The V.I.P.s Page #11

Synopsis: Awaiting at London Airport for a flight to New York, Frances Andros, seen off by her tycoon husband, Paul Andros, plans to leave her spouse for the arms of an aging international playboy, Marc Champselle. Les Mangrum, a self-made Australian businessman traveling with his loyal secretary, Miss Mead, must be in New York the following day to arrange the loan that will help him repel a hostile takeover of his tractor company. Max Buba, a film mogul traveling with starlet Gloria Gritti, must get out of England immediately or face ruinous British income tax. The Duchess of Brighton has taken a job as a hostess at an American holiday resort, thinking she will be able to keep her family estate on her new income. Fog descends and blurs the future for them all, forced now to wait in the airport hotel for morning and fair weather.
Genre: Drama
Director(s): Anthony Asquith
Production: WARNER BROTHERS PICTURES
  Won 1 Oscar. Another 3 wins & 3 nominations.
 
IMDB:
6.3
NOT RATED
Year:
1963
119 min
432 Views


- Mary Stuart.

- Is a tragedy.

- Is a tragedy, eh, darling?

- Is a tragedy.

Darling, you go through

with the foreigners.

This way for the British.

Come, Schwutzbacher.

Miss Gritti...

Miss Potter.

For heaven's sake, find the duchess.

She's going to miss her plane.

Oh, there she is.

There you are, Your Grace.

I've been looking for you everywhere.

And they lived happily ever after.

Yes. Now, look. All I really want is

your boarding card and your passport.

Well, find them for me, will you?

While I take a couple more

of these purple things.

Oopsie-daisy, here we go again.

Thank you.

- Would you mind?

- Sleep all the way.

I hope so, Your Grace.

Just hold on one sec.

I just want to give her that.

Thank you.

Take care of that.

- Through there. Goodbye.

- Goodbye.

That's it. It's just exactly

what I've been looking for...

...for Mary Stuart. Perfect.

- Who is perfect?

- Not you. The castle. It's absolutely ideal.

Oh, no. Far from ideal, I'm afraid.

We freeze in the winter,

and the plumbing is a disgrace.

- You own this house, madam?

- Yes.

The National Trust were going to

take it over, but they changed their minds.

Schwutzbacher,

draw up a contract.

Has it ever been used

as a background to a film?

Well, they did want to once,

but my husband wouldn't agree to it.

- The subject was not suitable.

- Nothing to do with the subject.

They didn't offer

enough money.

- How much did they offer?

- Well, 200, I think.

Ridiculous. We'll make it 3.

It's just what we need.

For Mary Stuart. It's ideal.

You think so?

It wasn't built until Queen Victoria.

- But who's to know that but you and me?

- I could do with the money.

Schwutzbacher here will conclude

the financial arrangements, dear lady.

- Come, Gloria.

- Glad to have met you.

Not so glad as I am.

So Thaxmead House...

...from 1 st of July,

for up to six weeks...

...300 a day.

- A day.

Your plane, Your Grace.

- You did say, "Three hundred pounds a day"?

- Did you wish for more?

Decidedly not. Three hundred pounds

a day will do very nicely.

Well, here we are.

All signed and sealed, Your Grace.

Duchess, please. Your plane.

- Tell it it can go without me.

- Your Grace, are you not feeling very well?

I'm perfectly all right.

Three hundred pounds a day.

I can keep my home now.

I'll get the boarding card.

You go on, darling.

Well, I'll call you

directly after the board meeting.

- Yes, Mr. Mangrum.

- And don't forget to call Kingsford.

No, I won't.

Well...

That's what I tried to say last night.

Good morning, Madam Andros.

Have you got your new boarding card?

Mr. Champselle is taking care of it.

Oh, good. Your plane has been called,

but there's still time, so if you'd like...

Thank you.

Haven't you been home yet, Paul?

No. Not home.

Why are you sitting here?

I...

I thought I'd chosen a good place...

...to see and not be seen.

Go away.

Please go away.

Can't I stay for a moment?

No. Go away. I've seen you.

I'll remember you. Now, go away. Please.

- Paul.

- What can I get for you? Tea, coffee?

Nothing, thank you.

Paul.

Pay no attention.

Drunks cry very easily.

It's only the whiskey.

