Browse content similar to The Sky's the Limit. Check below for episodes and series from the same categories and more!
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GUNS FIRE | 0:01:17 | 0:01:18 | |
OFFICER SPEAKS CHINESE | 0:01:32 | 0:01:34 | |
CROWD CHEERS | 0:01:37 | 0:01:39 | |
BAND PLAYS VICTORY MARCH | 0:01:39 | 0:01:41 | |
Isn't it just too thrilling? | 0:01:47 | 0:01:50 | |
What? Thrilling. | 0:01:50 | 0:01:51 | |
You certainly are. | 0:01:51 | 0:01:52 | |
Oh. | 0:01:52 | 0:01:53 | |
Well, why don't you wave at all the nice people? | 0:01:53 | 0:01:56 | |
You know, I heard you came back | 0:01:56 | 0:01:58 | |
from a battle with those silly old Jap planes | 0:01:58 | 0:02:00 | |
just practically on one wing. | 0:02:00 | 0:02:02 | |
I did? My goodness, | 0:02:02 | 0:02:03 | |
I hadn't heard that one. | 0:02:03 | 0:02:04 | |
Look at that mug, will you? | 0:02:10 | 0:02:12 | |
Say, he's doing all right. | 0:02:12 | 0:02:14 | |
Where'd he find that girl? | 0:02:14 | 0:02:15 | |
Why do I have to ride with you? | 0:02:15 | 0:02:17 | |
I was thinking the same thing. | 0:02:17 | 0:02:21 | |
I've always wanted to meet a flying tiger. | 0:02:21 | 0:02:23 | |
Oh, we've been overrated. | 0:02:23 | 0:02:25 | |
At heart, we're just like any ordinary wolf - tiger. | 0:02:25 | 0:02:28 | |
What's your objective now? | 0:02:28 | 0:02:30 | |
Oh, I thought we'd just ride around a little while. | 0:02:30 | 0:02:32 | |
Oh, silly, I mean the war. | 0:02:32 | 0:02:34 | |
Oh, the war. I'm in between, | 0:02:34 | 0:02:36 | |
transferring to naval aviation. | 0:02:36 | 0:02:37 | |
Oh. How much time you got? | 0:02:37 | 0:02:39 | |
Ten days. That time enough? | 0:02:39 | 0:02:40 | |
All depends on what y'all want to do, honey. | 0:02:40 | 0:02:43 | |
Honey, y'all chart the course. | 0:02:43 | 0:02:44 | |
What would you like to do first? | 0:02:44 | 0:02:46 | |
Let me see. | 0:02:46 | 0:02:47 | |
I mean, where would y'all like to go first? | 0:02:47 | 0:02:49 | |
Well, I'll... | 0:02:49 | 0:02:50 | |
You just surprise me. | 0:02:50 | 0:02:52 | |
You'll be surprised. | 0:02:52 | 0:02:54 | |
You, er, you haven't a roommate, have you? | 0:02:55 | 0:02:57 | |
What? Oh, no. No, indeedy. | 0:02:57 | 0:03:00 | |
Fine. | 0:03:00 | 0:03:01 | |
We can have something sent up - | 0:03:01 | 0:03:03 | |
champagne, pheasant... | 0:03:03 | 0:03:04 | |
Now, don't you worry yourself, Tiger, | 0:03:04 | 0:03:06 | |
because everything's been taken care of. | 0:03:06 | 0:03:08 | |
What? Well, I just... | 0:03:08 | 0:03:11 | |
WOMAN: I'm Miss Barr. I'm Miss May. | 0:03:11 | 0:03:12 | |
I'm surprised. | 0:03:12 | 0:03:14 | |
You're at the speaker's table, | 0:03:14 | 0:03:15 | |
where you're going to be the guest of honour. | 0:03:15 | 0:03:18 | |
TRAIN WHISTLE BLOWS | 0:03:18 | 0:03:19 | |
So I followed this Jap right down to his own field, | 0:03:25 | 0:03:27 | |
and he invites me to dinner. | 0:03:27 | 0:03:29 | |
Go on. | 0:03:29 | 0:03:30 | |
MAN: Attention, men. | 0:03:30 | 0:03:31 | |
Here's a little further dope | 0:03:31 | 0:03:33 | |
on your itinerary. | 0:03:33 | 0:03:34 | |
We arrive in Salt Lake tomorrow morning, | 0:03:34 | 0:03:36 | |
visit the Mormon Tabernacle. | 0:03:36 | 0:03:39 | |
The parade will shove off at 12 noon. | 0:03:39 | 0:03:41 | |
Chamber Of Commerce tour, 2.00 until 5.00. | 0:03:41 | 0:03:44 | |
When do we eat? | 0:03:44 | 0:03:45 | |
FRED WHISTLES | 0:03:45 | 0:03:47 | |
Banquet at 8.30. | 0:03:47 | 0:03:48 | |
Looks like you'll have a pretty full day. | 0:03:48 | 0:03:50 | |
FRED: Ouch. | 0:03:50 | 0:03:51 | |
Yeah, it sure does. | 0:03:51 | 0:03:52 | |
Say, how long does this go on? | 0:03:52 | 0:03:54 | |
Coast to coast. | 0:03:54 | 0:03:56 | |
Lets me out. | 0:03:56 | 0:03:57 | |
Hmm, we've stopped. | 0:04:02 | 0:04:04 | |
I'll see you in Tokyo. | 0:04:09 | 0:04:11 | |
What do you guys got? | 0:04:11 | 0:04:12 | |
Three kings. | 0:04:12 | 0:04:13 | |
Oh, take it away. | 0:04:13 | 0:04:14 | |
ALL TALKING AT ONCE | 0:04:14 | 0:04:16 | |
Ha ha ha! | 0:04:18 | 0:04:19 | |
That's the way we used to play in China. | 0:04:19 | 0:04:21 | |
Yep. | 0:04:21 | 0:04:22 | |
Men, I'll be back in a minute. | 0:04:22 | 0:04:24 | |
What's the matter with you? | 0:04:34 | 0:04:36 | |
Get back on this train. | 0:04:36 | 0:04:37 | |
Oh, I've had enough. | 0:04:37 | 0:04:39 | |
We've only got ten days to have some fun, | 0:04:39 | 0:04:41 | |
and that big personal appearance tour | 0:04:41 | 0:04:43 | |
they've got mapped out in there | 0:04:43 | 0:04:44 | |
doesn't sound like fun to me. | 0:04:44 | 0:04:45 | |
You can have it, brother. | 0:04:45 | 0:04:47 | |
Hey, we're moving. | 0:04:47 | 0:04:48 | |
You want to get left behind? | 0:04:48 | 0:04:49 | |
Sure. | 0:04:49 | 0:04:50 | |
Why don't you be a man and get off? | 0:04:50 | 0:04:52 | |
This is great! | 0:04:52 | 0:04:53 | |
Are you crazy? | 0:04:53 | 0:04:55 | |
Yeah! I'm nuts! | 0:04:55 | 0:04:56 | |
Hey! | 0:04:56 | 0:04:58 | |
Ah! | 0:04:58 | 0:05:00 | |
Yeah, any fool can see it. | 0:05:29 | 0:05:32 | |
There's only one way to win this war | 0:05:32 | 0:05:34 | |
or any other war, | 0:05:34 | 0:05:36 | |
and that's with men and bullets and bayonets. | 0:05:36 | 0:05:39 | |
We got to give them a taste of cold American steel. | 0:05:39 | 0:05:42 | |
That's what we're gonna do, | 0:05:42 | 0:05:43 | |
whether those politicians in Washington | 0:05:43 | 0:05:45 | |
like it or not. | 0:05:45 | 0:05:47 | |
We got to fight. | 0:05:47 | 0:05:48 | |
By the way, how do you stand in the draft? | 0:05:48 | 0:05:50 | |
Me? 4F. | 0:05:50 | 0:05:52 | |
SWING MUSIC PLAYS | 0:05:58 | 0:06:01 | |
Good evening. | 0:06:01 | 0:06:02 | |
Hello. | 0:06:02 | 0:06:03 | |
Say, what kind of place is this? | 0:06:08 | 0:06:10 | |
A nightclub. Oh. | 0:06:10 | 0:06:11 | |
Take all the Broadway columns | 0:06:11 | 0:06:13 | |
and shake out the names, | 0:06:13 | 0:06:14 | |
and what do you get? | 0:06:14 | 0:06:15 | |
The Colonial Club. See? | 0:06:15 | 0:06:18 | |
Got a light? | 0:06:18 | 0:06:20 | |
Yes, sir. | 0:06:20 | 0:06:21 | |
Thanks. | 0:06:25 | 0:06:26 | |
Ha ha! Kind of got yourself all dressed up, | 0:06:26 | 0:06:28 | |
ain't you? | 0:06:28 | 0:06:29 | |
You ain't doing so bad yourself. | 0:06:32 | 0:06:33 | |
Ha ha ha! | 0:06:33 | 0:06:35 | |
Now you're hip. | 0:06:42 | 0:06:44 | |
Yes, sir? Hi. | 0:07:24 | 0:07:25 | |
Can you look down the line and stop | 0:07:27 | 0:07:29 | |
when you come to the most beautiful girl? | 0:07:29 | 0:07:31 | |
I'm stopped. | 0:07:33 | 0:07:35 | |
You know her name? | 0:07:35 | 0:07:36 | |
Sure. Joan Manion, photographer. | 0:07:36 | 0:07:38 | |
Gonna take pictures here tonight. | 0:07:38 | 0:07:40 | |
Who's the character with her? | 0:07:40 | 0:07:43 | |
That's the guy she works for - | 0:07:43 | 0:07:45 | |
Phil Harriman, publisher of Eyeful. | 0:07:45 | 0:07:46 | |
Eiffel? | 0:07:46 | 0:07:48 | |
Eyeful. You know, the high-class peep magazine. | 0:07:48 | 0:07:51 | |
Oh, yeah, yeah. | 0:07:51 | 0:07:52 | |
Beside her, what would you like? | 0:07:52 | 0:07:53 | |
Oh, just a little, er... | 0:07:53 | 0:07:55 | |
and plain water... | 0:07:55 | 0:07:56 | |
beside her. | 0:07:56 | 0:07:57 | |
MAN: That must be obvious, my dear. | 0:08:02 | 0:08:04 | |
Phil, the world is burning down, | 0:08:04 | 0:08:05 | |
but I have to stay home and take pictures | 0:08:05 | 0:08:07 | |
of celebrities in a nightclub. | 0:08:07 | 0:08:09 | |
Why don't I get to go to London or China? | 0:08:09 | 0:08:11 | |
Why not? | 0:08:11 | 0:08:12 | |
Sure, why not? | 0:08:12 | 0:08:13 | |
I have brains. | 0:08:13 | 0:08:14 | |
I have, er... | 0:08:14 | 0:08:16 | |
er, talent. | 0:08:16 | 0:08:17 | |
And beauty. Don't overlook that. | 0:08:17 | 0:08:19 | |
Oh, you can't sidetrack the issue with that palaver. | 0:08:19 | 0:08:21 | |
Why didn't I get sent over there? | 0:08:21 | 0:08:23 | |
Because I like you here. | 0:08:23 | 0:08:24 | |
Besides, you're a girl. | 0:08:24 | 0:08:26 | |
Margaret Bourke-White went to Russia. | 0:08:26 | 0:08:27 | |
Well, I don't happen to be in love with Margaret Bourke-White. | 0:08:27 | 0:08:31 | |
For a minute, I thought you were going to be on the level. | 0:08:31 | 0:08:34 | |
I must be slipping. | 0:08:34 | 0:08:35 | |
Slippery times. | 0:08:35 | 0:08:36 | |
You said it. | 0:08:36 | 0:08:38 | |
OK. I'll work for you tonight. | 0:08:41 | 0:08:43 | |
I'll photograph this menagerie. | 0:08:43 | 0:08:45 | |
Cute girl. | 0:08:52 | 0:08:53 | |
I like her. | 0:08:53 | 0:08:54 | |
She likes me, too. | 0:08:54 | 0:08:56 | |
As a matter of fact, most women seem to like me. | 0:08:56 | 0:08:58 | |
How do you account for that? | 0:08:58 | 0:09:00 | |
I sometimes think it's because I don't understand women. | 0:09:00 | 0:09:03 | |
Do I know you? | 0:09:04 | 0:09:05 | |
No. | 0:09:05 | 0:09:06 | |
But don't apologise. | 0:09:06 | 0:09:08 | |
Hi, Freddie. I want to catch you in action. | 0:09:16 | 0:09:18 | |
Thanks. Thank you. | 0:09:21 | 0:09:23 | |
Hello, Pamela. | 0:09:29 | 0:09:30 | |
I'd like to get a couple of candid shots. | 0:09:30 | 0:09:32 | |
Yes, certainly. You know Mr Reed? Miss Manion. | 0:09:32 | 0:09:35 | |
How do you do? How do you do? | 0:09:35 | 0:09:36 | |
Let's see. | 0:09:36 | 0:09:38 | |
That looks pretty good. | 0:09:38 | 0:09:39 | |
REED: I beg your pardon. | 0:09:39 | 0:09:40 | |
This young lady is trying to... | 0:09:40 | 0:09:42 | |
Would you please? I'm sure you don't mind. | 0:09:42 | 0:09:44 | |
I mind very well. | 0:09:44 | 0:09:45 | |
Now look what you've done. | 0:09:51 | 0:09:52 | |
I'm sorry. We'll take another. | 0:09:52 | 0:09:55 | |
That's all right, Joan. | 0:09:55 | 0:09:56 | |
Oh, Sir Charles, I think it might be better | 0:09:57 | 0:09:59 | |
without the champagne. | 0:09:59 | 0:10:00 | |
Oh, quite so. Wartime. | 0:10:00 | 0:10:03 | |
Mm-hmm. | 0:10:03 | 0:10:05 | |
Now...great big smile. | 0:10:05 | 0:10:06 | |
How's that? | 0:10:06 | 0:10:08 | |
All right. Hold it, Sir Charles. | 0:10:08 | 0:10:11 | |
Gee, that was a pip. | 0:10:13 | 0:10:16 | |
Pip? | 0:10:16 | 0:10:17 | |
I'm sorry, Sir Charles. I'll have to get it again. | 0:10:20 | 0:10:22 | |
Do you mind? | 0:10:22 | 0:10:23 | |
Oh, quite so. | 0:10:23 | 0:10:25 | |
JOAN: Mac, I'd like to have a nice candid shot of you. | 0:10:25 | 0:10:27 | |
OK? Let's see. | 0:10:27 | 0:10:30 | |
Uh-huh. Nice, big smile now. | 0:10:30 | 0:10:32 | |
JOAN: Hello. | 0:10:33 | 0:10:35 | |
Got it. Thanks, Mac. | 0:10:35 | 0:10:37 | |
I'll send you a print for the family. | 0:10:37 | 0:10:39 | |
Thank you. | 0:10:39 | 0:10:40 | |
That's one for you and one for me. | 0:10:40 | 0:10:42 | |
Shall we play off the tie? | 0:10:42 | 0:10:43 | |
You know, purely in a sociological way, | 0:10:43 | 0:10:46 | |
you interest me... | 0:10:46 | 0:10:47 | |
a little. | 0:10:47 | 0:10:49 | |
It's a beginning, isn't it? | 0:10:49 | 0:10:50 | |
Don't get me wrong. | 0:10:50 | 0:10:51 | |
What interests me is this passion you seem to have | 0:10:51 | 0:10:53 | |
for getting your picture taken. | 0:10:53 | 0:10:55 | |
Let's talk it over. | 0:10:55 | 0:10:56 | |
I'll have the same, please. | 0:10:56 | 0:10:57 | |
You know, I'm supposed to be taking pictures | 0:10:57 | 0:10:59 | |
of celebrities. | 0:10:59 | 0:11:00 | |
Couldn't I be the fella | 0:11:00 | 0:11:01 | |
who never gets his name mentioned, | 0:11:01 | 0:11:03 | |
the one they call "a friend," | 0:11:03 | 0:11:04 | |
you know, "Ginger Rogers and friend"? | 0:11:04 | 0:11:06 | |
Uh, it's possible but extremely improbable. | 0:11:06 | 0:11:10 | |
Why have you insisted on annoying me | 0:11:10 | 0:11:11 | |
