The Constant Nymph Page #8

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
139 Views


are so talented.

It's a wonder to me you don't write

something of your own.

I wish I could, but, you see, I have

no talent or-- vocation for anything.

Well, let's change the subject.

I've spoken to Miss Batterfield

on the phone...

...and she refuses

to have you back.

So, I decided upon a new school,

that is, if they'll have you--

No, school for Tessa

is out of question.

She can't play games and...

...she doesn't like girls

and girls don't like her.

What are we to do with her?

-The first thing is to find out...

...what her instinct tells her

about this piece.

You wouldn't think of changing it.

-Why not, if it's wrong?

-Your concert's in four weeks!

You don't think I'll perform

knowing I had missed.

You haven't missed.

You're caught up in all this

mad Sanger nonsense again.

After you worked so steadily

and so seriously.

Perhaps, too steadily

and too seriously.

Tessa, will you speak

when you're spoken to?

Will you please not

lose your temper?

Oh, I started this. I'm sorry.

All right, all right... Err,

let's stop all this, Florence.

If you don't mind, I--

I'd like to think a little.

Of course. We'll go for a walk

in the park, Tessa...

...and talk about you and

what to do. Come along.

No, as a matter of fact,

I'd like Tessa to stay here...

...and talk about it.

Obviously, she remembers

the original play.

Of course I'll stay, Lewis,

if you really want me to.

Would that be all right, Florence?

Certainly.

Lewis, that's it!

All right, it'll be

four dozens of these.

Mrs. Lewis Dodd,

200 Grosvenor Square.

Four dozens of these. Mrs. Lewis Dodd,

200 Grosvenor Square.

I'll take the large one.

Please wrap it up nicely,

I'll take it with me-- excuse me...

Do you think

it's too large for Lewis?

No, it's beautiful but

I don't think he'll wear it.

I think he will.

Do you by any chance send

bouquets to male composers?

I've never heard of it, Miss.

-I'm sending flowers to Florence.

-What are you sending?

-Roses, four dozens.

-Oh, Fritzie!

Wouldn't it be fun if you sent

the flowers to Florence from Lewis?

He's never sent her flowers,

he's been working so hard.

She'd be so pleased!

All right, then I'll send

some more from Toni and me.

Oh, no, that would take

all the gloss off the gingerbread.

There'd be nothing but roses.

Let's just send these from Lewis.

All right. And what shall I

write on the card?

She knows your handwriting.

He can write it.

The cards, please.

Thank you. Uh...

...would you be kind to write

in a kind of untidy handwriting...

"To dear kind Florence"

No, "kind" isn't right, she--

It's not enough--

What is she?... uh...

"To dear, dear,

patient Florence..."

"To dear, dear, patient Florence,

with all my love, Lewis."

No, just say:

"Love..."

"Dear, dear, patient Florence.

Your Lewis."

Thank you.

No, he wouldn't say that. Um...

Leave out the "your".

Just say "Lewis".

"To dear, patient Florence.

Lewis."

Thank you. Send them over right away

You know the address?

-Yes, Miss.

-Thank you.

Come on, Fritzie.

-Thank you.

-You'll write it very untidily, right?

-Yes, Miss.

Ooh, look, they're all over London.

I'm so excited I can hardly breathe.

Would you stand still

just a minute? Thank you.

I wish Toni and Paula

were here to see it all.

We'll be over in Spring to stay,

after the baby.

Isn't Toni excited? It's such fun

creating things, isn't it?

-Good evening, sir.

-Good evening.

-Is tea ready?

-Yes, Miss.

You'll see Lewis if I have

to carry you. - I have to go.

-I'll take the box.

-I carry my dress. Come on.

-Hello, my darling Uncle!

-Hello.

You remember Fritzie, don't you?

-How do you do, sir?

I have to go to the hotel now--

-No, no...

Mr. Fritzie, I shall never

forget him.

How do you do, sir?

You look nice and warm

and comfy.

I have to go back.

-You're going to say hello to Lewis.

-I have an appointment!

You come and pour me

a cup of tea.

This place is like the Sahara desert.

Not a soul in sight and it's after 5:00.

All right, I will.

Good-bye, sir.

-Fritzie...

...you go through there

and up those stairs,

and don't forget to tell Lewis

about the flowers for Florence...

...so he knows.

-Oh, yes, the flowers.

Ooh, nice!

Oh!

-What?

I got a stitch.

It's all right, it's nothing.

I'm so excited about tonight.

Lewis' name is advertised on

all the sandwich boards.

Oh, well!

-Look.

-What is it?

It's my dress. Toni sent it,

Fritz brought it.

I won't look such a child

in this, will I?

You don't call yourself

a child, young woman.

Well...

It's fresh.

If I'm not a child, then,

why does your sweet daughter...

...insists on bundling me away

to that finishing school in Harrogate?

I assure you,

if it doesn't finish me, I--

shall be here at home

on and off until I die.

That is, of course,

if Florence invites me.

Oh, my darling Uncle...

Can't I marry you?

Then I'll have some place

to stay on my holidays.

You'd have me whacking

at that silly piano all day,

just as you're doing with that

extraordinary son-in-law of mine.

Yes, you're right,

he is extraordinary.

And very, very tired.

-Hello, Florence.

-Who's tired?

Lewis. He worked until

2 o'clock this morning...

...and rehearsed till 11:00.

-Oh, you have your tea, father.

-Yes.

-All set for tonight?

-Yes, we're going to the Savoy.

-Oh, Florence?

-Yes?

Speaking of the Savoy,

I was wondering how you like

this dress.

-Toni sent it, Fritz brought it.

-Fritz?

I thought I heard his voice

in the studio.

If they want their tea, they'd better

come now. It's getting late.

I sent for Lewis twice.

-I'll get him.

She'll get him...

-She hasn't already?

-What are you talking about?

You know, I'm not quite such a fool

that I don't see what's going on.

It's obvious, a blind man

could see it. - No, no, no...

...I mean what's going on with you,

not with anyone else.

You are the one that's heaping

coal to fire. And let me tell you...

...if you care about your husband,

you'd better pull yourself together.

Stop moaning about like

a woman in a novel.

You have little Tessa

on the defensive for him.

I heard it just now.

I dislike her intensely.

Yes, and you made that

quite obvious to all and sundry.

I saw my sister Evelyn get herself

into just such a mess...

...and it killed her.

Lewis has been very happy here

and so have I...

...until these wretched

Sanger children came storming back.

They're like a drug to him.

There's some language between them

that only they can understand.

I feel like a stranger

in my own house!

He said quite casually to me today

that he might go away after the concert.

What?

-Go away.

-There you are...

...he's like a weathervane,

this fellow.

I hardly see him anymore.

Lewis is the only man

I ever truly cared for...

...or ever will care for.

It's some sort of a strange,

slow process of defeat.

Either very innocent...

or very clever.

If you don't stop

hammering away at it...

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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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