A Stolen Life Page #7

Synopsis: Kate Bosworth and her twin sister Patricia fall in love with Nantucket lighthouse inspector Bill Emerson. Patricia and Bill are married. To forget, Kate returns to painting. Bill goes to Chile; Kate and Patricia go sailing; Patricia is washed overboard and drowned. Kate's boat capsizes and, when she recovers consciousness ashore, she (believed to be Patricia) is told that Bill is returning from Chile.
Genre: Drama
Director(s): Curtis Bernhardt
Production: Warner Bros.
 
IMDB:
7.4
APPROVED
Year:
1946
109 min
294 Views


VERY MUCH.

I'M GLAD YOU'RE BACK.

I'M SORRY I DIDN'T GO

TO CHILE WITH YOU, BILL.

THERE'S NOTHING

ANY DIFFERENT BETWEEN US.

I CAME BACK ONLY

BECAUSE OF KATE'S DEATH.

WHY THE ASTONISHMENT?

DON'T TRY TO PRETEND

THAT YOU'VE FORGOTTEN, PAT.

OH, NO. NO, OF COURSE

I HAVEN'T FORGOTTEN.

I ONLY THOUGH THAT PERHAPS I-

I KNOW YOU'VE BEEN THROUGH A LOT. THAT'S

WHY I DIDN'T GO DIRECTLY TO A HOTEL.

IT'S UNFORTUNATE THE ACCIDEN OCCURRED AT THIS TIME,

BUT I THINK THAT JUST AS SOON AS

YOU GET KATE'S AFFAIRS WOUND UP,

YOU'D BETTER GO TO RENO

AND GET IT OVER WITH.

WHAT'S THAT NOISE?

OH, UH...

I'LL GO AND SEE.

25 YEARS, AND NEVER ONCE HAS

ANYONE USED THE KIND OF LANGUAGE YOU USE!

NOT TO MENTION THE WAY YOU ORDER

SELF-RESPECTING PEOPLE AROUND!

A GOOD-FOR-NOTHING

SCALAWAG LIKE YOU! WHY-

GET OUT, GET OUT! AND

KEEP YOUR MEDDLING PAWS OFF MY WORK!

ALL RIGHT, ALL RIGHT!

OH, MISS PATRICIA, I'M SORRY,

BUT WHEN MISS KATE WAS HERE,

SHE ALLOWED THIS MAN TO USE THE

STUDIO, AND NOW I CAN'T GET RID OF HIM!

GO ON, BEAT IT, GRANDMA.

THAT'S ALL RIGHT,

MRS. JOHNSON.

VERY WELL.

SO YOU'RE PATRICIA.

YES, I'M PATRICIA.

I DON'T SEE

MUCH DIFFERENCE...

EXCEPT MAYBE:

AROUND THE EYES.

WILL YOU COME IN HERE

FOR A MINUTE?

PLEASE?

I HIT THE EYES:

PERFECTLY.

I THOUGHT YOURS:

WERE DIFFERENT.

THEY'RE NOT,

NOT A BIT.

WILL YOU SIT HERE?

LOOK AT ME.

I USED TO DRIVE:

YOUR SISTER CRAZY.

SHE WAS:

QUITE A GIRL.

THIS WAY.

IT'S INCREDIBLE.

COULD ANYBODY EVER

TELL YOU AND KATE APART?

NO. NOT EVEN BILL.

BILL WHO?

MY HUSBAND:

BILL EMERSON.

SO THAT'S

THE EMERSON GUY.

TOO BAD KATE WASN' MORE OF A FIGHTER.

YOU DIDN'T LIKE YOUR

SISTER VERY MUCH, DID YOU?

WHY DO YOU SAY THAT?

IT'S TRUE, ISN'T IT?

NO, IT ISN'T TRUE.

YOU TWO PROBABLY

DISLIKED EACH OTHER

FROM THE TIME:

YOU WERE BORN,

AND WHY SHOULDN'T YOU

DISLIKE EACH OTHER?

IT'S A PERFECTLY

NATURAL ANTAGONISM.

SHE SAID YOU WERE

SO ATTRACTIVE,

YOU COULD HAVE:

ANY MAN YOU WANTED,

AND YOU WANTED HER MAN.

I- KATE NEVER SAID

A THING LIKE THAT.

HOW DO YOU KNOW?

WELL, I-I JUST KNOW

SHE NEVER WOULD. THAT'S ALL.

SHE DIDN'T HAVE

TO SAY ANYTHING TO ME.

I KNEW HER BETTER

THAN SHE KNEW HERSELF.

WILL YOU EXCUSE ME?

