Obsession Page #3

Synopsis: New Orleans businessman Michael Courtland's life is shattered when his wife and daughter are tragically killed in a botched kidnap rescue attempt. Many years later whilst visiting Italy he meets and falls in love with Sandra Portinari, who bears a striking resemblance to his wife.
Director(s): Brian De Palma
Production: Sony Pictures Home Entertainment
  Nominated for 1 Oscar. Another 3 wins & 1 nomination.
 
IMDB:
6.8
Rotten Tomatoes:
76%
PG
Year:
1976
98 min
901 Views


a lady Dante pretended to love...

so that Beatrice

would not be embarrassed...

by his continual gaze.

You still love Elizabeth,

don't you?

That's why you want me.

How did she die?

I killed her.

I'm sorry, but I must go

to the hospital right away.

- My mother's very ill.

- I'll go with you.

- It's not your problem. I go alone.

- Please.

All right.

Well, let's hurry then.

Mama.

Come closer.

I can't see you.

You love my Sandra?

Oh, Mama.

I must know now.

Good.

You love him?

I don't know.

He marry you.

You'll have to forgive my mother.

She's always been a matchmaker.

You rich?

You gangster?

You marry him.

Mama, we hardly know each other.

You get to know him...

after you're married.

No matter how many times I read it,

it still says the same thing.

Look at that.

"Hold St. Louis Cathedral for May 2.

Break out the champagne.

I'm returning Tuesday the 19th

for a church weddin'.

Love, Michael."

Poor Court.

He's a goner now.

I tell you, Jane.

If I hadn't seen it with my own eyes,

I wouldn't have believed it.

It was like Elizabeth

had stepped out of her tomb.

Yeah, well, you'll see

soon enough for yourself.

- Do you think she's a gold digger?

- I don't know what to think.

Maybe we should call Dr. Ellman.

- What good would he do?

- He's been treating Court for years.

But Ellman lives in 1975.

Michael lives in 1959.

- Mr. Michael!

- Judy.

Good to see you too.

I want you to meet Sandra.

Sandra, this is Judy,

a lifelong member of this house.

Hello, Miss Sandra.

Mr. Michael wrote me about you.

- Let me help you with this.

- Thank you.

It's beautiful here.

Now, this D'Annunzio-Florence deal

is lookin' awful good, Court.

Looks like the old goat is finally

gonna invest some big money with us.

Now, I've got a preliminary

breakdown here...

of the basic estimated

development cost and cash flow...

for the joint venture proposal.

I'd like you to look those over

if you would.

You wouldn't file

an in personam suit against me...

if I asked you to table all this

for a while, would ya?

I mean, with the wedding plans

and everything, I'm just not up to it.

- Would you mind, for a while?

- Can do, Court.

Can do. That's what

a partner's for, I guess.

Well, our friends are certainly

looking forward to meetin' Sandra.

They'll all meet her

on the big day.

Big day of the big wedding.

Big day of my new life.

How do you say in Italian?

"La vita nuova."

Look, Court...

I know this is

none of my business...

but don't you think maybe

this is all a little hasty?

A little premature?

You're right.

It's none of your business.

Yes, Miss Sandra?

There's a locked room upstairs.

What is it?

It was the master bedroom.

Why is it locked?

I don't know, Miss Sandra.

I don't clean it anymore.

I want to see it.

Can you open it for me?

I don't have the key.

Mr. Michael keeps it.

Where?

Well, I guess it's all right.

He keeps it in his desk.

"February 14, 1952.

I think the days in Florence...

will be the happiest

I will ever have.

New Orleans is a nice town...

and Mike is very good to me...

but it is all so different now.

He is busy at work all day...

and sometimes I wonder if Mike loves me

as much as his business."

There it is, darling.

Isn't it beautiful?

And on the 19th...

it'll be all ours.

It's so big.

And Mike, 200 guests.

That's a lot of people.

Just a small ceremony

would be fine.

No, it's more than a ceremony.

It's a celebration...

and there should be thousands...

and everything's got to be...

very special.

Yes. If you say so.

Good morning, Robert.

- Good morning, Michael.

- Good morning, Jane, Shirley.

What are you doing here, Doc?

