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Here we are, children - Chez Mamie. | 0:01:45 | 0:01:47 | |
Doesn't look to me like Mamie's at home! | 0:01:47 | 0:01:48 | |
Is this what Donnie's been raving about, this alley? | 0:01:48 | 0:01:51 | |
I thought little girls were warned | 0:01:51 | 0:01:52 | |
by their mothers to stay away from alleys. | 0:01:52 | 0:01:54 | |
Wait till you see the inside. It could be priceless. | 0:01:54 | 0:01:57 | |
In that case, it's a good thing I brought my chequebook. | 0:01:57 | 0:01:59 | |
What band did you say was here? | 0:01:59 | 0:02:00 | |
You've never heard of them, dear. Chick and his Swing Six. | 0:02:00 | 0:02:03 | |
-Isn't he cute? -I'm more interested in Mamie. | 0:02:03 | 0:02:05 | |
-Is she cute? -You'll find out. | 0:02:05 | 0:02:07 | |
SWING MUSIC PLAYS | 0:02:07 | 0:02:12 | |
Bon soiree and welcome. We're a little crowded. | 0:02:27 | 0:02:31 | |
Rain always brings in the amateurs. | 0:02:31 | 0:02:34 | |
Cute is hardly the right word. | 0:02:34 | 0:02:36 | |
Here we are. | 0:02:38 | 0:02:41 | |
Mike! | 0:02:41 | 0:02:42 | |
When do you have to return the clothes? | 0:02:45 | 0:02:47 | |
Isn't this priceless? Already I feel like a new woman. | 0:02:51 | 0:02:54 | |
At the symphony, I'm just another ermine coat, | 0:02:54 | 0:02:56 | |
but here I begin to live. | 0:02:56 | 0:02:57 | |
I guess I'm just a patron of the lower arts. | 0:02:57 | 0:02:59 | |
-How do you like the band? -Very solid. | 0:02:59 | 0:03:01 | |
Where did this Mamie play football? | 0:03:01 | 0:03:02 | |
Isn't she priceless? Is that music solid or not? | 0:03:02 | 0:03:06 | |
The symphony's over, dear. | 0:03:06 | 0:03:07 | |
You can take your hair down and be human again. | 0:03:07 | 0:03:09 | |
Shall I put a ring through my nose? | 0:03:09 | 0:03:11 | |
-See what I mean? -So she's a square. | 0:03:11 | 0:03:13 | |
Hey, how did you ever find this dive? | 0:03:13 | 0:03:15 | |
I got a traffic ticket one night looking for a really riff band, | 0:03:15 | 0:03:17 | |
and the cops sent me here. | 0:03:17 | 0:03:19 | |
APPLAUSE | 0:03:20 | 0:03:25 | |
How long's the intermission? | 0:03:26 | 0:03:27 | |
Oh, maybe 15 minutes. Maybe not. | 0:03:27 | 0:03:30 | |
So, you wanted to hear some riff music and got a traffic ticket? | 0:03:30 | 0:03:33 | |
-PIANO MUSIC PLAYS -I went out to get a pack of | 0:03:33 | 0:03:35 | |
cigarettes and came to in a cabana in Acapulco. | 0:03:35 | 0:03:38 | |
It's what I get for telling the truth. | 0:03:38 | 0:03:40 | |
Once when I was seven, I told the truth | 0:03:40 | 0:03:42 | |
and they locked me in my bedroom all one Saturday afternoon. | 0:03:42 | 0:03:44 | |
Since then, I only tell the truth | 0:03:44 | 0:03:46 | |
when I want to get locked in my bedroom! | 0:03:46 | 0:03:48 | |
I wonder whatever happened to Cathy? | 0:03:48 | 0:03:51 | |
Did I say something? | 0:04:00 | 0:04:01 | |
Light me a torch, will you, chum? | 0:04:21 | 0:04:23 | |
You're probably half-drunk | 0:05:13 | 0:05:14 | |
and want me to play a song that reminds you of some guy. | 0:05:14 | 0:05:17 | |
Well, you're out of luck till this gets finished. | 0:05:17 | 0:05:20 | |
I call it A Concerto For Sweeney and I'm never going to end it. | 0:05:20 | 0:05:24 | |
-How does it sound? -Hey, Miss M, | 0:05:24 | 0:05:27 | |
don't you think you better come back to the table? | 0:05:27 | 0:05:29 | |
Why should she, buddy? I'm exhibit A around here. | 0:05:29 | 0:05:32 | |
I'm the blind piano player. | 0:05:32 | 0:05:34 | |
She wants to know how I can find the keys with only my fingers. | 0:05:34 | 0:05:37 | |
You tell her it's a Braille piano. | 0:05:37 | 0:05:40 | |
That's what I like about you - you're such a friendly guy. | 0:05:46 | 0:05:50 | |
But you still have something, brother, | 0:05:50 | 0:05:52 | |
