Sweet Bird of Youth Page #9

Synopsis: Drifter Chance Wayne returns to his hometown after many years of trying to make it in the movies. Arriving with him is a faded film star he picked up along the way, Alexandra Del Lago. While trying to get her help to make a screen test, he also finds the time to meet his former girlfriend Heavenly, the daughter of the local politician Tom 'Boss' Finley, who more or less forced him to leave the town many years ago.
Genre: Drama
Director(s): Richard Brooks
Production: MGM Home Entertainment
  Won 1 Oscar. Another 2 wins & 7 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
75%
APPROVED
Year:
1962
120 min
2,394 Views


You show them you're a real princess.

It's good public relations.

Public? The public and I have always

enjoyed the very best relations.

Hi there.

Wouldn't you like to have a nice,

cool dip before lunch?

- Don't you go away, now.

- No, ma'am.

No.

Dear, she shouldn't have gone anywhere

without you, should she?

No, ma'am, she shouldn't have.

Go away, Chance. Go away.

Leave here. Leave St. Cloud.

- Well, yeah, we'll leave here together.

- It's too late for that.

Baby, it's just the beginning for us.

Now, no more next time.

This time, it's for keeps.

We got it made, baby.

This is my passport out of here.

Right to the top, nonstop.

Let go, Chance.

Let go of my life.

But, baby, the door is opened.

This is a contract!

Now, it's witnessed and notarized

and signed by Alexandra Del Lago.

She's my patroness.

She's my agent, my producer.

This is on the level.

- You've gotta believe me!

- I believe you.

All right, then. We'll leave here.

Together.

You and me and Princess Del Lago.

Tonight. Whenever you say.

Take your princess and go away.

Now. Before tonight.

You want me

to leave here without you?

Don't come back.

Don't call anymore. Run!

But, baby, what about you?

What about you and me?

Forget about me!

You want me to forget

that you're carrying my baby?

Yes! The way I had to forget!

Go back to your dream!

- You got the loudspeaker tested?

- Yeah.

- How about the TV setup? Okay?

- Yeah. Okay.

- I want you to stand by for a surprise.

- What kind of surprise?

I don't know. I got an anonymous

phone call, so just stand by.

Yes, ma'am, princess!

Honey,

get the bill ready for suite 212.

- Miss Lucy, your bill's been paid in full.

- That's what you think.

- Hold on.

- Tom Jr., they're checking out.

The princess lady

just asked for the bill.

Come here.

You just had to see him, didn't you?

You just naturally had to lay

in Chance Wayne's arms like a trollop.

Folks, my daughter!

Who says purity and politics

don't go together?

Well!

I thought,

from the happy celebration...

...that you were being served on a platter

with an apple stuck in your mouth.

- What are you doing?

- Getting out of here.

- As fast as your car will take us.

- Oh, well. I have another driver.

A certain Miss Lucy.

A kindly soul who will drive me

out of this hellish nightmare...

...as far as New Orleans.

I'm still your driver, princess.

We're leaving here together.

What happened

to your unfinished business?

Floppola?

- Well, I'm back. Isn't that enough?

- In a word, no.

- Oh, princess, baby...

- No!

Don't answer that.

Chance!

- Hello?

- I told you not to.

- Who's calling the princess?

- Will you please, please hang up?

It's Walter Winchell, in Hollywood.

Oh, no.

- Oh, no.

- Yeah, put him on.

- No. No!

- Yeah, she's right here.

Oh, how did he find me? How?

- It was you.

- Hello? Hello, Mr. Winchell?

Oh, yes.

Well, this is Chance Wayne speaking.

I called for the

Princess Kosmonopolis.

Alexandra...!

I mean, Alexandra Del Lago.

Last night?

Oh, yeah. She's fine, fine.

She just wanted to tell you about

this new star that she's discovered.

- Oh, sure, she can talk for herself.

- I can't.

- Princess, come on. He's waiting.

- Well, you tell him that I am dying.

And I just might.

You gotta meet it halfway.

Princess?

Walter?

Walter?

Walter! Well, is that really you, Waldo?

Yes, yes, it's me. Alexandra.