and ruining my pictures? | 0:11:11 | 0:11:13 | |
I used to know a fella once | 0:11:13 | 0:11:14 | |
who liked to fly a plane upside down. | 0:11:14 | 0:11:16 | |
HE WHISTLES | 0:11:16 | 0:11:17 | |
Me? I like to have my picture taken. | 0:11:19 | 0:11:21 | |
Well, look at you. | 0:11:21 | 0:11:22 | |
You want to go over and photograph | 0:11:22 | 0:11:24 | |
a lot of burning buildings | 0:11:24 | 0:11:25 | |
and bomb pits and all that kind of thing. | 0:11:25 | 0:11:27 | |
You're crazy, too. | 0:11:27 | 0:11:28 | |
It's democracy. | 0:11:28 | 0:11:29 | |
It's wonderful. | 0:11:29 | 0:11:31 | |
Thanks. That's all I wanted to know. | 0:11:31 | 0:11:34 | |
That's that. | 0:11:38 | 0:11:39 | |
I hereby inform you | 0:11:39 | 0:11:40 | |
that I photographed my last highball. | 0:11:40 | 0:11:42 | |
Have one? | 0:11:42 | 0:11:43 | |
I should have stuck to a stage career. | 0:11:43 | 0:11:45 | |
Couldn't be any tougher than getting a break. | 0:11:45 | 0:11:47 | |
Want me to get you a job in this club? | 0:11:47 | 0:11:49 | |
You think I couldn't? | 0:11:49 | 0:11:50 | |
And I don't need any help from you either. | 0:11:50 | 0:11:52 | |
MUSIC STOPS APPLAUSE | 0:11:52 | 0:11:54 | |
She certainly doesn't. | 0:11:54 | 0:11:56 | |
Oh. | 0:11:56 | 0:11:57 | |
Freddie, do me a favour. Sure, Joan. | 0:11:57 | 0:11:59 | |
- I want to do Shining Hour. - Certainly. | 0:11:59 | 0:12:00 | |
Is she kidding? | 0:12:00 | 0:12:02 | |
Just listen. | 0:12:02 | 0:12:03 | |
# This will be my shining hour | 0:12:10 | 0:12:17 | |
# Calm and happy and bright | 0:12:17 | 0:12:20 | |
# ooh do do do ooh | 0:12:20 | 0:12:22 | |
# In my dreams your face will flower | 0:12:22 | 0:12:28 | |
# Through the darkness of the night | 0:12:28 | 0:12:32 | |
# Ooh do do do do do do do do | 0:12:32 | 0:12:35 | |
# Like the lights of home before me | 0:12:35 | 0:12:41 | |
# Or an angel watching o'er me | 0:12:41 | 0:12:48 | |
# This will be my shining hour | 0:12:48 | 0:12:55 | |
# Till I'm with you again | 0:12:55 | 0:13:03 | |
# This will be my shining hour | 0:13:40 | 0:13:47 | |
# Till I'm with you again | 0:13:47 | 0:13:55 | |
# Like the lights of home before me | 0:13:55 | 0:13:59 | |
# Like an angel watching o'er me | 0:13:59 | 0:14:03 | |
# This will be my shining hour | 0:14:03 | 0:14:09 | |
# With you. # | 0:14:09 | 0:14:14 | |
BAND STOPS | 0:14:14 | 0:14:18 | |
APPLAUSE | 0:14:18 | 0:14:20 | |
Kidding, huh? | 0:14:20 | 0:14:22 | |
Here's your camera. I quit. | 0:14:29 | 0:14:30 | |
PHIL: Oh, now, Joan, Joan. | 0:14:30 | 0:14:32 | |
You take me too seriously | 0:14:32 | 0:14:33 | |
at the wrong time. | 0:14:33 | 0:14:34 | |
Now, here's your resignation. | 0:14:34 | 0:14:35 | |
No. | 0:14:35 | 0:14:36 | |
Look, I'm your boss, and you'll do as I say. | 0:14:36 | 0:14:38 | |
Not anymore. I'm finished. | 0:14:38 | 0:14:39 | |
Well, what do you want to do? | 0:14:39 | 0:14:41 | |
I want to get into this war. | 0:14:41 | 0:14:43 | |
I want to show the little guy at his war job. | 0:14:43 | 0:14:45 | |
That might show hundreds of other little guys how they can help. | 0:14:45 | 0:14:47 | |
Women and kids, too. | 0:14:47 | 0:14:48 | |
Fine. Go ahead and do it. | 0:14:48 | 0:14:50 | |
Then you mean I'm still working for you? | 0:14:50 | 0:14:51 | |
Sure. That's right, isn't it? | 0:14:51 | 0:14:53 | |
If you say so. | 0:14:53 | 0:14:54 | |
You keep out of this. | 0:14:54 | 0:14:55 | |
Thanks, Phil, and don't worry. | 0:14:55 | 0:14:56 | |
I'll prove you wrong. | 0:14:56 | 0:14:57 | |
Everybody does. | 0:14:57 | 0:14:58 | |
Well, if I'm going to Russia, | 0:14:58 | 0:15:00 | |
I better hurry home and start learning Russian. | 0:15:00 | 0:15:02 | |
I'll take you. | 0:15:02 | 0:15:03 | |
No thanks. I'll be all right. Good night. | 0:15:03 | 0:15:05 | |
She'll never learn Russian. | 0:15:08 | 0:15:10 | |
There you are, Miss Manion, just like you like it. | 0:15:12 | 0:15:14 | |
Good. Like some coffee? | 0:15:14 | 0:15:15 | |
No thanks, Mr Keifer. | 0:15:15 | 0:15:17 | |
HE WHISTLES | 0:15:20 | 0:15:22 | |
I used to make a living off those things. | 0:15:35 | 0:15:37 | |
You again? | 0:15:37 | 0:15:38 | |
PINBALL MACHINE RINGS | 0:15:38 | 0:15:41 | |
Pretty good living, too. | 0:15:41 | 0:15:43 | |
Who are you trying to impress | 0:15:43 | 0:15:44 | |
with that dude ranch outfit? | 0:15:44 | 0:15:47 | |
Now you've hurt my feelings. | 0:15:47 | 0:15:49 | |
KEIFER: Care for something, sir. | 0:15:49 | 0:15:51 | |
Just this young lady's cheque, if I may? | 0:15:51 | 0:15:53 | |
Two bits. | 0:15:53 | 0:15:55 | |
Here you are. | 0:15:55 | 0:15:56 | |
Thank you. | 0:15:56 | 0:15:57 | |
Don't try to tell me you just happened to walk in here. | 0:15:59 | 0:16:01 | |
I wouldn't try to tell you anything. | 0:16:01 | 0:16:03 | |
In other words, you're deliberately following me, huh? | 0:16:03 | 0:16:05 | |
Deliberately. | 0:16:05 | 0:16:07 | |
Well, what were you doing at the Colonial Club? | 0:16:07 | 0:16:09 | |
Following you deliberately. | 0:16:09 | 0:16:11 | |
How long has this been going on? | 0:16:11 | 0:16:13 | |
Since the first time I saw you. | 0:16:13 | 0:16:15 | |
May I ask why? | 0:16:15 | 0:16:16 | |
You're entitled to the question. | 0:16:16 | 0:16:19 | |
Well, why? | 0:16:19 | 0:16:20 | |
Why? | 0:16:20 | 0:16:21 | |
That's what I'm asking. | 0:16:21 | 0:16:22 | |
Well, I don't know. | 0:16:22 | 0:16:23 | |
Why does a kid go around kicking a tin can? | 0:16:23 | 0:16:26 | |
Why do owls stay up so late? | 0:16:26 | 0:16:28 | |
How should I know? It's just one of those things. | 0:16:28 | 0:16:30 | |
Well, thanks for the hamburger. | 0:16:30 | 0:16:33 | |
Hello. | 0:16:42 | 0:16:43 | |
Look here, whatever your name is. | 0:16:43 | 0:16:45 | |
Fred, er, Fred Burton. | 0:16:45 | 0:16:47 | |
This has gone far enough, Mr Burton. | 0:16:47 | 0:16:48 | |
Oh, now, you can do better than that. | 0:16:48 | 0:16:50 | |
Can't a girl walk along the... | 0:16:50 | 0:16:52 | |
Do I have to...? Call a cop? | 0:16:52 | 0:16:54 | |
A sophisticated girl like you? | 0:16:54 | 0:16:55 | |
I just happen to be going this way. | 0:16:55 | 0:16:57 | |
You're not a snob. Can't I walk with you? | 0:16:57 | 0:16:59 | |
Thanks. | 0:17:01 | 0:17:04 | |
The world feels pretty good around here. | 0:17:09 | 0:17:12 | |
Half the world is dying, | 0:17:12 | 0:17:13 | |
and you feel pretty good. | 0:17:13 | 0:17:14 | |
Don't you read the papers? | 0:17:14 | 0:17:15 | |
Nope. | 0:17:15 | 0:17:17 | |
Maybe you ought to try it. | 0:17:17 | 0:17:18 | |
Did you know about the war? | 0:17:18 | 0:17:19 | |
A piece of it. | 0:17:19 | 0:17:20 | |
Just not very interested, huh? | 0:17:20 | 0:17:22 | |
Not tonight. | 0:17:22 | 0:17:23 | |
Not that I care, but what do you do for a living? | 0:17:23 | 0:17:26 | |
Nothing at the moment. | 0:17:26 | 0:17:27 | |
Well, what did you do? | 0:17:27 | 0:17:28 | |
Oh, various things. | 0:17:28 | 0:17:30 | |
Legitimate? | 0:17:30 | 0:17:31 | |
Now, wait a minute. Relax, will you? | 0:17:31 | 0:17:33 | |
You're not as tough as all that. | 0:17:33 | 0:17:34 | |
You're just a little unhappy | 0:17:34 | 0:17:36 | |
because you're not doing what you want to do. | 0:17:36 | 0:17:38 | |
Why don't you just go ahead and do it? | 0:17:38 | 0:17:41 | |
Don't tempt me. | 0:17:41 | 0:17:42 | |
After all, you're the only one in the way | 0:17:42 | 0:17:44 | |
of what you want to do. I thought that was something. | 0:17:44 | 0:17:46 | |
Look. It's a penny. | 0:17:46 | 0:17:47 | |
Put it in your shoe. It will bring you luck. | 0:17:47 | 0:17:49 | |
Maybe you need it. | 0:17:49 | 0:17:50 | |
Oh, no. I couldn't be luckier than I am tonight. | 0:17:50 | 0:17:53 | |
HE WHISTLES "MY SHINING HOUR" | 0:17:55 | 0:17:59 | |
Say, that's not a bad song you sang tonight, | 0:17:59 | 0:18:01 | |
but it's like you. | 0:18:01 | 0:18:02 | |
It takes itself a little too seriously. | 0:18:02 | 0:18:04 | |
Oh, I suppose you could do better. | 0:18:04 | 0:18:05 | |
Well, maybe. | 0:18:05 | 0:18:07 | |
That I'd like to hear. | 0:18:07 | 0:18:09 | |
I used to write songs. | 0:18:09 | 0:18:10 | |
If I had written that one, | 0:18:10 | 0:18:11 | |
I'd have made it a little lighter, | 0:18:11 | 0:18:12 | |
something like... | 0:18:12 | 0:18:15 | |
# This will be my shining hour | 0:18:15 | 0:18:21 | |
# Lonely though it may be... # | 0:18:21 | 0:18:24 | |
And then, er... | 0:18:24 | 0:18:26 | |
# Like the face of Mischa Auer | 0:18:26 | 0:18:32 | |
# On the music hall marquee... # | 0:18:32 | 0:18:35 | |
Oh. | 0:18:35 | 0:18:37 | |
# Were they stingers or Bacardis? | 0:18:37 | 0:18:43 | |
# Was it Tony's? Was it Sardi's? # | 0:18:43 | 0:18:48 | |
That's the idea. | 0:18:48 | 0:18:49 | |
# This will be | 0:18:49 | 0:18:51 | |
# My shining hour | 0:18:51 | 0:18:55 | |
# Till I'm with you again. # | 0:18:55 | 0:19:00 | |
See what I mean? | 0:19:00 | 0:19:01 | |
Good night. | 0:19:01 | 0:19:03 | |
HE RINGS DOORBELL | 0:20:18 | 0:20:20 | |
Good evening. Well. | 0:20:21 | 0:20:22 | |
You have a room for rent? | 0:20:22 | 0:20:23 | |
This is a fine time of night | 0:20:23 | 0:20:25 | |
for you to be looking for a room, young man. | 0:20:25 | 0:20:27 | |
Well, I don't need a room until I go to bed, | 0:20:27 | 0:20:28 | |
and I don't go to bed | 0:20:28 | 0:20:29 | |
until a fine time of night. | 0:20:29 | 0:20:31 | |
Try planning your life a day ahead sometime. | 0:20:31 | 0:20:33 | |
No point in it. I may not be here. | 0:20:33 | 0:20:35 | |
You may not be here. Who knows? | 0:20:35 | 0:20:37 | |
Well, I'm sure I don't. | 0:20:37 | 0:20:40 | |
Well, while we're still here, come in. | 0:20:40 | 0:20:44 | |
Oh, this is the room right here. | 0:20:52 | 0:20:57 | |
I think you'll find this very comfortable. | 0:21:00 | 0:21:03 | |
It is a little stuffy in here. | 0:21:08 | 0:21:11 | |
Very nice. | 0:21:11 | 0:21:12 | |
17.50 a week in advance. | 0:21:12 | 0:21:16 | |
That's in case you ain't here tomorrow. | 0:21:16 | 0:21:18 | |
I'll buy it. | 0:21:18 | 0:21:19 | |
What might your business be? | 0:21:19 | 0:21:21 | |
It might be anything. | 0:21:21 | 0:21:24 | |
Any baggage? | 0:21:24 | 0:21:26 | |
No, ma'am. | 0:21:26 | 0:21:27 | |
Oh. | 0:21:27 | 0:21:28 | |
Uh, 17.50? | 0:21:28 | 0:21:30 | |
You can bring me the change tomorrow. | 0:21:30 | 0:21:31 | |
Thank you. Thank you. | 0:21:31 | 0:21:33 | |
Good night, Miss, uh... | 0:21:33 | 0:21:34 | |
Fisher, Mrs Fisher. | 0:21:34 | 0:21:36 | |
Oh, I'd like to meet your husband, | 0:21:36 | 0:21:38 | |
the lucky fellow. | 0:21:38 | 0:21:39 | |
Yes. So would I. | 0:21:39 | 0:21:40 | |
He hasn't been with me for 15 years. | 0:21:40 | 0:21:44 | |
Lucky fellow. | 0:21:44 | 0:21:47 | |
Did you say something? | 0:21:47 | 0:21:48 | |
Who, me? No, ma'am. | 0:21:48 | 0:21:50 | |
Good night. | 0:21:50 | 0:21:51 | |
Good night. | 0:21:51 | 0:21:52 | |
HE WHISTLES | 0:21:52 | 0:21:53 | |
HE WHISTLES "MY SHINING HOUR" | 0:21:55 | 0:21:57 | |
POTS BANG | 0:22:25 | 0:22:27 | |
SIZZLING | 0:22:47 | 0:22:49 | |
Good morning. | 0:22:52 | 0:22:53 | |
Oh, come here, Waldo. | 0:22:53 | 0:22:55 | |
What do you think you're doing? | 0:22:55 | 0:22:57 | |
Cooking you breakfast. | 0:22:57 | 0:22:58 | |
I used to be a chef. | 0:22:58 | 0:22:59 | |
How did you get in here? | 0:22:59 | 0:23:00 | |
The roof. Like to look your egg in the eye? | 0:23:00 | 0:23:02 | |
Isn't that a beaut? | 0:23:02 | 0:23:03 | |
Once over lightly - never mind that. | 0:23:03 | 0:23:04 | |
You don't think you're gonna get away with this, do you? | 0:23:04 | 0:23:06 | |
I certainly don't. | 0:23:06 | 0:23:08 | |
Well, you can't come into my kitchen like that | 0:23:08 | 0:23:09 | |
