just answer yes or no.

Can you meet me?

Well, yes, but...

Good, 5:
00 at the library.

Fine. See you.

Harry, you shouldn't have come here.

You kept me waiting there for an hour.

For what reason?

Mrs. Marat isn't feeling well.

- But I...

- Yes?

- I did want to see you.

- Really?

Because I have something to tell you.

- But I...

- Relax.

- What are you afraid of?

- Please, Harry.

Griff is coming home.

He'll be here any minute.

You must go, Harry.

Jenny.

Who's there?

Is it Griff?

Who came in?

It's all right, Mom. It's just a friend of mine.

- Who's just a friend?

- Griff.

- Yes, Mom?

- Something's wrong, Griff.

Mom, go to your room, please.

Yes, Griff.

Griff!

You've had this coming for a long time.

Griff, don't!

Griff!

Hey, hey, it's all right. It's all right.

Now, look, I'm the one

who got the poke in the mouth.

Griff, I'm afraid. I'm afraid.

Don't worry, honey.

He won't bother you again.

Never again.

Good afternoon, Bureau of Paroles.

Mr. Marat?

- Hello?

- Hello, Mr. Marat.

- Yeah?

- This is Harry Wesson.

I have something to tell you about your wife.

Hello? Hello?

Hello?

Hello?

Hello? Hello?

Hello. Hello, this is Griff Marat.

Send an ambulance right away

to 3039 Wilshire. Apartment 203.

Yeah, somebody shot Harry Wesson,

but he's still breathing.

Hurry it up, please.

Hello, Griff Marat again.

I think I know who did it.

Jenny Marsh, a parolee.

No, I'll bring her in.

- Griff!

- Yeah?

- Please come here.

- Where's Jenny?

She's up here.

- Jenny told me that...

- I know.

She told me the whole thing.

She told me what happened.

She wanted to turn herself in to the police,

but I made her wait for you.

Jenny shot that man

because she loved you...

She's a liar! I saw a letter she wrote,

and they used me, she and Wesson.

- She never loved me.

- No, no, no.

Griff! Griff!

I heard what you said, but it isn't true.

- Please!

- You're a liar and a cheat. You're no good.

I made a fool of myself over you,

and never again!

- Griff, please!

- Come on.

Griff, you must listen.

I don't care what happens to me,

but I want you to know the truth.

I went to Harry's apartment.

I wanted to tell him about us.

Jenny, come in.

I can't stay, Harry.

Mrs. Marat's waiting down the street.

I had to speak to you.

I'm sorry about what happened.

I hope he didn't hurt you.

What he did is nothing

to what I'll do to him.

Nobody pushes me around. Nobody.

Harry, you've always been very generous

and very kind,

and I know you'll understand...

Why didn't you get in touch with me

during the whole six weeks?

Well, it was pretty difficult. I...

Why'd you refuse to accept

that transfer to San Francisco?

I didn't refuse it.

They found out it was a false transfer.

- Who told them? You?

- No.

Harry,

- I've come to tell you something.

- You've fallen for him?

Yes. All the way.

So that's why you didn't get

in touch with me.

You just stayed here,

playing kissing games.

But you couldn't get him to marry you.

The day you left, Harry, I ran away.

I don't really think I knew why then.

I was just mixed up, and I had to get away.

But I know now.

You're my friend, Harry,

and I'm grateful to you.

- But I'm in love with Griff.

- In love.

You're not in love with that fool!

I've been happier than I ever was

in my whole life.

I didn't know I could be so happy.

I know you'll understand.

You've always been so sympathetic and...

Hello. Yes, Monte.

What's the date?

Thanks, Monte.

No, that's all I need.

So, I've come to ask you if you'll leave

me alone, Harry, and let me try to work...

Shut up.

All along I've had a hunch

there was something wrong.

Not hearing from you,

the way you acted at the airline office,

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Helen Deutsch

Helen Deutsch (21 March 1906 – 15 March 1992) was an American screenwriter, journalist and songwriter. Deutsch was born in New York City and graduated from Barnard College. She began her career by managing the Provincetown Players. She then wrote theatre reviews for the New York Herald-Tribune and the New York Times as well as working in the press department of the Theatre Guild. Her first screenplay was for The Seventh Cross (1944). She adapted Enid Bagnold's novel, National Velvet into a screenplay which became a famous film (1944) starring Elizabeth Taylor. After writing a few films (Golden Earrings (1947), The Loves of Carmen (1948) and Shockproof (1949) ) for Paramount and Columbia Pictures, she spent the greater part of her career working for Metro-Goldwyn-Mayer and wrote the screenplays for such films as King Solomon's Mines (1950), Kim (1950), It's a Big Country (1951), Plymouth Adventure (1952), Lili (1953), Flame and the Flesh (1954), The Glass Slipper (1955), I'll Cry Tomorrow (1955), Forever, Darling (1956) and The Unsinkable Molly Brown (1964). Her last screenplay was for 20th Century Fox's Valley of the Dolls (1967). more…

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Submitted on August 05, 2018

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    "Shockproof" Scripts.com. STANDS4 LLC, 2024. Web. 26 Sep. 2024. <https://www.scripts.com/script/shockproof_18020>.

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