That's what's left of me.

Walter?

Oh, yes, yes, I did go to the preview,

but I only stayed a few minutes.

As soon I saw that first big close-up of

myself on that monstrous CinemaScope...

...I tell you, I ran right out of there!

I screamed for a taxi,

and I haven't been...

I haven't stopped running since.

What?

Oh, no, no. No, no, I heard nothing,

read nothing, I just wanted oblivion.

What?

Walter.

You're just being kind, aren't you?

Princess, tell him

about my screen test.

- One moment, Walter, I'm breathless.

- Tell him to break it in his column...

Go in the bathroom and stick

your head under cold water.

Walter, now, tell me,

do you really think so?

You're not just being kind,

are you, because of old times?

Grown, did you say? My talent?

Well, in what way, Walter?

- More depth?

- Tell him about me.

- More what? What did you say?

- Me.

More power?

- Well, God bless you. God bless you!

- Come on, now, cut the chatter.

Tell him you've found a new

leading man with a bright new future.

Walter, that is very,

very sweet of you.

I don't even care if you're not altogether

sincere in that statement, Walter...

...because I think you know what

the past 15 years have been like.

What?

What's that, Walter?

They want me?

They really want me?

Well, for what part?

Who? Who wants me?

Oh, dear Lord.

Walter!

Walter, please excuse me.

No, no. Excuse me. I'm crying, dear,

and I haven't got any Kleenex.

Come on, talk to him about me.

- Oh, Walter...

- Me, me, me!

Walter, what?

No, no, I didn't read the reviews.

Newspapers.

Who cares what the newspapers say?

What did they say? Tell me.

Tell me word for word.

Before the festivities, let us all

bow our heads in silent prayer.

Mrs. Maribelle Norris

will sing while we pray.

Good night, professor.

Can't we do this

without hurting the girl?

Do you wanna get rid

of Boss Finley or not?

Yes. Oh, no!

Oh, Walter, the New Yorker magazine

praised it.

Oh, I'm too overwhelmed. I'm...

Walter, I'll have to call you back later.

- I can't believe it. I can't believe it.

- Hello?

My picture has broken box-office records

in New York and L.A.

- Get him back on this phone.

- Variety says...

...that I am the biggest boff

in release today.

- Princess, I took care of you.

- I've gotta go to a clinic for a week.

- I delivered my end.

- A week or 10 days.

Would you shut up and listen!

Bennie. I'll have to get him to cover up

my tracks these past few weeks in hell.

- Get Winchell back on this phone.

- What?

Tell him about me!

What? Tell him about a beach boy

that I picked up for pleasure...

...a distraction from panic?

Now? Now, when the

nightmare is over?

And involve my name

with the name of a...

A blackmailer.

You've just been using me. Using me.

When you ran out on me downstairs,

you ran out on this contract too.

Just a short while ago, I needed you.

Oh, how I needed you.

Well, now I need nobody.

I climbed up alone.

And I will climb back alone.

Back to where I belong.

I will live alone and I will work alone.

I know exactly the kind

of gold-plated hell I'm going to.

But you, you have gone past something

you couldn't afford to go past.

Your time, your youth.

You've passed it.

It's all you've had, and you've had it!

Look who's talking.

Just look at yourself.

What do you see in there?

I see me.

Alexandra Del Lago, artist and star.

Now you look at yourself.

What do you see?

What?

A nameless face, that's what you see.

Oh, I remember faces like yours.

I remember young men

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Tennessee Williams

Thomas Lanier "Tennessee" Williams III (March 26, 1911 – February 25, 1983) was an American playwright. Along with Eugene O'Neill and Arthur Miller, he is considered among the three foremost playwrights of 20th-century American drama.After years of obscurity, at age 33 he became suddenly famous with the success of The Glass Menagerie (1944) in New York City. This play closely reflected his own unhappy family background. It was the first of a string of successes, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), and Sweet Bird of Youth (1959). With his later work, he attempted a new style that did not appeal to audiences. Increasing alcohol and drug dependence inhibited his creative expression. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame. more…

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Submitted on August 05, 2018

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