over the roof through my window. | 0:23:09 | 0:23:10 | |
Now, just look at you. | 0:23:10 | 0:23:11 | |
Here it is a beautiful morning, | 0:23:11 | 0:23:13 | |
a beautiful life, a beautiful breakfast, | 0:23:13 | 0:23:15 | |
and there you stand. | 0:23:15 | 0:23:16 | |
Now, just look at you. | 0:23:16 | 0:23:17 | |
What's the matter with me? | 0:23:17 | 0:23:18 | |
Well, for one thing, your hair. | 0:23:18 | 0:23:19 | |
I can't tell which one of you is Waldo. | 0:23:19 | 0:23:23 | |
That got her, Waldo. | 0:23:26 | 0:23:27 | |
Achilles had a heel, and women have their hair. | 0:23:27 | 0:23:30 | |
Why, Miss Joan, you're looking | 0:23:37 | 0:23:39 | |
perfectly lovely this morning. | 0:23:39 | 0:23:40 | |
Good morning. | 0:23:40 | 0:23:41 | |
I suppose you know I could have you arrested | 0:23:41 | 0:23:42 | |
for illegal entry into this building. | 0:23:42 | 0:23:44 | |
Oh, no. I live here. | 0:23:44 | 0:23:46 | |
You what? | 0:23:46 | 0:23:47 | |
I'm just across the hall. | 0:23:47 | 0:23:50 | |
Uh, later, Waldo. | 0:23:50 | 0:23:53 | |
That's a good boy. | 0:23:53 | 0:23:54 | |
Coffee? | 0:23:54 | 0:23:55 | |
Thanks. | 0:23:55 | 0:23:58 | |
Waldo, you're a traitor. HE WHINES | 0:23:58 | 0:24:00 | |
What you going to do today? | 0:24:00 | 0:24:01 | |
Work, naturally. | 0:24:01 | 0:24:03 | |
On a day like this? | 0:24:03 | 0:24:04 | |
I had it all planned for us to do the town. | 0:24:04 | 0:24:06 | |
You're too thoughtful of others. | 0:24:06 | 0:24:08 | |
You see, you ought to let me mind my business, | 0:24:08 | 0:24:10 | |
and I'd be only too glad to let you mind yours. | 0:24:10 | 0:24:12 | |
I told you. I haven't any. | 0:24:12 | 0:24:13 | |
Oh, I suggest you find one. | 0:24:13 | 0:24:15 | |
Why? | 0:24:15 | 0:24:16 | |
Why? | 0:24:16 | 0:24:17 | |
Because it's an economic necessity, | 0:24:17 | 0:24:21 | |
the law of-the law of survival. | 0:24:21 | 0:24:22 | |
Haven't you heard? | 0:24:22 | 0:24:23 | |
It's, er... | 0:24:23 | 0:24:24 | |
Oh, I don't know what I'm talking about. | 0:24:24 | 0:24:27 | |
I don't care. | 0:24:27 | 0:24:29 | |
Say, didn't you ever want to accomplish anything? | 0:24:29 | 0:24:31 | |
Isn't there anything you've ever wanted enough | 0:24:31 | 0:24:33 | |
to get out and work and fight for? | 0:24:33 | 0:24:35 | |
Eat your egg. | 0:24:35 | 0:24:37 | |
Well, you have to fight to get anything. | 0:24:37 | 0:24:39 | |
Don't you believe that? | 0:24:39 | 0:24:40 | |
No. | 0:24:40 | 0:24:42 | |
Well, what do you believe? | 0:24:42 | 0:24:44 | |
Sometimes you have to fight to keep something. | 0:24:44 | 0:24:45 | |
I believe that. | 0:24:45 | 0:24:46 | |
Well, don't you have to get something | 0:24:46 | 0:24:48 | |
in order to keep it? | 0:24:48 | 0:24:50 | |
No more than you can be born with. | 0:24:50 | 0:24:52 | |
What were you born with? | 0:24:52 | 0:24:54 | |
Nothing much. Freedom maybe. | 0:24:54 | 0:24:56 | |
- Freedom? - Yes, like you. | 0:24:56 | 0:24:58 | |
Freedom for anything, | 0:24:58 | 0:24:59 | |
to be anything you want to be, | 0:24:59 | 0:25:00 | |
somebody or nobody if you want to. | 0:25:00 | 0:25:02 | |
Me, right now I want to be nobody. | 0:25:02 | 0:25:05 | |
I guess I don't tell it very well. | 0:25:05 | 0:25:07 | |
You're not doing bad. | 0:25:07 | 0:25:09 | |
Where are you gonna start this new job of yours? | 0:25:09 | 0:25:13 | |
Down on the docks, east river. | 0:25:13 | 0:25:14 | |
Good. | 0:25:14 | 0:25:16 | |
Why? | 0:25:16 | 0:25:17 | |
Well, it's just good, that's all. | 0:25:17 | 0:25:18 | |
Are you going to look for work? | 0:25:18 | 0:25:20 | |
For you, yes. | 0:25:20 | 0:25:21 | |
For me? | 0:25:21 | 0:25:23 | |
Well, for us. | 0:25:23 | 0:25:24 | |
Oh, I give up. | 0:25:26 | 0:25:28 | |
I've got to hurry. | 0:25:28 | 0:25:29 | |
OFFICIAL CLEARS HIS THROAT | 0:25:43 | 0:25:45 | |
I'd like to make a couple of shots up here. | 0:25:45 | 0:25:47 | |
Sure, ma'am. | 0:25:47 | 0:25:49 | |
Thank you. | 0:25:49 | 0:25:50 | |
You-working? | 0:25:58 | 0:25:59 | |
No less. | 0:25:59 | 0:26:01 | |
I take it all back. | 0:26:01 | 0:26:03 | |
Then you'll have dinner with me? | 0:26:03 | 0:26:04 | |
Well, that's something else. | 0:26:04 | 0:26:06 | |
If you don't, I quit. | 0:26:06 | 0:26:07 | |
I can't work without inspiration. | 0:26:07 | 0:26:08 | |
All right. call for me at 7.00. | 0:26:08 | 0:26:11 | |
MAN: Hey, buddy. | 0:26:11 | 0:26:13 | |
You looking for a job? | 0:26:13 | 0:26:14 | |
FRED: Why, er, sure. | 0:26:14 | 0:26:16 | |
You got a card? A card? | 0:26:16 | 0:26:18 | |
JOAN: Hey, wait a minute. | 0:26:18 | 0:26:19 | |
Is that man working for you? | 0:26:19 | 0:26:20 | |
Not for my money, he ain't. | 0:26:20 | 0:26:21 | |
You saw me working. | 0:26:21 | 0:26:22 | |
You faker, you. | 0:26:22 | 0:26:24 | |
Well, what's the difference? I'm working. | 0:26:24 | 0:26:25 | |
Do I have to get paid for it? | 0:26:25 | 0:26:26 | |
Yes, you do. | 0:26:26 | 0:26:28 | |
That your wife? | 0:26:28 | 0:26:30 | |
Yeah. I'm out of work. | 0:26:30 | 0:26:31 | |
She follows me around. | 0:26:31 | 0:26:32 | |
She's driving me crazy. | 0:26:32 | 0:26:33 | |
I tried to make her think I'm working | 0:26:33 | 0:26:34 | |
so she'll leave me alone. | 0:26:34 | 0:26:35 | |
Lady, you hadn't ought to be that way. | 0:26:35 | 0:26:37 | |
I'm not any way. You keep out of this. | 0:26:37 | 0:26:39 | |
Just too bad it isn't my wife. | 0:26:39 | 0:26:41 | |
She got that way, she'd get a good bust in the nose. | 0:26:41 | 0:26:44 | |
I can't. She's - well, she's... | 0:26:44 | 0:26:46 | |
What's he saying about me? | 0:26:46 | 0:26:48 | |
(You see, I've got to be | 0:26:48 | 0:26:50 | |
(Particularly gentle and considerate with her | 0:26:50 | 0:26:52 | |
(when she's, uh...) | 0:26:52 | 0:26:53 | |
Yeah. And sometimes it makes them | 0:26:53 | 0:26:54 | |
kind of temporarily screwball. | 0:26:54 | 0:26:56 | |
Oh, I'm screwball, huh? | 0:26:56 | 0:26:59 | |
Take it easy, lady. Take it easy. | 0:26:59 | 0:27:00 | |
Listen, I can get him a card | 0:27:00 | 0:27:01 | |
and put him to work right away. | 0:27:01 | 0:27:02 | |
Now, you take the advice | 0:27:02 | 0:27:03 | |
of a daddy of eight kids. | 0:27:03 | 0:27:05 | |
< Don't let it get you down. | 0:27:05 | 0:27:07 | |
Oh! | 0:27:07 | 0:27:08 | |
Don't pay no attention, son. | 0:27:10 | 0:27:11 | |
Sometimes when they're like that, | 0:27:11 | 0:27:12 | |
they get kind of bug-headed. | 0:27:12 | 0:27:14 | |
Just leave her be. | 0:27:14 | 0:27:15 | |
Now, you bring me your card | 0:27:15 | 0:27:16 | |
and a birth certificate and your draft number | 0:27:16 | 0:27:18 | |
and a health certificate and an FBI OK | 0:27:18 | 0:27:20 | |
and a letter from your high-school supervisor... | 0:27:20 | 0:27:21 | |
Thanks, pal. | 0:27:21 | 0:27:23 | |
There still ain't nothing like | 0:27:25 | 0:27:26 | |
a good bust in the nose. | 0:27:26 | 0:27:28 | |
HE WHISTLES | 0:27:35 | 0:27:37 | |
Oh, I wanted to see Miss Manion. | 0:27:37 | 0:27:39 | |
She's in the darkroom. | 0:27:39 | 0:27:40 | |
Thanks. | 0:27:40 | 0:27:41 | |
Is that you, Helen? | 0:28:12 | 0:28:14 | |
Turned out pretty well, didn't it? | 0:28:14 | 0:28:16 | |
Do you think I smiled too much? | 0:28:16 | 0:28:17 | |
What? Hello. | 0:28:17 | 0:28:18 | |
What are you doing here? | 0:28:18 | 0:28:20 | |
I thought the darkroom would be a great place | 0:28:20 | 0:28:21 | |
to pitch a little woo. | 0:28:21 | 0:28:23 | |
You'll pitch no woo at me. | 0:28:23 | 0:28:24 | |
Now, get out of here. | 0:28:24 | 0:28:25 | |
I'll pitch woo, or I'll... yell for help. | 0:28:25 | 0:28:27 | |
You wouldn't dare. | 0:28:27 | 0:28:28 | |
Oh, wouldn't I? | 0:28:28 | 0:28:29 | |
Help! Help! Shh! | 0:28:29 | 0:28:31 | |
Help! Help! Help! | 0:28:31 | 0:28:34 | |
They're gonna hear you. Shh! | 0:28:34 | 0:28:36 | |
Help! Help! Save me! | 0:28:36 | 0:28:37 | |
FRED: I thought I heard somebody calling for help, | 0:28:39 | 0:28:41 | |
didn't you? | 0:28:41 | 0:28:42 | |
MAN: I thought I did. | 0:28:42 | 0:28:44 | |
SECOND MAN: I know I did. | 0:28:44 | 0:28:45 | |
So did I. | 0:28:45 | 0:28:46 | |
May I, er... | 0:28:50 | 0:28:52 | |
Whatever you're doing, stop it! | 0:28:52 | 0:28:54 | |
You really are crazy, aren't you? | 0:28:54 | 0:28:55 | |
Yeah, but it's all your fault. | 0:28:55 | 0:28:57 | |
My fault? | 0:28:57 | 0:28:58 | |
I've been this way since the first time I saw you. | 0:28:58 | 0:29:01 | |
THUMP! | 0:29:07 | 0:29:08 | |
Who are you? | 0:29:10 | 0:29:11 | |
Nobody. | 0:29:11 | 0:29:13 | |
What's the matter with you? | 0:29:13 | 0:29:14 | |
Don't you have to work, | 0:29:14 | 0:29:15 | |
or are you just rich? | 0:29:15 | 0:29:16 | |
Church mice snubbed me. | 0:29:16 | 0:29:18 | |
No. Really. What do you do? | 0:29:18 | 0:29:20 | |
Nothing right now. | 0:29:20 | 0:29:21 | |
I have done a lot of things. | 0:29:21 | 0:29:22 | |
Is there anything you haven't done? | 0:29:22 | 0:29:24 | |
Oh, a couple of things, but I'll get around to them. | 0:29:24 | 0:29:26 | |
Oh, you think so? | 0:29:26 | 0:29:27 | |
Did you ever work for a publishing firm? | 0:29:30 | 0:29:32 | |
Sure. I studied journalism in college | 0:29:32 | 0:29:34 | |
and then served time on a Chicago paper. | 0:29:34 | 0:29:36 | |
Say, that's wonderful. | 0:29:36 | 0:29:38 | |
What's wonderful about it? | 0:29:38 | 0:29:40 | |
Would you mind doing yourself a favour? | 0:29:40 | 0:29:42 | |
Like what? | 0:29:42 | 0:29:44 | |
I want you to talk to the man I work for - Mr Phil Harriman - | 0:29:44 | 0:29:46 | |
about getting a job. | 0:29:46 | 0:29:47 | |
Will you do it? | 0:29:47 | 0:29:49 | |
On one condition. | 0:29:49 | 0:29:50 | |
What's that? | 0:29:50 | 0:29:51 | |
Well, if I've got to go to work, | 0:29:51 | 0:29:52 | |
we ought to celebrate tonight. | 0:29:52 | 0:29:54 | |
Promise you won't skip out tomorrow? | 0:29:54 | 0:29:56 | |
Not tomorrow. | 0:29:56 | 0:29:57 | |
I don't like the way you say that, | 0:29:57 | 0:29:59 | |
but I'll agree. | 0:29:59 | 0:30:00 | |
Fair exchange. | 0:30:00 | 0:30:03 | |
Is Mr Harriman in? | 0:30:04 | 0:30:05 | |
WOMAN: 'No. He won't be in until tomorrow.' | 0:30:05 | 0:30:07 | |
I want you to make an appointment for him | 0:30:07 | 0:30:09 | |
to see Mr, uh... | 0:30:09 | 0:30:10 | |
FRED: Schmaltz. Schmal...Schmaltz? | 0:30:10 | 0:30:12 | |
Burton. | 0:30:12 | 0:30:13 | |
Mr Burton. I'll confirm it later. | 0:30:13 | 0:30:16 | |
WOMAN: 'Yes, Miss Manion.' | 0:30:16 | 0:30:18 | |
JAZZ MUSIC PLAYS | 0:30:18 | 0:30:20 | |
FRED: Hey. What's this? | 0:30:26 | 0:30:29 | |
Oh, this is my night at the canteen, all right? | 0:30:29 | 0:30:31 | |
But I wanted to be alone with you. | 0:30:31 | 0:30:32 | |
Why? | 0:30:32 | 0:30:34 | |
Why? When a fella takes a girl out, | 0:30:34 | 0:30:35 | |
he wants to be alone with her. | 0:30:35 | 0:30:36 | |
That's why he doesn't bring the whole family along. | 0:30:36 | 0:30:38 | |
It's been going on for thousands of years, you know. | 0:30:38 | 0:30:40 | |
Haven't you heard? | 0:30:40 | 0:30:41 | |
Later you can be alone with me. | 0:30:41 | 0:30:44 | |
All right. | 0:30:44 | 0:30:45 | |
Hey, listen. I can't go in there. | 0:30:46 | 0:30:49 | |
It's for soldiers and sailors. | 0:30:49 | 0:30:50 | |
That's all right. I work here. | 0:30:50 | 0:30:51 | |
Come on. | 0:30:51 | 0:30:53 | |
Hello, sergeant. Hello. | 0:30:53 | 0:30:55 | |
Uh, have you got a card? | 0:30:55 | 0:30:56 | |
No. | 0:30:56 | 0:30:57 | |
Well, this is for servicemen. | 0:30:57 | 0:30:58 | |
Oh, it'll be all right. He's with me. | 0:30:58 | 0:31:00 | |
OK. | 0:31:00 | 0:31:02 | |
Sold out. | 0:31:07 | 0:31:09 | |
