Possessed Page #7

Synopsis: A woman wanders the streets of Los Angeles in some sort of emotional distress. She is also under some delusion as she approaches many men, strangers who she calls "David". Eventually, an ambulance is called, the attendants who take her to the hospital, where she is eventually placed in the psychiatric ward. Placing her under some medication to help her remember, Dr. Harvey Willard, the psychiatrist on duty, is able to get some semblance of a story out of her over the ensuing days. This phase of her life begins just over a year ago when she, single RN Louise Howell, is under the employ of wealthy Dean Graham to take care of his chronically ill and largely bedridden wife, Pauline Graham, at their lake house outside of Washington, DC. Due to her circumstances, Pauline believes that Dean and Louise are carrying on an affair behind her back. Louise can see that Dean does have feelings for her that way in his loneliness. The "David" in question is David Sutton, a civil engineer who lives acr
Director(s): Curtis Bernhardt
Production: Warner Bros. Pictures
  Nominated for 1 Oscar. Another 1 nomination.
 
IMDB:
7.2
Rotten Tomatoes:
88%
APPROVED
Year:
1947
108 min
402 Views


People named Smith rarely have

the letters "L.G." on their clothing.

- I'm sorry.

- That's not important.

It merely makes it a little more difficult

for me to help you.

And you do need help. Take this.

Incoordination. Now close your eyes, please.

Hold out your hand.

What does that feel like to you?

A piece of cloth.

Now the other hand.

That doesn't feel like

a piece of cloth, does it?

- No, it doesn't.

- What does it feel like?

I don't know.

A piece of sandpaper, perhaps?

Yes, that's it.

Open your eyes.

Extreme suggestibility.

And that pounding noise you hear at night...

that's easily explained, Mrs. Smith.

It's merely the sound of

your own heart beating.

Blood pulsation can be heard as sound.

It's a common symptom of neurasthenia.

What's wrong with me, Doctor?

Why do I see things that aren't...

that just couldn't be real?

Sometimes a patient can't distinguish

between reality and unreality.

In your case, you're still able to make

that distinction.

But what if it gets worse? What then?

There is a type of nervous disorder

in which that happens.

We all have dreams, Mrs. Smith.

Bad dreams, sometimes.

But we wake up and we say

that was a bad dream.

Occasionally, however, we find a patient

who can't wake up.

He or she lacks insight...

the ability to distinguish between

what is real and what isn't.

Now, that may be true in your case.

It's too early to know definitely.

You're describing schizophrenia, aren't you?

Is that what's wrong with me?

I didn't know you had any

knowledge of the subject...

or I shouldn't have discussed it.

I knew there was something wrong

with me when I came up here.

I had no idea it was insanity.

Insanity's not a word

we like to use, Mrs. Smith.

You have a problem but it's not insoluble.

Problems never are.

Whatever it is that's troubling you,

put an end to it.

No, it's too late.

- Much too late.

- Nonsense.

The important thing is to know

that there is something wrong.

Now that you know,

you can do something about it.

I'm going to give you

the name of a psychiatrist.

Go and see him.

Don't lie to him as you did to me.

Tell him the truth.

Mrs. Smith?

Well, I'll have to come up then.

I'll fly at the end of the week.

Very well. See you then.

Darling, I have to go to Canada.

Just for a few days. Why don't you sit down?

I've got an idea. Why don't you

come with me? Make it a holiday.

Might get some fishing in.

I'll teach you how to get a 40-pound salmon.

I'm leaving you.

I'm going away. I don't know where.

That isn't important.

- The important thing is, I want a divorce.

- I don't...

I won't discuss it.

There's nothing to discuss.

You don't know what you're saying.

Why should you want a divorce?

What have I done?

I thought I'd given you everything

you wanted.

I hoped that you'd be happy with me.

I thought you were.

It isn't you.

Whatever's wrong with our marriage

is my fault.

Louise, what's troubling you?

I don't know exactly.

But it just won't work out.

I can't take her place. I've tried but...

- she hates me for it.

- Who hates you?

- Pauline.

- Pauline?

Yes.

I can't seem to forget her.

- Don't you see, I've got to go away.

- Stop it.

You talk as if she were alive.

Yes, I did, didn't I? I didn't mean to.

