Riptide Page #2

Synopsis: Park Avenue party-girl Mary (Norma Shearer) and staid English nobleman, Lord Phillip Rexford (Herbert Marshall) are married on a lark, they live happily in London. He must travel to America on business leaving her home alone. Lord Rexford's aunt invites Mary on a trip to the Riviera where she runs into an old flame, Tommie Treal (Robert Montgomery). Under the spell of the sea breezes and the Mediterranean moon (a semi-excuse for adultery to keep Queen Norma's image clean, as this was a post-Production Code film), Mary is the "innocent" victim of a romantic escapade that makes headlines as well as the scandal sheets. None of Mary's explanations can soothe Lord Phillip, his cold indifference drives Mary, who fights against it (a minor and feeble struggle at best), closer to Tommie. As the two lovers surrender to their ardor, Lord R. learns from his lawyer that Mary had been telling the truth, and he calls for her to join him in Cannes with a clean slate. O.K, but as Chief White Eagle tol
Genre: Drama, Romance
Director(s): Edmund Goulding
Production: Warner Bros.
 
IMDB:
6.5
PASSED
Year:
1934
92 min
178 Views


What ?

Us.

You mean...

Me Lady Rexford ?

Yes, dear.

Oh, darling.

After all those things I told you about me ?

Think now. Think hard.

I have thought. It's all forgotten.

Or isn't it ?

Oh, yes, if you say so. Buried and forgotten.

Only you in the world.

Are you sure you can forgive it all ?

Forgiven.

Forgiven ?

All right, from now on a ring in the nose

and a beating every Saturday night, please.

Yes.

I remember distinctly what I said.

How I hate you in this mood.

You always crabby after lunch.

Why do you go if you don't have to ?

Because Philip happens to be going to America today.

And he knows I'm in town.

Isn't he very dull ?

No sense of humor whatever.

They say the little American girl

he's married is full of ginger.

I invariably laugh with Americans.

But she can't be very amusing,

or she'd never have married Philip.

You'll laugh. You always do.

Oh, his father was such a gay old buck.

The naughty old devil.

Now, please don't start

a long old story of reminiscence.

We're nearly there.

You cheeky little brute.

How I hate London. I hate it !

Why did I ever come back ?

Tell me, why did I ever come back ?

We'll go to the Riviera tomorrow.

And you told me to close the Villa.

And I closed it.

Very well, then it stays closed.

We can go to the Carlton Hotel.

Now understand, tomorrow morning we start.

Oh, I've got a pain.

It's the lobster.

Not at all. It's not in my tummy, it's in my heart.

It's because you're so cruel to me, Bertie.

David !

Yes, Mary.

Is the captain on th bridge ?

Yes, he is.

What are the chances ?

Very slim, I'm afraid.

Did you put in a word for me.

My dear, I'm only a secretary.

I'm only a wife.

You know how he is when his mind's made up.

I've never known him

when his mind isn't made up.

Bad as all that ?

Not so bad but very stubborn.

Here goes for a good row.

Never known him to.

What ?

Row.

Here's one now.

Am I accompanying my husband

to America or am I not ?

Not, I'm sad to say.

Oh, darling.

Five years and we haven't been apart a week.

And now just because someone you work for says no women,

as though women were trunks or something...

Oh, darling, I can hurry, I can rush,

I'm not an old frump like Mrs. Parrish.

Really, you should have insisted.

I could scream.

Go on then, scream.

How's that ?

Oh, Mary, you are making me feel such a swine.

I don't mean to.

I know you can't take me.

I'd most likely be an awful nuisance.

No, no, it really isn't so tragic.

Aren't you glad I think it is ?

Oh, yes.

You know, sometimes I get the absurd idea

that you might think New York isn't

quite the place for me again.

You don't think that, do you ?

What on earth do you mean ?

Oh, you know.

No I don't, really.

Well, I'm glad.

'Cause I can't remember New York

without thinking of us, can you ?

You know what I mean ?

Yes.

I wasn't exactly your wife then, was I ?

Or don't you want to remember that ?

You're my wife now. Don't talk like that.

That doesn't have anything to do

with your aunt taking me, does it dear ?

Of course not.

I think I'll leave a card. They're probably busy.

How do you do, Lady Riversleigh ?

How do you do er...

Who are you ?

I'm Lord Rexford's secretary.

Oh, really, how nice.

This is my secretary, Bertie Davis.

What's your name ?

My name's David Fenwick.

Oh, is it.

How do you do ?

That's Philip's valet.