Oh, there's one. | 0:31:09 | 0:31:10 | |
Hello, Carol. Hello, Joan. | 0:31:11 | 0:31:13 | |
Hi, Tom. | 0:31:13 | 0:31:14 | |
Do you have to do this tonight? | 0:31:20 | 0:31:22 | |
Aren't you ashamed of yourself? | 0:31:22 | 0:31:24 | |
These men are lonely. | 0:31:24 | 0:31:25 | |
They enjoy the shows we put on here. | 0:31:25 | 0:31:26 | |
Is that too much to ask? | 0:31:26 | 0:31:28 | |
Making a cup of coffee or singing a song | 0:31:28 | 0:31:30 | |
for the men that are winning the war for us? | 0:31:30 | 0:31:31 | |
No, it isn't, but where do you come in? | 0:31:31 | 0:31:33 | |
Well, I sing if they need me, | 0:31:33 | 0:31:34 | |
or serve, wash dishes, anything. | 0:31:34 | 0:31:36 | |
Tonight I'll probably yodel. | 0:31:36 | 0:31:38 | |
Yodel? That's marvellous. | 0:31:38 | 0:31:39 | |
I used to be a yodeller... | 0:31:39 | 0:31:40 | |
WOMAN: One of the acts can't get here. | 0:31:40 | 0:31:41 | |
Can you fill in? | 0:31:41 | 0:31:42 | |
Oh, sure. That's why I'm here. | 0:31:42 | 0:31:43 | |
I'd like you to meet Mr Burton. | 0:31:43 | 0:31:44 | |
Can he do anything? I can wash dishes. | 0:31:44 | 0:31:46 | |
Oh, Mr Burton can do anything. | 0:31:46 | 0:31:47 | |
Didn't you say you could, darling? | 0:31:47 | 0:31:48 | |
In a way. | 0:31:48 | 0:31:50 | |
Could you... Could you do anything with her? | 0:31:50 | 0:31:52 | |
Could I! | 0:31:52 | 0:31:54 | |
Oh, that's perfectly splendid. | 0:31:54 | 0:31:56 | |
Oh, darling, that's wonderful. | 0:31:56 | 0:31:57 | |
- Come along now. - You're wonderful children. | 0:31:57 | 0:31:59 | |
Yes. You really are. | 0:31:59 | 0:32:00 | |
Oh, you look marvellous! | 0:32:00 | 0:32:02 | |
APPLAUSE | 0:32:02 | 0:32:03 | |
Go on back. I was only kidding. | 0:32:03 | 0:32:04 | |
Too late. It's your fault. | 0:32:04 | 0:32:06 | |
Hello, Joan. They want me to do a number. | 0:32:09 | 0:32:10 | |
Is this gentleman going to do something? | 0:32:10 | 0:32:12 | |
No. I'll just mess around. | 0:32:12 | 0:32:13 | |
No, you won't. Go on back to the table. | 0:32:13 | 0:32:14 | |
Just ignore him. A verse and two choruses | 0:32:14 | 0:32:16 | |
of A Lot In Common. | 0:32:16 | 0:32:17 | |
Hi, soldier. Having fun? | 0:32:17 | 0:32:20 | |
No. Are you? | 0:32:20 | 0:32:21 | |
What's the matter? | 0:32:21 | 0:32:22 | |
Oh, they don't like the way I dance. | 0:32:22 | 0:32:25 | |
Want me to hold them way out here. | 0:32:25 | 0:32:27 | |
Not for me. I got to go to town. | 0:32:27 | 0:32:31 | |
Ha ha ha! | 0:32:37 | 0:32:38 | |
DRUM ROLL PLAYS | 0:32:38 | 0:32:39 | |
THEY PLAY MUSICAL INTRO | 0:32:44 | 0:32:46 | |
Get out. | 0:32:50 | 0:32:52 | |
# Psychiatrists have said | 0:32:53 | 0:32:55 | |
# A man who's slightly cracked | 0:32:55 | 0:32:56 | |
# Can like a maid who's tetched in the head... # | 0:32:56 | 0:33:01 | |
FRED: # And so it goes with me | 0:33:01 | 0:33:03 | |
# My addled brain can't see | 0:33:03 | 0:33:06 | |
# Why a love such as ours | 0:33:06 | 0:33:08 | |
# Shouldn't be | 0:33:08 | 0:33:11 | |
# Think it over | 0:33:11 | 0:33:12 | |
# You're lonesome, I'm stranded | 0:33:12 | 0:33:15 | |
# You're truthful, I'm candid | 0:33:15 | 0:33:17 | |
# And we're both left-handed | 0:33:17 | 0:33:20 | |
# I seem to have a lot in common with you | 0:33:20 | 0:33:22 | |
# You slay me, I floor you | 0:33:22 | 0:33:25 | |
# You vex me, I bore you | 0:33:25 | 0:33:28 | |
# But I can't ignore you | 0:33:28 | 0:33:30 | |
BOTH: # We seem to have a lot in common, we two | 0:33:30 | 0:33:33 | |
# Two noble souls designed above... # | 0:33:33 | 0:33:37 | |
Get out of here, will you? I will not. | 0:33:37 | 0:33:38 | |
# Two silly characters in love | 0:33:38 | 0:33:43 | |
# You're woozy, you're whacked up | 0:33:43 | 0:33:46 | |
# I saw you, I cracked up | 0:33:46 | 0:33:49 | |
# you're breaking my act up | 0:33:49 | 0:33:51 | |
# Lonesome, stranded | 0:33:51 | 0:33:52 | |
# Truthful, candid | 0:33:52 | 0:33:54 | |
# Silly or sappy, long as I'm happy | 0:33:54 | 0:33:56 | |
BOTH: # I've got a lot in common with you | 0:33:56 | 0:34:00 | |
# The stage was my born field | 0:34:01 | 0:34:04 | |
# I've made it my sworn field | 0:34:04 | 0:34:07 | |
# Get back in that cornfield | 0:34:07 | 0:34:10 | |
# I think that we're slipping | 0:34:13 | 0:34:14 | |
# You'd better start stripping | 0:34:14 | 0:34:17 | |
# My zipper ain't zipping | 0:34:17 | 0:34:19 | |
FRED: # Perhaps we'd better tell a gag | 0:34:22 | 0:34:27 | |
# Perhaps we'd better wave the flag | 0:34:27 | 0:34:31 | |
# What's all this horseplay worth? | 0:34:32 | 0:34:35 | |
# These eggs that we lay worth? | 0:34:35 | 0:34:37 | |
# Where's Cagney? | 0:34:37 | 0:34:39 | |
# Where's Hayworth? | 0:34:39 | 0:34:40 | |
BOTH: # I've got a lot in common with you. # | 0:34:47 | 0:34:52 | |
APPLAUSE | 0:35:45 | 0:35:46 | |
Where did you learn to dance like that? | 0:35:58 | 0:36:00 | |
Arthur Murray. | 0:36:00 | 0:36:02 | |
MAN: Thanks, Joan. OK, buddy. | 0:36:07 | 0:36:08 | |
Thanks. | 0:36:08 | 0:36:10 | |
WOMAN: Joan, darling, you were lovely. | 0:36:15 | 0:36:16 | |
Oh, Mr What's-your-name, you were wonderful. | 0:36:16 | 0:36:19 | |
You said you can wash dishes. | 0:36:19 | 0:36:20 | |
The kitchen's right over there. | 0:36:20 | 0:36:21 | |
Pardon, friend. You got a match? | 0:36:21 | 0:36:23 | |
You got a cigarette to go with it? | 0:36:23 | 0:36:24 | |
Oh, no. No. Not you guys. | 0:36:24 | 0:36:25 | |
What are you doing here? | 0:36:25 | 0:36:26 | |
We came to see you dance. | 0:36:26 | 0:36:28 | |
It was lovely. | 0:36:28 | 0:36:29 | |
How do you bill yourself these days? | 0:36:29 | 0:36:30 | |
The Dancing Tiger? | 0:36:30 | 0:36:31 | |
Who's the hep chick? | 0:36:31 | 0:36:32 | |
Now, don't crowd my act, fellas. | 0:36:32 | 0:36:33 | |
She doesn't know anything about me. | 0:36:33 | 0:36:35 | |
Let's do a little reconnoitring. | 0:36:35 | 0:36:36 | |
Very intelligent idea. | 0:36:36 | 0:36:37 | |
Nothing doing. If she finds out who I am, | 0:36:37 | 0:36:38 | |
I'll spend the rest of my leave telling her all about China. | 0:36:38 | 0:36:40 | |
Beautiful girl. | 0:36:40 | 0:36:41 | |
Not bad. | 0:36:41 | 0:36:42 | |
There's lots of other beautiful girls. | 0:36:42 | 0:36:43 | |
Yeah, but we like this one. Changed, hasn't he? | 0:36:43 | 0:36:45 | |
Yeah. Become jittery and excitable. | 0:36:45 | 0:36:46 | |
Nothing doing, see? | 0:36:46 | 0:36:47 | |
Oh, you mean you don't want to go with us? | 0:36:47 | 0:36:49 | |
Uh, Joan... | 0:36:53 | 0:36:54 | |
these fellas wanted to meet you. | 0:36:54 | 0:36:55 | |
This is, er, Reg, er, Fenton... | 0:36:55 | 0:36:57 | |
and, er, Dick - what, uh.. | 0:36:57 | 0:36:58 | |
Merlin. Merlin. | 0:36:58 | 0:37:00 | |
By the way, my name is Burton. | 0:37:00 | 0:37:01 | |
B-U-R-T-O-N. | 0:37:01 | 0:37:03 | |
JOAN: How do you do? Shall we sit down? | 0:37:03 | 0:37:04 | |
Uh, well, they were just leaving. | 0:37:04 | 0:37:06 | |
Thank you. Thank you. | 0:37:06 | 0:37:07 | |
DICK: Nice to meet you. | 0:37:07 | 0:37:08 | |
You boys are Flying Tigers, aren't you? | 0:37:08 | 0:37:10 | |
Yes. | 0:37:10 | 0:37:11 | |
FRED: Tell us about it, will you? | 0:37:11 | 0:37:12 | |
I'll be glad to. | 0:37:12 | 0:37:13 | |
What don't you know about it? | 0:37:13 | 0:37:14 | |
I don't know everything about it. | 0:37:14 | 0:37:16 | |
By the way, we've got to make that midnight show | 0:37:16 | 0:37:18 | |
at the, er, aquarium. | 0:37:18 | 0:37:19 | |
What show? | 0:37:19 | 0:37:21 | |
REG: It certainly is swell of you | 0:37:21 | 0:37:22 | |
to come up and dance for us fellas, mister. | 0:37:22 | 0:37:23 | |
Mm-hmm. Helps our morale. | 0:37:23 | 0:37:24 | |
You know, I feel better about the whole war already - | 0:37:24 | 0:37:26 | |
just watching our friend here dance with you. | 0:37:26 | 0:37:28 | |
Thanks. Glad to do my bit. | 0:37:28 | 0:37:30 | |
Say, why don't you fellas take a bus ride? | 0:37:30 | 0:37:33 | |
There's a special trip - | 0:37:33 | 0:37:34 | |
Grant's tomb, Chinatown, the subway - marvellous. | 0:37:34 | 0:37:37 | |
This is a great town. You ought to see it. | 0:37:37 | 0:37:38 | |
You go see it. | 0:37:38 | 0:37:39 | |
DICK: Would you care to dance? | 0:37:39 | 0:37:40 | |
Surely. | 0:37:40 | 0:37:42 | |
DICK: Sorry, Reg. | 0:37:46 | 0:37:47 | |
It's all right. I'll wait my turn. | 0:37:47 | 0:37:48 | |
Anything I can do to amuse you in the meantime? | 0:37:50 | 0:37:53 | |
Yes. You can hop up on the table | 0:37:53 | 0:37:55 | |
and do a snake dance. | 0:37:55 | 0:37:56 | |
I said, hop up on the table | 0:37:57 | 0:37:59 | |
and do a snake dance. | 0:37:59 | 0:38:01 | |
Are you serious? | 0:38:03 | 0:38:04 | |
Come on. Up, up, up, up. | 0:38:04 | 0:38:08 | |
Maybe you'd rather I tell the young lady who you are. | 0:38:08 | 0:38:10 | |
Reg, now, come on. All kidding aside. | 0:38:10 | 0:38:14 | |
Fun is fun. Up, up, up. | 0:38:14 | 0:38:18 | |
Say, what's the matter with you? | 0:38:18 | 0:38:19 | |
Up, up. | 0:38:19 | 0:38:20 | |
What? Get thrown in the brig or something? | 0:38:20 | 0:38:22 | |
It's dangerous up here. | 0:38:28 | 0:38:29 | |
Now what do you want? | 0:38:29 | 0:38:30 | |
Is that all right? OK. | 0:38:44 | 0:38:46 | |
What's the matter? | 0:38:50 | 0:38:51 | |
Do your dancing on the floor, buddy. | 0:39:25 | 0:39:28 | |
Thank you very much. | 0:39:28 | 0:39:29 | |
And thank you, you... | 0:39:30 | 0:39:32 | |
REG: Thank you. | 0:39:32 | 0:39:33 | |
Reg. | 0:39:38 | 0:39:39 | |
All right. | 0:39:40 | 0:39:41 | |
Here it is. | 0:39:41 | 0:39:43 | |
It's all I've got. | 0:39:43 | 0:39:44 | |
Now, will you and Dick take it and peel off? | 0:39:44 | 0:39:46 | |
Oh, what's money? Just lettuce. | 0:39:46 | 0:39:49 | |
We got a date in the Pacific next week, | 0:39:49 | 0:39:50 | |
and the Japs don't eat lettuce. | 0:39:50 | 0:39:52 | |
It has taken me all this time | 0:39:52 | 0:39:53 | |
to get where I am with this girl. | 0:39:53 | 0:39:55 | |
Yeah, but where are you? | 0:39:55 | 0:39:56 | |
That's what I'm trying to find out. | 0:39:56 | 0:39:58 | |
Well, this is a fine how-do-you-do. | 0:40:07 | 0:40:09 | |
Those fellas certainly ruined our evening. | 0:40:09 | 0:40:11 | |
Oh, there'll be other nights for us. | 0:40:11 | 0:40:12 | |
JOAN: The boys only have a few days. | 0:40:12 | 0:40:14 | |
I know. | 0:40:14 | 0:40:15 | |
You ought to be glad of a chance | 0:40:15 | 0:40:17 | |
to do something for them. | 0:40:17 | 0:40:18 | |
Someday maybe I'll get another chance. | 0:40:18 | 0:40:21 | |
Say, tell me something, will you, please? | 0:40:21 | 0:40:23 | |
Hmm? | 0:40:23 | 0:40:24 | |
How does it happen that you never married your boss? | 0:40:24 | 0:40:27 | |
Whatever made you think of that? | 0:40:27 | 0:40:29 | |
He's asked you, hasn't he? | 0:40:29 | 0:40:31 | |
Well, I suppose you'd call it a proposal. | 0:40:31 | 0:40:34 | |
He digresses when he get flustered. | 0:40:34 | 0:40:37 | |
Fumbles the ball, huh? | 0:40:37 | 0:40:39 | |
Once he got off on the love life | 0:40:39 | 0:40:40 | |
of a polyp. | 0:40:40 | 0:40:42 | |
Long as it's love, what's the difference? | 0:40:42 | 0:40:43 | |
Polyps, people. | 0:40:43 | 0:40:45 | |
It's not particularly flattering | 0:40:45 | 0:40:47 | |
to be compared to a fish | 0:40:47 | 0:40:48 | |
in the middle of a proposal. | 0:40:48 | 0:40:50 | |
HE CHUCKLES | 0:40:50 | 0:40:51 | |
Maybe you don't give him the right cues. | 0:40:51 | 0:40:54 | |
Maybe. | 0:40:54 | 0:40:57 | |
But I like him, really. | 0:40:57 | 0:40:59 | |
Well, Harriman seems like a perfectly swell fellow. | 0:40:59 | 0:41:02 | |
He is. | 0:41:02 | 0:41:03 | |
Tell me. Just what are you looking for in a man? | 0:41:05 | 0:41:09 | |
