Without Love Page #2

Synopsis: In WWII Pat Jamieson is a scientist working, with Government support, on a high-altitude oxygen mask for fighter pilots. But he has nowhere to conduct his research in secret until he meets Jamie Rowan, a woman with an unused house with a scientist's basement. Jamie has no hopes of marrying for love (and neither does Pat) but Jamie wants to help the war effort and she likes this quirky scientist and his dog, so to satisfy the proprieties they agree on a business arrangement: a marriage of convenience and partnership. They happily work on oxygen mixes instead of honeymooning. But as the footing of their relationship begins warm up, Jamie is courted by another man and the old flame that broke Pat's heart is back in his life. It will take a sleepwalking ruse, dodging in and out of doors, and a working oxygen mask to get them together again.
Genre: Comedy, Romance
Director(s): Harold S. Bucquet
Production: MGM (Metro-Goldwyn-Mayer)
 
IMDB:
6.8
APPROVED
Year:
1945
111 min
224 Views


Jamieson. Pat Jamieson.

My dog's name is Dizzy.

What are you doing

in your dinner jacket?

Aren't we dressing for dinner

at your mother's house tonight?

- I see.

- You do? Well, that's fine.

You overdid it again, as you say,

didn't you?

Why, in the name of heaven,

you think it amusing...

...to get yourself in a completely

drunken state is beyond me.

- I know you're not a great brain...

- Please behave...

I behave? If you take

one more drink today, I'm through.

Not even a little tail of the cock

that bit me?

- So you think that's funny?

- Moderately, yes.

Well, I don't.

You and your drunken friends.

- Why, you disagreeable little piece, you.

- I beg your pardon.

Should have your mouth

washed out with soap.

- You know what you're saying?

- I know what I'm saying.

How dare you insult this nice guy

in front of a perfect stranger?

- Who do you think you are?

- I know perfectly well who I am.

I'm trying to figure out what conceivable

training you could be the product of.

Quentin, who is this man?

I've never been spoken to so in my life.

- Time someone started.

- Quentin.

Easy there.

Take her upstairs

and lock her in her room.

- Now look here, Joseph...

- Jamieson.

Quentin, get rid of that man and

come up to Jamie's room this minute.

Would you care to step outside with me?

Don't be a dope.

Go and consolidate your position.

What do you mean?

Say, look, I usually charge

for unpleasant work like this.

- Oh, I get it, I get it.

- Well, go on and carry it through.

Yeah.

Well, that's that, Diz.

Too bad,

would have made a nice kennel.

He's already arrived, Miss Jamie.

How did you get in?

Are you gonna stand there

with your hat on?

No, ma'am.

Good afternoon.

- Good afternoon.

- I'm sorry if I kept you waiting.

I told the agency not to send over

any caretakers until 2:00.

But, well, I'm sorry to disappoint you,

but I'm afraid you won't do.

- No?

- No, I wanted an older man.

Well, I'm much older than I look.

Somehow, I thought you'd be older too.

What is your name?

Patrick Jamieson, ma'am.

- Are you single?

- Oh, yes, ma'am. Very much so.

Well, that's also unfortunate.

I wanted a couple.

Something in the nature

of superior caretakers for this place...

...which I intend to offer for sale

furnished as it is.

I'm sure I could show it off

to the best possible advantage, ma'am.

Well, I'm afraid it would be too lonely

for one person alone, I'm sorry.

Madam, I am a great reader.

Well, as it happens

there's quite a large library.

- Still, I'm afraid that wouldn't be...

- Could I play the piano maybe?

Well, of course,

I should have no objection to that.

- Do you play the piano?

- Oh, yes, ma'am. Quite well.

There's no better companion

for a lonely man anywhere.

My father used to play the piano

for hours on end. He...

But that's quite beside the point.

The fact is, I don't...

You father must have been

a very remarkable man, madam.

Perhaps if I could get someone in

by the day to cook for you.

Yes, yes. That'll do it.

Now... May I see

your last references, please?

- What is it you like to be called?

- How do you mean?

- Patrick or Jamieson?

- Whichever comes easiest.

There would be an afternoon off

once a week and every evening...

...unless I particularly wanted

you to be here.

