The Boy Friend Page #4

Synopsis: The assistant stage manager of a small-time theatrical company (Polly Browne) is forced to understudy for the leading lady (Rita) at a matinée performance at which an illustrious Hollywood director (Cecil B. DeThrill) is in the audience scouting for actors to be in his latest "all-talking, all-dancing, all-singing" extravaganza. Polly also happens to fall in love with the leading man (Tony) and imagines several fabulous fantasy sequences in which the director is free to exercise his capacity for over-the-top visuals in this charming 1920's era flick.
Director(s): Ken Russell
Production: MGM
  Nominated for 1 Oscar. Another 4 wins & 3 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
86%
G
Year:
1971
137 min
421 Views


BE REALLY EXTREMELY WEALTHY,

AND HE THINKS THAT EVERY MAN

WHO MAKES ADVANCES TO ME

IS JUST AFTER:

MY MILLIONS.

SO, HE FORBIDS YOU

TO HAVE A BOY FRIEND?

WELL...

PRACTICALLY.

SO, YOU INVENT HIM?

YES, I'M AFRAID SO...

I SEE. POOR LITTLE

RICH GIRL.

WELL, I, TOO, HAVE HAD A LETTER

TODAY FROM YOUR FATHER,

AND HE IS COMING HERE

THIS MORNING.

DADDY? COMING HERE?

OUI.

HE IS COMING FROM TOULON

ON BUSINESS.

AND WHEN I SEE HIM,

I WILL HAVE A LITTLE

WORD WITH HIM.

HE MUST LISTEN!

HE SHALL SEE.

ATTENDRE,

MY LITTLE DAUGHTER.

TODAY, WE DANCE!

MAN:
ALRIGHT!

(PIANO MUSIC PLAYS)

(ORCHESTRAL MUSIC BEGINS)

(MUSIC CONTINUES)

(CHARLESTON MUSIC PLAYS)

(DRAMATIC ORCHESTRAL

MUSIC BEGINS)

(CHARLESTON MUSIC PLAYS)

(CHARLESTON MUSIC CONTINUES)

(LIGHT ORCHESTRAL MUSIC BEGINS)

(DRAMATIC MUSIC PLAYS)

(DANCE MUSIC PLAYS)

(DRAMATIC MUSIC PLAYS)

(DANCE MUSIC PLAYS)

(LIGHT ORCHESTRAL MUSIC PLAYS)

BLESS YOU,

MES ENFANTS.

MAY THE GODS:

POUR LIBATIONS:

AND HAPPINESS:

ON YOUR HOUSES.

NOW RUN ALONG,

MY DEAR DAUGHTERS.

MADAME WISHES:

TO MEDITATE!

OH, REALLY!

NO, THANK YOU.

MADAME, ICI MONSIEUR BROWNE,

LE PERE DE POLLY.

MONSIEUR!

HERE YOU ARE.

IN COCKNEY ACCENT:

HOW DO YOU DO, MADAME?

HOW DO YOU DO?

MONSIEUR BROWNE,

OR SHOULD I SAY:

MA PETIT PERCY?

MR. BROWNE:

I DON'T FOLLOW YOU, MADAME.

MADEMOISELLE DUBONNET:

MAIS OUI, MON CHER.

WON'T YOU SIT DOWN?

DO YOU NOT REMEMBER

YOUR LITTLE KIKI?

KIKI.

GOOD HEAVENS!

THIS IS:

IMPOSSIBLE!

MOST AWKWARD!

HOW COULD IT BE?

AFTER ALL WE HAVE BEEN

TO EACH OTHER!

HAVE YOU FORGOTTEN

ARMISTICE NIGHT?

WHEN YOU:

KISSED ME ON...

THE CHAMPS-ELYSEES?

YES, MADAME.

I HAVE...

COMPLETELY:

FORGOTTEN!

SURELY NOT, CHERI.

I WORE A WHITE DRESS,

AND YOU WERE IN UNIFORM.

LATER ON,

I CALLED YOU:

MY PRETTY PRIVATE.

THEN WE DRANK:

CHAMPAGNE.

EVERYONE WAS HAPPY!

THEN...

TWO LITTLE:

LOVEBIRDS FLEW OVER OUR HEADS.

(BIRD WHISTLE)

(FOOTSTEPS APPROACHING)

SO, THE KID HAS STEPPED

INTO THE STAR'S SHOES.

GOSH, RITA.

I'M SORRY.

DOES IT HURT?

HURT? OF COURSE

IT HURTS...

WHEN SOMEONE ELSE

TAKES YOUR PLACE.

BUT I COULD NEVER HOPE

TO BE ANOTHER RITA MONROE.

NO ONE COULD,

DEAR. EVER!

BUT YOU MIGH JUST GET BY.

MM-HMM. ONE DAY.

