High Society Page #6

Synopsis: C.K. Dexter-Haven, a successful popular jazz musician, lives in a mansion near his ex-wife's Tracy Lord's family estate. She is on the verge of marrying a man blander and safer than Dex, who tries to win Tracy's heart again. Mike Connor, an undercover tabloid reporter, also falls for Tracy while covering the nuptials for Spy magazine. Tracy must choose between the three men as she discovers that "safe" can mean "deadly dull" when it comes to husbands and life.
Genre: Comedy, Drama, Musical
Director(s): Charles Walters
Production: MGM Home Entertainment
  Nominated for 2 Oscars. Another 1 nomination.
 
IMDB:
7.0
Rotten Tomatoes:
81%
NOT RATED
Year:
1956
111 min
1,924 Views


We are honored in Newport to have

visiting us several famous orchestras

for the jazz festival tomorrow night.

Among them,

the greatest of them all

Mr. Louis Armstrong. Yeah.

We also have with us one of the sponsors

of the festival, Mr. Dexter-Haven.

So I'll ask Dexter to explain.

Thank you.

Dear gentle folk of Newport --

Or maybe I should say, "hats and cats"?

I want you to lend an ear because --

Well, I want you to hear

some really shimmering sharps and flats.

Look here, I want to dance with Tracy.

Do you, Uncle Willie? That's nice.

You two can dance the rest of your life.

Let's the three of us dance together.

No, no, no, my dear.

That just isn't done, you know.

Are you having a wonderful time?

I most certainly am.

You know,

you're my very favorite uncle.

I'd be highly complimented

if it weren't for the fact

that I'm the only uncle you have.

I think that's sad. You're the only uncle

I have in the whole world.

May I?

May you what?

Dance with the bride.

You may dance with the bride.

Are you coming to my wedding, Dexter?

No.

What's the matter, don't you like weddings?

Depends on who's getting married.

It's gonna be a nice wedding.

I'm sure it will.

That's a very cute song you sang.

Why don't you write cute songs like that?

I wrote that one.

Well, I still like it.

You're really floating tonight, aren't you?

Really floating, aren't l?

I'm sensational, everybody said so.

It got dark all of a sudden.

Very dark.

It's too dark.

Since I won't be at the wedding,

don't I get to kiss the bride?

Everybody kisses the bride. I want

everybody to be happy, even you, Dexter.

You may kiss the bride.

Oh, Sam, all the happiness in the world.

Oh, Dex.

Tracy!

Hello, George.

Just kissing the bride.

You know, the old custom.

Yes, just kissing the bride.

It's a very old custom.

You're not fooling anybody, Dexter.

The wedding is tomorrow

and you're not gonna block it.

Come on, dear.

Are we gonna dance, George?

No, dear.

What are we going to do?

I think you ought to lie down.

But I feel fine. I'm sensational.

Behave yourself.

You're sensational, all right.

Now, I want you to lie down and rest.

I'll see that you're not disturbed.

George, lie down with me.

Tracy!

You'll find it under Harvard Classics.

Give Darwin a little nudge there.

I thought I'd pour a little champagne.

It's a great leveler.

It makes you my equal.

I wouldn't say that.

Well, it almost makes you my equal.

C. K. Dexter-Haven

didn't you once know

a girl named Tracy Samantha Lord?

Sounds familiar.

No, you didn't.

If you had known her,

you'd never let her get away.

You got hiccups.

Excuse.

It's all right.

Tracy's no ordinary woman.

So I understand.

You are still in love with her.

Don't deny it, buddy.

I wasn't going to.

Does she know this?

Yeah, she knows it.

No, that ain't the way I get it.

What's that?

I'm gonna have a drink.

I may have some bubbly myself.

I'm gonna dance.

Don't get hurt.

Hands up!

I hate you.

Where do you think you're going?

Someplace and dance.

But they're dancing in there.

I know, but George is frowning at me.

I can't dance when anyone frowns at me.

We'll go over the wall.

Whose car shall we use?

Anyone's.

Let's use the blue one.

No, that's mine.

Hello, George. Where's Tracy?

Powdering her nose.

Hello.

Hello. You look fine.

