A Double Life Page #2

Synopsis: Anthony John is an actor whose life is strongly influenced by the characters he plays. When he's playing comedy, he's the most enjoyable person in the world, but when he's playing drama, it's terrible to be around him. That's the reason why his wife Brita divorced him; although she still loves him and works with him, she couldn't stand living with him anymore. So when Anthony accepts to play Othello, he devotes himself entirely to the part, but it soon overwhelms him and with each day his mind gets filled more and more with Othello's murderous jealousy.
Director(s): George Cukor
Production: Universal Studios Home Video
  Won 2 Oscars. Another 1 win & 3 nominations.
 
IMDB:
7.1
Rotten Tomatoes:
71%
APPROVED
Year:
1947
104 min
495 Views


in the morning.

Tony and I are going?

I know.

I'm going, too.

Can I hitch a ride with you?

Of course.

Hey, what's all this

about a new play,

something for you and Tony?

Play?

Sounded pretty definite,

the way Max talked about it.

I...

I thought you knew.

No, I didn't.

Well, I hope

it's a comedy,

if they want me in it.

Why? You've just

had a year of one.

You know Tony.

When he's doing something

gay like this,

it's wonderful

to be with him,

but when he gets going on one

of those deep numbers...

It sounds as if you're

trying to talk yourself

out of marrying him again?

Think so?

Listen, we were engaged

doing Oscar Wilde,

broke it off doing O'Neill.

We married doing

Kaufman and Hart,

and divorced doing Chekhov.

Would you advise me to

go through all that again?

Would you take my advice?

Mr. Friend, would you

take my advice

and clear out?

She's got to get dressed.

Sure. Sorry.

I'll be waiting.

All right.

It seems to me like

I spend half my life

trying to keep people

from not going crazy.

And not succeeding.

Brita:
Ready, dear?

Oh, come on in,

darling.

Well, I guess

not many women would

climb all the way

up here to see you.

You think not, eh?

Ha ha.

You'd be surprised.

Oh, look.

Oh, lovely.

Beautiful.

Honest, it's like

they were married.

It's like

they were engaged,

which is better

than married.

Tony, look that over

tonight, will you?

Try. I've got to go up

to Gilbert's for a while.

And talk to Brita about it.

Aw, sure.

See you.

Good night.

Good-bye.

Bye.

Talk to Brita about what?

Othello.

Oh, dear.

Is that on again?

Well, just thinking.

What about a holiday, Tony?

I'll take one before I do this,

if I do it at all.

Oh, sure,

I know those holidays.

I've shared them with you.

You keep remembering

the rehearsal date,

rushing up to meet you.

You think about your part.

You worry.

You wake up

and pace the floor all night,

and you go silent for

long stretches all day.

And those

disappearances of yours.

It's a living nightmare,

not a holiday.

That's right,

that's right.

But then what?

It's not worth it, Tony.

This past year,

it's been fun, you know?

There have been times

when I almost thought

we'd make it together

again if we tried.

Yeah?

I know if we ever got mixed up

in an Othello kind of thing

it would be the end.

Oh, but why, baby?

You know why?

Because you won't learn

to leave it at midnight.

I used to and never got past

playing bits in stock,

and you're the one

that did that to me.

Let's not forget that.

Did what?

Inspired me,

or whatever you call it.

Oh, we'll talk about it

some other time.

You're tired now.

Come along.

Let's go to the party

and have a good, gay time,

tell yokes to all

the private peoples.

Yokes.

Jokes. And have

a gorgeous supper.

How about that?

Are you ready?

Ah, just about.

Oh, yes, that's right.

Bill is coming, too.

I said we'd give him a lift.

Fine.

Look, darling, um...

Yes?

Would you mind

going ahead with Bill

and let me come later?

Why?

Oh, I don't know.

I'd like to prowl around a bit

and think this thing over.

Tony.

Run along, darling,

will you?

I'll come by later.

Yes. Good night, Tony.

Uh, good-bye, dear,

And give my love to society.

Matinee tomorrow, sir.

We're almost out of gargle.

I'll get some.

Fine.

Same kind all right?

Yeah. Delicious.

Good night,

Mr. John.

Good night.

Oh, beware, my lord,

of jealousy.

It is the green-eyed monster.

All my fond love

thus do I blow to heaven.

'Tis gone.

Arise, black vengeance!

Haply, for I am black...

And have not those soft

parts of conversation

that chamberers have.

