The Lady Gambles Page #8

Synopsis: When Joan Boothe accompanies husband-reporter David to Las Vegas, she begins gambling to pass the time while he is doing a story. Encouraged by the casino manager, she gets hooked on gambling, to the point where she "borrows" David's expense money to pursue her addiction. This finally breaks up their marriage, but David continues trying to help her.
Genre: Drama, Film-Noir
Director(s): Michael Gordon
Production: Universal
 
IMDB:
6.7
Year:
1949
99 min
47 Views


a big day all around.

So this is the kiss-off.

But where are we?

Where can I go?

Anywhere you like.

It's a big country.

Goodbye, Mrs. Boothe.

Mind your manners, honey.

The man said goodbye.

Goodbye, Corrigan.

When I couldn't get Joan back on

the phone, I grabbed the first train.

She was gone, of course.

But Corrigan was still there.

He filled in

the details for me.

So I spent the next few months

trying to catch up with her.

I came close a few times, but

my luck was as bad as hers.

She never stayed

in once place long enough.

When she took a job,

it only lasted till payday.

Just long enough to buy

her into a game somewhere

or a bookie joint.

She was like a drunk

on a big binge.

She wouldn't waste her money on silly

things like food or getting her shoes fixed.

So jobs became

harder to get,

and she became less particular

about the kind of jobs she took.

The last place I traced her to

was a trap down in Shreveport.

I was too late again.

But I got

the rest of the story

from the fellow

who played the piano there.

Yes, indeed, sweetheart.

You're the kind of girl

I always fall for.

What time is it, George?

The name's Charlie,

sweetheart.

What do we care about time?

You and me, we could make time stand still.

What time is it?

11:
30. Why?

You're sweet, but I'm afraid I'm

not very good company tonight.

You see, it's my mother.

Your mother?

Yeah, she's been very ill.

Maybe if I phoned her, she...

No.

It's long distance. Probably would

cost more than I could scrape together.

How much do you need,

sweetheart?

Uh, 10, maybe.

5 might do it.

Here you are.

Call her. I'll wait.

Thanks, I won't be long.

Nine.

Hey, you're short here.

You'll have to pay it down.

Now, get it down there.

Coming out again. Here it comes. Come on.

Watch your hand there.

And dice!

Boxcars. Twelve. Make the front, pay the...

Stick around, chick.

I had 10 bucks

riding on that crap just now.

Maybe you brought

some luck in with you, huh?

I've got to

get back to work.

In there?

Oh, Mike.

Have somebody bring me

another beer, will you?

And the usual tea in a glass for the lady.

Now you're working.

Okay, let's go.

Kiss 'em for me, baby.

Come on,

get 'em hot for me, huh?

Coming out for a point, Frenchy. Let's go.

All right. Keep your shirt on.

Come on, baby. Kiss 'em for me. 10%.

Bring me luck

and you get 10%.

Kiss 'em for me, huh?

Come on, dice!

We clicked, baby.

Pretty crowded in here for

a phone booth, isn't it?

You're not getting away

with it, honey.

Why, you...

Just when I was

getting hot, too.

What's the idea,

Frenchy?

Stand back.

Stay where you are.

Wait a minute...

Stand back.

Howard, stay there.

Come on. Come on, baby,

we're getting out of here.

Stay where you are.

She tied up

with Frenchy at 10%,

and that's the last

I heard of her

till about a month ago,

when one of the boys told me she'd

turned up here in Chicago again.

Ever since that night,

I've been looking for her,

going through a million saloons

and down a million alleys.

Checking with the police.

And tonight I found her.

So, there you have it.

What do you mean,

I have it?

Go down and talk

to the lieutenant, Doc.

Tell him to release her over

to me for medical reasons.

Why? What for?

You got her away from the

sister once. What good did it do?

All I can say is

I'm smarter now.

Okay. You're smart,

I'm dumb.

But not dumb enough to go signing

releases on this kind of evidence.

It's Dr. Rojac. I'm

expecting a Ruth Phillips.

Has she come in yet?

When she does, send her

right up to 736.

How is she, nurse?

