Blondie of the Follies Page #7

Synopsis: Blondie, a New York tenement dweller, and Lurlene are best friends. When Lurlene makes the cast of a big Broadway show, she arranges for Blondie to join the cast as well. But the friendship goes awry when Lurlene's sweetheart, wealthy Larry Belmont, catches Blondie's act and falls for the fair-haired newcomer. Though she is attracted to Larry as well, Blondie spurns his attentions out of loyalty to her friend. But the attraction proves to be stronger than any of them could have imagined.
Genre: Comedy
Director(s): Edmund Goulding
Production: MGM
 
IMDB:
8.0
PASSED
Year:
1932
91 min
24 Views


either of us since that night on the yacht and...

I felt that I might be the means of

bringing you together again.

You know that you care for Larry and...

I'm sure that Larry cares for you.

I don't know what I did

to him to make him change.

Yes, what was it, Larry?

What do you want me to say?

I want you to say that...

that you'll make it up with Lurlene.

I'm sorry. We understood one another perfectly.

Until you walked out we did.

- It was a mistake. It all started in fun

- Fun?

I don't mean to be unkind about this

thing but there was no real love in it.

You know that.

- How do you know?

You didn't love me.

That's true, Larry.

Did I ever say I loved you?

- No, you didn't.

- I didn't.

It's my fault and I'm terribly sorry.

I'll do anything in the world

to make amends.

I admire you, but to pretend to love you

would lead to all kinds of things.

It's been a mistake.

So why go on with it

for your sake as well as for mine?

But you did love her.

You must have loved her before.

- Before what?

You belong to Lurlene.

My dear child,

I don't belong to anybody.

I think we're taking this thing

much too seriously.

I know why you brought this about this afternoon.

It was a very sweet thought but it's impossible.

We're friends.

If there's anything in the world

I can do for either one of you kids,

please let me know.

Bye, darling.

I never saw you looking better in my life.

Thanks, Larry.

This big gay life isn't all it's cracked up

to be, is it? - Goodbye, mister.

Mister yourself.

Some champagne. Very cold.

Have you got some? Good.

Have you got a date?

- Not till theater.

- Want a drink?

- Sure.

- I have some champagne coming. Very cold.

- What brand?

- Heidsieck.

I always use that.

- Yeah?

- Sure.

Hurt your hand?

How?

You know where you hold me

in the ballet?

That's where your nails have been

every night.

Tough. I've hated you.

You thought I was seeing Larry?

- You weren't, were you?

- I promised you, didn't I?

Swell.

Yes, it is nice, isn't it?

I'm having my apartment done

in silver and black. Modern.

- Oh, swell.

- Sure.

I bet it'll be fine. Lay that right here

and we'll take care of it.

- Where is he?

- Who?

The big cheese.

- You mean Mr. Murchenson?

- Yes.

- He's duck shooting.

- Poor little ducks.

I could marry him if I wanted to.

- Oh, yeah?

- You don't believe me, do you?

- Sure.

- I'll prove it to you.

You remember that little document,

that private thing I told you to put in the..

- Bring Mr. Murchenson's last letter!

Where is it?

Here it is.

Bring me the telephone.

I wonder who that is? We'll see. Hello?

Hello? Yes, this is Blondie.

How are you doing?

Swell. Say, that's a nice coat

you've got on there. - It's tweed.

- I've got one like it in gray.

- Yeah?

Listen, come on over. Lurlene's here.

- Say, I'm going.

- Don't be silly. Pipe down.

We're going on a pip!

Bring the whole crowd over.

And an orchestra! Say, that's

gonna be swell!

Come on over. All right, we'll wait for you.

Are we going to have fun, or

are we going to have fun?

Why don't you marry him? It's millions.

I couldn't marry. Only for love.

And that's just flown out of the window.

- It's flown for you too, hasn't it?

- I'm used to it.

I wish I could get used to it.

Poor baby.

Here's how, kid.

- Here we go.

Kiddies, come on in!

The party's going grand!

How are you? The evening's grand.

Ah, an orchestra!

What happened? I come in with a girl.

How are you, boys?

We'll discuss that later.

Where have you been, Jimmy?

I just come from Grand Hotel.

