The Seventh Veil Page #5

Synopsis: One dark summer night, Francesca Cunningham, a once world famed pianist, escapes from her hospital room and tries to commit suicide by jumping off a local bridge. She is rescued and taken back to the hospital and undergoes psychological treatment by Dr. Larsen. Larsen, desperately wants to know the events and persons who drove her to this state and help her. He makes Francesca talk about her past - a past with a controlling guardian, Nicholas, no friends, kept apart from the man she loved and forced to practice the piano 5-6 hours a day.
Genre: Drama, Music
Director(s): Compton Bennett
  Won 1 Oscar. Another 1 nomination.
 
IMDB:
7.0
APPROVED
Year:
1945
94 min
137 Views


What're you going to do when you finished

it?

- Take a holiday, I suppose.

- Have I been such hard work?

It's perhaps you have.

- Where would you go?

- I don't know yet, Italy, perhaps.

A village with an old temple down on a hill

above the sea.

very quiet.

Sounds lovely.

- Will you paint?

- Not unless you come with me.

Franchesca, we mustn't keep on

pretending.

I'm in love with you and you love me.

We could be very happy.

We're both tired and miserable.

and be both losing something we really want

only because you're frightened.

Can't you forget it, come away with me?

- To Italy?

- En.

I'll be a very poor companion.

I don't believe it,

but I'll risk it.

I like to, Max, very much.

What is it, darling?

I was wondering how is

going to tell Nicholas.

- Let me tell him.

- No, I'll manage somehow.

Max, it's not important,

but, just how do you arrange things?

- How do you mean?

- Do you want to marry me?

I never thought of that.

- I see.

- Do you want me to?

I'm not sure.

- You know if you want...

- No...

I don't think it matters.

I see.

And when do you think you're getting married

I don't know, probably never.

- You said you're going to Italy.

- I am.

- You mean you'll live with him openly.

- Yes.

How can you even think of such thing.

I won't let it even in another world.

- Nicholas, I don't care whether

you listen or not.

I don't care what you say or what you do.

It's my life I propose to live it

in the way I think...

It's no good, you can't bob me anymore.

I'm grateful to something you've done for me

But I will never forgive you for some the others.

Anyway, It's over now.

I'm going with Max next week.

Please don't try to stop me.

...or make me change my mind.

Because I won't change my mind.

Nothing's going stop me.

Is that clear?

I'll say goodbye too before I go.

Franchesca, I haven't deserved this of you.

I always treated you as though you're my...

my own daughter.

All the love and sympathy I've had I gave to you.

My life hasn't been happy

I never gonna tell you but I'll

tell you now.

You're the one beautiful thing

that made in my life.

I can't live without you.

You must know that.

I can't give you up.

I won't give you up you're a great

artist!

Great artist just don't happen to be

made. I happen to make you.

I spend 10 years training you motivating you

you'll be my life's work.

It's a absurd way you away with a man

who doesn't even want to marry you.

Franchesca, listen to me!

You can't stand up against me.

You don't got strength.

You do as I say.

I demand that you give up this man.

I demand that you sent him away.

Listen, we'll go to American.

They've been asked you for Newyork for monthes.

Now we can go, we'll go.

You and I together

Frenchesca!

This happened before once, you remmember?

Came with me away then, you weren't sorry

were you?

# love that boy You don't love him.

I'll tell you why.

You belong to me.

We must always be together. You know that, don't you?

Promise me you stay with me always!

Promise!

Very well if that's the way you wanted.

You won't play for me you shan't play for anyone else again.

Max!

What happened, darling!

Get in car.

Max won't let me go back to the house

even to pack a bag.

He gave me his raincoat to keep me warm.

We drove to what seemed to be asked.

the coldest and darkest night.

I felt completely none.

All I could realized was that I was

completely free.

Free at last from Nicholas.

and everything he stood for.

Nothing could touch me again, nothing!

I woke up in the nursing home.

For a moment I couldn't think what

had happened.

I looked out at my hands.

They are bandaged and I couldn't

move them.

I knew then I shall not play again.

Thank you, nurse.

Hello, Franchesca.

Oh, that's nothing.

Hello, darling

Why didn't you kill me properly.

It was an accident, darling,

I couldn't help it.

I know you couldn't help it.

But I'd rather be dead.

- The Doctor say you'll be up one day or two.

- I don't want to get up.

- I want to die.

- Why?

Look at my hands.

They're only slightly burned.

no burns scar

nothing will be left

in a week or two. -I don't belive you.

But it is so!

Ask the doctor, ask the nurses.

I don't belive them either.

You all say it to keep me quiet.

I know I tell you I know.

She's never able to be used again. I'll never play anymore.

- Nonsense.

- Don't touch me!

I wish I were died.

I wish I were died!

Thank you, nurse.