You must go home, Paul.

Yes.

Yes, I must...

I'm sorry. Is my tie straight?

Not quite.

That's better.

Forget this happened.

- It wasn't meant...

- I know.

I went out of your life last night

when he came back.

I went out rather well, didn't I?

No more tears. No more self-pity.

No more recrim...

- No more recrim... Recrim...

- Recriminations?

Recriminations.

I only really wanted to tell you

that one thing.

I've always loved you with all my life...

...and that I'm sorry for

not having shown it before, when it...

When it really mattered.

Anyway, it doesn't matter anymore now.

So it's home for me.

No.

I'd rather you didn't.

I'll make it all right,

if I don't take it too fast.

It's a question of pride.

BOAC announce the departure

of their Imperial special flight...

... BA 501 to New York.

Will passengers please collect

their hand baggage...

...have their passports ready...

- Goodbye, Frances.

...and proceed to the central staircase...

- Goodbye, Paul.

... for passport control.

Goodbye.

Give me Paul's letter.

- Frances, what happened?

- Give it to me.

Marc, I can't go away with you.

I can't read his damn writing.

I never could.

Read it to me. Read it.

"My dearest, you will probably have heard

the news by the time you get this letter.

It is not unusual for a high-pressure

tycoon to be found dead."

- Suicide threat? You're falling for that?

- It's addressed to New York.

- He doesn't mean to do it.

- He does!

"I want you to know, my darling,

that I have made all provisions for you.

I beg you not to blame yourself,

but to go on blaming me...

...for that would be right.

It's just that

I can't face my life without you.

I hope yours, without me, will..."

I'm sorry.

I have to go to him.

- I'm not letting you.

- He needs me.

- It isn't show. He really needs me.

- Do you think I don't?

I know you do,

but at least you'll survive.

How can you be so damn sure?

It's a risk I'll have to take.

Don't you love me at all?

Oh, yes. Yes, I love you, Marc...

...much more

than I think you'll ever know.

But I must leave you.

Now, go and catch that plane.

Think I'm getting on that plane

without you?

I don't know, but it would

be better if you did...

...because...

...you see, you and I can never see

each other again, as long as we live.

- You don't mean that.

- I do.

It's a promise I'm going to make to Paul,

and I won't break it.

Frances, darling Frances,

don't do this to me.

Please, please, don't do this to me.

I can't be alone again. I can't.

Marc.

Take me home, Paul.

No.

Not out of pity.

- Anything but out of pity.

- Not out of pity.

- What, then?

- Need.

- My need, not yours.

- Perhaps both.

Don't lie, Frances.

For heaven sakes, don't lie.

With the truth, we don't have much hope,

but with lies, we have none.

Come home, Paul.

You mean, you want to

come back to me?

Yes, I mean...

All right, I'll try.

How I'll try.

Being the man I am, I don't suppose

I'll be successful, but at least I'll...

I'll try.

When you do try, you usually succeed...

...being the man you are.

I'll try too, Paul.

I'm so tired.

Take me home.

Yes.

"Mr. Arakelian, oil.

Lord and Lady Sunningdale." They're easy.

"Johnny Lake, pop singer. Mr. Pou-Pou."

Now, who on earth is Mr. Pou-Pou?

Oh, why don't they ever

brief me properly?

Chief Pou-Pou, a great pleasure.

How do you do? How do you do?

Rate this script:0.0 / 0 votes

Terence Rattigan

Sir Terence Mervyn Rattigan, CBE (10 June 1911 – 30 November 1977) was a British dramatist. He was one of England's most popular mid twentieth century dramatists. His plays are typically set in an upper-middle-class background. He wrote The Winslow Boy (1946), The Browning Version (1948), The Deep Blue Sea (1952) and Separate Tables (1954), among many others. A troubled homosexual, who saw himself as an outsider, his plays centred on issues of sexual frustration, failed relationships, and a world of repression and reticence. more…

All Terence Rattigan scripts | Terence Rattigan 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

    "The V.I.P.s" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/the_v.i.p.s_21564>.

    We need you!

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

    Watch the movie trailer

    The V.I.P.s

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "CUT TO:" indicate in a screenplay?
    A A camera movement
    B The beginning of the screenplay
    C A transition to a new scene
    D The end of a scene