that not even a mink coat can keep out. | 0:05:52 | 0:05:54 | |
I've got something that'll keep out a mink coat. | 0:05:54 | 0:05:57 | |
She certainly went for that music, | 0:05:57 | 0:05:58 | |
so she has brains to go with the diamonds. | 0:05:58 | 0:06:00 | |
Fall in love on your own time. | 0:06:00 | 0:06:02 | |
You seem pretty unhappy so I think I ought to say something. | 0:06:19 | 0:06:22 | |
Now, this is a very hospitable clip joint and Mamie doesn't like | 0:06:22 | 0:06:26 | |
for anyone to be unhappy unless it makes them to want to drink more, | 0:06:26 | 0:06:30 | |
so I thought I ought to apologise for my friend at the piano. | 0:06:30 | 0:06:33 | |
I didn't know he was blind. | 0:06:33 | 0:06:35 | |
Oh, a lot of very nice people are blind. | 0:06:35 | 0:06:37 | |
He's nice himself. | 0:06:37 | 0:06:39 | |
Except when he gets around music, something happens to him. | 0:06:39 | 0:06:43 | |
Do you see what I mean? | 0:06:43 | 0:06:44 | |
No. | 0:06:44 | 0:06:46 | |
Well, that's the way the world goes. | 0:06:46 | 0:06:48 | |
Oh, Connie, this is Mr... | 0:06:48 | 0:06:50 | |
Hello and very solid. | 0:06:50 | 0:06:51 | |
Perhaps we'd better go. | 0:06:51 | 0:06:53 | |
That's not Tchaikovsky. | 0:08:03 | 0:08:05 | |
-No. -I'm an old woman, my left foot in the grave. | 0:08:05 | 0:08:08 | |
I forget what happens in the world after midnight, | 0:08:08 | 0:08:11 | |
but something's happened to you. | 0:08:11 | 0:08:13 | |
-I didn't wake you, did I? -I haven't missed hearing you come in | 0:08:15 | 0:08:18 | |
since you first got kissed by the football captain. | 0:08:18 | 0:08:20 | |
Where did you get that music? | 0:08:20 | 0:08:23 | |
-Someone played it tonight. -He did? | 0:08:23 | 0:08:25 | |
It's lovely music. | 0:08:30 | 0:08:33 | |
It's not that lovely. | 0:08:33 | 0:08:35 | |
Oh, don't be such a wise old ogre! | 0:08:35 | 0:08:37 | |
I just can't make it sound as beautiful as it really is. | 0:08:37 | 0:08:40 | |
I'm your aunt, which is a blood relationship. | 0:08:40 | 0:08:42 | |
I also run this house. | 0:08:42 | 0:08:44 | |
I don't want to be a nagging old crow, | 0:08:44 | 0:08:46 | |
so tell me and get it over with. | 0:08:46 | 0:08:48 | |
What, Auntie darling? | 0:08:48 | 0:08:49 | |
I'm not completely immunised to love's young dream. | 0:08:49 | 0:08:53 | |
What does he look like? | 0:08:55 | 0:08:56 | |
Who? | 0:08:59 | 0:09:01 | |
So, you went somewhere after the symphony. | 0:09:01 | 0:09:03 | |
Someone played this nice music for you. Describe him. | 0:09:03 | 0:09:08 | |
Well, I think he was tall. | 0:09:09 | 0:09:11 | |
He had dark hair. | 0:09:15 | 0:09:17 | |
His face was strong and very sad. | 0:09:18 | 0:09:22 | |
He had marvellous fingers. | 0:09:22 | 0:09:24 | |
What did he think of you? | 0:09:24 | 0:09:26 | |
He was blind. | 0:09:28 | 0:09:30 | |
HE SINGS | 0:09:47 | 0:09:53 | |
When are you going to finish that thing? | 0:10:06 | 0:10:08 | |
HE PLAYS A CHEERFUL TUNE | 0:10:08 | 0:10:13 | |
-Come on, the beer. -I know, you hear it foam. | 0:10:18 | 0:10:22 | |
I may not be the poor man's Stokowski, | 0:10:24 | 0:10:27 | |
but I've been around music ever | 0:10:27 | 0:10:29 | |
-since I was knee-high to a clarinet and I think it's good. -So it's good. | 0:10:29 | 0:10:33 | |
You play sweet piano, but so do a lot of other guys. | 0:10:33 | 0:10:36 | |
Maybe not as good as Jose Iturbi, but a lot better than Jose Doakes. | 0:10:36 | 0:10:39 | |
That's not the point. | 0:10:39 | 0:10:41 | |
And so? | 0:10:41 | 0:10:42 | |
You are a hard guy to talk to. | 0:10:42 | 0:10:45 | |
Go ahead, I'm listening. | 0:10:45 | 0:10:47 | |
I'm hanging on every word. | 0:10:47 | 0:10:48 | |
The point is you write music. | 0:10:48 | 0:10:50 | |
You dream it up. I think you're a genius. | 0:10:50 | 0:10:53 | |