Your coat, doctor?

I'll be back tomorrow at 5 o'clock.

Yes, doctor.

- Have another injection, doctor?

- No, it won't be necessary, Miss Cunningham and I are friends now.

So here we have Franchesca Cunningham's case

:the caning in school resulting her failure

of the music examination

and fear of her hands to be injured,

the attempt by her gardian to smash her hands

finally the car crash, the shock of finding

herself in hospital with her hands' bandaged.

All these things together

produced the fixation, barrier

in the patient's subconscious mind.

which preventing her full recovery.

It is the barrier we now have to break down.

I believe I have found a way to do it.

That's why I've put on the hypnosis.

With the help of the music,

Music will know who she loves.

I'm going to suggest to have the way to conquer this fixation.

If I can make her play the piano.

I shall wake her up why she is acturally

playing.

and she will no there is nothing

really wrong with her hands.

I've got some records here

made by Miss Cunningham a few years before.

I propose to play one of them

in a moment. You'll put this on, will you?

Now, Miss Cunningham,

I want you to listen to me carefully.

and do what exactly I tell you.

You understand, don't you?

Right!

Now

Give me your hands and get out.

I want you to come with me.

I want you to sit down here at the piano.

That's right.

Now, would you like to hear some music

today?

not to me if you want me to play you

some music.

Good!

There, there's your music

just as I promised you.

Isn't it beautiful?

Don't you want to play it yourself?

- Play.

- Yes.

- Don't you want to play?

- I can't.

Yes, yes, you can!

You can if you want to.

And you do want to, don't you?

Not to me, if you want to.

And play!

Your hands are on the keys now.

Your hands want to play.

You want to play, don't you!

Try, try!

Promise you stay with me always

promise me... very well

That's the way I wanted... very well..

If you won't play for me, you shouldn't play for others again

Take me away, take me away...

Oh, yes, will you take a seat please.

- I would like to speek to you for a moment.

- Certainly

I've just come from the nursing home.

They told me you have removed Miss Cunningham from their care.

- Is that so?

- Yes!

Mr Leyden I felt my duty to go on treating

her.

I'm sorry, doctor, after what you said

treating, you will read that she had suffered enough.

She will go on suffering until she is cured.

- All she need is rest.

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Muriel Box

Muriel Box (22 September 1905 – 18 May 1991) was an English screenwriter and director.She was born Violette Muriel Baker in Tolworth, Surrey, England in 1905. When her attempts at acting and dancing proved to be unsuccessful, she accepted work as a continuity girl for British International Pictures. In 1935, she met and married journalist Sydney Box, with whom she collaborated on nearly forty plays with mainly female roles for amateur theatre groups. Their production company, Verity Films, first released short wartime propaganda films, including The English Inn (1941), her first directing effort, after which it branched into fiction. The couple achieved their greatest joint success with The Seventh Veil (1945) for which they gained the Academy Award for Best Writing, Original Screenplay in the following year.After the war, the Rank Organisation hired her husband to head Gainsborough Pictures, where she was in charge of the scenario department, writing scripts for a number of light comedies, including two for child star Petula Clark, Easy Money and Here Come the Huggetts (both 1948). She occasionally assisted as a dialogue director, or re-shot scenes during post-production. Her extensive work on The Lost People (1949) gained her a credit as co-director, her first for a full-length feature.In 1951, her husband created London Independent Producers, allowing Box more opportunities to direct. Many of her early films were adaptations of plays, and as such felt stage-bound. They were noteworthy more for their strong performances than they were for a distinctive directorial style. She favoured scripts with topical and frequently controversial themes, including Irish politics, teenage sex, abortion, illegitimacy, and syphilis, and several of her films were banned by local authorities.She pursued her favourite subject – the female experience – in a number of films, including Street Corner (1953) about women police officers, Somerset Maugham's The Beachcomber (1954), with Donald Sinden and Glynis Johns as a resourceful missionary, again working with Donald Sinden on Eyewitness (1956) and a series of comedies about the battle of the sexes, including The Passionate Stranger (1957), The Truth About Women (1958) and her final film, Rattle of a Simple Man (1964).Box often experienced prejudice in a male-dominated industry, especially hurtful when perpetrated by another woman. Star Jean Simmons had her replaced on So Long at the Fair (1950), and Kay Kendall unsuccessfully attempted to do the same with Simon and Laura (1955). Many producers questioned her competence to direct large-scale feature films, and while the press was quick to note her position as one of very few women directors in the British film industry, their tone tended to be condescending rather than filled with praise.She left film-making to write novels and created a successful publishing house, Femina, which proved to be a rewarding outlet for her feminism. She divorced Sydney Box in 1969. The following year, she married Gerald Gardiner, who had been Lord Chancellor. She died in Hendon, London in 1991. more…

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