Cover Girl Page #5

Synopsis: Rusty Parker, a red-headed leggy dancer at Danny McGuire's Night Club in Brooklyn, wants to be a successful Broadway star. She enters a contest to be a 'Cover Girl' as a stepping-stone in her career. She reminds the publisher, John Coudair, of his lost love, showgirl Maribelle Hicks. He was engaged to Maribelle, although his wealthy society mother made fun of her. Maribelle left John at the altar when she saw the piano at her wedding. It reminded her of the piano-player she truly loved. Rusty is Maribelle's granddaughter and there are musical sequences with Maribelle dancing to songs from the beginning of the 20th century. Rusty lands on the cover of her grandmother's former fiancé's magazine (as a bride). She is pursued by Coudair's pal, the wealthy theatrical producer, Noel Wheaton. He produces a lavish musical to star Rusty, surrounded by real cover girls of the mid 1940's. Rusty runs down a huge spiral into the arms of dozens of men who seem clumsy next to her ethereal dancing. But
Director(s): Charles Vidor
Production: Sony Pictures Home Entertainment
  Won 1 Oscar. Another 4 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
94%
APPROVED
Year:
1944
107 min
368 Views


They only make you famous overnight.

That's all. No work, no nothing.

Just smile at the birdie,

and boom! You're in.

Name in all the papers. Big stars

sending you pretty dresses for nothing.

That was terrific tonight.

You bet it was terrific.

Best goodbye music

I ever danced to.

Yeah, tonight was really terrific.

See a thing like that happen

right under your eyes.

Something you wanted for someone

all their life.

You haven't known me all my life.

Six months then.

Seven.

Seven then.

Seven months, three days,

four hours, 23 minutes.

It was Tuesday.

Long ago and far away

I dreamed a dream one day

And now that dream is here beside me

Long the skies were overcast

But now the clouds have passed

You're here at last

Chills run up and down my spine

Aladdin's lamp is mine

The dream I dreamed was not denied me

Just one look

And then I knew

That all I longed for

Long ago was you

I dreamed a dream one day

And now that dream is here beside me

Long the skies were overcast

But now the clouds have passed

You're here at last

Chills run up and down my spine

Aladdin's lamp is mine

The dream I dreamed was not denied me

Just one look

And then I knew

That all I longed for

Long ago was you

Egad, this place looks

like a funeral parlour.

Nobody cares if roses give

me hay fever.

- Where are your shoes?

- In the dressing room!

- Get them!

- I can't! The dressing room...

...is full of photographers taking

pictures of the mirror!

For Pete's sake, why?

It's gonna be in the Sunday paper. The

mirror where Rusty first saw her face.

- Mr. McGuire.

- I know. Do the best you can.

That newspaperwoman is eating

my precious food.

She is doing a story on what food

makes the figure of Rusty Parker.

- I said, do the best you can.

- I quit.

All right, then quit!

- Genius.

- Yes.

- Where is Rusty? Find her.

- Relax.

She's all right. She's on the stage

being interviewed.

- I'm 10 minutes slow.

- Are the flowers from Mr. Wheaton?

Yes, every hour, on the hour,

for a week.

Can you tell us about their romance?

Which of you did she love

before Mr. Wheaton?

It was I, but I beat her.

Mr. McGuire. Smile.

- Where's Rusty?

- We want her autograph.

Wait outside. We're trying to rehearse.

- Give me your autograph.

- You don't even know who I am.

Yes, I do.

- You're Rusty Parker's boyfriend.

- I'll tell him when he comes.

You can have my autograph.

Single file. I'll take you first.

You ain't nobody.

Maybe we can catch her

out in the alley. Come on!

Just a minute. The girls

are too busy to see you.

- Glad to see you.

- Glad to see you.

That's fine, John. Play billiards

while my theatre falls apart.

- Good afternoon.

- What's good about it?

It's another day for me to worry about

how I'll open my show.

Now I'm sending roses

every 15 minutes.

You got me this way. Do something.

I tried everything this side of kidnapping.

What is this side of kidnapping?

Please don't be humorous.

You're humorous, both of you.

You're attempting the impossible:

Lure a girl away from a guy

she loves with things.

It won't work, and I'm dame enough to

be glad of it. What do you think of that?