Well, he... | 0:41:09 | 0:41:12 | |
Oh, I don't know. | 0:41:12 | 0:41:14 | |
Wordsworth put it pretty well. | 0:41:14 | 0:41:16 | |
How? | 0:41:16 | 0:41:17 | |
"A creature not too bright and good | 0:41:19 | 0:41:21 | |
"for human nature's daily food, | 0:41:21 | 0:41:24 | |
"for transient sorrows, simple wiles, | 0:41:24 | 0:41:26 | |
"praise, blame, love, kisses, tears, | 0:41:26 | 0:41:29 | |
"and smiles." | 0:41:29 | 0:41:30 | |
MAN: Where do you think you are? In the parlour? | 0:41:31 | 0:41:34 | |
Point killer. | 0:41:35 | 0:41:37 | |
I guess this just isn't my night. | 0:41:39 | 0:41:41 | |
You're not really as crazy | 0:41:51 | 0:41:52 | |
as you pretend to be, are you? | 0:41:52 | 0:41:53 | |
I couldn't be, could I? | 0:41:53 | 0:41:55 | |
You haven't forgotten your promise about tomorrow? | 0:41:55 | 0:41:57 | |
Oh, no, no. What was it? | 0:41:57 | 0:42:00 | |
Seeing Mr Harriman. | 0:42:00 | 0:42:01 | |
That's right. I won't forget. | 0:42:01 | 0:42:03 | |
I'll pound on your door, get you up. | 0:42:03 | 0:42:06 | |
Thanks. | 0:42:06 | 0:42:07 | |
Good night, baby. | 0:42:11 | 0:42:13 | |
Good night. | 0:42:13 | 0:42:14 | |
KNOCK ON DOOR | 0:42:41 | 0:42:42 | |
I'll be with you in a minute, dear. | 0:42:42 | 0:42:44 | |
It's all right, honey. | 0:42:44 | 0:42:45 | |
Take your time. | 0:42:45 | 0:42:46 | |
Reg! | 0:42:46 | 0:42:48 | |
What are you doing here? How'd you get in? | 0:42:48 | 0:42:50 | |
I just sideslipped in. | 0:42:50 | 0:42:51 | |
Well, sideslip out, will you? | 0:42:51 | 0:42:52 | |
Listen. I got something to tell you. | 0:42:52 | 0:42:53 | |
Look. KNOCK ON DOOR | 0:42:53 | 0:42:55 | |
Yes? | 0:42:55 | 0:42:56 | |
JOAN: Are you ready, Fred? | 0:42:56 | 0:42:57 | |
Uh, wait for me downstairs, dear, will you? | 0:42:57 | 0:42:59 | |
In the nice fresh air and beautiful sunshine. | 0:42:59 | 0:43:02 | |
I'll be with you in a minute. | 0:43:02 | 0:43:03 | |
All right, but hurry. | 0:43:03 | 0:43:04 | |
All right. | 0:43:04 | 0:43:05 | |
(Say, uh, how are things working out?) | 0:43:05 | 0:43:07 | |
Oh, fine. Just a few more days, | 0:43:07 | 0:43:09 | |
and everything is... | 0:43:09 | 0:43:10 | |
What's that? | 0:43:10 | 0:43:11 | |
Read it. | 0:43:11 | 0:43:12 | |
What is it? | 0:43:12 | 0:43:14 | |
"Report for duty" | 0:43:14 | 0:43:16 | |
Say, that's day after tomorrow. Yeah. | 0:43:17 | 0:43:19 | |
Did you and Dick get yours? | 0:43:19 | 0:43:20 | |
Yep. | 0:43:20 | 0:43:21 | |
Well, there it is. That's it. | 0:43:22 | 0:43:23 | |
That's it. I don't suppose | 0:43:23 | 0:43:25 | |
this'll change your plans any, | 0:43:25 | 0:43:26 | |
Mr B-U-R-T-O-N? | 0:43:26 | 0:43:28 | |
Oh, no. It only knocks them | 0:43:28 | 0:43:30 | |
into a cocked H-A-T, that's all. | 0:43:30 | 0:43:34 | |
Say, do me a favour, will you? | 0:43:34 | 0:43:35 | |
Stick around here for five minutes | 0:43:35 | 0:43:37 | |
until we get out of sight. | 0:43:37 | 0:43:38 | |
Well... | 0:43:42 | 0:43:44 | |
lot of fun while it lasted. | 0:43:44 | 0:43:46 | |
Now, if Mr Harriman offers you a job, | 0:43:53 | 0:43:54 | |
try to be enthusiastic, will you? | 0:43:54 | 0:43:56 | |
Does Old Philly know I'm coming? | 0:43:56 | 0:43:57 | |
Yes. Don't call him "Old Philly" to his face. | 0:43:57 | 0:44:00 | |
Oh, mustn't call him "Old Philly" to his face. | 0:44:00 | 0:44:02 | |
Be enthusiastic. Bow and scrape... | 0:44:02 | 0:44:04 | |
Oh, you don't have to overdo it. | 0:44:04 | 0:44:05 | |
Oh, mustn't overdo it. | 0:44:05 | 0:44:07 | |
In here. | 0:44:07 | 0:44:08 | |
Good luck and please don't be...fresh. | 0:44:08 | 0:44:12 | |
I'll try. | 0:44:12 | 0:44:13 | |
WOMAN: Good morning. | 0:44:28 | 0:44:29 | |
Good morning. | 0:44:29 | 0:44:31 | |
Have you an appointment | 0:44:34 | 0:44:35 | |
with Mr Harriman? | 0:44:35 | 0:44:36 | |
Yes, ma'am. | 0:44:36 | 0:44:37 | |
Who shall I say? | 0:44:37 | 0:44:38 | |
The name is Burton, I think. | 0:44:38 | 0:44:40 | |
You think it's Burton? | 0:44:40 | 0:44:41 | |
Burton. | 0:44:41 | 0:44:43 | |
These are good. You want one? | 0:44:45 | 0:44:46 | |
I'll get you one. | 0:44:46 | 0:44:48 | |
No, thanks. | 0:44:48 | 0:44:49 | |
PHIL: 'Yeah?' | 0:44:49 | 0:44:50 | |
Mr Burton to see you, Mr Harriman. | 0:44:50 | 0:44:52 | |
'I'll see him in just a minute.' | 0:44:52 | 0:44:54 | |
Just have a chair, Mr Burton. | 0:44:54 | 0:44:56 | |
Oh, darn it! | 0:44:56 | 0:44:58 | |
What's the matter? | 0:44:58 | 0:44:59 | |
My stocking caught on that chair again. | 0:44:59 | 0:45:01 | |
A brand-new pair, too. | 0:45:01 | 0:45:02 | |
Holy smokes. That's not so good. | 0:45:02 | 0:45:04 | |
This is no time for girls | 0:45:04 | 0:45:06 | |
to be catching their stockings in chairs, I always say. | 0:45:06 | 0:45:08 | |
Ouch! | 0:45:08 | 0:45:11 | |
Maybe I can help you. I used to be a hosiery salesman. | 0:45:11 | 0:45:13 | |
Thanks, but I can manage. | 0:45:13 | 0:45:15 | |
Have you, er, | 0:45:15 | 0:45:16 | |
have you got a little colourless nail polish? | 0:45:16 | 0:45:18 | |
Yeah. Here it is. This is it. | 0:45:18 | 0:45:20 | |
That's awfully nice of you, Mr Burton, | 0:45:20 | 0:45:22 | |
but I'd rather do it myself. | 0:45:22 | 0:45:23 | |
Put your foot up here, honey. | 0:45:23 | 0:45:24 | |
I'll fix this thing. | 0:45:24 | 0:45:25 | |
Better let me do it because it takes an expert. | 0:45:25 | 0:45:28 | |
I used to be a silkworm. | 0:45:28 | 0:45:29 | |
I used to, um, um... | 0:45:29 | 0:45:32 | |
Hmm. | 0:45:32 | 0:45:34 | |
Yeah. | 0:45:35 | 0:45:37 | |
This is a little like shoeing a horse, isn't it? | 0:45:37 | 0:45:39 | |
Uh...there. | 0:45:39 | 0:45:42 | |
Beautiful. | 0:45:44 | 0:45:45 | |
I-I mean, a beautiful pair of stockings. | 0:45:45 | 0:45:46 | |
Present from your boss, I guess. | 0:45:46 | 0:45:48 | |
THEY CHUCKLE | 0:45:48 | 0:45:49 | |
HE CLEARS HIS THROAT Oh, Mr Harriman, | 0:45:49 | 0:45:51 | |
I caught my stocking on the chair... | 0:45:51 | 0:45:52 | |
Oh, hello, Harriman. | 0:45:52 | 0:45:54 | |
Be with you in just a second. | 0:45:54 | 0:45:55 | |
Hold still, honey. Would you just turn around? | 0:45:55 | 0:45:56 | |
Take your time. Take your time. | 0:45:56 | 0:45:57 | |
Right here. Just around there. | 0:45:57 | 0:45:58 | |
Need any help? | 0:45:58 | 0:45:59 | |
No. I'm just doing my good deed for the day. | 0:45:59 | 0:46:02 | |
Well, I'm busy, | 0:46:02 | 0:46:03 | |
but I wouldn't want to leave you out on a limb. | 0:46:03 | 0:46:05 | |
Oh, Mr Harriman. | 0:46:05 | 0:46:07 | |
Well, I think that'll do it, honey. | 0:46:07 | 0:46:08 | |
Now, just let that dry, and it'll stop the run. | 0:46:08 | 0:46:10 | |
Oh, thank you, Mr Burton. | 0:46:10 | 0:46:11 | |
You're wonderful. | 0:46:11 | 0:46:12 | |
Thank you. | 0:46:12 | 0:46:13 | |
Mr Harriman, remember me? | 0:46:21 | 0:46:24 | |
Sure. Hey, by the way, | 0:46:24 | 0:46:26 | |
how did you know, or, er, | 0:46:26 | 0:46:27 | |
what made you think that those stockings | 0:46:27 | 0:46:28 | |
were a gift from me? | 0:46:28 | 0:46:30 | |
I just put one and one together. | 0:46:30 | 0:46:31 | |
Beautiful, aren't they? Isn't she? | 0:46:31 | 0:46:34 | |
Well, nothing serious. | 0:46:34 | 0:46:35 | |
I just like to be in pleasant surrounding, | 0:46:35 | 0:46:36 | |
that's all. | 0:46:36 | 0:46:37 | |
Who doesn't? | 0:46:37 | 0:46:39 | |
Frankly, Mr Burton, are you serious | 0:46:39 | 0:46:41 | |
about wanting a job? | 0:46:41 | 0:46:44 | |
Frankly, Mr Harriman, no. | 0:46:44 | 0:46:46 | |
Well, I've got lots of decks | 0:46:46 | 0:46:49 | |
of cards around here. | 0:46:49 | 0:46:50 | |
People seem to give me gin rummy sets for Christmas. | 0:46:50 | 0:46:53 | |
You wouldn't want to try a whirl, would you? | 0:46:53 | 0:46:55 | |
Sure. I'll play you. | 0:46:55 | 0:46:56 | |
One game. | 0:46:56 | 0:46:58 | |
What will we play for? | 0:46:58 | 0:47:00 | |
Oh, I don't know. | 0:47:00 | 0:47:01 | |
Dollar a point. | 0:47:01 | 0:47:02 | |
Ooh. All right. | 0:47:02 | 0:47:04 | |
I've been wanting to talk to you. | 0:47:07 | 0:47:09 | |
Why? | 0:47:09 | 0:47:11 | |
Well, I've heard a lot about you lately. | 0:47:11 | 0:47:13 | |
From Miss Manion, I suppose. | 0:47:13 | 0:47:15 | |
Yeah. Joan. | 0:47:15 | 0:47:17 | |
Well, since you're not here to discuss a job, | 0:47:17 | 0:47:21 | |
I suppose it's to discuss Miss Manion. | 0:47:21 | 0:47:24 | |
I don't mind saying I... | 0:47:24 | 0:47:26 | |
I think a lot of your little protegee. | 0:47:26 | 0:47:28 | |
I was afraid of that. | 0:47:28 | 0:47:30 | |
I don't want that. | 0:47:30 | 0:47:32 | |
I don't want it, either. | 0:47:32 | 0:47:33 | |
Well, there's nothing to be afraid of. | 0:47:33 | 0:47:35 | |
As far as I can see, | 0:47:35 | 0:47:36 | |
she's waiting for a proposal from you. | 0:47:36 | 0:47:39 | |
Well, that's where you're wrong. | 0:47:39 | 0:47:42 | |
I've already put in my bid. | 0:47:42 | 0:47:43 | |
You put in your bid? | 0:47:43 | 0:47:46 | |
You make her sound like some sort of project. | 0:47:46 | 0:47:49 | |
Have you ever given her to understand | 0:47:49 | 0:47:50 | |
that your life is incomplete without her? | 0:47:50 | 0:47:52 | |
Oh, uh... Of course you haven't. | 0:47:52 | 0:47:54 | |
Asked her to marry you the same way | 0:47:54 | 0:47:55 | |
that you'd ask somebody for a match. | 0:47:55 | 0:47:58 | |
Well... | 0:47:58 | 0:48:00 | |
You don't care how you throw those little cards, do you? | 0:48:00 | 0:48:03 | |
I play a different type game | 0:48:03 | 0:48:04 | |
from the averages. | 0:48:04 | 0:48:05 | |
Yes, you do. | 0:48:05 | 0:48:06 | |
Say, what's the name of this game? | 0:48:06 | 0:48:07 | |
Gin. | 0:48:07 | 0:48:08 | |
That's just what I have. | 0:48:08 | 0:48:10 | |
Now I'll do the talking. | 0:48:12 | 0:48:13 | |
Blitzzzz. | 0:48:16 | 0:48:18 | |
Well, you just barely made it - 101. | 0:48:21 | 0:48:25 | |
Well, I guess I owe you some money. | 0:48:25 | 0:48:27 | |
Oh, let's forget it. | 0:48:27 | 0:48:28 | |
Please give it to your pet charity or something. | 0:48:28 | 0:48:30 | |
She's out at lunch. I'll give it to yours. | 0:48:30 | 0:48:33 | |
Mr Harriman... Joan is for you. | 0:48:33 | 0:48:36 | |
I've been in love before, | 0:48:36 | 0:48:37 | |
and I probably will be again - | 0:48:37 | 0:48:38 | |
plenty of times. | 0:48:38 | 0:48:39 | |
I know myself better than you do. | 0:48:39 | 0:48:40 | |
In other words, you don't want to marry. | 0:48:40 | 0:48:42 | |
Live alone and wolf it, huh? | 0:48:42 | 0:48:44 | |
Yeah. | 0:48:44 | 0:48:45 | |
BUZZER SOUNDS | 0:48:45 | 0:48:47 | |
Uh, I'm out, huh? | 0:48:47 | 0:48:50 | |
If I ever get married, it'll be someone... | 0:48:50 | 0:48:54 | |
"A creature not too bright and good | 0:48:54 | 0:48:56 | |
"For human nature's daily food..." | 0:48:56 | 0:48:59 | |
Et cetera, et cetera. | 0:48:59 | 0:49:00 | |
Hey, that's a good line, that. | 0:49:00 | 0:49:01 | |
Do you mind if I jot that down? | 0:49:01 | 0:49:03 | |
No. Don't. | 0:49:03 | 0:49:04 | |
That belongs to the only girl I'll never forget. | 0:49:04 | 0:49:07 | |
Listen, Mr Harriman, I want to do something for you. | 0:49:09 | 0:49:11 | |
Do you want to marry Joan? I do. | 0:49:11 | 0:49:13 | |
OK. | 0:49:13 | 0:49:14 | |
You have her up to your apartment for dinner, | 0:49:14 | 0:49:15 | |
and I guarantee she'll marry you in 12 hours. | 0:49:15 | 0:49:18 | |
12 hours? Well, I've been after her for two years. | 0:49:18 | 0:49:20 | |
Yes, but how? | 0:49:20 | 0:49:21 | |
What do you do? | 0:49:21 | 0:49:22 | |
Well, I gather that you think | 0:49:22 | 0:49:25 | |
that my technique leaves something to be desired? | 0:49:25 | 0:49:28 | |
I'll say it does. | 0:49:28 | 0:49:29 | |