NOW YOU'RE JUS A NERVOUS, SKINNY KID

OVERWHELMED A THE IMPOSSIBILITY

OF TRYING TO:

SAVE THE SHOW.

AND ON TOP OF THAT,

YOU HAVE TO FACE

THE BITTER:

DISAPPOINTMEN OF ALL MY FANS

OUT THERE,

WHO SCRIMPED AND

SAVED THEIR PENNIES

WEEK AFTER WEEK:

TO COME HERE:

THIS AFTERNOON:

TO SEE THAT SPECIAL

KIND OF MAGIC:

THAT ONLY...

THEIR RITA:

CAN GIVE THEM.

OH, WELL.

DO YOU KNOW YOUR STEPS?

NOW SHOW ME:

THE BUCK-AND-WING BREAK

FROM THE FIRST DUET.

OH, SORRY, RITA.

YES, WELL, FAKE IT!

THAT'S WHAT I ALWAYS

DID WHENEVER I WAS ILL.

CHANCES ARE THEY'LL

NEVER NOTICE.

OH, AND THEN THERE IS

THAT TRICKY OBBLIGATO

IN THE PIERRETTE NUMBER.

AH-AH-AH-AH-AH-AH-AH

AH-AH-AH-AH...

(COUGHING)

AH-AH-AH-AH-AH...

MMM...

OH, WELL,

THAT PARKHILL WOMAN'S

SURE TO BE SINGING FLAT.

OH, THEY'LL

NEVER NOTICE.

OH, AND IF YOU DO

FORGET YOUR LINES,

AD LIB.

IT'LL DESTROY

THE REST CF THE CAST,

BUT AT LEAS YOU WON'T DRY.

OH, NOW, PULL YOURSELF TOGETHER

AND DON'T WORRY.

THEY'LL FIND A REPLACEMEN TOMORROW.

NOW GET OUT THERE,

AND BE SO GREAT...

YOU'LL MAKE ME

HATE YOU.

OH, THANK YOU, RITA.

YOU'RE REALLY TOO KIND.

SWEET.

I COULD BE HAPPY WITH YOU

IF YOU COULD BE:

HAPPY WITH ME:

(BIRD WHISTLE CONTINUES)

THEN,

FROM A LITTLE CAFE,

CAME THE STRAINS

OF A WALTZ.

HOW DID IT GO?

I STILL RECALL:

SO TENDERLY:

THE NIGHT WHEN:

FIRST WE MET:

THE MEMORY'S

SO DEAR TO ME:

SO HOW CAN:

YOU FORGET?

FANCY FORGETTING

THE LOVE THAT WE KNEW

WHEN WE WERE:

FANCY FREE:

FANCY FORGETTING

WHAT I SAID TO YOU

AND WHAT YOU:

SAID TO ME:

THOUGH THE YEARS

GO BY:

AND OUR YOUTH:

IS GONE:

MEMORIES:

DON'T DIE

LIKE A SONG:

THEY LINGER ON:

TOGETHER:
SO JUST WHEN

I THOUGHT YOU'D

REMEMBERED IT, TOO

FANCY, JUST FANCY

YOU FORGETTING:

(APPLAUSE)

I TOLD YOU:

I'D PLAY IT STRAIGHT!

WHOO! HARK

TO THAT!

OOH, I'M REAL SCARED.

I CAN'T REMEMBER A THING!

AH, DON'T WORRY.

AND POLL...

DON'T TRY

TO COPY THE OTHERS.

IF YOU REALLY MEAN

WHAT YOU SAY:

ON THE STAGE, YOU CAN' GO WRONG.

I'LL LOOK AFTER YOU.

(PIANO PLAYS

PERFECT YOUNG LADIES)

OOH!

OOH!

OOH LA LA!

CLASS DISMISSED!

OOH...OOH...

GIRLS, I KNOW.

LET'S GO AND TRY ON

OUR COSTUMES:

BEFORE LUNCHEON!

YES, LET'S!

ARE YOU COMING:

TOO, POLLY?

OH, NO.

I THINK I'LL JUST STAY HERE.

I'M EXPECTING

DADDY ANY MOMENT.

AND AREN' YOU EXPECTING...

HIM?

HIM? OH.

OH, YES, OF COURSE.

HOW DESPERATELY:

SMALL.

OH, LET'S LEAVE HER GO.

SHE WANTS TO BE ALONE.

GOOD-BYE.

MAN:
EXCUSEZ-MOI.

OH! YOU STARTLED ME.

I'M SORRY, MISS.

I'M AFRAID I CAME IN

THE WRONG WAY.

THIS IS THE VILLA

CAPRICE, ISN'T IT?

YES.

WELL, I HAVE A PACKAGE HERE FOR

MISS POLLY BROWNE.

OH, REALLY?

HOW FUNNY.

FUNNY? WHY?

BECAUSE I'M

POLLY BROWNE.