BILL. BILL, THERE'S A FRIEND

OF KATE'S IN THE STUDIO THERE,

WORKING ON:

A PORTRAIT OF HER.

I'VE BEEN POSING

FOR HIM.

SUDDENLY, THIS WHOLE HOUSE

IS MAKING ME SO NERVOUS.

WOULD YOU MIND VERY MUCH

IF I WENT TO BOSTON TONIGHT?

I CAN COME BACK LATER AND

STRAIGHTEN OUT KATE'S THINGS.

I UNDERSTAND.

AS A MATTER OF FACT,

I'LL GO TO A HOTEL.

IT WILL SAVE US BOTH

A LOT OF EMBARRASSMENT.

I'LL TELL MRS. JOHNSON

TO REPACK MY THINGS.

OH, BILL, COULD WE LET THIS DIVORCE

BUSINESS RIDE UNTIL YOU GET TO BOSTON?

I CAN'T SEEM TO THINK

ABOUT IT RIGHT NOW.

WHAT'S THERE

TO THINK ABOUT?

BILL... I WAN ANOTHER CHANCE.

DO YOU THINK:

YOU DESERVE ONE?

MAYBE NOT,

BUT I WANT IT.

THAT'S THE FIRST HONES THING YOU'VE SAID IN MONTHS.

LET ME TRY.

ALL RIGHT.

YOU'LL PROBABLY CHANGE

YOUR MIND ONCE YOU GET HOME,

BUT IN THE MEANTIME,

WE-WE'LL LET I GO AT THAT.

THANK YOU, BILL.

OH, DON'T BOTHER TO COME

TO THE STATION WITH ME.

I'D RATHER GO ALONE.

OH, WILL YOU CALL FREDDIE

AND TELL HIM I'VE GONE?

CERTAINLY.

BE SURE AND WIRE ME

WHEN YOU'RE COMING.

I:

- I'D LIKE TO HAVE EVERYTHING READY FOR YOU.

GOOD-BYE, BILL.

GOOD-BYE, PAT.

GOOD EVENING,

MRS. EMERSON.

GOOD EVENING.

WE'VE BEEN WORKING TO

GET THE HOUSE IN ORDER

EVER SINCE:

WE GOT YOUR WIRE.

YOU DIDN'T GIVE US

MUCH TIME.

I REALIZE THAT.

THANK YOU.

EVERYTHING LOOKS

VERY NICE.

THANK YOU, MA'AM.

WE DIDN'T EXPECT YOU

BACK FOR QUITE AWHILE.

WELL, I WANTED

TO OPEN UP THE HOUSE.

MR. EMERSON WILL

BE HOME IN A DAY OR SO.

FOR HEAVEN'S SAKES! I THOUGH HE WAS GONE FOR ALL SUMMER.

MIKE'S BEEN SO

LONELY WITHOUT YOU.

MIKE, GO OVER AND SEE

YOUR MISTRESS.

FOR HEAVEN'S SAKES,

WHAT'S THE MATTER WITH YOU?

MIKE SEEMS TO HAVE

FORGOTTEN ME FOR THE MOMENT.

HELLO, MIKE.

WOULDN'T YOU LIKE

TO GO UP TO YOUR ROOM?

THERE ARE A COUPLE

OF MESSAGES FOR YOU.

MR. AND MRS.

DEVERAUX CALLED.

OH, DID THEY?

THEY'RE LEAVING

TOMORROW.

I'LL CALL THEM LATER.

MR. TALBO SENT THE ROSES.

OH?

HE'S BEEN CALLING EVERY

DAY SINCE THE ACCIDENT.

I DIDN'T THINK YOU'D MIND IF I

TOLD HIM YOU WERE COMING HOME.

I THINK HE EXPECTS YOU

TO CALL HIM, MRS. EMERSON.

I'LL ATTEND

TO IT LATER.

OH, YOU-YOU NEEDN'T BOTHER

TO UNPACK UNTIL THE MORNING.

DO YOU WANT ME:

TO CALL HIM?

WHAT?

MR. TALBOT.

HE'LL BE AT HIS REGULAR

NUMBER ALL EVENING.

I SAID I'D ATTEND

TO IT LATER.

VERY WELL, MADAM.

THERE YOU GO.

YOU'RE A LITTLE BEGGAR.

THERE. REMEMBER

WHAT I TOLD YOU, MIKE.

YOU'VE GO TO BE MY FRIEND.

GOOD AFTERNOON,

MR. EMERSON.

GOOD AFTERNOON.

HERE. TAKE THESE THINGS

UPSTAIRS FOR ME,

WILL YOU, LUCY, PLEASE?