This was the only way I had

to get in touch with you.

You're a hard man to get a hold of.

What can I do for you?

I thought we might just sit down

for a while and have a personal talk.

Purely a social visit.

Why is it psychiatrists

are such lousy liars?

Would you come in here, please?

Did you all ask Dr. Ellman up here?

He called to find out how you were.

We thought you might wanna

be talkin' to somebody.

That's fine. Thank you.

Michael, why don't you

talk to Charlie?

- That's fine.

- It's for your own good.

I went by and saw Sandra yesterday.

I didn't think you'd mind.

You didn't think I'd mind?

You invade my privacy

and you ask if I'd mind?

Will you listen to yourself?

Stop and listen to what you're saying.

- Can't you see what you're doing?

- I know exactly what I'm doing.

I don't want anybody

interfering with my private life.

You're talking with somebody

who already knows you...

knows you better probably

than anybody else.

Sandra and I talked about

a lot of things yesterday.

I don't think

you're being fair with her.

You shouldn't marry out

of a sense of guilt...

or out of some morbid preoccupation

with Elizabeth.

And now Sandra is obsessed

with the idea of Elizabeth.

That's all she wanted

to know about yesterday.

She's caught up in your fantasy.

You must know what's happening.

Give yourself some time.

Let your relationship

with Sandra grow first.

And I want you back in therapy.

If not with me, with some other doctor.

But give yourself some time.

Right.

Except you got it wrong.

We'll talk about it...

after lunch.

Good.

We'll work everything out.

Just come on down to my office and...

I just don't want you to do anything

impulsively that you'll regret.

Bye-bye.

What's happening?

- Why are you home?

- Because you're here.

Because my heart's here.

Because I never want to leave.

Where are you?

We've been so worried.

Look, we're both

really sorry about that.

We didn't mean it.

We only thought you...

Okay, he's here.

Just a minute.

It's Michael.

Michael, old boy, where are ya?

Well, now, don't you think it's...

Now, don't be hasty.

Okay, if that's what you want.

He wants us to put his share

of the company into a trust fund.

- He's already sent the papers.

- Where is he?

Who knows?

- Tomorrow.

- What?

Let's get married tomorrow.

We can have the justice of the peace

perform the ceremony right here.

- Why tomorrow?

- I don't wanna wait.

What about St. Louis Cathedral

and all your friends?

We can have it cancelled.

Besides, I don't have any friends.

I found that out today.

Would you be disappointed?

Well, no, not at all.

And now, in accordance with

the powers invested in me...

by the state of Louisiana...

I now pronounce you man and wife.

I've waited so long.

Now...

I am your wife.

I am Elizabeth.

I came back for one reason, Mike.

I came...

to give you a second chance

to prove your love.

I've always loved you.

Never leave me alone.

I want to be with you always.

Always.

I am happy now.

Now I am your wife.

I am Elizabeth.

I came to give you a second chance.

I'm sorry to call you so early.

Something's come up.

You've gotta go to the bank with me now.

We've gotta get $500,000.

- Don't ask me...

- What are you talking about?

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Brian De Palma

Brian Russell De Palma (born September 11, 1940) is an American film director and screenwriter. In a career spanning over 50 years, he is best known for his work in genres such as suspense, psychological thriller, and crime drama. His prominent films include mainstream box office hits such as Carrie (1976), Dressed to Kill (1980), Scarface (1983), The Untouchables (1987), and Mission: Impossible (1996), as well as cult favorites such as Sisters (1973), Blow Out (1981), Body Double (1984), Carlito's Way (1993), Femme Fatale (2002) and Redacted (2007).De Palma is often cited as a leading member of the New Hollywood generation of film directors. His directing style often makes use of quotations from other films or cinematic styles, and bears the influence of filmmakers such as Alfred Hitchcock and Jean-Luc Godard. His films have frequently garnered controversy for their violence and sexual content, but have also been championed by prominent critics such as Roger Ebert and Pauline Kael. more…

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Submitted on August 05, 2018

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    "Obsession" Scripts.com. STANDS4 LLC, 2024. Web. 13 Nov. 2024. <https://www.scripts.com/script/obsession_15069>.

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