Madeleine Page #2

Synopsis: The middle-class family of a young woman cannot understand why she delays in marrying a respectable young man. They know nothing about her long-standing affair with a Frenchman.
Genre: Crime, Drama
Director(s): David Lean
Production: Universal Pictures
 
IMDB:
7.0
Rotten Tomatoes:
83%
APPROVED
Year:
1950
101 min
430 Views


I cannot give more reasons, Papa.

But I beg you not to say yes to Mr. Minnoch.

I have already done so.

He will be joining us at Rhu.

And you will oblige me by being sensible and

conducting yourself agreeably towards him.

If you do not,

you will incur my gravest displeasure.

Is that understood?

- Yes, Papa.

- Very well.

(Seagulls cry)

Well, this is my last day, Miss Madeleine.

Yes, but I am sure Papa has every intention

of asking you to stay with us again.

Then have you forgotten that today you were

going to give me your answer?

Oh, forgive me for being so persistent.

But the last few days have convinced me

more than ever

that we should be very happy together.

Mr. Minnoch, I'm very grateful.

But it's a big step you're

asking me to take.

Please, give me time to grow to it.

There's no-one else?

Mr. Minnoch, may I take you

into my confidence?

Of course.

What I am going to tell you

concerns my father.

I'm... I'm very worried.

If he should know of this hesitation

on my part... he will be very angry.

Then, surely,

it would be better that he did not know.

- It would.

- Then it shall be our secret.

Thank you. You're very kind.

It's not very difficult, Miss Madeleine.

Shall we ride home?

- Mrs. Jenkins?

MRS JENKINS:
Is that you, Mr. L'Angelier?

- Is there a letter for me?

- Uh-huh.

- Where?

- Mr. Thuau took it upstairs.

MAN:
Come in.

- Ou est ma lettre?

- Ah-ha! Bonsoir.

- Mon ami, ou est ma lettre?

- Dans votre chambre.

- Merci. Bonsoir.

- Bonsoir.

Hm.

- Ah.

- Look.

Mm, she's very attractive.

(Knock on door)

- Come in.

Did Mr. L'Angelier get it?

Oh, I see he did.

I've got your chitterlings, Mr. Thuau.

Ah, delicious. Emile? Chitterlings.

- Mr. L'Angelier?

- Yes?

You haven't forgotten

that it's the end of the week again?

Oh... no.

- You know, that'll make three weeks

altogether. - Yes.

- I don't like mentioning these things.

- I will pay you tomorrow.

Thank you.

(Door closes)

- Do you mean it?

Why shouldn't I mean it?

I seem to remember a little item

of a new suit to be paid for.

There is such a thing

as keeping up appearances.

There is such a thing as paying

the rent too.

Rent.

Is all well at Blythswood Square?

The family have moved

to their house in the country.

That, if I may say so,

is the best thing that could happen.

Why?

Why? Because if the enchantress is out of town,

you might conceivably come to your senses.

Mrs. Jenkins might even get the rent.

If you think it makes a difference

whether Madeleine is here or in the country,

you're mistaken.

We love each other.

We are going to be married.

Hm. Does Mr. Smith know that?

No, but he will be acquainted with the fact

as soon as I can be formally introduced.

And when will that be?

Very soon.

In fact, I'm taking the steamer

for Rhu this evening.

"This, then, was the melancholy state

in which Sir Marcus found himself:

alone, bereft both of the kindly sights

and sounds of nature

and of the cheering company

of a fellow human being,

he was near to abandoning himself

to complete despair... "

(Ship's horn in distance)

JANET:
Well, it's only the steamer. Go on.

MOTHER:

I hope Mr. Minnoch reached his home safely.

He went by rail, my dear, not steamer.

How stupid of me.

Continue, Madeleine.

I'm sorry I interrupted.

Hey, what time is the last boat from here

back to the city tonight?

17 minutes after ten, sir.

- The last one?

- Aye.

- And the first in the morning?

- Half-past five, sir.

Thank you.

"So saying, he gazed long and earnestly

into the old man's eyes

and then turned and strode away.

He crossed the bridge

without a backward glance

and vanished in the conifers

of the forest."

- That is the end of the chapter, Papa.

- Thank you, Madeleine.