HELLO, BILL.

HELLO.

SHALL I BRING IN THE

COCKTAILS RIGHT AWAY?

YES. AND WE'LL HAVE

DINNER IN AN HOUR.

HELLO, MIKE!

HIYA, BOY.

HEY, MIKE.

WELL, YOU LOOK RESTED.

YES, I AM.

ALMA AND I HAVE PLANNED

YOUR FAVORITE DINNER.

OH, WE'RE STAYING

HOME TONIGHT.

I THOUGH IT WOULD BE FUN.

WHY, YES, IT WOULD.

EXCUSE ME WHILE:

I GO AND WASH UP.

BILL, IT'S WONDERFUL

TO SEE YOU.

OH, MIKE.

YOU ARE MY FRIEND.

HELP YOURSELF TO CREAM

AND SUGAR, WON'T YOU, BILL?

ALL RIGHT.

HERE'S YOUR TOBACCO.

THANK YOU.

ISN'T ALMA

THE WORLD'S BEST COOK?

WE'RE LUCKY

TO HAVE HER.

WE ARE.

MIKE WAS VERY LONELY

WITHOUT ME.

WEREN'T YOU, MIKE?

PAT, I KNOW ALL THIS IS AS

DIFFICULT FOR YOU AS IT IS FOR ME.

OH, BUT IT ISN'T, BILL.

I LOVE BEING HERE

WITH YOU.

YOU DO BELIEVE THAT,

DON'T YOU?

I WANT TO.

YOU KNOW THAT.

WHAT ABOUT TALBOT?

HAVE YOU SEEN HIM?

NO.

SURELY,

YOU MUST REALIZE

THAT'S THE MOST IMPORTANT THING

TO GET STRAIGHT BETWEEN US.

I DON'T WANT TO SEE HIM.

DON'T YOU THINK

YOU OWE IT TO HIM

TO TELL HIM:

THAT IT'S ALL OVER?

OR PERHAPS:

IT ISN'T OVER.

OH, YES, IT IS, BILL.

I SWEAR IT.

HE'S TELEPHONED ME

TWO OR 3 TIMES

AND... AND SENT ME FLOWERS.

I HAVEN' ACKNOWLEDGED THEM.

I- I THOUGHT THAT WAS

THE BEST WAY TO HANDLE IT.

PAT, UNTIL YOU GE THIS TALBOT THING

STRAIGHTENED OU ONCE AND FOR ALL,

THERE ISN'T ANYTHING MORE

WE CAN SAY TO EACH OTHER.

BILL!

GOOD AFTERNOON,

MRS. EMERSON.

GOOD AFTERNOON.

WOULD YOU TELL MR. TALBO THAT I'M HERE?

I'M QUITE SURE

HE'S IN.

THANK YOU.

HELLO, DARLING.

HELLO.

MAY I TAKE YOUR COAT?

OH. YES, THANK YOU.

HOW ABOUT A MARTINI?

I DON'T BELIEVE

I FEEL LIKE ONE.

I KNOW I SHOULD HAVE

CALLED YOU.

YES.

LUCY TOLD ME:

THAT BILL WAS BACK.

I MUST SAY:

I WAS SURPRISED...

CONSIDERING EVERYTHING.

HE CAME BACK LAST NIGHT.

AND JUST WHERE:

DOES THAT PUT ME?

I HAVE SOMETHING

I MUST TELL YOU.

I FIND OUT I'M STILL

IN LOVE WITH BILL.

I'M SORRY.

THAT'S PERFECT.

YOU MESS UP MY LIFE,

AND YOU SAY:

YOU'RE SORRY.

I HAPPEN TO HAVE ARRANGED TO

DIVORCE MY WIFE FOR YOUR SAKE.

I SUPPOSE IT NEVER OCCURRED TO YOU THA SOMEONE COULD SAY A THING AND MEAN IT.

WELL, HOW DO YOU THINK I

FEEL NOT SEEING YOU FOR DAYS?

Rate this script:5.0 / 1 vote

Catherine Turney

Catherine Turney (December 26, 1906 – September 9, 1998) was an American writer and screenwriter born in Chicago, Illinois active from the 1930s to the 1970s. She was one of the first women writers to become a contract worker at Warner Brothers, where she worked from 1943–1948 on films such as The Man I Love, A Stolen Life, and My Reputation. more…

All Catherine Turney scripts | Catherine Turney 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

    "A Stolen Life" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/a_stolen_life_2030>.

    We need you!

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

    Watch the movie trailer

    A Stolen Life

    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?

    »
    In which year was "Back to the Future" released?
    A 1985
    B 1986
    C 1984
    D 1987