Zemsta Page #2

 
IMDB:
5.8
Year:
1957
93 min
34 Views


- Of course you, fair lady.

Everyone has been whispering

that the Widow Hanna

has a suitor.

But who is it?

Everyone compliments you

on your choice.

- Now I understand...

- He is wealthy, and well bred.

The Cupbearer has sent him.

What irony. This is exactly

what I've been waiting for!

For God's sake,

she's fallen in love!

Look how she sighs and glances

at me. Is she mad?

I'm irresistible, I know.

Like all women,

she must fall

in love with me.

It's my curse.

But this is no laughing matter.

The Cupbearer

will have my head.

No, I can't let it go on

any longer.

May I then congratulate

the Cupbearer on the good news?

So he's the one?

Why do you doubt me?

Have I ever lied to you?

- Yes, you have.

- But this time...

- I'm telling the truth.

- Why such curiosity?

What if the Cupbearer,

madly in love, charmed with your beauty,

fell down on his knees

and begged for your hand?

He would be happy

with the answer.

How can you be so calm when

the Notary has just

declared war on us?

He'll see for himself

who he's tangling with!

Go stop them!

- What's up?

- He's repairing the border wall!

He's hired 3 masons.

How dare he! I will beat them up

and knock down the wall.

Down to the ground!

- To the ground...

- I swear!

Take the servants and go!

If the masons

don't obey, use force.

You're trembling.

I'm so eager to fight.

But first

would you listen

to my new ode?

What?

It's an ode to peace.

Perhaps the Muse will calm your ire...

Stop it. Stay there.

...or I'll end up

all black and blue.

My dear mason,

I respectfully request

that you stop building this wall,

or you might get hurt.

Though I have much respect

for the artistry

of your craft, I humbly advise you

masons here present

to go to hell.

Nothing gets through

to them!

Are they deaf, or what?

Grab them by the neck

and pull them from the wall!

Quietly and nicely,

with no trouble.

Don't worry,

I'm right behind you.

Get out!

Get lost!

Wait!

What's going on?

My master doesn't want

the wall finished.

That's right. I ordered it,

and I have the right.

Stop the work!

- What right do you have?

- The wall should remain as it was.

Dear neighbor

don't be so unreasonable.

The wall must be finished.

Over my dead body!

Finish your job, my friends.

Pay no attention

- to what he says.

- Is it war you want?

My dear neighbor!

Stop acting like a bandit.

What did you say?

- Beat them up!

- I am with you,

Master mason.

Do not be afraid!

Let them interfere!

Let them strike you!

It's not the end

of the world!

I will take the case to court

and the Cupbearer will rot in jail!

Get me my gun!

I'll shoot the louse. Hurry!

That does it.

Pay them

for their efforts.

But disarm them.

That's it for today.

You, get out of my way,

or I'll beat you to a pulp!

I'm anxious to do it.

How many of you are hiding there?

Come out here!

Out the hole,

you scoundrels.

Cowards! I will tear

the whole castle down!

Why should I go back there

if you're going to

tear it down tomorrow?

Take me captive and keep me here.

- You surrender?

- I do, sir.

- You heard of my courage?

- Naturally.

- Afraid of me?

- Terribly.

- You'll do as I say?

- Yes, sir.

- Who are you?

- I'm right here.

- What are you then?

- I'm... I'm...

- What do you mean?

- I am my master's emissary.

- The Notary's?

- Indeed.

How very interesting.

Any old nobleman

as soon as he pays

his debts,

feels he must hire

an emissary.

No wonder so many

noble owners

end up servants

to their own clever emissaries.

This prisoner will make

the Cupbearer very glad.

Maybe when he sees him

and hears of my bravery,

Klara will finally be mine.

- Let's go, prisoner.

- Coming, sir.

Well, foreman darling, speak up.

Everything must be documented.

In such hard times such beating

is a gift from God.

We'll profit

from every punch.

- All know you got mugged.

- Not that bad.

- You've been beaten.

- Not really.

What? They were

obviously beating you.

- Just some elbows...

- Nothing to complain about.

- An elbowing doesn't tickle.

- Well, true.

- It wasn't a caress.

- Well, true.

- So it's a beating, then.

- Certainly.

If somebody takes a stick

to your back, you're being beaten.

And if you're being beaten,

you'll end up beaten up.

You're right.

Being beaten is beaten up.

So you were beaten,

that is obvious.

It seems so.

- Injured?

- Not at all!

- Not at all, my friend?

- Oh, no.

Not a scratch? A bruise?

- We might have one or two.

- And a scratch, obviously,

is a small wound.

Well, yes.

Small or large,

a wound is a wound.

And where do wounds come from?

From an injury.

So if somebody has a wound,

his body is injured.

A scratch is an obvious wound.

So you are wounded,

deprived of bread and work.

Oh, come on!

Deprived, my darling.

You won't get any work from me.

Injured, deprived of bread

and work,

- a wife, 4 children...

- No children.

- No wife.

- You're young. You can have them.

