The Constant Nymph Page #5

Synopsis: Fourteen-year-old Tessa is hopelessly in love with handsome composer Lewis Dodd, a family friend. Lewis adores Tessa, but has never shown any romantic feelings toward her. When Tessa's father dies, Lewis contacts her late mother's wealthy family so they'll take care of Tessa and her sisters. Lewis becomes taken with Tessa's haughty cousin Florence and the two soon marry and head off for Florence's estate in England. Meanwhile, Florence sends Tessa and her sister Paula off to finishing school. The girls run away from school and Tessa moves in with Florence and Louis. Florence soon becomes consumed with jealousy over the bond between her husband and Tessa.
Genre: Drama, Music, Romance
Director(s): Edmund Goulding
Production: Warner Bros.
 
IMDB:
7.0
NOT RATED
Year:
1943
112 min
137 Views


-I came in just now, Miss.

-Roberto, have you seen her?

-She's gone to find Miss Toni.

Here they are, now.

Tessa!

Tessa!

-She's fainted.

-She's quite pale.

Bring her into the house.

-You told her.

-Yes.

What's happened?

Told her what?

Poor little Tessa.

She often does this

when she runs too hard.

Take her to our bed, Lewis,

I know how to take care of her.

She's all right, Florence.

I can take care of her.

All right.

They're excitable little things,

arent' they? It's just a faint.

There's always something silly

happening up here!

All right you are, father dear.

What are you laughing at?

When you hear my news

you're going to faint.

I'll faint if I don't get

my breakfast. Robert-o!

S, s, signore!

Well, what's the joke?

The joke will wait till

after breakfast.

Have you gone barmy, too?

Yes, I'm afraid I have, darling.

Hello.

-She has faint before.

-Oh, please, go, Roberto.

Poor little Tessa.

Go and have your breakfast, Lewis.

Why did you run so fast?

Don't talk to her, Lewis.

Please, go.

She's all right now.

If you need anything

call me.

-Isn't that Lady Longborough's mare?

-Yes, sir.

Hello, Charles!

Oh, there you are!

Hello... hello, Charles.

My dear Constance.

One can drop off

at this slow pace.

I've been behind you

all over around the park.

I couldn't mistake that

fat back of yours.

-When did you get back to London?

-About a week.

What's all this about Florence?

My girls tell me that...

...she's hidden that beautiful

husband of hers away.

I can't wait to know

what's wrong with him.

That's a long story. You're coming

tonight, of course.

Yes, I called up Florence and

accepted at once.

I can't wait to see this man,

this Mr. Dodd. Who was he?

-That's still a matter of conjecture.

-Oh, I see.

Not a bad looking sort of bloke,

bangs away all day on a piano...

Nothing wrong, really.

It's all quite beyond me but...

...as long as he keeps

Florence happy.

-She's all I've got left, you know.

-Is she happy?

It's something new for her,

a chap like this.

We, Creightons, have always been

on the exploring side.

Mmm, I remember, that nice

sister of yours, Evelyn.

That was a sort of

musician fellow too, wasn't it?

Yes, well, that's too

another story.

-Well, I see you tonight, right?

-All right.

-Good-bye.

-Good-bye.

Take care of yourself.

-What's all this about?

-Mrs. Dodd's orders, sir.

Reception tonight.

The second piano, sir.

Oh!

-Be careful!

-Careful!

-Where you want it, governor?

-I'll let you know.

The hat, sir?

I'd like to know how you got it

into your head that I'm a pianist,

-which I'm not.

-That's a pose, darling.

We're married.

Why pose to me?

I've heard you play with Carolli, so...

...I have Carolli coming to play

the piece with you.

The other piano is coming in now.

Then let him play alone!

Why stick me out there

on exhibition?

I promised myself you'll play,

I promised lots of my friends--

I will not be told

what I must or must not do!

I've never permitted to be bullied

and I'm not going to start now.

I'm not a child.

Aren't you behaving like one?

One thing in the world I hate

is your class of upper-class.

-Pompous, hard-headed, domineering.

-Now, you're becoming rude.

If you hated my class,

why did you--?