All you do is just put in your bid. | 0:49:29 | 0:49:31 | |
There's no finesse. | 0:49:31 | 0:49:32 | |
You just buck the line. No lateral passes. | 0:49:32 | 0:49:36 | |
No strategy. Where do you live? | 0:49:36 | 0:49:38 | |
Beekman Place. "No lateral passes"? | 0:49:38 | 0:49:40 | |
What kind of a layout have you? | 0:49:40 | 0:49:42 | |
Oh, the usual penthouse. | 0:49:42 | 0:49:43 | |
Chromium trimmings. | 0:49:43 | 0:49:45 | |
View of the Dearmount. | 0:49:45 | 0:49:46 | |
Not exactly sordid. | 0:49:46 | 0:49:48 | |
I got a terrace. | 0:49:48 | 0:49:49 | |
Have you ever had her up there for dinner? | 0:49:49 | 0:49:51 | |
Yes. Many times. | 0:49:51 | 0:49:53 | |
To dine out in the terrace? | 0:49:53 | 0:49:54 | |
No, in the dining room, naturally. | 0:49:54 | 0:49:56 | |
Well, there you are. | 0:49:56 | 0:49:57 | |
Where am I? | 0:49:57 | 0:49:58 | |
Give me your key. My what? | 0:49:58 | 0:50:00 | |
The key to your apartment. | 0:50:00 | 0:50:02 | |
Key to my apartment? Yeah. Come on. | 0:50:02 | 0:50:03 | |
Whoa. What do you propose doing? | 0:50:03 | 0:50:05 | |
You're gonna propose. I'm going to arrange. | 0:50:05 | 0:50:06 | |
What do you mean? Arrange what? Why? | 0:50:06 | 0:50:08 | |
Let's call it a military secret. | 0:50:08 | 0:50:09 | |
Oh, but, hey, wait just a minute. | 0:50:09 | 0:50:11 | |
Leave it to me, will you? | 0:50:11 | 0:50:12 | |
I'll call you later. | 0:50:12 | 0:50:13 | |
Yeah, but my dear man, I... | 0:50:13 | 0:50:15 | |
"A creature not too bright or good... | 0:50:20 | 0:50:25 | |
"For human nature's daily food..." | 0:50:25 | 0:50:28 | |
KNOCK ON DOOR | 0:50:30 | 0:50:31 | |
Come in. | 0:50:31 | 0:50:32 | |
Remember me? | 0:50:34 | 0:50:35 | |
What? | 0:50:35 | 0:50:36 | |
Oh. Hello, Phil. | 0:50:36 | 0:50:38 | |
How did you come out with him? | 0:50:38 | 0:50:39 | |
It's rather indefinite. | 0:50:39 | 0:50:41 | |
Well, is he working for you or isn't he? | 0:50:41 | 0:50:42 | |
I think he is. | 0:50:42 | 0:50:44 | |
You think he is? | 0:50:44 | 0:50:46 | |
Well, he gave me a couple of very good ideas. | 0:50:46 | 0:50:49 | |
Oh, you mean for the magazine? | 0:50:49 | 0:50:51 | |
Indirectly, yes. | 0:50:51 | 0:50:53 | |
Aren't you being rather mysterious? | 0:50:53 | 0:50:55 | |
I hope so. | 0:50:55 | 0:50:57 | |
Come on. What are you trying to build up to? | 0:50:57 | 0:50:59 | |
A lateral pass-uh, an invitation to dinner. | 0:50:59 | 0:51:02 | |
Oh, well, you don't have to be so subtle | 0:51:02 | 0:51:04 | |
to ask me to dinner. | 0:51:04 | 0:51:05 | |
I'd love to come. | 0:51:05 | 0:51:06 | |
On the terrace? | 0:51:06 | 0:51:08 | |
Why not? | 0:51:08 | 0:51:09 | |
I think it'd be nice for a change. | 0:51:09 | 0:51:12 | |
Gosh darn it. | 0:51:12 | 0:51:13 | |
You're just the kind of girl I like. | 0:51:13 | 0:51:15 | |
"A creature not too bright..." | 0:51:17 | 0:51:19 | |
What? Let me finish. | 0:51:19 | 0:51:20 | |
"A creature not too bright or good | 0:51:20 | 0:51:22 | |
"for human nature's daily food, | 0:51:22 | 0:51:25 | |
"for transient sorrows, simple wiles..." | 0:51:25 | 0:51:29 | |
Er, something. | 0:51:29 | 0:51:30 | |
"Praise, blame, love, kisses, tears, and smiles." | 0:51:30 | 0:51:34 | |
That's it. Who told you? | 0:51:34 | 0:51:35 | |
I told Fred. | 0:51:35 | 0:51:37 | |
So you're the girl. | 0:51:39 | 0:51:40 | |
You're the one he'll never forget. | 0:51:40 | 0:51:42 | |
Did he say that? | 0:51:42 | 0:51:43 | |
Don't tell me I've butched this one, too. | 0:51:43 | 0:51:46 | |
Oh, but you haven't, Phil. | 0:51:49 | 0:51:52 | |
Thanks a million. | 0:51:52 | 0:51:53 | |
I, er, I have to go. | 0:51:53 | 0:51:55 | |
He's at my apartment. | 0:51:55 | 0:51:56 | |
Oh, he is? What's he doing there? | 0:51:56 | 0:51:58 | |
He's fixing something for me...for us. | 0:51:58 | 0:52:01 | |
He's fixing something. | 0:52:01 | 0:52:03 | |
You're a darling. Thanks, Phil. | 0:52:03 | 0:52:05 | |
HE SIGHS | 0:52:07 | 0:52:09 | |
Not too bright. | 0:52:09 | 0:52:11 | |
Very fine, Jackson. Very fine. | 0:52:21 | 0:52:22 | |
Thank you, sir. | 0:52:22 | 0:52:24 | |
In fact, it's excellent. | 0:52:24 | 0:52:25 | |
You've even got the moon in the right place. | 0:52:25 | 0:52:26 | |
Yes, sir. Thank you, sir. | 0:52:26 | 0:52:27 | |
We do our best to oblige. | 0:52:27 | 0:52:29 | |
Don't forget, Jackson. When they arrive, you leave. | 0:52:39 | 0:52:42 | |
Very good, sir. | 0:52:42 | 0:52:43 | |
Good night. Good night. | 0:52:43 | 0:52:44 | |
DOORBELL BUZZES | 0:52:44 | 0:52:46 | |
DOORBELL BUZZES | 0:52:46 | 0:52:48 | |
DOORBELL BUZZES | 0:52:53 | 0:52:55 | |
Good evening, Jackson. | 0:52:58 | 0:52:59 | |
Good evening, Miss. | 0:52:59 | 0:53:00 | |
How are you tonight? | 0:53:00 | 0:53:01 | |
Well, I'm feeling a trifle haggard, Miss. | 0:53:01 | 0:53:03 | |
You do look a little worried. | 0:53:03 | 0:53:05 | |
Why don't you take the evening off? | 0:53:05 | 0:53:07 | |
Go to a movie. | 0:53:07 | 0:53:08 | |
Oh, yes, Miss, but what about the dinner? | 0:53:08 | 0:53:10 | |
I want to be alone with him. | 0:53:10 | 0:53:11 | |
With him, Miss? | 0:53:11 | 0:53:13 | |
Oh, so he's in there. | 0:53:13 | 0:53:14 | |
Get going, Jackson. | 0:53:14 | 0:53:16 | |
Yes. Very good, Miss. | 0:53:16 | 0:53:17 | |
If I weren't a gentleman's gentleman, | 0:53:17 | 0:53:19 | |
I could be such a cad's cad. | 0:53:19 | 0:53:20 | |
(Hey, Jackson? | 0:54:11 | 0:54:14 | |
(Jackson?) | 0:54:14 | 0:54:15 | |
MUSIC PLAYS | 0:54:26 | 0:54:28 | |
JOAN: How is it in there? Stuffy? | 0:54:28 | 0:54:30 | |
Oh, about like a nightclub. | 0:54:30 | 0:54:31 | |
Thanks. | 0:54:35 | 0:54:36 | |
Where's Phil? | 0:54:40 | 0:54:41 | |
Oh, he said to say hello. | 0:54:41 | 0:54:44 | |
Hello. | 0:54:44 | 0:54:45 | |
Shall we go into the living room? | 0:54:45 | 0:54:48 | |
Well, I think Phil would be kind of surprised | 0:54:48 | 0:54:49 | |
to find me here. | 0:54:49 | 0:54:51 | |
But he isn't coming. | 0:54:51 | 0:54:53 | |
Does he know that? | 0:54:53 | 0:54:54 | |
Oh, I think he has a vague idea, yes. | 0:54:54 | 0:54:57 | |
What's the matter with Phil? | 0:55:07 | 0:55:08 | |
What happened to him? | 0:55:08 | 0:55:09 | |
Oh, let's not talk about that. | 0:55:09 | 0:55:11 | |
Let's talk about us. | 0:55:11 | 0:55:13 | |
Let's talk about you. | 0:55:13 | 0:55:15 | |
Me? Yes. | 0:55:15 | 0:55:17 | |
No. Let's not. | 0:55:17 | 0:55:19 | |
Has anyone ever told you | 0:55:19 | 0:55:21 | |
how fascinating you are to women? | 0:55:21 | 0:55:24 | |
No. | 0:55:24 | 0:55:27 | |
Do you like etchings? | 0:55:27 | 0:55:29 | |
Not particularly. | 0:55:29 | 0:55:30 | |
Oh, there's some beautiful ones here. | 0:55:30 | 0:55:31 | |
Phone's off the hook. | 0:55:31 | 0:55:34 | |
Isn't this exquisite? | 0:55:34 | 0:55:37 | |
It's upside down. | 0:55:37 | 0:55:39 | |
Oh, so it is. | 0:55:39 | 0:55:41 | |
Oh, there's The Bread Line by Reginald Marsh. | 0:55:41 | 0:55:44 | |
Don't you just love it? | 0:55:44 | 0:55:45 | |
Mm-mm. I've been in it. Oh. | 0:55:45 | 0:55:47 | |
I wonder where Jackson is. | 0:55:47 | 0:55:50 | |
I've got to be leaving. It's late. | 0:55:50 | 0:55:53 | |
Oh, no! Not yet. | 0:55:53 | 0:55:55 | |
I know what we need - | 0:55:55 | 0:55:56 | |
a little fresh air, champagne. | 0:55:56 | 0:55:59 | |
I believe there's some out here on the terrace. | 0:55:59 | 0:56:02 | |
Oh, yes. | 0:56:02 | 0:56:04 | |
Ohh, isn't it perfect? | 0:56:10 | 0:56:13 | |
Isn't it beautiful? | 0:56:13 | 0:56:15 | |
Just look at that city. | 0:56:15 | 0:56:17 | |
Look at the sky. Look at that moon. | 0:56:17 | 0:56:20 | |
SHE SIGHS | 0:56:20 | 0:56:22 | |
You know, this is the kind of night | 0:56:22 | 0:56:23 | |
that doesn't belong to your life. | 0:56:23 | 0:56:25 | |
You could just do anything, | 0:56:25 | 0:56:26 | |
and it wouldn't count. | 0:56:26 | 0:56:28 | |
I always like to drink the first one fast, | 0:56:43 | 0:56:45 | |
then sip the next one, don't you? | 0:56:45 | 0:56:48 | |
Come on, now. What's back of all this? | 0:56:53 | 0:56:55 | |
Well... | 0:56:55 | 0:56:58 | |
I just want to make sure that you'll never forget, darling. | 0:56:58 | 0:57:01 | |
Oh, so Phil spilled it, did he? | 0:57:01 | 0:57:04 | |
Yep. Phil spilled it. | 0:57:04 | 0:57:06 | |
Why didn't you take that job with him? | 0:57:09 | 0:57:12 | |
Why? I may have a bigger job coming up. | 0:57:12 | 0:57:14 | |
You have? What? | 0:57:14 | 0:57:16 | |
Airplanes. | 0:57:16 | 0:57:18 | |
You know something about airplanes, too? | 0:57:18 | 0:57:21 | |
A little. | 0:57:21 | 0:57:22 | |
Why, that's perfect. | 0:57:22 | 0:57:23 | |
I can take you with me tomorrow night. | 0:57:23 | 0:57:25 | |
All the big, important people will be there. | 0:57:25 | 0:57:27 | |
I'm sure I could arrange a meeting with Mr Sloan. | 0:57:27 | 0:57:29 | |
Sloan? Who's he? | 0:57:29 | 0:57:31 | |
Oh, you know him. He makes all those planes - | 0:57:31 | 0:57:32 | |
head of Sloan Aircraft. | 0:57:32 | 0:57:34 | |
Oh, yes. I've heard of him. | 0:57:34 | 0:57:35 | |
I could have Phil talk to him first | 0:57:35 | 0:57:37 | |
and break the ice. | 0:57:37 | 0:57:38 | |
What ice? | 0:57:38 | 0:57:40 | |
SLOW DANCE MUSIC PLAYS | 0:57:40 | 0:57:42 | |
I like this tune. | 0:57:42 | 0:57:43 | |
Hmm? | 0:57:43 | 0:57:45 | |
We don't mind if it isn't a big job at first, do we? | 0:57:46 | 0:57:48 | |
No. | 0:57:48 | 0:57:50 | |
Oh, I forgot to tell you. | 0:57:50 | 0:57:51 | |
We're going to be married. | 0:57:51 | 0:57:53 | |
Who? You and Sloan? | 0:57:53 | 0:57:54 | |
What happened to Harriman? | 0:57:54 | 0:57:55 | |
JOAN: Oh, no! | 0:57:55 | 0:57:57 | |
You and me, darling. | 0:57:57 | 0:57:59 | |
Oh. | 0:57:59 | 0:58:01 | |
Oh. | 0:58:02 | 0:58:03 | |
Oh, is that all you've got to say? | 0:58:04 | 0:58:06 | |
"Oh"? | 0:58:06 | 0:58:07 | |
Now, wait a minute. | 0:58:07 | 0:58:09 | |
I've been in some pretty tough spots in my life, | 0:58:09 | 0:58:10 | |
but this is the first time | 0:58:10 | 0:58:11 | |
a beautiful girl has ever proposed to me, | 0:58:11 | 0:58:13 | |
and I'm - I'm all swept off my feet. | 0:58:13 | 0:58:16 | |
Well, nevertheless, there it is. | 0:58:16 | 0:58:17 | |
What are you going to do about it? | 0:58:17 | 0:58:18 | |
Oh, don't rush me. Don't rush me. I... | 0:58:18 | 0:58:20 | |
I mustn't be too hasty. | 0:58:20 | 0:58:22 | |
After all, you know, | 0:58:22 | 0:58:23 | |
how do I know my parents will give their consent? | 0:58:23 | 0:58:26 | |
MY SHINING HOUR PLAYS | 0:58:26 | 0:58:29 | |
MAN ON RADIO: 'Fate holds its breath tonight | 1:01:14 | 1:01:16 | |
'as, far over the dark pacific, | 1:01:16 | 1:01:17 | |
'two giant fighting fleets spar for an opening. | 1:01:17 | 1:01:19 | |
'Powerful Jap units have swung to meet heavily outnumbered American forces, | 1:01:19 | 1:01:22 | |
'but Navy bombers are swirling out to meet them.' | 1:01:22 | 1:01:24 | |
TURNS OFF RADIO | 1:01:24 | 1:01:25 | |
Why are we always outnumbered anyway? | 1:01:25 | 1:01:26 | |
To make it even, I guess. | 1:01:26 | 1:01:29 | |
TURNS ON RADIO | 1:01:29 | 1:01:30 | |
BIG BAND MUSIC PLAYS | 1:01:30 | 1:01:33 | |
HE WHISTLES | 1:01:33 | 1:01:34 | |
Hey! Not that. | 1:01:36 | 1:01:39 | |
Tonight, I think I shall get slightly inebriated. | 1:01:39 | 1:01:44 | |
I think you won't. | 1:01:44 | 1:01:45 | |
No stinkeroo? | 1:01:45 | 1:01:46 | |
No stinkeroo. | 1:01:46 | 1:01:47 | |
Oh, gee. | 1:01:47 | 1:01:48 | |
You've got to stay sober tonight. | 1:01:48 | 1:01:49 | |
All night? | 1:01:49 | 1:01:50 | |
Well... | 1:01:50 | 1:01:51 | |
After you've sold yourself to Mr Sloan, | 1:01:51 | 1:01:53 | |
maybe you can have a few... | 1:01:53 | 1:01:54 | |
