The Strange Love of Martha Ivers Page #9

Synopsis: In 1928, young heiress Martha Ivers fails to run off with friend Sam Masterson, and is involved in fatal events. Years later, Sam returns to find Martha the power behind Iverstown and married to "good boy" Walter O'Neil, now district attorney. At first, Sam is more interested in displaced blonde Toni Marachek than in his boyhood friends; but they draw him into a convoluted web of plotting and cross-purposes.
Director(s): Lewis Milestone
Production: Paramount Pictures
  Nominated for 1 Oscar. Another 1 nomination.
 
IMDB:
7.5
Rotten Tomatoes:
100%
UNRATED
Year:
1946
116 min
794 Views


Like you did when those goons

worked me over.

Now we're even.

Now I'm beat up.

I'm sorry I said that, Toni.

Look, kid.

I'm sore at myself, not at you.

Do you want me to leave?

Do you want to leave?

That's up to you, Sam.

I'm here on a rain check.

Now, don't put it that way.

You're here because...

that's the way we wanted it.

And now?

I'm not sure.

I'm just not sure.

Hello. Gable Hotel?

I want to speak to Sam Masterson.

- Put that phone down.

- Hello, Sam. This is Walter.

I know I'm not disturbing you.

Martha just came in.

- Well, what do you want?

- I want you to come up here.

Now. Right now.

- Are you crazy? The servants...

- I gave them the night off.

You're drunk.

I've had a lot to drink, but I'm not drunk.

I suppose it would be stupid

to ask where you were.

- Yes, it would.

- Sam's not leaving, is he?

- Ask him when he gets here.

- I just got my answer.

Then there are no more questions.

No, I know what I need to know.

Sam, the superman.

Sam, the dirty, little boy

from the other side of the tracks.

I'll go and change.

I wouldn't want him to see me

in the same dress twice.

Come in.

Toni.

- You're leaving, huh?

- There's a bus out in about an hour.

Toni.

Sam, it's better this way.

Look.

Sam, I came back here with you because...

you said you didn't like

to be pushed around.

I liked you when you said that.

You were looking for trouble,

but it was a good kind of trouble.

- And now...

- Now what?

Sam, I saw her. You're going to get hurt.

Leave her, Sam. Leave this town.

Even without me, but leave.

I can't.

At least, not just yet.

You're going to need some money.

No, thanks. Let's break clean.

- See you around.

- Yeah.

Around.

- Where's Martha?

- Upstairs getting dressed for the occasion.

We'll go upstairs.

Why did you call me?

I've got a riddle, Sam.

Maybe you can help me solve it.

It's a little riddle called, "What's to be

done about me, Martha, and you?"

Sounds just like a poem. If it rhymed,

it would rhyme with murder.

He's drunk. He's been sitting here

drinking all night.

Draw a chalk line and I'll walk it.

Or I'll take a mental test,

any question, like...

what is my object in life?

- I tried to stop him from calling you.

- You're a wiseacre...

an angle boy.

You know all the answers, don't you?

How are you on dreams?

Then I was glad he called you.

I was frightened of him, Sam.

She was frightened of me.

I had a dream, Sam. It was about you.

In my dream,

you were not a handsome corpse.

Maybe it was some other guy.

- In other dreams there were others.

- I told you, he's drunk.

- Did you say "others?"

- Many others.

- He's lying.

- Poor little Martha.

Her life was so empty.

Is that what she told you, Sam?

I don't want him in here, Sam.

Make him get out.

Now you're all of them, Sam.

Every one of them rolled into one.

- Sam, make him...

- Keep talking.

- I'm all of them rolled into one.

- Yes.

You're a gymnasium instructor

in Philadelphia.

With a muscle for a brain

and a tendency to insipid verse.

You're a guy, just a guy, named Pete,

in Erie, who smells of fish and sings.

You're last year's greatest fullback...

and you flunked your bar exam,

but you wanted to be an industrial engineer.

You're a guy who came along to fix a tire...

so well you became a city-paid inspector.

And you're a lot of others.

But worst of all you're the one

and only man who shares with me...

the only claim I have on her. Ask her, Sam.

Say to her, "Martha, is all this true?"

What if it is? What did you expect?

She never wanted to marry you.

If you had any self-respect...

She married me because she felt

that way I would never tell.

That's a lie! Your old man forced her!

How long you expect her

to go on paying off?

Forever.

Well, whatever happens to you,

you've got coming.

What can happen, Sam? Shall I tell you?