I know. Why did I marry you?

Well,

you said that before, and

each time you ask...

...I find it more difficult to answer.

-You'd not dare say such a thing--

I do dare! I have dared,

it's the blunt truth.

It's most ungallant and cruel of you

to say such a thing to my face!

You dislike the truth.

I'm sorry I haven't got

the gift for that...

...mental sleight of hand

you people call manners.

I won't allow you to say

such things to me.

Then, stop me, or leave me alone.

-Madame...

-What?

The other piano, madame.

Oh, yes. Bring it in here

with the other one, will you?

Come on, boys.

-Good morning, Lewis.

-Good morning, Charles.

I'm very angry.

You're very wet.

Nevertheless, I-I--

I've never felt less like talking

to anyone in my life.

You two people are turning

this house into a camp room.

If this sort of brawling

gives you such squack...

why don't you go out in the park

and shout it out?

Was I very noisy?

I thought you weren't earnest!

And I'm sure the servants

and those workmen out,

even the policeman on the corner

would share my impression.

Whenever did you learn

to behave like this, Dodd?

Where did Florence learn

to believe she's a superior being?

Florence has no such illusions.

Whatever minor differences

arise between you...

...you could have the decency

to keep it between yourselves.

Yes, Charles.

I realize that you're

a different sort of chap.

You have your ideas about things

and we have ours.

And there you are,

it's love's young dream and...

...I can readily see that

it could easily go on the rocks.

I don't care about you,

but Florence, well, naturally...

...she's a great concern to me.

And let me tell you, Dodd,

I think, well--

you seem to take a certain

satisfaction on upsetting her.

No, no...

Look, those people we had

to lunch last Thursday,

you lunched in the park!

And told her you'd rather

eat with the birds...

...and share your lunch with them.

After all, that is--

well, it seems to me, I'm sure

that if I cared for a woman--

-well, you know what I mean.

-My dear Charles,

I will not be run by Florence

or anyone else.

Oh, no, come,

come, my dear chap.

How is she trying to run you?

She wants me to become

a concert pianist overnight...

-...and perform at the party.

-The poor girl's got her heart set on that.

-I know.

-I dislike this piano business myself.

But she's got quite

a lot of friends and...

...you've been sort of

a mystery chap to them all.

-You know Florence.

-I wonder.

Have you had any doings

with horses?

-Mm?

-Horses.

Horses? I'm afraid not.

If you'd had, you'd know that

a strong light hand works wonders.

-Oh, you mean, slap?

-With Florence? Oh, dear, no!

Not on your life! Then,

you would have fireworks!

But a light rein,

Lewis, my boy.

She's got plenty of spirit.

You wouldn't have her otherwise.

And she's really devoted to you.

I know that.

You are the first and only one.

And she's a woman.

And a very charming one.

I do see clearly what you mean.

It might easily be that

I'm the one that's wrong.

-We must do something about it.

-Ah, good boy.

I'm really very sorry

about all this.

Now, don't you lean over

too much the other way.

She'll take the bit in her teeth

if you give her too much ahead.

-I see. Thank you very much, Charles.

-Not at all.

Hello.

Here's your piano.

I hope it's in tune.

Uh-huh. Very nice.

You're nice.

Do I always seem

to get my own way?

I see no reason why

you shouldn't.

I'm afraid my way is a little

on the selfish side sometimes.

But in this instance is

as much for you as for me.

-For me?

-I want them to know you, like you.

In other words, I want

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Kathryn Scola

Kathryn Scola (1891–1982) was an American screenwriter. She worked on more than thirty films during the 1930s and 1940s. Scola worked in Hollywood for a multitude of prominent production companies during the studio era, including Warner Bros., Paramount Pictures and 20th Century Fox. Scola’s career took place during the transition from unregulated Pre-Code films to the implementation of the Motion Picture Production Code, and was frequently involved in writing screenplays that were deemed too controversial by the Motion Picture Association of America. Three of Scola’s films were included in the Forbidden Hollywood film series, including Baby Face, Female and Midnight Mary. more…

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Submitted on August 05, 2018

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