Imitation Of Life Page #4

Synopsis: Aspiring actress Lora Meredith meets Annie Johnson, a homeless black woman at Coney Island and soon they share a tiny apartment. Each woman has an intolerable daughter, though, Annie's little girl Sarah Jane, is by far the worse. Neurotic and obnoxious, Sarah Jane doesn't like being black; since she's light-skinned (her father was practically white), she spends the rest of the film passing as white, much to her mother's heartache and shame. Lora, meanwhile, virtually ignores her own daughter in a single-minded quest for stardom.
Genre: Drama
Director(s): Douglas Sirk
Production: Universal Studios
  Nominated for 2 Oscars. Another 3 wins & 4 nominations.
 
IMDB:
7.9
Rotten Tomatoes:
84%
NOT RATED
Year:
1959
125 min
2,017 Views


to that school!

Never as long as I live!

Sarah Jane!

Don't cry!

Annie, don't be upset.

Children are always pretending.

You know that.

No, it's a sin to be

ashamed of what you are.

It's even worse to pretend,

to lie.

Sarah Jane has to learn

that the Lord must

have had his reasons...

for making some

of us white...

and some of us black.

Sarah Jane Doesn't

want me with her.

She says I'm not her friend.

She says nobody's

her friend.

Darling, she's upset right now.

But she'll be better soon.

So will you if you get

back in bed. Come on.

Don't worry, Annie.

I'm sure you'll be able

to explain things to her.

I don't know.

How do you explain to your child

she was born to be hurt?

Hello.

Hi. Sorry I'm late.

That's all right.

I'm ready. I thought

you'd never get here.

Why, Steve, you sold it!

More than that, they gave me

a job, a steady one

on the advertising staff.

Oh, that's wonderful.

But, darling, is it really

what you want?

Well, it's not

The Museum of Modern Art.

But they pay you

in the nicest-looking

green folding money.

Which reminds me,

this is the season

for spending it.

Let's go.

We have to get a tree,

and I have a list of gifts

for the kids and Annie.

And I hope you like

what I picked out for you.

Oh, Steve, you...

You have to have something

to put under a tree, don't you?

Well, I know, but...

This way, ma'am.

Oh, I feel awful.

I haven't been able to buy

you anything really nice.

It's been five months

without a job...

Then I guess you'll

have to marry me.

It's the least you can do

for me for Christmas.

I love you.

But, darling, you're...

You're just

getting started and...

It would be foolish.

At least we'd

be foolish together.

But marriage

is such a big step.

I want us to be together.

Well, we are,

most of the time.

Most of the time

you're out fighting

to get somewhere.

Breaking your heart,

trying to do for

yourself and Susie...

what I want to do for you,

what I finally

can do for you.

Pardon me. I'm sorry.

Pardon me.

Oh!

Well, wait a minute.

I want to give you a home,

take care of you, love you.

Oh, Steve, you

don't know me at all.

I still love the theater.

You tried it

and it's only hurt you.

Realize that

and you'll get over it.

I want to be honest

with you, darling.

I want more.

Everything.

Maybe too much.

Don't think I want any less.

So let's settle something

right now. Do you love me?

I think I do,

but...

Come here.

I want to kiss you

so badly.

But if you did,

the way things are right now,

I might say something

I wouldn't really mean.

That's why

I want to kiss you.

That's my phone.

Hello?

Miss Meredith's residence.

- Who, Mr. Loomis?

- She's not in.

She isn't in, Mr. Loomis.

No, not even if it's important.

What? A job?

I... I have to find out.

It could be something.

Yes, Mr. Loomis?

You look good with

a St. Bernard dog.

The St. Bernard dog?

Yes. Uh-huh.

Well, that's you

in the picture, isn't it?

Sprinkling flea powder?

All right, well, I'm here

with David Edwards.

David...

Edwards, yes.

You know,

the prize-winning playwright.

He saw that picture

in a magazine.

He's looking for a girl with

that certain je ne sais quoi

for his new play.

That certain something

you managed to get

with the dog.

It's not a big part, I know...

If this is one of

your jokes, Mr. Loomis...

Jokes? So help me,

I'm only thinking

percentage-wise.