little, bitty ones. | 1:01:54 | 1:01:55 | |
Look out! | 1:01:55 | 1:01:57 | |
I almost forgot. | 1:02:08 | 1:02:10 | |
What? | 1:02:10 | 1:02:11 | |
You've been walking around on that penny ever since? | 1:02:12 | 1:02:15 | |
It brought me luck. | 1:02:15 | 1:02:16 | |
I'm loaning it to you. | 1:02:16 | 1:02:17 | |
You know, I've got a hunch about tonight. | 1:02:17 | 1:02:18 | |
I think it's a great chance. | 1:02:18 | 1:02:20 | |
JOAN: Promise me you won't bumble it up. | 1:02:20 | 1:02:22 | |
Bumble it up? Me? | 1:02:22 | 1:02:23 | |
Just behave like a gentleman. | 1:02:23 | 1:02:25 | |
Don't overdo it now. | 1:02:25 | 1:02:27 | |
Oh, don't overdo it. | 1:02:27 | 1:02:28 | |
Be pleasant and don't insult the man. | 1:02:28 | 1:02:29 | |
All right. It's a deal? | 1:02:29 | 1:02:31 | |
Sure. | 1:02:31 | 1:02:32 | |
Good. | 1:02:32 | 1:02:33 | |
Mr Sloan, I'm very glad to make your acquaintance, sir. | 1:02:33 | 1:02:35 | |
I've heard a lot of wonderful things about you. | 1:02:35 | 1:02:37 | |
Pardon me. There's something on your coat. | 1:02:37 | 1:02:39 | |
That's enough. Have a stogy? | 1:02:39 | 1:02:41 | |
APPLAUSE | 1:02:41 | 1:02:42 | |
Our guest of honour tonight - | 1:02:45 | 1:02:46 | |
HE CLEARS THROAT | 1:02:46 | 1:02:47 | |
Needs no introduction, | 1:02:47 | 1:02:50 | |
but I have one or two points which I wanted to make | 1:02:50 | 1:02:55 | |
by way of...introduction. | 1:02:55 | 1:02:59 | |
Ah, I'm reminded of a story | 1:02:59 | 1:03:02 | |
which probably most of you've heard. | 1:03:02 | 1:03:05 | |
I think it's quite permissible to tell it here tonight, | 1:03:05 | 1:03:07 | |
as we're all one big family. | 1:03:07 | 1:03:10 | |
Uh, there were... | 1:03:10 | 1:03:13 | |
HE CLEARS HIS THROAT | 1:03:17 | 1:03:18 | |
The man that we have as guest of honour here tonight | 1:03:18 | 1:03:21 | |
is the man, I feel free to say, | 1:03:21 | 1:03:24 | |
who has made this company | 1:03:24 | 1:03:26 | |
what it is today. | 1:03:26 | 1:03:29 | |
The question now arises, what is this company today? | 1:03:29 | 1:03:33 | |
I don't want to inject a serious note | 1:03:33 | 1:03:35 | |
into the occasion, | 1:03:35 | 1:03:37 | |
but, heh heh - what is anything today? | 1:03:37 | 1:03:42 | |
So much for the production end. | 1:03:42 | 1:03:46 | |
When this man entered the field, | 1:03:46 | 1:03:49 | |
there was - let us face it - a bottleneck in the industry. | 1:03:49 | 1:03:55 | |
You all know what a bottleneck is. | 1:03:55 | 1:03:58 | |
But, er, it's not as easy as that. | 1:03:58 | 1:04:02 | |
Now, I have prepared, or had prepared, | 1:04:02 | 1:04:04 | |
some, er, charts | 1:04:04 | 1:04:06 | |
which will show you more graphically | 1:04:06 | 1:04:08 | |
just what this bottleneck was | 1:04:08 | 1:04:11 | |
and how this one man - | 1:04:11 | 1:04:15 | |
aided, of course, by thousands of you employees - | 1:04:15 | 1:04:19 | |
er, eliminated the bottleneck | 1:04:19 | 1:04:22 | |
and substituted for it, er... | 1:04:22 | 1:04:26 | |
Now, er, here is a chart showing plastic production | 1:04:33 | 1:04:37 | |
as compared with metal production in the year... | 1:04:37 | 1:04:42 | |
well, the year doesn't seem to be shown on here, | 1:04:44 | 1:04:47 | |
er, so we'll say 1936 for fun, huh? | 1:04:47 | 1:04:51 | |
Uh, in 1936, you'll see - | 1:04:51 | 1:04:54 | |
or whatever year it was - | 1:04:54 | 1:04:57 | |
that these things, er, ran into fantastic figures. | 1:04:57 | 1:05:01 | |
Uh, for instance, in 1936, | 1:05:01 | 1:05:06 | |
2,445,000 as compared with 3,350,000 in... | 1:05:06 | 1:05:12 | |
some other year. | 1:05:12 | 1:05:14 | |
Uh, or 25% of 1936, | 1:05:14 | 1:05:20 | |
and by 1936 is meant 1934. | 1:05:20 | 1:05:24 | |
This is all per capita, mind you. | 1:05:24 | 1:05:27 | |
Now, we... | 1:05:27 | 1:05:29 | |
oh, that's what I was afraid of. | 1:05:32 | 1:05:34 | |
This is the wrong chart. | 1:05:34 | 1:05:37 | |
Uh, I thought - you see, this has got aluminium | 1:05:37 | 1:05:41 | |
and nickel and tin on it, | 1:05:41 | 1:05:43 | |
and we were going to work on, er, | 1:05:43 | 1:05:46 | |
man hours! Here, here. | 1:05:46 | 1:05:48 | |
Well, that's more like it. | 1:05:48 | 1:05:51 | |
See, this has the years on it. | 1:05:51 | 1:05:52 | |
That makes it much easier to understand. | 1:05:52 | 1:05:55 | |
Now, er, here we have the maximum peak. | 1:05:55 | 1:05:59 | |
Now, I presume that means in man hours, | 1:05:59 | 1:06:02 | |
per hour, per man hour, | 1:06:02 | 1:06:06 | |
and the bottleneck here came in getting these man hours, | 1:06:06 | 1:06:10 | |
er, from 1940 to 1939. | 1:06:10 | 1:06:14 | |
HE CLEARS THROAT LOUDLY | 1:06:14 | 1:06:16 | |
Uh, let's look at it from another angle. | 1:06:16 | 1:06:19 | |
In 1942, 160 million, you see. | 1:06:19 | 1:06:23 | |
1941, until we reach the probable saturation point, | 1:06:23 | 1:06:30 | |
and high time, too. | 1:06:30 | 1:06:32 | |
HE CLEARS THROAT | 1:06:32 | 1:06:33 | |
But, er, I don't know. It's, uh... | 1:06:33 | 1:06:37 | |
when you consider that all of these were man hours | 1:06:37 | 1:06:41 | |
and foot-pounds per hour, | 1:06:41 | 1:06:45 | |
well, I just don't see | 1:06:45 | 1:06:48 | |
how the man did it, frankly. | 1:06:48 | 1:06:50 | |
Now we come to the mobilisation. | 1:06:50 | 1:06:54 | |
HE CLEARS THROAT | 1:06:54 | 1:06:56 | |
Well, I see that my time is up and, uh... | 1:07:03 | 1:07:08 | |
some other time, perhaps. | 1:07:08 | 1:07:10 | |
(I don't understand that one.) | 1:07:10 | 1:07:13 | |
Uh, but the point that I wanted to make was | 1:07:13 | 1:07:17 | |
that we're all here tonight and, uh, | 1:07:17 | 1:07:20 | |
it now gives me great pleasure | 1:07:22 | 1:07:23 | |
to introduce our eminent guest of honour, | 1:07:23 | 1:07:26 | |
the man who, as I said before, needs no introduction... | 1:07:26 | 1:07:29 | |
Mr Harvey Sloan. | 1:07:29 | 1:07:31 | |
APPLAUSE | 1:07:31 | 1:07:35 | |
Ladies and gentlemen, we are here to celebrate | 1:07:41 | 1:07:44 | |
the completion of the first 10,000 | 1:07:44 | 1:07:47 | |
of the many thousand bombers | 1:07:47 | 1:07:49 | |
that will come from our assembly line. | 1:07:49 | 1:07:52 | |
In commemoration of this event, | 1:07:52 | 1:07:55 | |
we have elected one of our workers | 1:07:55 | 1:07:56 | |
who helped build these bombers | 1:07:56 | 1:07:58 | |
to dedicate this ship. | 1:07:58 | 1:08:00 | |
It will be christened by Mrs Leo Roskowski, | 1:08:00 | 1:08:03 | |
who helped rivet it together. | 1:08:03 | 1:08:05 | |
I am honoured to introduce Mrs Leo Roskowski. | 1:08:05 | 1:08:10 | |
APPLAUSE | 1:08:10 | 1:08:12 | |
Who's Mrs Leo Roskowski? | 1:08:19 | 1:08:21 | |
Her husband was killed on Bataan. | 1:08:21 | 1:08:23 | |
I dedicate this plane to the memory of Leo Roskowski. | 1:08:36 | 1:08:40 | |
Awfully close call. | 1:08:55 | 1:08:57 | |
I think that calls for a short snort, don't you? | 1:08:57 | 1:08:59 | |
Pardon me, general. | 1:08:59 | 1:09:00 | |
Yes, sir. | 1:09:00 | 1:09:01 | |
You'll get a chance to talk to Sloan in a minute. | 1:09:01 | 1:09:04 | |
Hmm? Oh, yeah. | 1:09:04 | 1:09:06 | |
Want to dance? | 1:09:06 | 1:09:07 | |
Mm-hmm. | 1:09:07 | 1:09:09 | |
Oh, he's going over to the bar now with Phil. | 1:09:17 | 1:09:18 | |
Who? | 1:09:18 | 1:09:19 | |
Sloan. | 1:09:19 | 1:09:20 | |
Come on. Now's our chance. | 1:09:20 | 1:09:22 | |
Well, he's a man that you might have | 1:09:24 | 1:09:25 | |
a little trouble with | 1:09:25 | 1:09:27 | |
if he got his head down, | 1:09:27 | 1:09:28 | |
but I think it'll be worth taking. | 1:09:28 | 1:09:30 | |
Oh, hello. | 1:09:30 | 1:09:31 | |
This is Mr Burton, Mr Sloan - | 1:09:31 | 1:09:32 | |
the young man I was telling you about. | 1:09:32 | 1:09:33 | |
Oh, how do you do? | 1:09:33 | 1:09:34 | |
JOAN: Dance? | 1:09:34 | 1:09:35 | |
PHIL: Well, no, but it'd be | 1:09:35 | 1:09:36 | |
a pleasure to try. | 1:09:36 | 1:09:38 | |
If you'll excuse us, please. | 1:09:38 | 1:09:40 | |
Sit down, young man. | 1:09:40 | 1:09:42 | |
I heard some good things about you, son. | 1:09:44 | 1:09:46 | |
Miss Manion phoned me this morning. | 1:09:46 | 1:09:48 | |
Is that so? | 1:09:48 | 1:09:49 | |
I understand you're looking for a position. | 1:09:49 | 1:09:51 | |
I am? | 1:09:51 | 1:09:52 | |
Lots of good jobs open nowadays. | 1:09:52 | 1:09:54 | |
I assume you're unqualified to enter the service. | 1:09:54 | 1:09:58 | |
Emotionally unstable. | 1:09:58 | 1:09:59 | |
Ever have any experience in the aircraft industry? | 1:09:59 | 1:10:03 | |
A little. Have you? | 1:10:03 | 1:10:04 | |
Young man, I'm the founder of the Sloan Aircraft Company. | 1:10:04 | 1:10:08 | |
Did you ever pilot a plane? | 1:10:08 | 1:10:09 | |
No. I get airsick. | 1:10:09 | 1:10:11 | |
Do you know what your pursuit can do in a dogfight? | 1:10:11 | 1:10:13 | |
I have technical experts that know their job, sir. I, uh... | 1:10:13 | 1:10:17 | |
I see. You furnish the money, huh? | 1:10:17 | 1:10:19 | |
Young man, there are certain matters that I never... | 1:10:19 | 1:10:21 | |
Let me tell you something. | 1:10:21 | 1:10:22 | |
You ought to see what happens to that thing | 1:10:22 | 1:10:23 | |
when you try to pull it out of a steep dive | 1:10:23 | 1:10:25 | |
without losing more than 2,000 feet of altitude. | 1:10:25 | 1:10:27 | |
Well, what does happen? | 1:10:27 | 1:10:28 | |
It's murder. | 1:10:28 | 1:10:29 | |
Y-You spin in. | 1:10:29 | 1:10:31 | |
You know what that means? | 1:10:31 | 1:10:32 | |
And those ailerons. | 1:10:35 | 1:10:37 | |
What about them? | 1:10:37 | 1:10:38 | |
They're horrible. | 1:10:38 | 1:10:39 | |
Why, if you try to bank at 350 miles an hour, | 1:10:39 | 1:10:41 | |
the wings begin to flutter like a butterfly. | 1:10:41 | 1:10:43 | |
You need an extra pair of hands to keep that stick | 1:10:43 | 1:10:45 | |
from jumping about in the place like a pneumatic drill. | 1:10:45 | 1:10:48 | |
What do you think can be done about that? | 1:10:48 | 1:10:49 | |
Simple. | 1:10:49 | 1:10:51 | |
Put an extra pair of hands in every plane. | 1:10:51 | 1:10:53 | |
Well, that's easy - what did you say? | 1:10:53 | 1:10:56 | |
Your experts can explain it to you. | 1:10:56 | 1:10:57 | |
Look here. Do you want a job - a good job? | 1:10:57 | 1:10:59 | |
No. | 1:10:59 | 1:11:00 | |
You don't? Why not? | 1:11:00 | 1:11:01 | |
I like to poke my nose | 1:11:01 | 1:11:03 | |
in other people's business. | 1:11:03 | 1:11:04 | |
If I worked for you, I'd go stale. | 1:11:04 | 1:11:05 | |
Well, I thought you wanted the job. | 1:11:05 | 1:11:07 | |
You've been misinformed. | 1:11:07 | 1:11:08 | |
Miss Manion thought I wanted a job. | 1:11:08 | 1:11:10 | |
Oh. | 1:11:10 | 1:11:12 | |
Take my advice, Mr Sloan. | 1:11:12 | 1:11:14 | |
Go all out with everything you've got. | 1:11:14 | 1:11:15 | |
This is no pushover. | 1:11:15 | 1:11:17 | |
Rather curious advice, considering the source. | 1:11:17 | 1:11:20 | |
Just when are you coming down to earth, young man? | 1:11:20 | 1:11:22 | |
When it's all over, I hope. | 1:11:22 | 1:11:26 | |
You know, sometimes I don't understand myself. | 1:11:26 | 1:11:28 | |
You, too? | 1:11:28 | 1:11:29 | |
Why should I do anything for him? | 1:11:29 | 1:11:31 | |
Oh, I thought perhaps you were doing it for me. | 1:11:31 | 1:11:34 | |
That's different. | 1:11:34 | 1:11:35 | |
Looks as though he's working for Sloan. | 1:11:42 | 1:11:44 | |
five to three, Sloan will be working for him in six months. | 1:11:44 | 1:11:47 | |
Oh, give him a year. | 1:11:47 | 1:11:48 | |
Say, waiter, would you clear those glasses away, please, | 1:11:48 | 1:11:51 | |
and bring me a cup of coffee? | 1:11:51 | 1:11:52 | |