- True enough.

- The complaint is finished.

You will testify that Cupbearer

tried to kill me. He went mad

- and shoot at me.

- I didn't see.

- Called for a gun.

- Didn't hear.

He called for a gun,

but to shoot a louse.

Shoot a louse...

Enough!

I'll find witnesses elsewhere.

Come here...

Closer.

Put down your mark.

Michal Kafar.

Down a bit.

Yes, yes!

Maciej Mietus.

Lovely!

There's money in it for you.

Cupbearer will have a fit.

I humbly request...

- What about our money?

- Cupbearer will pay for everything.

That's not right.

- You won't lose out.

- But we worked here...

Go with God,

or I'll throw you out!

- But our pay...

- Anyone would say!

Out, or I'll smash you!

God be with you,

my good men.

I will get rid of the Cupbearer

even if I have to

pawn my clothes.

He'll try to sue me...

but my plan

to steal the Widow Hanna

for my son will hurt him more

than any court sentence.

I'm exhausted,

I can hardly walk.

What a workout!

I fought like the devil!

I'm barely alive!

Order some wine,

good wine.

My mouth is dry

and I'm all sweaty.

- Who could ever appreciate that?

- I saw what you did.

You did?

- Wasn't I amazing?

- Amazing at hiding.

A good warrior

can fight anywhere.

What nerve!

It took a lot of nerve

to fight so fiercely.

You're lying,

dear, dear sir.

You've got to hear this.

Trying to take the scaffold,

I leapt so nimbly

I landed on the other side.

Surrounded by

thousands of masons,

servants, soldiers.

I grabbed two of them by the hair,

spun them around in the air

and mowed down dozens

with each sweep

until there was

a hill of corpses around me.

When it reached the top of the wall,

I marched back to our side.

And then...

Oh, enough!

And on top of it all,

I took a prisoner.

Now, I await my reward.

Say what?

I've captured

the Notary's emissary.

What do I need him for?

Brave men like me

take prisoners.

May God be with you,

and tell your master

that if he dares

Rate this script:0.0 / 0 votes

Antoni Bohdziewicz

Antoni Bohdziewicz (September 11, 1906 – October 20, 1970) was a Polish screenplay writer and director, best known for his 1956 adaptation of Zemsta by Aleksander Fredro. Bohdziewicz was born in the city of Vilna (modern Vilnius), then part of the Russian Empire. In 1928, he graduated from the Technical Faculty of the Warsaw University of Technology and was simultaneously studying at the Faculty of Humanities of the Stefan Batory University. In 1928, he became a speaker at the newly established branch of the Polish Radio in his native city. In 1931 however he obtained a state scholarship and left for France. In Paris he joined the prestigious Ecole Technique de Photographie et de Cinématographie, where he also made his first documentaries. In 1935, he returned to Poland and worked as a journalist and cameraman for the state-owned Polska Agencja Telegraficzna Film Chronicle (PAT), the most popular newsreel in Poland. He also worked as a journalist and columnist for the "Pion" weekly. In late 1930s he made numerous documentaries for the PAT agency, as well as for the SAF film studio. In 1939, he began working on his first feature film Zazdrość i medycyna, based on a novel by Michał Choromański. However, the shooting was interrupted by the outbreak of the Invasion of Poland (1939). During World War II he was an active member of the Home Army and collaborated with the Bureau of Information and Propaganda as the head of the photo and film department. In 1943, he also started a Tres photographic studio in Warsaw, which became a clandestine outpost of the Home Army. During the Warsaw Uprising he became the head of the group of cameramen to prepare daily newsreels and was one of the people to prepare Warszawa walczy, a documentary filmed and shown entirely in besieged Warsaw. After the war he continued his career in the same role and became one of the first members of the Polish Film Chronicle (PKF) company. Working in Kraków, already in March 1945 he started a Film Atelier for the Youth, the first film school to be opened in Poland after the end of the German occupation. In December of that year he converted his atelier into a regular study, which became a direct predecessor of the Kraków Film School. In 1948 he moved to Łódź, where he became the chairman of the Department of Direction of the National Film School. In that role he became a teacher of several generations of Polish film directors. He also remained an active director himself. His first film, 2*2=4, was released already in 1945 and was among the first feature films to be shot in Poland after World War II. Between 1956 and 1962 Bohdziewicz served as an artistic director of the Droga Film Team and then the TOR Film Studio (1968–1970). Simultaneously he was also a teacher at the Brussels-based Institut National Supérieur des Arts du Spectacle. He died October 20, 1970 in Warsaw. more…

All Antoni Bohdziewicz scripts | Antoni Bohdziewicz 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

    "Zemsta" Scripts.com. STANDS4 LLC, 2024. Web. 27 Dec. 2024. <https://www.scripts.com/script/zemsta_23968>.

    We need you!

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

    Watch the movie trailer

    Zemsta

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which part of a screenplay provides a detailed description of the setting, actions, and characters?
    A Character arcs
    B Action lines
    C Dialogue
    D Scene headings