The Loss of a Teardrop Diamond Page #6

Synopsis: Tells the story of Fisher Willow, the disliked 1920s Memphis débutante daughter of a plantation owner with a distaste for narrow-minded people and a penchant for shocking and insulting those around her. After returning from studies overseas, Fisher falls in love with Jimmy, the down-and-out son of an alcoholic father and an insane mother who works at a store on her family's plantation. She tries to pass him off as an upper-class suitor to appease the spinster aunt who controls her family's fortune, but when she loses a diamond, it places their tenuous relationship in further jeopardy.
Genre: Drama, Romance
Director(s): Jodie Markell
Production: Paladin
  1 nomination.
 
IMDB:
5.9
Metacritic:
51
Rotten Tomatoes:
25%
PG-13
Year:
2008
102 min
$94,513
Website
548 Views


You're poor.

And that's hard,

especially for a beautiful girl.

But you got a moral decision

to make.

- Don't talk to me

like a preacher.

Why, just a minute ago,

you were having me,

and we were gasping

for breath.

- That's not the point.

That's-

- Common.

In your opinion.

All right.

I'm common as dirt.

But I'm gonna

wash myself clean.

- By giving that diamond back.

- Oh, no.

This teardrop diamond

will wash me clean

as the sharecroppers

her father drowned last spring

when he blasted

the south end of his levee.

- Vinnie.

Vinnie, is that you

and Jimmy out there?

- Yes.

- My heavens.

You two have been gone

half an hour at least.

- Julie, will you call Fisher

out here?

- For what?

- Vinnie has something

she wants to give her,

something she just now

accidentally found.

- Uh, what are you

talking about?

- Fisher!

Fisher!

- Jimmy,

call her.

- Fisher!

Fisher Willow!

Hey.

Why didn't you answer me?

Didn't you hear me shouting?

- Call that shouting?

It sounded to me like a scared

little boy in the dark.

Well, what shall we do?

Go now?

I'm ready to go if you are.

It's an awfully dull party.

- I'd like to stay

a little while longer.

- Why?

- I like the people at it.

- Especially one of the people?

Julia's little cousin

who works in a drugstore?

- Now, what's that

against her?

- Nothing.

Not a thing in the world.

You want me

to leave you with her.

- Now, you know that if you go,

I got to go with you, don't you?

Don't be so conventional.

It doesn't suit you

or me.

I swallowed my pride.

- Fisher, I don't think you have

ever had to swallow your pride.

- Oh, no?

You really don't think so?

- Pride is something that

poor people have to swallow.

- How naive you are.

I don't think anyone's ever

had to swallow their pride

or choke on it

as often as I have.

For instance...

it wasn't easy for me

to come back downstairs

to that party

after you insisted

on being searched

in the kitchen.

- That wasn't easy for me.

- Well, that's over.

That's over.

Shall we forget about it?

Get in the car.

- Let's go back to the party.

- I'm not going back

to the party.

Get in the car.

- I'm going back to the party.

- Are you?

- Yes. I have to.

- You mean you'd go back

to the party

when I asked you not to?

- You're coming too.

- Are you telling me

what I'm gonna do,

Jimmy Dobyne?

- Yep.

Get out of your car.

- I believe you're serious.

- Come on.

Get out of your car.

- Make me.

- Come on.

Get out of your car.

- Let go of my arm,

or you'll get kicked.

- Get out of your car.

- Fisher.

Fisher.

I, uh-I found

your diamond earring.

- What did you say?

- I said I found

the teardrop diamond

that you lost.

- Oh?

Where'd you find it?

- On the veranda.

- How could you find it

on the veranda

when I discovered I'd lost it

before I got to the veranda?

- Well, maybe it fell out

of your dress or something.

Will you please take it back?

It's burning my hand

like a hot coal.

- You won't take a reward?

- I just want to forget it.

- That's very...

magnanimous of you

or something.

I'm not sure what.

- Now, will you shut up

about it?

You got it back!

Get in the car.

- Without my coat?

I- I left it upstairs.

- I'll get it for you.

- Never mind.

Tell Miss McCorkle

good night.

- Thank you for doing that,

Vinnie.

- Did I have any choice?

Since I'm gonna marry

that officer in the bank,

I don't suppose we'll ever

see each other again.

Will we?

Good-bye, Jimmy.

- Good-bye, Vinnie.

- Miss Addie?

- I knew you'd come back.

- I promised I would.

- Lock the door,

until you've fulfilled

the promise completely.

You know what I mean?

- All?

- All.

You are honest and brave.

Put the bottle back

where it was.

Collect your things.

Now, go quick,

with God.

- With Jimmy Dobyne.

- Well, isn't he?

- Yes.

The same to me.

- Turn up the road

to the levee.

- Again?

- It's so lovely up there,

with the moon

on the river.

- Fisher, the moon

is not on the river.

The moon is in the sky.

- Which is reflected

on the river.

Turn out the lights

so we can see the moon better.

Jimmy?

Did you know

that I'm the postman

and have a letter

for someone?

The letter is for you.

- Fisher, I think

you can do better than me.

- I don't agree,

since it's only you

that I want.

- But you don't belong here.

- I can't keep running away.

I've got to stay here...

and somehow make amends

for what my...

father has done

and let this river flow

where it wants to.

Jimmy, your mother...

could be removed

from that dreadful place.

And your father...

he could remain

in charge of the commissary

as long as he lives,

no matter how drunk.

And as for me, well...

no one will ever love me.

But you could

get used to me, Jimmy.

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Tennessee Williams

Thomas Lanier "Tennessee" Williams III (March 26, 1911 – February 25, 1983) was an American playwright. Along with Eugene O'Neill and Arthur Miller, he is considered among the three foremost playwrights of 20th-century American drama.After years of obscurity, at age 33 he became suddenly famous with the success of The Glass Menagerie (1944) in New York City. This play closely reflected his own unhappy family background. It was the first of a string of successes, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), and Sweet Bird of Youth (1959). With his later work, he attempted a new style that did not appeal to audiences. Increasing alcohol and drug dependence inhibited his creative expression. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame. more…

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Submitted on August 05, 2018

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