Very good, sir. | 1:11:52 | 1:11:53 | |
How did it go, Mr Sloan? | 1:11:59 | 1:12:00 | |
I mean, Fred, er, Mr Burton? | 1:12:00 | 1:12:02 | |
Very clever young man. | 1:12:02 | 1:12:03 | |
Told me how to run my business in one easy lesson. | 1:12:03 | 1:12:06 | |
You mean, he didn't... | 1:12:06 | 1:12:08 | |
I'm afraid your friend, in spite of his talents, | 1:12:08 | 1:12:10 | |
doesn't want to work. | 1:12:10 | 1:12:11 | |
Too bad. Very clever young man. | 1:12:11 | 1:12:13 | |
Excuse me, Phil. | 1:12:15 | 1:12:17 | |
Hello. Want some coffee? | 1:12:26 | 1:12:29 | |
Mr Sloan says you don't want to work. | 1:12:29 | 1:12:31 | |
He's a mind reader. | 1:12:33 | 1:12:34 | |
Why did you do this to me? | 1:12:34 | 1:12:35 | |
You promised. | 1:12:35 | 1:12:37 | |
I tried. I thought it might work out, | 1:12:38 | 1:12:41 | |
and then I got talking to him and - | 1:12:41 | 1:12:43 | |
and all of a sudden, the whole thing closed in on me. | 1:12:43 | 1:12:45 | |
I-I just couldn't go through with it. | 1:12:45 | 1:12:48 | |
You don't really care about me at all, do you? | 1:12:48 | 1:12:50 | |
It's not that. | 1:12:50 | 1:12:52 | |
It's just that - | 1:12:52 | 1:12:54 | |
I'm not cut out for that kind of life, | 1:12:54 | 1:12:56 | |
don't you see? | 1:12:56 | 1:12:57 | |
I'm used to wandering around all over the place. | 1:12:57 | 1:13:00 | |
Oh, I don't know. | 1:13:00 | 1:13:01 | |
I guess it's just that I haven't got any character or something. | 1:13:01 | 1:13:05 | |
There are a lot of things you haven't got, | 1:13:05 | 1:13:08 | |
and I'm one of them. | 1:13:08 | 1:13:09 | |
No strategy. No finesse. No lateral passes, huh? | 1:13:20 | 1:13:24 | |
Oh, I haven't any character. | 1:13:24 | 1:13:26 | |
Neither have I. | 1:13:26 | 1:13:27 | |
Come on. Let's get out of here. | 1:13:27 | 1:13:28 | |
It's too respectable. | 1:13:28 | 1:13:29 | |
I want to ask you some questions, anyway. Come on. | 1:13:29 | 1:13:32 | |
I think you're going to like this. | 1:13:39 | 1:13:41 | |
Slip a jigger of this in there, will you, Joe? | 1:13:41 | 1:13:43 | |
Yes, sir. | 1:13:43 | 1:13:44 | |
You know, this drink didn't just happen. | 1:13:44 | 1:13:45 | |
This is the culmination | 1:13:45 | 1:13:47 | |
of years of patient research | 1:13:47 | 1:13:50 | |
and has a mild bouquet, lighter body, | 1:13:50 | 1:13:52 | |
but an enormous amount of esters. | 1:13:52 | 1:13:55 | |
How are your taste buds? | 1:13:55 | 1:13:57 | |
Still got them, I guess. | 1:13:57 | 1:13:59 | |
Pour them out, Joe. Pour them out. | 1:13:59 | 1:14:01 | |
Good night. It's raining out. | 1:14:04 | 1:14:06 | |
Don't you like rain? | 1:14:06 | 1:14:07 | |
No. | 1:14:07 | 1:14:08 | |
Turn the rain off, Joe. | 1:14:08 | 1:14:09 | |
It depresses my friend here. | 1:14:09 | 1:14:11 | |
Hey, how do you do that? | 1:14:17 | 1:14:18 | |
PHIL: Here, here. Come on now. | 1:14:18 | 1:14:20 | |
That may look a little strong, | 1:14:20 | 1:14:22 | |
but you won't begin to feel it till the second day, I'm sure. | 1:14:22 | 1:14:25 | |
I don't think anybody ever made a drink quite like this before. | 1:14:25 | 1:14:29 | |
What do you call it? | 1:14:29 | 1:14:30 | |
Well, it didn't have a name up until now, | 1:14:30 | 1:14:32 | |
but, in honour of you, I'm calling it The Flying Tiger... | 1:14:32 | 1:14:36 | |
Lieutenant Atwell. | 1:14:36 | 1:14:38 | |
Where'd you get that? | 1:14:38 | 1:14:39 | |
You didn't have a twin brother | 1:14:39 | 1:14:40 | |
in the Flying Tigers, did you? | 1:14:40 | 1:14:42 | |
Oh, I see. | 1:14:44 | 1:14:45 | |
Our San Francisco office dug that up for me. | 1:14:45 | 1:14:49 | |
Oh! Too sweet. | 1:14:50 | 1:14:53 | |
You'll have to be shoving off pretty soon, won't you? | 1:14:53 | 1:14:56 | |
Does she know? | 1:14:56 | 1:14:58 | |
No. | 1:14:58 | 1:15:00 | |
Well, do me a favour and forget it, will you, please? | 1:15:00 | 1:15:02 | |
Oh, I'll be doing myself a favour. | 1:15:02 | 1:15:04 | |
You've got one coming. | 1:15:04 | 1:15:06 | |
What about her? | 1:15:06 | 1:15:07 | |
She'll forget. | 1:15:07 | 1:15:09 | |
Will you? | 1:15:09 | 1:15:11 | |
Me? | 1:15:11 | 1:15:12 | |
Oh, I'm just walking a tightrope | 1:15:12 | 1:15:13 | |
between somewhere and somewhere else. | 1:15:13 | 1:15:14 | |
I-I got to walk it alone, understand? | 1:15:14 | 1:15:17 | |
So I got myself in over my head, | 1:15:17 | 1:15:18 | |
and I had to get out, that's all. | 1:15:18 | 1:15:20 | |
I see. Well, keep the change, Joe. | 1:15:20 | 1:15:24 | |
Thanks. | 1:15:24 | 1:15:26 | |
Can I give you a lift anywhere? | 1:15:26 | 1:15:27 | |
No, thanks. I think I'll just stick around here awhile, | 1:15:27 | 1:15:30 | |
then walk home. | 1:15:30 | 1:15:32 | |
Well, good luck, Atwell. | 1:15:32 | 1:15:36 | |
Thanks, Phil. | 1:15:36 | 1:15:37 | |
Same to you...both. | 1:15:37 | 1:15:39 | |
You've been swell. | 1:15:39 | 1:15:41 | |
Hey, Joe. | 1:16:09 | 1:16:10 | |
Yeah? | 1:16:10 | 1:16:12 | |
# It's quarter to 3.00 | 1:16:12 | 1:16:14 | |
# There no-one in the place | 1:16:14 | 1:16:16 | |
# Except you and me | 1:16:16 | 1:16:19 | |
# so set 'em up, Joe | 1:16:21 | 1:16:23 | |
# I've got a little story you oughta know | 1:16:23 | 1:16:28 | |
# We're drinkin', my friend | 1:16:30 | 1:16:32 | |
# To the end of a brief episode | 1:16:32 | 1:16:37 | |
# Make it one for my baby | 1:16:38 | 1:16:41 | |
# And one more for the road | 1:16:41 | 1:16:45 | |
# I got the routine | 1:16:47 | 1:16:49 | |
# So drop another nickel in the machine | 1:16:49 | 1:16:54 | |
# I'm feelin' so bad | 1:16:56 | 1:16:58 | |
# I wish you'd make the music dreamy and sad | 1:16:58 | 1:17:03 | |
# Could tell you a lot | 1:17:04 | 1:17:07 | |
# But that's not in a gentleman's code | 1:17:07 | 1:17:12 | |
# Make it one for my baby | 1:17:12 | 1:17:16 | |
# And one more for the road | 1:17:16 | 1:17:20 | |
# You'd never know it | 1:17:21 | 1:17:24 | |
# But, buddy, I'm a kind of poet | 1:17:24 | 1:17:26 | |
# And I got a lot of things to say | 1:17:26 | 1:17:30 | |
# And when I'm gloomy | 1:17:30 | 1:17:32 | |
# You simply gotta listen to me | 1:17:32 | 1:17:35 | |
# Until it's talked away. # | 1:17:35 | 1:17:39 | |
Hey, what's the idea? | 1:19:59 | 1:20:01 | |
Well, that's how it goes. | 1:20:02 | 1:20:04 | |
# And, Joe, I know you're getting anxious to close | 1:20:04 | 1:20:09 | |
# So thanks for the beer | 1:20:11 | 1:20:14 | |
# I hope you didn't mind my bending your ear | 1:20:14 | 1:20:18 | |
# Don't let it be said | 1:20:21 | 1:20:23 | |
# Little Freddy can't carry his load | 1:20:23 | 1:20:29 | |
# Make it one for my baby | 1:20:31 | 1:20:34 | |
# And one more for the road | 1:20:34 | 1:20:39 | |
# That long, long road. # | 1:20:39 | 1:20:45 | |
Hey, why don't you wipe that smile off your face? | 1:21:04 | 1:21:07 | |
The fun's over. | 1:21:07 | 1:21:08 | |
Some fun. | 1:21:10 | 1:21:12 | |
Sure you won't have any? | 1:21:13 | 1:21:15 | |
No, thanks. | 1:21:15 | 1:21:16 | |
No appetite? | 1:21:16 | 1:21:17 | |
I had a late breakfast. | 1:21:17 | 1:21:18 | |
Maybe something a little more delicate? | 1:21:18 | 1:21:20 | |
Oh, no, Phil. Thanks. | 1:21:20 | 1:21:22 | |
Why don't you take the day off? | 1:21:22 | 1:21:23 | |
Philip, please don't baby me. | 1:21:23 | 1:21:26 | |
Why don't you say, "I told you so"? | 1:21:26 | 1:21:29 | |
Why don't you tell me what a sap I've been? | 1:21:29 | 1:21:31 | |
Well, I could tell you what a sap you might be. | 1:21:31 | 1:21:33 | |
You might marry me. | 1:21:33 | 1:21:34 | |
Oh, I'm sorry, Phil. | 1:21:34 | 1:21:37 | |
Pretty small of me taking it out on you. | 1:21:37 | 1:21:39 | |
You're ignoring a little suggestion I just made. | 1:21:39 | 1:21:42 | |
Not just now, Phil. | 1:21:42 | 1:21:46 | |
It's no use pretending that I didn't get hurt. | 1:21:46 | 1:21:48 | |
You know I did, | 1:21:48 | 1:21:50 | |
but I'll get over it. | 1:21:50 | 1:21:52 | |
Well, if you won't marry me, | 1:21:52 | 1:21:54 | |
I might as well be noble about it. | 1:21:54 | 1:21:56 | |
I have an assignment for you. | 1:21:56 | 1:21:57 | |
A good one? | 1:21:57 | 1:21:58 | |
You couldn't ask for a better one. | 1:21:58 | 1:22:00 | |
You've always wanted to shoot something different. | 1:22:00 | 1:22:02 | |
How would you like to cover | 1:22:02 | 1:22:03 | |
a "Bombers For Australia" story we're running? | 1:22:03 | 1:22:05 | |
Where do I go? | 1:22:05 | 1:22:07 | |
Well, there's a squadron of American bombers | 1:22:07 | 1:22:08 | |
leaves the west coast pretty soon. | 1:22:08 | 1:22:10 | |
As a matter of fact, you'll have to fly today | 1:22:10 | 1:22:12 | |
if you want to make it. | 1:22:12 | 1:22:13 | |
So I get my big break at last? | 1:22:13 | 1:22:14 | |
At last. | 1:22:14 | 1:22:16 | |
I won't let you down, Phil. | 1:22:16 | 1:22:17 | |
You're a swell guy. | 1:22:17 | 1:22:18 | |
You tell me that when you come back. | 1:22:18 | 1:22:19 | |
I will. | 1:22:19 | 1:22:20 | |
I think coffee just for me, please. | 1:22:20 | 1:22:22 | |
You've got to hurry. | 1:22:22 | 1:22:23 | |
You get packed, and I'll meet you | 1:22:23 | 1:22:24 | |
at La Guardia at 3.00. | 1:22:24 | 1:22:25 | |
All right. | 1:22:25 | 1:22:26 | |
I'll be the fat man with the broken heart. | 1:22:26 | 1:22:28 | |
Oh, Phil. | 1:22:28 | 1:22:30 | |
See you then. | 1:22:30 | 1:22:32 | |
I got it. | 1:22:37 | 1:22:39 | |
OK. You win this time. | 1:22:39 | 1:22:41 | |
Lieutenant, may I take a shot of the boys from over there? | 1:22:58 | 1:23:00 | |
Sure. Go ahead. | 1:23:00 | 1:23:02 | |
Thank you. | 1:23:02 | 1:23:03 | |
Hello. MAN: hello. | 1:23:07 | 1:23:08 | |
What about that nice smile I just saw there? | 1:23:08 | 1:23:11 | |
MAN OVER PA: 'Attention, men who are leaving. | 1:23:12 | 1:23:15 | |
'Go to your planes. Prepare to take off immediately.' | 1:23:15 | 1:23:18 | |
MEN MURMUR | 1:23:18 | 1:23:20 | |
Is it all right to photograph the boys getting on the planes? | 1:23:39 | 1:23:42 | |
Oh, certainly. | 1:23:42 | 1:23:43 | |
Good. | 1:23:43 | 1:23:45 | |
Fred. | 1:24:10 | 1:24:12 | |
Fred! | 1:24:13 | 1:24:14 | |
It's all right. I-I've got time. | 1:24:19 | 1:24:21 | |
I'm in the last ship. | 1:24:21 | 1:24:22 | |
Oh, darling. | 1:24:22 | 1:24:25 | |
Why didn't you tell me, Fred? | 1:24:27 | 1:24:28 | |
Oh, I thought I'd better just clear out. | 1:24:28 | 1:24:30 | |
You always were crazy. | 1:24:30 | 1:24:31 | |
I guess I am. | 1:24:31 | 1:24:32 | |
It's all right now. | 1:24:32 | 1:24:34 | |
- Hey! - All right. | 1:24:34 | 1:24:36 | |
Oh, now, you mustn't do that. | 1:24:38 | 1:24:40 | |
I-It's all clear now. | 1:24:40 | 1:24:42 | |
Look. Here's our lucky penny. | 1:24:42 | 1:24:45 | |
You keep it. | 1:24:45 | 1:24:46 | |
Oh, no. You keep it. | 1:24:46 | 1:24:47 | |
I've had all my luck. | 1:24:47 | 1:24:48 | |
We need just a bit more. | 1:24:48 | 1:24:50 | |
You've got to come back to me. | 1:24:50 | 1:24:52 | |
I'll be back. | 1:24:52 | 1:24:53 | |
Sure, you will. | 1:24:53 | 1:24:54 | |
Hey, Fred! | 1:24:54 | 1:24:56 | |
Yeah. That's us. | 1:24:56 | 1:24:59 | |
You know something? | 1:25:01 | 1:25:02 | |
I think you're just about the sweetest thing | 1:25:02 | 1:25:04 | |
I ever hope to meet on this earth. | 1:25:04 | 1:25:06 | |
MAN: Sorry, Fred. | 1:25:08 | 1:25:11 | |
So long, baby. | 1:25:11 | 1:25:12 | |
So long, darling. | 1:25:12 | 1:25:14 | |
Oh, I almost forgot! I love you! | 1:25:15 | 1:25:18 | |
This is a fine time to tell me! | 1:25:18 | 1:25:20 | |
Goodbye, darling! | 1:25:24 | 1:25:25 | |
SHE MOUTHS | 1:25:40 | 1:25:42 | |
Subtitles by Red Bee Media Ltd | 1:25:57 | 1:25:59 | |
E-mail us at [email protected] | 1:25:59 | 1:26:02 |