Here one minute

and gone the next.

Seems to be gone

right now.

Well, come in.

Jonnie.

Jonnie.

Doc, is she...

You look a little green

around the gills.

Come over and take

a few deep breaths.

I'm scared, Doc.

The way she looks.

Joan, darling.

Darling, Joan.

What did they do to you?

Poor little Joan.

Don't worry, baby.

Ruth's here now.

Everything's

going to be all right.

We'll be together

again, darling.

You'll see. You'll see.

Take it easy, Ruth.

She can't hear you.

Doctor.

She's going to be

all right, isn't she?

Sure. Right now it's shock

more than anything else.

What are you doing here?

Why did they call you?

They must have thought

she was my wife.

Your wife!

Look at her lying there

half dead.

Aren't you satisfied yet?

Why don't you go away?

That would make you

really happy, wouldn't it?

What more do you want? Wrecking my

life wasn't enough for you, was it?

You had to smash hers then kick

her out, leave her without a cent

to starve for all you knew

or cared!

Haven't you done enough?

What are you here now for,

to finish the job?

To stick a knife in her and

push her out of a window?

You've done everything

short of that.

All right, Ms. Phillips, try

and get a hold of yourself.

I've got her back now.

Back with me

where she belongs.

Finally.

Yes, finally.

And you'll never get your hands

on her again. I'll see to that.

This is what you've

always wanted, isn't it?

Yes, if you must know.

I always knew

it would end up this way

from the first day

I saw you.

And you worked for it,

didn't you?

Day and night,

you worked for it.

Not hard enough.

Not nearly enough.

Don't, David.

Don't make her

talk like that.

Joan, darling.

My sweet baby.

Don't listen to him. Don't

listen to the things he said.

He's trying to come

between us again.

But you won't let him,

will you, Joan? Will you?

Stop it, Ruth.

She's sick. She's sick.

You know everything

I ever did,

everything I ever

thought about was for you.

You know that,

don't you, Joan?

Say it, darling.

Let him hear it.

Send him away

once and for all.

For what he did to you.

Tell him, Joan.

Doc, will you get her

out of here?

Not yet.

Why don't you

answer me?

Tell him, darling. Tell him

how much I've done for you.

Everything I've given you.

It's true, isn't it?

My life, my whole life,

didn't I?

Say it, Joan.

I want to hear you say it.

Dave.

Okay, Ruth,

that's enough for now.

Take your hands off me!

Why do you call him back?

To start the whole thing

over again?

To let him kick you

into the gutter again?

I won't let you. Do you

hear? I won't let you.

You'll have to kill me.

Ruth, please.

Yes, kill me

the way you've always done

from the very day

you were born.

The way you killed

your own mother.

Stop it, you idiot!

Let her alone, David.

It's true. It's true.

All right, Joan.

All right.

I did kill her.

I did. I know it. No, no, you didn't.

No, you didn't.

I've always known it.

Before I could even talk,

I remember

hearing them say it.

Everything I ever touched,

I destroyed.

Everyone.

My mother,

Ruth, David.

Here, drink this.

But no more.

I won't destroy anymore.

Of course you won't.

Okay. Outside.

Both of you.

She's had about as much

as she can take for now.

You can come back tomorrow,

Boothe, after she's had some sleep.

What about me?

Rate this script:0.0 / 0 votes

Roy Huggins

Roy Huggins (July 18, 1914 – April 3, 2002) was an American novelist and an influential writer/creator and producer of character-driven television series, including Maverick, The Fugitive, and The Rockford Files. A noted writer and producer using his own name, much of his later television scriptwriting was done using the pseudonyms Thomas Fitzroy, John Thomas James, and John Francis O'Mara. more…

All Roy Huggins scripts | Roy Huggins 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

    "The Lady Gambles" Scripts.com. STANDS4 LLC, 2024. Web. 23 Nov. 2024. <https://www.scripts.com/script/the_lady_gambles_12150>.

    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 is the role of a screenwriter during the film production process?
    A Directing the film
    B Editing the final cut of the film
    C Writing and revising the script as needed
    D Designing the film sets