I feel fine.

Do you hear a telephone ringing?

It's my bedroom telephone.

It's probably George.

You can't marry him.

No? Well, I'm going to.

He's not in your class.

Snob.

George comes from the so-called

"lower class," Dexter from the upper.

Well, I'll take the lower every time.

Sure, as long as you can't get

a drawing room.

You're insulting.

I'm sorry.

Don't apologize.

Who's apologizing?

You are.

If you don't think I'll marry George,

you come around tomorrow morning.

It's already tomorrow morning.

So it is.

Oh, let's not quarrel, Mike.

What you need is another drink.

That's right.

I can't find Liz.

I just saw someone wander out

into the garden. Alone.

Oh, you don't tell me.

The little vixen.

Ollie ollie oxen free.

Uncle Willie giving you a little trouble?

He's gonna end up a juvenile delinquent.

Have you seen Mike anywhere?

No.

No? That's funny.

He disappeared over an hour ago.

Where's Tracy?

This party's turning into

a game of hide-and-seek.

She's disappeared.

Phone her at home.

I did. There was no answer.

Try again.

All right, I will.

Well, since Mike's disappeared too,

I may as well go home.

How about me taking you home?

Then everybody'd come look for us.

That's the nicest thing I've heard tonight.

You know, the strangest thing.

I keep thinking I hear bells.

That's the champagne for you.

They're now putting bells in the bubbles.

You're quite a fellow.

That's what they say.

Let's go for a swim in the moonlight.

But you wanted to dance.

Tonight I want to do everything.

Rumba.

Oh, Tracy, Tracy.

Darling, you're lit from within.

Bright, so bright.

I don't seem made of bronze, then?

No, you're made of flesh and blood.

That's the blank, unholy surprise of it all.

Oh, Mike, keep talking.

All of a sudden I've got the shakes.

Yeah, me too.

What is it?

It couldn't be love, could it?

Oh, no, no, no, it mustn't.

Why? Would it be inconvenient?

Terribly.

Oh, Tracy. You're tremendous!

That's funny, because I feel very small.

Put me in your pocket, Mike.

Golly. Golly Moses.

We're out of our minds.

And into our hearts, though.

What are we going to do?

I don't know about you,

but I'm gonna go into the water.

Liz, you're in love

with Connor, aren't you?

People ask the darndest questions.

Why don't you marry him?

I didn't hear you.

I'm going to bed.

Thank you, Mr. C. K. Dexter-Haven.

I said, why don't you marry him?

I think he's still got a lot to learn.

I don't wanna get in his way for a while.

Suppose some other dame

comes along in the meantime?

I'd scratch her eyes out. Unless she

were marrying someone else the next day.

You're quite a gal, Liz.

Oh, I don't know.

I take nice pictures, though.

Night.

Night.

Oh, it's you, Mr. Haven.

Hey, Mac.

There's so much loot for the wedding,

I keep checking.

I won't take anything. I'm not

getting married this time, you know.

I wish it were, sir. Good night.

Good night.

That you, Haven?

Oh, yeah.

What are you doing here?

I just brought Liz home. Why?

I still haven't found Tracy.

Well, she's asleep, I should say.

She's getting married tomorrow.

Don't be funny. I telephoned her.

Her phone didn't answer.

When we were married, that phone would

always ring and she'd never bat an eye.

She's a very remarkable girl.

I recall --

I prefer not to discuss Tracy

with you, if you don't mind.

You've got a very big day tomorrow.

Let me walk you to the gatehouse.

That sounds like Tracy.

No, that's the night watchman.

It's a woman's voice.

Well, he's a lyric tenor, you see.

That's right.

George, honestly, I think you should go.

Rate this script:0.0 / 0 votes

John Patrick

John Patrick was an American playwright and screenwriter. more…

All John Patrick scripts | John Patrick 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

    "High Society" Scripts.com. STANDS4 LLC, 2024. Web. 24 Nov. 2024. <https://www.scripts.com/script/high_society_9966>.

    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 "blocking" in screenwriting?
    A The end of a scene
    B The construction of sets
    C The planning of actors' movements on stage or set
    D The prevention of story progress