WELL, IT'S

A VERY PRETTY NAME.

OH, THANK YOU.

AND YOU LIVE:

UP TO IT.

OH!

(CHUCKLING)

I'M SORRY, MISS.

I'M AFRAID I'M

FORGETTING MYSELF.

HERE'S YOUR

PACKAGE.

OH, THANK YOU.

DON'T THEY MAKE

A LOVELY COUPLE?

(TITTERING)

I'M SO SORRY.

I PACKED I MYSELF, AND...

WELL, IF YOU DON' MIND MY SAYING SO,

IT'S A VERY

PRETTY DRESS.

OH, YES,

IT IS, ISN'T IT?

YES.

I'M SURE THAT YOU'LL...

I MEAN IT...

IT WILL BE THE PRETTIES AT THE BALL.

OH, I DON' EXPECT SO, REALLY.

I DO.

IN FACT, I KNOW IT.

LI-I

YES?

WELL, PERHAPS

I'D BETTER BE GOING.

OH, YES.

OH, NO!

OH, YES.

PERHAPS YOU HAD.

ACCENT! ACCENT!

I SAY!

YES?

AREN'T YOU?

YES, AS A MATTER

OF FACT, I AM.

YOU DON'T SEEM LIKE

A MESSENGER BOY SOMEHOW.

DON'T I?

WELL...TO TELL YOU THE

TRUTH,

I DON'T USUALLY

DO THIS SORT OF THING,

BUT JUST AT THE MOMENT,

I'M AFRAID I'M RATHER

ON MY BEAM-ENDS.

OH, WHAT A SHAME.

AND AT CARNIVAL TIME, TOO.

YES, IT'S A PITY, ISN'T IT?

I WAS HOPING I'D BE ABLE

TO GO TO THE BALL TONIGHT.

I'LL BE WATCHING.

OH, WILL YOU?

YES, OF COURSE.

WHY DON'T YOU COME, TOO?

ME, COME TO THE BALL?

YES, WHY NOT?

I'VE GOT AN EXTRA TICKET, AND...

OH, DEAR.

YOU MUST THINK ME

TERRIBLY FORWARD!

NO, I DON'T!

LI-I

I THINK YOU'RE...

TERRIBLY...TERRIBLY...

(MUSIC PLAYS)

MAN SINGS:
I DON'T CLAIM

THAT I AM PSYCHIC

BUT ONE LOOK AT YOU

(MOUTHS WORDS)

AND I KICK AWAY:

EVERY SCRUPLE:

I LEARNED AS A PUPIL

IN SCHOOL, MY DEAR

WOMAN:
I'M NOT ONE

TO MAKE PREDICTIONS

BUT I'VE THROWN OFF

ALL RESTRICTIONS

AND BY CONFESSING

I THINK IT'S A BLESSING

THAT YOU ARE HERE

(BOTH MOUTHING)

m:
THOUGH I'M PREPARED m:

TO FIND I'M WRONG

I'VE GOT A FUNNY FEELING

WE BELONG TOGETHER

(REAL SINGING)

I COULD BE HAPPY

WITH YOU:

IF YOU COULD BE HAPPY

WITH ME:

I'D BE CONTENTED

TO LIVE ANYWHERE

WHAT WOULD I CARE?

AS LONG AS YOU WERE THERE

SKIES MAY NOT ALWAYS

BE BLUE:

BUT ONE THING IS CLEAR AS

CAN BE:

I KNOW THAT I COULD

BE HAPPY:

WITH YOU, MY DARLING

IF YOU COULD BE HAPPY

WITH:

(RECORD SKIPS)

HAPPY WITH:

HAPPY WITH:

HAPPY WITH:

HAPPY WITH:

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Ken Russell

Henry Kenneth Alfred Russell (3 July 1927 – 27 November 2011) was an English film director, known for his pioneering work in television and film and for his flamboyant and controversial style. His films in the main were liberal adaptations of existing texts, or biographies, notably of composers of the Romantic era. Russell began directing for the BBC, where he made creative adaptations of composers' lives which were unusual for the time. He also directed many feature films independently and for studios. He is best known for his Oscar-winning film Women in Love (1969), The Devils (1971), The Who's Tommy (1975), and the science fiction film Altered States (1980). Russell also directed several films based on the lives of classical music composers, such as Elgar, Delius, Tchaikovsky, Mahler, and Liszt.Film critic Mark Kermode, speaking in 2006, and attempting to sum up the director's achievement, called Russell, "somebody who proved that British cinema didn't have to be about kitchen-sink realism—it could be every bit as flamboyant as Fellini. Later in his life he turned to making low-budget experimental films such as Lion's Mouth and Revenge of the Elephant Man, and they are as edgy and 'out there' as ever".Critics have accused him of being obsessed with sexuality and the Catholic Church. more…

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Submitted on August 05, 2018

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