What a distinguished face he has.

And I'm talking to the servant.

I'm so confused.

I'm sure it's a bad day to call.

I think I'll leave a card.

No, please, I know they're both expecting you.

Oh, they changed the hall. Painted it white.

Looks like a railway station as it is.

It's Lady Riversleigh.

I'm counting out my cigarettes.

Bertie go to the car and get them there.

Aunt Hetty, how are you. I haven't seen you for years.

Mmm... and donkey's ears...

Oh, how nice.

You're looking so well.

I wish I felt as well as she looks.

This is er...

Mary.

My dear, you're divine.

I heard on all sides how attractive you were.

Well, I've been waiting for years

to see what I'm really like.

Why ? Americans are so amusing.

What does she mean ?

When I ran a little naughty, they'd always say:

"Oh, you're just like Aunt Hetty.

At my age, I'm really flattered.

You shouldn't be.

How sensible of Philip to marry

a nice healthy girl full of Mmmmmmm!

Zimmm.

Oh, I like that.

You have that Mmmmmm.

I had it too when I was a girl.

I was full of Mmmmmm.

Joie de vivre.

You still have.

Philip, did you hear the nice

compliments Aunt Hetty is paying me ?

What are they ?

She says I have er....

That sounds fine. What does it mean ?

Don't you know what that means ?

That means this.

She's getting pottier and pottier every day.

I beg your pardon, sir.

Every day.

yes, sir.

Look what I found out here, please.

This is Pamela.

Four years old and weighs a ton.

My dear, not a ton.

Why I only weigh a ton and a quarter.

What a nice little bit.

And look. She has mother's twinkle in her eye.

Aunt Hetty, forgive me for rushing away.

Goodbye and good riddance.

I'm going to stay here and talk to your lovely wife.

Aunt Hetty, you will excuse us for a moment, will you ?

What a lovely little girl.

Oh, Bertie, where have you been ?

There are your cigarettes.

Well, don't throw them at me.

What's the matter with you ?

Come on, darling. Daddy has to catch a train.

You pick her up.

Goodbye, my angel girl.

I expect to find you

a whole inch taller when I get back.

You promise me ?

Here, Clark, you better take her.

I've a little tear I don't want her to see.

Oh, Mary, my Mary.

Telephone me sometimes, will you ?

Of course I will.

I shan't be able to tell you any

more than I cn tell you now.

Say it, darling.

I love you, I love you.

Do you ?

Sometimes I wonder if you do.

Darling, how dare you.

Please take care of yourself.

Men.

So they've gone.

How nice it is when people go.

The house seems so quiet.

Oh, Aunt Hetty, I wanted to run across

that square after that car and bring him back again.

A little girl in love.

You're right, darn it.

But why should I be left here all nights ?

Oh, my dear, talking nights...

Have you any wine that's cold ?

I have a little sinky feeling at this time of day.

Have you ? Well I'm sinky too.

What about a bottle

of cold champagne for two little girls ?

That's a marvelous idea.

Bollard, bring some champagne.

Big cocktails, you like cocktails, don't you ?

I adore cocktails. And don't forget

the Angostura and the sherry, Bollard.

Yes, milady.

And make sure they're cold.

They must be cold, my dear, we mustn't tell him.

Aunt Hetty, you're very naughty.

Of course I am. Why not ?

Why not ? I was once.

I'm sure you were,

with that molted twinkle in your eye.

And does Philip know ?

Hm-hm.

Since you were married ?

Before ?

He caught you red-handed ?

Oh, no, I told him everything.

Oh, my dear, you foolish girl.

It isn't that I don't adore Philip, I do.

And I'm not a neglected wife, don't think that.

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Edmund Goulding

Edmund Goulding (20 March 1891 – 24 December 1959) was a British film writer and director. As an actor early in his career he was one of the 'Ghosts' in the 1922 British made Paramount silent Three Live Ghosts alongside Norman Kerry and Cyril Chadwick. Also in the early 1920s he wrote several screenplays for star Mae Murray for films directed by her then husband Robert Z. Leonard. Goulding is best remembered for directing cultured dramas such as Love (1927), Grand Hotel (1932) with Greta Garbo and Joan Crawford, Dark Victory (1939) with Bette Davis, and The Razor's Edge (1946) with Gene Tierney and Tyrone Power. He also directed the classic film noir Nightmare Alley (1947) with Tyrone Power and Joan Blondell, and the action drama The Dawn Patrol. He was also a successful songwriter, composer, and producer. more…

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Submitted on August 05, 2018

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