She'll try to get you to kill me.

Like she got me to send an innocent man

to the gallows.

I told you the way it was.

It was his father's idea. He...

Did she tell you how she stood up in

the police station...

how she looked at the man

without batting an eye...

how she said, "Yes, that's the man.

"He's the one who came

into the house that night.

"He's the man who killed my aunt."

That even stuck in the throat of my father.

My poor, dear, departed, greedy father.

- But he went right on and so did I.

- He's lying.

- You believe me, don't you, Sam?

- You believe her, Sam?

Martha, at least tell the truth now.

Tell how much you were afraid

of an unsolved murder.

Tell what a threat it was to the power

and the riches...

that you'd learned to love so much.

That I'd learned to love, too.

Tell why I became district attorney.

Tell why you made me hang that man.

Tell the truth!

I told the truth! They were like leeches!

Both of them.

- They wanted everything.

- All I ever wanted was you.

- Everything you are.

- I'm nothing.

- Everything you have, I gave you!

- You gave me nothing!

Then let go!

You're insane.

You're out of your mind.

Me, too.

You see, Sam, how close we really are

to each other?

Don't break up our happy home.

It'll have to be you or me.

And unless you do it now, it'll be you.

You mustn't think I'm drunk. I'm not.

It's just that I'm sick.

Inside of me, I'm sick.

Martha, help me. Please.

Sam, you believe me, don't you?

Now, Sam. Do it now.

Set me free. Set both of us free.

He fell down the stairs and fractured

his skull. That's how he died.

Everybody knows

what a heavy drinker he was.

Sam, it can be so easy.

- I thought you loved me.

- I thought I did, too.

- Now, you hate me.

- Now, I'm sorry for you.

When I dreamed about you coming back...

Your whole life has been a dream.

I thought you'd be the Sam

I knew as a child.

Martha, you're sick.

I could run to you when I was in trouble.

In your mind, I mean,

that's where you're sick.

And you'd help me.

So sick that you don't even know

the difference...

between right and wrong anymore.

You've killed. It says so in your record.

I've never murdered.

Are you all right, now?

All right.

You fell down the stairs.

I remember.

You carried me in here?

Yeah.

You had your chance, Sam.

It's a thin line.

The one between life and death.

You said I didn't know the difference

between right and wrong.

What's right for Walter and myself?

For us to tell the truth?

- I think so, yes.

- And hang for it?

You wouldn't hang for it.

Not if you confessed. You'd do time, sure.

Sure, I'll rot in prison for the rest of my life.

And for what?

- What am I guilty of?

- Murder.

What were their lives compared to mine?

What was she?

- A human being.

- A mean, vicious, hateful old woman...

who never did anything for anybody.

Look what I've done with what she's left me.

I've given to charity, built schools,

hospitals, given thousands of people work.

- What was he?

- Another human being.

A thief, a drunkard, someone who would've

Rate this script:5.0 / 2 votes

Robert Rossen

Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades. His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for an Oscar as Best Director. He won the Golden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961 he directed The Hustler, which was nominated for nine Oscars and won two. After directing and writing for the stage in New York, Rossen moved to Hollywood in 1937. There he worked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood Writers Mobilization, a body to organize writers for the effort in World War II. In 1945 he joined a picket line against Warner Bros. After making one film for Hal Wallis's newly formed production company, Rossen made one for Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration with Columbia. Rossen was a member of the American Communist Party from 1937 to about 1947, and believed the Party was "dedicated to social causes of the sort that we as poor Jews from New York were interested in."He ended all relations with the Party in 1949. Rossen was twice called before the House Un-American Activities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been a Communist. As a result, he found himself blacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 people as current or former Communists and his blacklisting ended. In order to repair finances he produced his next film, Mambo, in Italy in 1954. While The Hustler in 1961 was a great success, conflicts on the set of Lilith so disillusioned him that it was his last film. more…

All Robert Rossen scripts | Robert Rossen 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 Strange Love of Martha Ivers" Scripts.com. STANDS4 LLC, 2024. Web. 28 Dec. 2024. <https://www.scripts.com/script/the_strange_love_of_martha_ivers_21395>.

    We need you!

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

    Watch the movie trailer

    The Strange Love of Martha Ivers

    The Strange Love of Martha Ivers

    Soundtrack

    »

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    Who directed the movie "The Matrix"?
    A Michael Bay
    B Peter Jackson
    C James Cameron
    D The Wachowskis