The part calls for

about...

Two and a half.

Two-fifty a week.

I left the script with

my secretary. Can you

pick it up immediately?

Uh, yes.

Yes, Mr. Loomis.

Yes.

He wants me

to pick up a script;

I'm to audition tomorrow.

And you're going

down there?

Of course.

Even after what

happened last time?

This has

nothing to do with Loomis.

I'm to audition

for David Edwards.

How do you know that?

I know. I just know.

But do you know if he's

gonna be any different

than Loomis?

No, I don't.

I don't want you to go.

Don't you realize what

this could mean to me?

I'm not asking you

not to go down there,

I'm telling you.

What makes you think

you have that right?

Because I love you.

Isn't that enough?

No, Steve, I'm sorry.

Good night.

Lora, wait.

I didn't mean

to sound dictatorial or

to try to run your life,

but you have to understand

how I feel.

And what about

the way I feel?

Oh, stop acting.

I'm not acting.

I want to achieve something,

something you'll never

understand.

What you're after isn't real.

At least

I'm after something!

Not the snapshot of

a disgusting old man with

a beer can on his belly.

Is that your idea

of achieving something?

Is a beer can "real"?

Going up and down,

up and down.

Well, I'm going up and up

and up, and nobody's

going to pull me down!

Lora, listen, please.

I've been trying to do

something with my pictures.

It's meant everything to me.

Every minute,

for a long time now.

No, it hasn't.

Or you wouldn't

give it up to sell beer.

I gave it up for

something much better,

something right now: You.

But you're asking me

to give up something

I've wanted all my life,

ever since I was a child,

and I can't do it!

If you grew up,

you could.

What do you mean?

You're not

a child anymore,

and I might not be around

to pick up the pieces

this time.

Good.

I'd like it that way.

Forever.

Joseph and Mary couldn't

find no place at the inn,

so they had to go to the

stable among the animals.

The animals?

Mm-hmm.

And in the manger

Jesus was born.

And the heavenly hosts

sang, "Hallelujah."

There was a shining bright

star in the sky,

and it was

a beautiful time.

That'll be

Mr. Steve again.

Hello?

Hello, Annie.

- Oh, hello, Mr. Steve.

- Has she come in yet?

I'm sorry.

I see.

Well, Merry Christmas,

Annie.

Merry Christmas to you,

Mr. Steve.

Mommy, isn't Steve

coming here tonight?

I think you'd better

go to bed, both of you.

But Annie was

telling us a story.

Oh, all right,

Annie can finish it.

Where were we?

- Jesus was almost borned.

- That's right.

As soon as the holy infant

was born, three wise men saw

a beautiful star in the sky.

The star

of Bethlehem...

Was Jesus white or black?

It doesn't matter.

He's the way

you imagine him.

But Annie said

he was a real man.

He's not a pretend man.

He was real.

He is real.

Then what color was he?

He was like me...

White.

Now, the closet door

is over here.

The clothes closet door

is over there.

The door to your bedroom

is over here.

And you trip over

the vacuum cleaner

over there.

All right,

come on, let's have

your offstage line.

Is anybody home?

Marjorie?

Oh, Marjorie!

Colonel, what are you

doing in there?

Why, Mr. Obermeyer,

why aren't you in Duluth?

Oh, Herbert, you too?

No! No, no,

Miss Meredith.

David, David.

She can do it, David.

I guarantee it.

She's just

a little nervous.

Miss Meredith.

Yes, sir?

This scene is supposed to

be played for high comedy,

with delicate reactions,

Rate this script:5.0 / 1 vote

Eleanore Griffin

Eleanore Griffin (1904–1995) was an American screenwriter who worked in Hollywood. She is best known for co-writing the film Boys Town, which she won an Oscar for in 1938. Griffin worked on and wrote for over 20 different Hollywood films between 1937 and 1964. more…

All Eleanore Griffin scripts | Eleanore Griffin 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

    "Imitation Of Life" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/imitation_of_life_10664>.

    We need you!

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

    Watch the movie trailer

    Imitation Of Life

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the "climax" of a screenplay?
    A The introduction of characters
    B The highest point of tension in the story
    C The final scene
    D The opening scene