A Double Life Page #4

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


Fool...

Fool! Fool!

You must forsake this room

and go with us.

Your power

and your command

is taken off,

and Cassio

rules in Cyprus.

You shall close

prisoner rest

till that the nature

of your fault

be known to the Venetian state.

Come, bring away.

Soft you.

A word or 2

before you go.

I have done the state

some service,

and they know it.

No more of that.

I pray you, in your letters,

when you shall these

unlucky deeds relate...

Speak of me as I am,

nothing extenuate,

nor set down aught in malice.

Then must you speak of one

that loved not wisely

but too well,

of one not easily jealous,

but being wrought,

perplexed in the extreme,

of one whose hand,

like the base Judean,

threw a pearl away

richer than all of his tribe.

One whose subdued eyes,

albeit unused

to the melting mood,

drop tears... as fast

as the Arabian trees

their medicinable gum.

Set you down this...

And say besides,

that in Aleppo once,

where a malignant

and a turban'd Turk

beat a Venetian

and traduced the state,

I took by the throat

the circumcised dog

and smote him, thus!

Oh, bloody period.

All that's spoke is marred.

I kissed thee ere I killed thee.

No way but this,

killing myself...

To die upon a kiss.

This did I fear,

but thought he had no weapon.

For he was great of heart.

O Spartan dog,

more fell than anguish,

hunger, or the sea!

Look on the tragic loading

of this bed.

This is thy work.

The object poisons sight.

Let it be hid.

Myself will straight aboard,

and to the state,

this heavy act

with heavy heart relate.

Bravo!

Bravo, Tony!

Bravo!

Bravo!

Bravo!

Bravo!

All right, boys!

Ok, house lights.

That does it.

That's it, boys.

Thank you.

You were wonderful,

Tony.

Woman:
Congratulations,

darling.

Man:
Perfectly marvelous

performance.

Second man:
It really was.

Third man:
Tony,

it's the best thing

you've ever done.

For heaven's sake,

Tony.

Stop walking around

and relax.

What ho, milord?

Tony, if you'd never

played anything else,

my dear,

this is...

Brilliant.

Or if you never play

anything again.

Well, I hope so.

Now, now, Tony,

I don't want you

to monopolize Dolly

all evening.

Congratulations.

Thank you.

Thank you.

Are you all right,

dear?

You ask me that

every 6 minutes.

I care every 6 minutes.

Here.

I don't deserve you,

Brita.

Maybe that's why

you haven't got me.

There isn't much

justice on earth,

but there is some.

If I burst out crying,

it's going to be

your fault.

What's the matter?

It's nothing.

Brita, if you don't

give me a hand

With the Hollywood

contingent I'll?

Sure. Sure, Bill.

I'm all right.

Run along hither.

Man:
Farewell,

old friend of mine.

Second man:

Farewell, old friend.

Farewell, the tranquil mind.

Farewell, content.

Uh, yes.

Thank you.

Thank you.

Oh, beware, milord,

of jealousy.

It is the green-eyed monster

which doth mock

the meat it feeds on.

Tony:
Out, strumpet!

Brita!

Man:
Didst thou not

see her paddle

with the palm of his hand?

but that was but courtesy.

Lechery, by his hand.

They met so near

with their lips

that their breaths

embraced together.

In sleep I heard him say,

"Sweet Desdemona,

Let us be wary.

Let us hide our loves."

Let us hide our loves.

Let us hide our loves!

It was like the riot of 1820.

Were you there?

Brita...

Get me home, Brita.

Please get me home.

Oh, darling.

Happy birthday,

old lady.

Oh, I...

Oh, Tony, Tony.

Thank you for this.

Oh, it's nothing.

It cost

And worth it. Thank you.

Look at me.

I'm a Christmas tree.

Here. From Max.

Lovely.

From Victor.

My, my.

From Main and Douglas.

Ooh-hoo.

Never seen better.

And here, look?

A locket from Bill.

Isn't that sweet?

Yeah. Yeah.

Yours is my favorite,

Tony.

Would you like

to go to a party?

Look, darling,

I'm a little bit late.

Do you mind?

You'd better hurry.

Yes, that's right.

I better.

Thank you.

Thank you again.

This is a trick to

put me from my suit.

Pray you, let Cassio

be received again.

Fetch me the handkerchief.

My mind misgives.

Come, come.

You'll never meet

a more sufficient man.

The handkerchief.

Pray you,

talk we of Cassio.

The handkerchief!

A man that all his time

hath founded his good

fortunes on your love,

shared dangers with you.

The handkerchief!

I'sooth, you are to blame.

Zounds!

Noises offstage,

clumsy fools.

Next time that happens,

I'll crack him over the head

with a stage brace.

Tony, he didn't mean to.

I don't care whether

he meant to or not.

All right, Tony.

All right.

If anyone doesn't like it

or you don't like it?

Let's hear about it,

that's all.

I'm only trying to find a way

To make everybody happy.

Ok, mr. John.

Don't fuss, man.

Man:
Ready, mr. John.

M'noble lord,

if I give my wife

a handkerchief...

Send for him hither.

Let him confess a truth.

He hath confessed.

What, Milord?

That he hath used thee.

How? Unlawfully?

Ay...

He will not say so.

No, his mouth is stopped.

Honest Iago hath

taken order for it.

My fear interprets.

What, is he dead?

Had all his hairs

been lives...

My great revenge

had stomach for them all.

A-alas...

Alas, he is betrayed,

and I undone.

Out, strumpet!

Oh, Tony!

Weep thou for him

to my face?

Oh, banish me, milord,

but kill me not!

Yeah, banish you, down...

Down, strumpet!

Kill me tomorrow.

Let me live tonight.

Nay, if you strive?

Brita, whispering:

Tony?

But half an hour.

Down.

Tony, Tony? Tony, please.

Being done, there is no pause.

But while I say

one prayer.

It is too late.

Please, Tony. Tony?

Tony...

Tony, please,

you're hurting me.

What's going on?

What's the matter with him?

Woman, whispering:

Mr. John, Mr. John,

be careful, please.

Man, whispering:

What is he doing?

Woman:
Mr. John.

Please stop him.

Man:
Do something.

Man:
Your cue.

Mr. John.

For heaven's sake,

knock.

Milord!

Milord! Milord!

Oh, good milord.

I would speak a word with you.

There is not!

There is no excuse!

Good evening, doctor.

Good evening,

fellas.

If you'd only leave her alone

for a few minutes, mr. John?

And you keep out of this.

Now, I'm warning you.

Who's there?!!

Well, what's the trouble?

Well, what the?

Hello, Tony.

Who sent for you?

I did.

Holy jumping?

Now this is a production.

It's nothing.

Just a little accident.

My delicate leading lady

can't be kissed

without sending for her doctor.

I'm afraid we overdid it a bit.

Right at the top of the scene.

Advice! Direction!

Yelling it out!

I'm sorry, Tony.

I'm sorry.

Who'd you think

we were playing to,

an audience of deaf-mutes?

Tony, shut up!

Brita...

I'm sorry.

Tony...

I'm sorry, darling.

You know I'd die

before I'd hurt you.

You know that, don't you?

Yes, I know it.

I know it.

All forgiven, Tony.

All forgiven.

Gently.

What a business,

for heaven's sake.

What a business.

Close your eyes,

Tony.

Surprise coming.

Close your eyes.

All right. Now.

Well.

Good?

Well, strike me pink.

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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    "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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