She isn't alive, I know that.

I'm sorry, we've never

discussed Pauline before.

But whatever problems I had...

all the unpleasant memories...

I put them aside when we were married.

They were over for me.

Not for you, I gather.

Well, I'll fix that.

I don't intend to lose you so easily.

Have my car brought around

to the side entrance.

Telephone the house and

tell Elsie to pack some things...

for Mrs. Graham and myself.

We'll be out till Monday.

Yes, sir. Where can we reach you?

- I don't want to be reached.

- Yes, sir.

I love you very much.

Your happiness means everything to me.

I'm going to help you forget Pauline

just as I've forgotten.

You're going away with me.

- Where?

- To the lake house.

Oh, no, I'm afraid of her!

Pauline is gone from our lives.

She can't harm us...

or take you away from me.

You'll see.

There's only one way to solve a problem.

And that's to face it.

Good evening, Mrs. Graham.

Mr. Graham.

Good evening, Norris.

Dreadful weather.

- The place looks in good order.

- Thanks.

Almost thought we'd lose

the house a while back.

What happened?

- Fire.

- Much damage?

Burned quite a few trees.

I want to talk to you about that...

they'll blow down this winter anyway.

My advice, cut them.

You think any of them can be saved?

Pretty bad shape. Would you like to look...

before it gets dark?

You can see from over here.

- Go ahead, darling.

- All right.

Good evening, Mrs. Graham.

- You're the caretaker's wife.

- I'm Mrs. Norris.

I saw you come in from upstairs.

I was airing out the rooms.

I'm sorry we didn't know

you were coming sooner.

I'd have fixed the place up a little.

- That's quite all right.

- Mr. Norris was sick last week.

That's why everything is so dusty.

You'd be surprised how a place

can run down so fast.

It doesn't seem to take any time at all.

Yes, I know.

You look cold. I'll go and

make you a cup of tea.

No. Please don't bother.

No bother. You stay by the fire.

It won't take me a minute.

Getting on to winter again.

What is it!

No.

No, I won't.

I won't.

Louise, what is it?

Why did you scream?

It's Pauline.

She wants me to kill myself, like she did.

She wants me to drown, but I won't.

Pauline is dead.

- She's been dead over a year.

- No, she's there.

Now, she's talking to me again.

Hear her? Listen.

"Kill yourself, Louise.

"Drown yourself in the lake."

Make her stop.

I tell you, she's dead.

There's no one there.

Look, there's no one there.

Gone?

She's gone.

She was never there.

She went back to the lake.

She'll wait for me there.

Yes, she'll wait for me. She said she would.

What do you mean? What on Earth do you mean?

Come out of this room.

Come out.

I don't know.

I just don't understand.

- What happened?

- You had a bad dream.

About Pauline.

Oh, yes, now I remember.

I thought she was alive. She spoke to me.

- It wasn't real?

- Of course, it wasn't.

I can't tell anymore.

I don't seem to know the difference.

Stay near.

Stay close to me.

I'm afraid.

I'm afraid of Pauline.

Why? What reason have you

to be afraid of her?

You don't know.

You don't know what I've done.

Tell me.

But I can't hear you.

I said, I killed her.

I helped her commit suicide.

- That's not true.

- Yes, it is.

She asked me to take her down to the rock.

I helped her. It was very dark.

Then she went close to the edge of it.

I watched her.

I stood there and watched her.

Then she came up.

Her face was white through

the water and then...

she called to me.

"Louise, Louise."

Then she stopped.

But I could still hear her.

And I hear her now: "Louise, Louise."

Stop it.

Listen to me.

This is all nonsense. I don't know

Rate this script:5.0 / 1 vote

Silvia Richards

Silvia Richards was a screenwriter who worked on a number of films in the 1940s and 1950s, including the film noir Ruby Gentry and the Western Rancho Notorious. She also wrote for television in the 1950s and early 1960s. more…

All Silvia Richards scripts | Silvia Richards 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

    "Possessed" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/possessed_16113>.

    We need you!

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

    Watch the movie trailer

    Possessed

    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 "resolution" in a screenplay?
    A The part of the story where the conflicts are resolved
    B The climax of the story
    C The rising action
    D The beginning of the story