You could ring me up.

And how much are you asking?

If I may ask.

Well, in this case, just my meals

and lodging would be quite enough.

You would have wages suitable

to the position, Patrick.

Whether or not you would be

suitable for it, I'm not yet sure.

- The references, please.

- Yes, now what did I do with them?

I don't remember

if I put them in my overcoat...

Another man is here from

the agency, Miss Jamie.

Yes. Now I remember.

I left my references at the agency...

...and this man has been sent with them.

I'll get them and then come on back.

- Did you come about the job?

- Are you Mr. J. Rowan?

No, no, no. I'm sort of her secretary.

Mrs. Rowan is ill.

- What's the matter with...?

- Nothing.

- Just nerves.

- Just nerves?

Yes. You'd better stand over here.

Mrs. Rowan is s little fearful of burglars.

She has trap doors all over the place.

If you don't happen to know

where they are...

...you may make a hasty exit.

Careful. Don't break the vase.

The last man who held this position

broke the vase.

Poor fellow.

But you look very strong and able.

I'm sure you'll be very happy here.

Good day.

- Where did that dog come from?

- He was in the cellar.

- Is that your dog?

- She must have said something...

I did no such thing.

He attacked me the minute he saw me.

He's a wonderful little watch dog,

ma'am.

He eats lighted cigarettes too.

- I should like to see your references.

- Matter of fact, I have no references.

You'll just have to take us

on faith, Jamie.

Naturally, you can't expect me...

What did you say?

I said you'll just have to take us

on faith, Jamie.

Good afternoon.

Leave at once, please.

- I should have known better...

- Here you are.

Oh, there's that horrible dog.

I want to apologize though

for thinking you were a caretaker.

- But I am. That belongs to me, please.

- You're a highbrow scientist.

Want to read a fascinating article by

him on oxygen in relation to altitude?

Will you kindly explain to me?

He played nursemaid

to my dear little fianc last night.

- I'm grateful to you, of course.

- Part of a caretaker's duties.

There. Now are you sorry

you spoke so rudely to me?

- Not a bit. It did you good.

- You fiend.

- How do you spell your last name?

- He's a brain, my dear.

- Are you related to...?

- My father.

Hurry up, Quentin, I'm leaving.

- I'll come back later.

- That won't be necessary.

What about interviewing

caretakers for you?

I've already engaged a man.

- You have? Who?

- You.

- Me?

- Yes.

Better be careful.

The joke may be on you.

I may like it here. You'll want

to consult your husband, of course.

My husband is no longer living.

I met your father in this house.

My father admired him tremendously.

Well, about the job,

we were joking, weren't we?

Oh, no, we weren't joking.

You've hired me.

Oh, you've already met Mr. Jamieson.

He's a great guy, Jamie.

Hurry up, Quent. They're expecting us.

Oh, not me.

- But I told them.

- Well, telephone.

But what can I say...

Just tell them politely

that I'm drunk in a gutter someplace.

Quentin, this is the limit.

This is about all I can stand.

Why don't you all stay

and have dinner with me?

- Together? You mean it?

- Please say you will.

We will. We will.

If Edwina comes back, we can leave

a saucer of cream in the pantry.

Quentin, tell Anna to set

a little table for three on the terrace.

On the terrace, madam.

And may I have the keys

to the wine closet, madam?

- To the...?

- Yes, to the wine closet.

It's the brass one.

I don't know long it is

since it's been used.

It seems such a shame to keep

a lovely thing like wine locked up.

You should be a shade more trustful.

Rate this script:0.0 / 0 votes

Philip Barry

Philip Jerome Quinn Barry (June 18, 1896 – December 3, 1949) was an American dramatist best known for his plays Holiday (1928) and The Philadelphia Story (1939), which were both made into films starring Katharine Hepburn and Cary Grant. more…

All Philip Barry scripts | Philip Barry 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

    "Without Love" Scripts.com. STANDS4 LLC, 2024. Web. 26 Dec. 2024. <https://www.scripts.com/script/without_love_23580>.

    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 "voiceover" in screenwriting?
    A The background music
    B Dialogue between characters
    C A character talking on screen
    D A character’s voice heard over the scene