Don't ever take your gal

to see Grand Hotel.

One look at that guy Barrymore

and you're out.

You become a crumb.

Barrymore's got this or that.

I ain't got this or that.

And when you ain't got this or that,

you become negative.

And that's positive.

It gets me sore. A lot of girls rave

about that Barrymore profile.

I got more profile

than all the Barrymores put together.

What does it get me?

What does it get me? Now listen.

Don't take your girl

to see Grand Hotel

because one look at that Barrymore

and you're out.

Wait a minute. Let me diagnose.

The theater was dark.

There was a certain tension.

And he was seated.

Or rather she was. In fact we all was.

- So what?

- So what?

We were holding hands so cuddly,

when suddenly along the corridor,

who comes along but Barrymore?

Was he after pearls? No.

He passed along the passage.

There was four passages.

You left out a passage.

Thank you.

Swines.

Did he take the wrong passage?

He took the right passage to room 178.

Wait a minute.

And then he opened the door.

And there lying on the bed,

in her own environment,

The grief of it.

The pain of it.

There lay Garbo.

Garbo.

Garbo.

Who are you? Why are you here?

To breathe the air you breathe.

I'm nuts about it.

Oh, that face.

Why does it look at me like that?

- Because I'm a cad.

- A cad?

How tired you are.

Yes.

I am tired.

So tired.

I want...

Miss Vronsky!

You're telling me!

Go.

I want to be alone.

What a mama.

Please.

Please, let me stay.

Well, just for the week then.

- Just for the week?

- Yes.

This is Miss McClune. Yes?

What is it?

What?

Who?

Yes but...where?

22...Remember that.

Get my hat and coat.

22 Water Street

I'll be right there.

What 's the matter, Blondie?

Who was that?

My coat! Get me my coat! Quickly!

- Get the coat, will you?

- My coat! Hurry up!

Hey, girls, who are you looking for?

- Is this Water?

- Yes.

How do I get in?

Around the other side. You can go

this way if you like.

- Oh, yes.

- Give me a hand, Mike.

Which way do we go?

Right up that way.

Here.

- What are you doing?

- He hates them.

- I'm Miss McClune. What's the matter?

- We got the doctor as quickly as we could.

- Where is he?

- He fell from his chair and struck his head

Pa!

- What's the matter? Are you the doctor?

- Yes

He hasn't seemed right for a long time.

- Are you a daughter too?

- No. Can't you get him to a hospital?

It isn't his head.

That's merely a scalp wound.

Pa, it's Blondie.

Why can't you do something?

What are you standing around for?

Blondie! The doctor says it isn't his head.

It's his heart.

Oh, no.

Please. He's...

- Say, will you do me a favor?

- Sure.

When Blondie McClune gets off,

tell her that Larry Belmont's over at the

speakeasy and wants to see her right away.

Going to a speakeasy?

- Sure, he's off for Europe.

- Say, what was that?

When Blondie gets off, Larry Belmont

wants to see her at the speakeasy.

You mean he asked for Blondie McClune?

Sure, you heard me.

Going to a speakeasy? You'll be fired.

That would be just too bad, wouldn't it?

- Where's Blondie McClune?

- Here.

Blondie! You're wanted.

- Who wants me?

- A messenger.

Larry Belmont's screaming for you.

- Larry Belmont?

- Yes, didn't you get the message?

I didn't get any message.

Larry Belmont's over at the speakeasy.

He wants you to come right away.

Try to slip over if you can.

Rate this script:0.0 / 0 votes

Frances Marion

Frances Marion (born Marion Benson Owens, November 18, 1888 – May 12, 1973) was an American journalist, author, film director and screenwriter often cited as the most renowned female screenwriter of the 20th century alongside June Mathis and Anita Loos. She was the first writer to win two Academy Awards. more…

All Frances Marion scripts | Frances Marion 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

    "Blondie of the Follies" Scripts.com. STANDS4 LLC, 2024. Web. 29 Aug. 2024. <https://www.scripts.com/script/blondie_of_the_follies_4280>.

    We need you!

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

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "A/B story" refer to in screenwriting?
    A The main plot and a subplot
    B Two different genres in the same screenplay
    C Two main characters
    D Two different endings