- You read well.

- Thank you, Papa.

Well, to bed now.

Bessie, ring the bell for prayers.

(Whispers) Emile.

I'm here.

The gate was open.

Yes. I unlocked it.

- Mimi.

- Why do you call me Mimi?

I do not know. You dislike it?

No. No.

(Dog barks)

Come.

(Bagpipes play in distance)

They must be dancing in the village.

They are, yes. I passed them.

Who put that seat here? Your family?

No, the people before us.

She was fat and got out of breath.

She would have been jealous of you.

Yes... she would.

I can hear what they're playing. Listen.

# Lively jig

Dance with me, Emile.

- What?

- I'm dancing.

Dance with me.

Here?

We are quite alone.

I do not know how.

Danse avec moi.

Look.

Now the arm.

Now the other.

- Like so?

- Yes.

It should go faster.

You can't dance with that in your hand.

Heyah!

(Door opens)

Do not come outside. You will risk a chill.

My best thanks.

- You're to come here a week today.

- Believe me, I won't forget.

- Good night, my boy.

- Good night, sir.

Come, Bessie. You look tired.

- Good night, my dear.

- Good night, Mama.

We're just off to bed, James.

- Good night, Papa.

- You bolted your food tonight.

Do not. Every mouthful should be chewed.

Yes, Papa.

- Madeleine?

- Yes, Papa?

Is all well between you and Mr. Minnoch?

I think so, Papa. Has he said anything?

No, I wish he would.

Indeed, I had hoped that one of you

would have said something to me by now.

I can hardly propose to him myself, Papa.

But I cannot help feeling that some sign,

some indication from you would er...

Bring him to the boil, Papa?

That is both vulgar and flippant!

I'm sorry, Papa.

These things can be done

with perfect modesty and propriety.

I shall expect news soon, Madeleine.

- Yes, Papa.

- Good night.

Good night, Papa.

- Is your room tidy?

- Yes, miss.

You were laughing too loud with your friend

this evening.

He's full of pranks, miss.

Well, speak to him, or he won't

be able to come.

Yes, miss.

- You're undone now.

- Thank you. Open the door.

(Door opens)

I thought the guests would never go.

I notice that Christina has taken

to having a visitor.

Yes, I had to reprove her tonight

for making too much noise.

But, Madeleine, has it occurred to you

how embarrassing it is for me?

How, Emile?

You are the mistress of the house.

And yet I appear to be on the same footing

as the servant's young man.

I have to come and go by the same back door.

I find it humiliating, that is all.

I'm sorry, dearest.

But Christina takes advantage

of being in my confidence.

I will tell her that her friend

is not to come here any more, hm?

Is that the only solution?

I love you.

Is it?

No.

Madeleine,

when am I going to meet your father?

- You hesitate.

- I do not hesitate.

But you always hesitate. Why?

Well, it's difficult, that is all.

If you knew Papa, you would understand.

Madeleine, we're engaged to be married.

You have even said

that you were already my wife.

Is it unreasonable that I should ask

to be introduced to your father?

- No, Emile.

- Then, what is the difficulty?

Madeleine... is it that you're

ashamed of me?

How could it be? I love you.

Well, then prove it...

and speak to your father.

Rate this script:5.0 / 1 vote

Nicholas Phipps

Nicholas Phipps (23 June 1913 – 11 April 1980) was a British actor and screenwriter who appeared in more than thirty films during a career that lasted between 1938 and 1970. He was born in London in 1913. He appeared mainly in British comedy films, often specialising in playing military figures. He was also an occasional screenwriter, sometimes working on the script for films in which he acted. Best known for his collaborations with Herbert Wilcox and Ralph Thomas, Phipps wrote some of the most popular British films of all time, including Spring in Park Lane (1948) and Doctor in the House (1954). He retired from acting in 1970.His script for the 1954 film Doctor in the House was nominated for a BAFTA. more…

All Nicholas Phipps scripts | Nicholas Phipps 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

    "Madeleine" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/madeleine_13135>.

    We need you!

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

    Watch the movie trailer

    Madeleine

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the "second act" in a screenplay?
    A The resolution of the story
    B The introduction of the characters
    C The climax of the story
    D The main part of the story where the protagonist faces challenges