The Importance of Being Earnest Page #8

Synopsis: Jack Worthing and Algernon Moncrieff are two men that are both pretending to be someone they are not.
Genre: Comedy, Drama
Director(s): Anthony Asquith
Production: General Film Distributors
  Nominated for 1 BAFTA Film Award. Another 1 win & 1 nomination.
 
IMDB:
7.6
Rotten Tomatoes:
88%
NOT RATED
Year:
1952
95 min
993 Views


why I should make

a secret of it to you.

Our little county newspaper

is sure to chronicle the fact next week.

Mr. Ernest Worthing

and I are engaged to be married.

My darling Cecily,

I think there must be some slight error.

Mr. Ernest Worthing is engaged to me.

The announcement will appear

in the Morning Post...

on Saturday at the latest.

I am afraid you must be

under some misconception.

Ernest proposed to me

exactly ten minutes ago.

It is certainly very curious,

for he asked me to be his wife

yesterday afternoon at 5:30.

If you would care

to verify the incident, pray do so.

I never travel without my diary.

One should always have something

sensational to read in the train.

I am so sorry, dearest Cecily,

if it is any disappointment to you.

But I'm afraid

I have the prior claim.

It would distress me

more than I can say, dearest Gwendolen,

if it caused you

any mental or physical anguish,

but I feel bound to point out

that since Ernest proposed to you,

he has clearly changed his mind.

If the poor fellow has been entrapped

into any foolish promise,

I shall consider it my duty

to rescue him at once...

and with a firm hand.

Whatever unfortunate entanglement

my dear boy may have got himself into,

I will never reproach him with it

after we are married.

Do you allude to me, Miss Cardew,

as an entanglement?

You are presumptuous.

On an occasion of this kind,

it becomes more than a moral duty

to speak one's mind.

It becomes a pleasure.

Do you suggest, Miss Fairfax,

that I entrapped Ernest

into an engagement?

How dare you!

This is no time for wearing

the shallow mask of manners.

When I see a spade,

I call it a spade.

I am glad to say

I have never seen a spade.

It is obvious that our social spheres

have been widely different.

Shall I lay tea here as usual, miss?

Yes, as usual.

Are there many interesting walks

in the vicinity, Miss Cardew?

Oh, yes, a great many.

From the top of one of the hills,

quite close, one can see five counties.

Five counties?

Oh, I don't think I should like that.

I hate crowds.

I suppose that is why

you live in a town.

I had no idea

there were any flowers in the country.

Oh, flowers are as common here,

Miss Fairfax,

as people are in London.

May I offer you some tea?

Thank you.

Sugar?

No, thank you.

Sugar is not fashionable anymore.

Cake... or bread and butter?

Bread and butter, please.

Thank you.

Cake is rarely seen

in the best houses nowadays.

Hand that... to Miss Fairfax.

You have filled my tea

with lumps of sugar.

And though I most distinctly

asked for bread and butter,

you have given me cake.

I am known for the gentleness

of my disposition...

and extraordinary sweetness

of my nature.

But I warn you, Miss Cardew,

you may go too far.

To save my poor, innocent,

trusting boy...

from the machinations

of any other girl,

there are no lengths

to which I would not go.

From the moment I saw you,

I distrusted you.

I felt that you were

false and deceitful.

I'm never deceived in such matters.

My first impressions of people

are invariably right.

It seems to me, Miss Fairfax, that

I am trespassing on your valuable time.

No doubt you have many other calls

of a similar character...

to make in the neighborhood.

Gwendolen!

My own Ernest.

- Gwendolen, darling.

- A moment.

May I ask if you are engaged

to be married to this young lady?

What, to dear little Cecily?

Good heavens, no.

What could have put such an idea

into your pretty little head?

Thank you. You may.

I knew there must be

some misunderstanding, Miss Fairfax.

The gentleman whose arm

is at present around your waist...

is my dear guardian,

Mr. John Worthing.

- I beg your pardon?

- This is Uncle Jack.

- Jack? Oh.

- Cecily?

- Here is Ernest.

- My own love.

A moment.

Are you by any chance engaged

to be married to this young lady?

To what young lady?

Good heavens! Gwendolen.

Yes, to good heavens Gwendolen.

I mean, Gwendolen.

Of course not.

What could have put such an idea

into your pretty little head?

Thank you. You may.

I felt there must be

some slight error, Miss Cardew.

The gentleman

who is now embracing you...

is my cousin,

Mr. Algernon Moncrieff.

Algernon Moncrieff?

Are you called Algernon?