I had the same problem with her

grandmother. I mean, her mother.

Whose mother?

Nobody's, believe me.

But it can be done.

I want that child on Broadway.

Everything's set and ready to go.

- Frame's built, and no face to go in it.

- You'll have the face. Let me work on it.

Gladly, only work fast, will you? L...

Immediately. Tomorrow night, in fact.

Keep the evening open.

Enter the mastermind.

Good afternoon, gentlemen.

All is clear, master.

You may bring forth the treasure.

No photographers, no adoring public.

Zounds, princess, you are slipping.

- Listen to what I'm saying.

- You said Mr. Coudair was sentimental.

I said he can be sentimental

on his own time. Then what?

Look.

- Genius, explain it to him.

- Mr. McGuire...

You don't need to explain. You want

to skip the show and go to a party.

The second show.

It's an anniversary dinner

at Mr. Coudair's house.

- Imagine, eating in a house.

- It's Vanity's 50th birthday.

Why waste good food

on an old hag like that?

Will you please stop clowning?

I'm the Golden Wedding Girl,

so he wants me there.

And because you work

at Danny McGuire's, I want you there.

Do you only think of what you want?

Mr. Coudair has the right

to want something.

Once won't hurt. The guy's sentimental.

It can't happen again for 50 years.

You think he'd be sentimental

if she worked in Wheaton's show?

He wouldn't. Why should he

kick our show around...

...because it's Brooklyn?

- It's not kicking your show around...

...that he's brought you more business

because of me than you've had before!

I wondered when that was coming.

That's what the ads read. " Come to

Danny McGuire's to see Rusty Parker."

All the more reason you should

be there when they come.

I'll be there, Danny, for the first show.

But after the first show, I'm leaving.

And you can get mad if you want to.

Oh, she's a great kid, always clowning.

You don't think she'd really do that,

do you?

Great sense of humour, that kid.

Peace, it's wonderful.

What quieted all of you down?

- Where's Rusty?

- She went to a party.

You should've seen how swell

she looked.

Just one word from you, and she does

what she likes, doesn't she, boss?

- On stage.

- Just the six of us?

Space it a little. You can cover it.

We will, Danny.

Yeah, great sense of humour, that kid.

You know, Danny, the funniest thing

just happened.

Coudair's more sentimental than

anybody I heard of. Did you know that?

- Touching.

- He's even sentimental about us.

Yeah, he just phoned. He wants you

to come to the party to pick Rusty up.

Imagine that. A guy like him who's

got a barrelful of rubies...

...and he's sentimental about a pearl.

I guess he thinks it'd be nice

if we were friends.

You have a great brain. Sometimes

it almost frightens me, you're so bright.

You know, sometimes

it almost frightens me too.

But you're going to the party,

aren't you, Danny?

Sure.

Sure, I'm going.

I love parties.

Here's the church, there's the steeple.

Open the door, and where's the people?

I beg your pardon.

Oh, a nursery rhyme.

I beg your pardon.

Yes, sir. Will you come into the study?

Mr. Coudair asked

that you be brought right in.

- Nice to see you, Mr. McGuire.

- Nice to see you too, Mr. Coudair.

I guess I'm a little mixed- up.

Your message said Rusty'd be here.

Yes, well, we changed plans

at the last minute, and we've...

Won't you sit down and have a drink?

Thanks.

Where is Rusty, Mr. Coudair?

I don't really know.

She and Mr. Wheaton had some sort of

an evening figured out, I understand.

This isn't the right direction

for Mr. Coudair's house.

You're being kidnapped. You like it?

You're not very complimentary.

You're not scared.

What are you talking about?

Aren't we going to a party?

Sure we are. But I just want to stop by

Rate this script:0.0 / 0 votes

Virginia Van Upp

Virginia Van Upp (January 13, 1902 – March 25, 1970) was an American film producer and screenwriter. more…

All Virginia Van Upp scripts | Virginia Van Upp Scripts

1 fan

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

    "Cover Girl" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/cover_girl_5996>.

    We need you!

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

    Watch the movie trailer

    Cover Girl

    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 is a "script doctor"?
    A A writer hired to revise or rewrite parts of a screenplay
    B A writer who directs the film
    C A writer who edits the final cut
    D A writer who creates original scripts