Humoresque Page #9

Synopsis: Paul Boray comes from a working class background. He has been interested in the violin since he was a child, which his father disliked since he felt it a waste of money, but which his mother supported. Into his adult life, Paul wants to become a concert violinist, and although he shows talent, he does not have the right connections to make it into the concert performance world, much like his longtime friend, virtuoso pianist Sid Jeffers, and cellist Gina Romney, both who, like Paul, train with the National Institute Orchestra. Gina and Paul have a connection with each other, Gina who confesses her love for him. While performing at a party with Sid, Paul meets Helen and Victor Wright, their hosts. Victor is a perceptive but self-admittedly weak man, while his wife Helen is strong minded but insecure which manifests itself as neurosis. She constantly tries to forget about her unhappy life by excessive alcohol consumption. Helen becomes Paul's benefactress, which ultimately results in a s
Genre: Drama, Music, Romance
Director(s): Jean Negulesco
Production: Warner Home Video
 
IMDB:
7.6
Rotten Tomatoes:
60%
APPROVED
Year:
1946
125 min
366 Views


there will be so many people.

Please try and understand.

Don't make me explain.

It isn't as if I'll miss the concert. I won't.

The radio's on now. Can you hear it?

Paul?

You're still angry, aren't you?

Oh, yes, you are. I can tell.

Don't, Paul. Don't.

But of course I want it

to go well. You know that.

Oh, listen to me. Listen. Darling,

I'm sorry. I don't mean to worry you.

You mustn't worry

because everything's all right.

It's just that it's so quiet here.

The rest and quiet are doing

me a world of good.

It's so beautiful and peaceful.

There isn't a soul on the beach.

I can see the sky in the water.

There's a smudge of smoke

out there almost at the horizon.

It must be a boat, far, far out.

Paul, I wish we were onboard that boat.

So far out that we couldn't

see anything but sky and water.

Nothing more.

What?

You didn't hear?

No.

No, it wasn't important.

Really, it wasn't.

Yes. Yes.

No, he's gone. I told him he could go.

There's no one here. I'm all alone.

But of course I'm all right.

There's nothing wrong.

I'll tell you what. Come down tomorrow

and we'll drive back to town together.

What? Tonight?

All right, darling. Tonight if you want.

Oh, yes, I'll wait.

Paul? Paul, hello?

It's nothing. I just thought

you'd hung up, that's all.

Who?

Well, you go ahead. Of course

I understand. And good luck, darling.

Paul.

I love you.

This is Robert Corten again, talking

to you from Symphony Hall.

We now come to our guest soloist

for this evening, Mr. Paul Boray.

Mr. Boray is making his entrance onstage,

followed by Mr. Sidney Jeffers.

Mr. Boray will play his own transcription

of music from Richard Wagner's opera...

...Tristan and Isolde.

The houselights are lowered.

Here's to love.

And here's to the time

when we were little girls...

...no one asks to marry.

You know yourself better than anyone

else, Helen. Can you change now?

And if you don't,

do you really believe he'll change?

He doesn't know

what it means to be soft.

Nothing means anything

to him but his music.

Can't you realize I have a concert

to play tonight?

Do you wanna ruin my concert, ruin

my career, ruin everything, is that what?

Why don't we go home.

There's nothing we can do here.

I...

I need a shave.

Having to shave every day. It's silly.

Shave every day. Why?

Why do I have to shave every day?

She once asked me

what it was like to live up here.

The Boray point of view.

It's lonely.

It all seemed so simple once.

Live your life, do your work,

as simple as all that.

You find out it's not that easy.

Nothing comes free.

One way or another,

you pay for what you are.

Yeah.

Tell Bauer not to worry.

I'm not running away.

Rate this script:5.0 / 1 vote

Clifford Odets

Clifford Odets (July 18, 1906 – August 14, 1963) was an American playwright, screenwriter, and director. Odets was widely seen as a successor to Nobel Prize-winning playwright Eugene O'Neill as O'Neill began to retire from Broadway's commercial pressures and increasing critical backlash in the mid-1930s. From early 1935 on, Odets' socially relevant dramas proved extremely influential, particularly for the remainder of the Great Depression. Odets' works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, David Mamet, and Jon Robin Baitz. After the production of his play Clash by Night in the 1941–1942 season, Odets focused his energies on film projects, remaining in Hollywood for the next seven years. He began to be eclipsed by such playwrights as Miller, Tennessee Williams and, in 1950, William Inge. Except for his adaptation of Konstantin Simonov's play The Russian People in the 1942–1943 season, Odets did not return to Broadway until 1949, with the premiere of The Big Knife, an allegorical play about Hollywood. At the time of his death in 1963, Odets was serving as both script writer and script supervisor on The Richard Boone Show, born of a plan for televised repertory theater. Though many obituaries lamented his work in Hollywood and considered him someone who had not lived up to his promise, director Elia Kazan understood it differently. "The tragedy of our times in the theatre is the tragedy of Clifford Odets," Kazan began, before defending his late friend against the accusations of failure that had appeared in his obituaries. "His plan, he said, was to . . . come back to New York and get [some new] plays on. They’d be, he assured me, the best plays of his life. . . .Cliff wasn't 'shot.' . . . The mind and talent were alive in the man." more…

All Clifford Odets scripts | Clifford Odets 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

    "Humoresque" Scripts.com. STANDS4 LLC, 2024. Web. 25 Nov. 2024. <https://www.scripts.com/script/humoresque_10370>.

    We need you!

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

    Watch the movie trailer

    Humoresque

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "FADE OUT:" signify in a screenplay?
    A A camera movement
    B The beginning of the screenplay
    C A transition between scenes
    D The end of the screenplay