- I cannot deny it.

- Oh!

Is your name really John?

Well, I could deny it if I liked.

I could deny anything if I liked.

But my name certainly is John.

A gross deception

has been practiced on both of us.

My poor, wounded Cecily.

My sweet, wronged Gwendolen.

You will call me sister, will you not?

There is just one question I would like

to be allowed to ask my guardian.

An admirable idea. Mr. Worthing,

there is just one question...

I would like to be permitted

to put to you.

Where is your brother Ernest?

We are both engaged to be married

to your brother Ernest,

so it is a matter of some importance

to us to know...

where your brother Ernest is

at present.

Gwendolen and Cecily,

I will tell you quite frankly...

that I have no brother Ernest.

- I have no brother at all.

- No brother at all?

None.

Have you never had

a brother of any kind?

Never, not even of any kind.

I am afraid it is quite clear, Cecily,

that neither of us is engaged

to be married to anyone.

It is not a very pleasant position...

for a young girl suddenly

to find herself in, is it?

Let us go into the house.

They will hardly venture

to come after us there.

No. Men are such cowards,

aren't they?

This ghastly state of affairs is what

you would call Bunburying, I suppose?

Yes, the most wonderful Bunbury

I ever had in my life.

Well, the only small satisfaction

I get out of the whole

of this wretched business...

is that your friend Bunbury,

dear Algy, is quite exploded,

and a very good thing too.

Your brother is a little off-color,

isn't he, dear Jack?

And not a bad thing either.

As for your deceiving a sweet, simple,

innocent girl like Miss Cardew,

I can only say that it...

It's inexcusable.

To say nothing of the fact

that she is my ward.

I can see no possible defense at all

for your deceiving a clever, experienced

young lady like Miss Fairfax.

To say nothing of the fact

that she is my cousin.

I simply wanted to be engaged

to Gwendolen, that is all. I love her.

Well, I simply wanted to be engaged

to Cecily. I adore her.

There is certainly no chance

of your marrying Miss Cardew.

I don't think there is

much likelihood, Jack,

of you and Miss Fairfax being united.

Guard!

Will you be good enough

to inform me...

how soon this railway train

arrives at Woolton?

Now, let me see.

There's Gothrington...

no, we've passed her.

Then there's Goostrey Halt, Sopley,

Cobbler's Corner, Combe Brissett,

High Totten, Low Totten,

Little...

How you can sit there

calmly eating muffins...

when we're in this terrible trouble,

I can't imagine.

You seem to be perfectly heartless.

I can't eat muffins

in an agitated manner.

The butter would probably

Rate this script:0.0 / 0 votes

Oscar Wilde

Oscar Fingal O'Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is best remembered for his epigrams and plays, his novel The Picture of Dorian Gray, and the circumstances of his imprisonment and early death. Wilde's parents were successful Anglo-Irish intellectuals in Dublin. Their son became fluent in French and German early in life. At university, Wilde read Greats; he proved himself to be an outstanding classicist, first at Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles. As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and interior decoration, and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote Salome (1891) in French while in Paris but it was refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late-Victorian London. At the height of his fame and success, while The Importance of Being Earnest (1895) was still being performed in London, Wilde had the Marquess of Queensberry prosecuted for criminal libel. The Marquess was the father of Wilde's lover, Lord Alfred Douglas. The libel trial unearthed evidence that caused Wilde to drop his charges and led to his own arrest and trial for gross indecency with men. After two more trials he was convicted and sentenced to two years' hard labour, the maximum penalty, and was jailed from 1895 to 1897. During his last year in prison, he wrote De Profundis (published posthumously in 1905), a long letter which discusses his spiritual journey through his trials, forming a dark counterpoint to his earlier philosophy of pleasure. On his release, he left immediately for France, never to return to Ireland or Britain. There he wrote his last work, The Ballad of Reading Gaol (1898), a long poem commemorating the harsh rhythms of prison life. He died destitute in Paris at the age of 46. more…

All Oscar Wilde scripts | Oscar Wilde 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

    "The Importance of Being Earnest" Scripts.com. STANDS4 LLC, 2024. Web. 23 Nov. 2024. <https://www.scripts.com/script/the_importance_of_being_earnest_10677>.

    We need you!

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

    Watch the movie trailer

    The Importance of Being Earnest

    The Importance of Being Earnest

    Soundtrack

    »

    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 purpose of "action lines" in a screenplay?
    A To outline the character arcs
    B To list the plot points
    C To describe the setting, actions, and characters
    D To provide character dialogue