[speaking italian]

How's the chicken

Cacciatore?

It's your stomach.

Coffee?

Coffee.

You all right?

Fine.

If you

want some good wine,

ask me, the boss.

Some talk, ok.

Nice girl to dance with,

I'll see what I can do.

No, grazie.

Meglio solo.

Parli italiano.

Poco. Poco.

Always glad

to take care of a new customer.

Thank you.

Enjoy yourself.

Take good care of him, Pat.

You from out of town?

Why?

I don't know.

You sound like Boston.

I do?

Mm-hmm.

I was in Boston.

That's why I thought.

Pretty quiet up there.

Oh, not the parts

I was in.

What parts?

Oh, around.

I had a pretty good

job up there, too.

I'm a masseuse.

You don't say.

Sure.

You don't believe me?

I can show you a certificate.

I took a course in it.

Masseusing?

Sure.

I been out on the coast, too.

California?

Sure. I was in Diego,

Pedro, L.A., all over.

But, uh, I came back east

this last month.

Like it better here?

Soon as I make a few connections

I'll like it better.

Um, I may try the modeling game.

All you need is

a few connections.

That's right.

You want to know my name?

All right.

Pat.

Pat Kroll.

That we can call these

delicate creatures ours

but not their appetites.

I had rather be a toad

and live upon the vapor

of a dungeon

than keep a corner

in the thing I love.

You talking to me?

No.

I thought you said something.

Well, yes, I did,

but it wasn't anything.

You wanna know somethin'?

What?

You're cute.

I'll be, uh, through here

in three-quarters

of an hour.

We could, uh,

tell each other

our troubles,

if you want to.

Oh, sure.

It's open.

I couldn't find it.

Been walking round and round.

I was wondering.

Can I help you?

Oh, no, thanks.

Coffee all right for you?

Fine.

Or would you like a beer?

Uh, coffee will do.

Sit down!

I like to make new contacts.

I like you, you know it?

Now I do.

You gonna say you like me?

Later.

Oh, thanks.

You gonna tell me your name?

Soon as I know it myself, yes.

Oh, don't give me that.

Give you what?

I've handled lines

all my life.

So have I.

Hey, what's so funny?

It's a private joke

between me and me.

Come on, what's your name?

Which one?

Your real name,

the one you were

born with. I mean,

they give you one

when you were born.

That's not my real name.

What is it?

I don't know.

All right, calm down.

You don't have to tell me.

Look, if I could find out

who I am,

I'd be a happy man,

you know it?

Most people know

who they are,

or think they do,

wich is the same thing.

Simple for them.

Want to know my name?

Martin.

Thank you.

Also Ernest and Paul,

Hamlet and Joe

and maybe...

Othello.

Yes, and I'm French

and Russian

and English

and Norwegian.

I got mixed blood, too.

All right, darling,

and brave and cowardly

and in love and not

and trusting

and jealous?

Are you?

What am I mixed up with here,

some kind of nut?

The bawdy wind

that kisses all it meets

is hushed within

the hollow mine of earth

and will not hear it.

What committed?

Impudent strumpet!

What's the matter,

fella?

[Brita's voice]

By heaven, you do me wrong.

What?

Nothing. I just said,

"What's the matter,

fella?"

You're talking so funny,

like you're...

somebody else almost.

I was.

Are you feeling all right?

Oh, sure.

Don't talk funny no more.

All right.

In fact...

Rate this script:4.0 / 2 votes

Ruth Gordon

Ruth Gordon Jones (October 30, 1896 – August 28, 1985) was an American film, stage, and television actress, as well as a screenwriter and playwright. Gordon began her career performing on Broadway at age nineteen. Known for her nasal voice and distinctive personality, she gained international recognition and critical acclaim for film roles that continued into her seventies and eighties. Her later work included performances in Rosemary's Baby (1968), Harold and Maude (1971), and the Clint Eastwood films Every Which Way but Loose (1978) and Any Which Way You Can (1980).In addition to her acting career, Gordon wrote numerous plays, film scripts, and books, most notably co-writing the screenplay for the 1949 film Adam's Rib. Gordon won an Academy Award, an Emmy, and two Golden Globe Awards for her acting, as well as receiving three Academy Award nominations for her writing. more…

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Submitted on August 05, 2018

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    "A Double Life" Scripts.com. STANDS4 LLC, 2024. Web. 7 Nov. 2024. <https://www.scripts.com/script/a_double_life_7171>.

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