Coming from a schmo, that won't impress you. | 0:10:53 | 0:10:56 | |
You're wrong twice. | 0:10:56 | 0:10:59 | |
First, you're not a schmo and I am impressed. | 0:10:59 | 0:11:03 | |
Oh, when you get in this artistic mood, you can be a bore, | 0:11:03 | 0:11:06 | |
but never a schmo. | 0:11:06 | 0:11:08 | |
I can understand that when a guy goes blind, | 0:11:08 | 0:11:10 | |
it's a bit tougher than tripping over his own shoelace. | 0:11:10 | 0:11:13 | |
-It depends. -No, it don't! | 0:11:13 | 0:11:15 | |
You can trip and kill yourself and | 0:11:15 | 0:11:16 | |
that leaves you practically no problem, | 0:11:16 | 0:11:19 | |
or you can break a wrist and eat with one hand for a while, | 0:11:19 | 0:11:23 | |
but when a guy goes blind... | 0:11:23 | 0:11:25 | |
Yeah. | 0:11:27 | 0:11:28 | |
-Thanks. -But you shouldn't let it get to your music. | 0:11:29 | 0:11:33 | |
So you're blind! But Schubert's dead. | 0:11:33 | 0:11:35 | |
It isn't the guy, it's the music. | 0:11:35 | 0:11:39 | |
Can you see what I mean? | 0:11:39 | 0:11:40 | |
No. | 0:11:40 | 0:11:42 | |
I can't see. | 0:11:42 | 0:11:44 | |
You should've gammed that mink coat. | 0:11:48 | 0:11:52 | |
Just pure white gown, blue eyes and red nails. | 0:11:52 | 0:11:56 | |
Sounds like a flag. | 0:11:56 | 0:11:57 | |
Character. | 0:11:58 | 0:12:00 | |
You know, | 0:12:01 | 0:12:02 | |
that's what you miss. | 0:12:02 | 0:12:05 | |
I can feel rain or snow, can touch a diamond or a fog, | 0:12:05 | 0:12:09 | |
smell a rose or a river, | 0:12:09 | 0:12:12 | |
but colour... | 0:12:12 | 0:12:14 | |
Hey, let's hit the kip. | 0:12:17 | 0:12:21 | |
How did it go? | 0:12:57 | 0:12:59 | |
-Is that it? -Mm-hm. | 0:13:03 | 0:13:05 | |
I don't like to bring a crass note into your daydreaming, | 0:13:05 | 0:13:08 | |
but I have some cheques here for you to sign. | 0:13:08 | 0:13:10 | |
Put them on the desk, darling. | 0:13:10 | 0:13:13 | |
Membership renewal for the Symphony Society, | 0:13:13 | 0:13:16 | |
box for the ballet | 0:13:16 | 0:13:18 | |
and that benefit concert. | 0:13:18 | 0:13:22 | |
-Am I boring you? -Yes. | 0:13:22 | 0:13:25 | |
There's also a letter from your mother. | 0:13:25 | 0:13:27 | |
Florida's beginning to bore her. | 0:13:27 | 0:13:29 | |
She's thinking of going to London. In London, she thinks | 0:13:29 | 0:13:32 | |
she'll be able to find out if Paris is habitable again. | 0:13:32 | 0:13:34 | |
She wonders if the idea might intrigue you. | 0:13:34 | 0:13:37 | |
Would you like to go to Paris and buy a new dress? | 0:13:37 | 0:13:39 | |
-Would you? -No. | 0:13:39 | 0:13:41 | |
Paris reminds me of my youth - a horrible thought! | 0:13:41 | 0:13:44 | |
-Willey? -Yes, I'm still here. | 0:13:48 | 0:13:51 | |
Sun Valley, Palm Beach, Paris, Capri - | 0:13:51 | 0:13:54 | |
walking through the Louvre | 0:13:54 | 0:13:55 | |
as though it was the Saks Fifth Avenue of culture. | 0:13:55 | 0:13:58 | |
That was all right before the war. I didn't know any better. | 0:13:58 | 0:14:01 | |
This is worse than I thought. | 0:14:01 | 0:14:03 | |
Everything I can do doesn't mean anything. | 0:14:03 | 0:14:06 | |
It has to mean something now. | 0:14:06 | 0:14:08 | |
I wish your father were around to hear all this. | 0:14:08 | 0:14:10 | |
He always wanted to do something, | 0:14:10 | 0:14:11 | |
but all he ever did was make a million dollars. | 0:14:11 | 0:14:13 | |
There are easier things to do, | 0:14:13 | 0:14:16 | |
but not as hard as what he wanted to do. | 0:14:16 | 0:14:18 | |
He wanted to create something. | 0:14:18 | 0:14:20 | |
He wanted to write music. | 0:14:20 | 0:14:22 | |
You don't create a million dollars - | 0:14:22 | 0:14:24 | |
you make it or steal it or earn it or trap it. | 0:14:24 | 0:14:27 | |
Music you've got to create. | 0:14:27 | 0:14:30 | |
Then you've done something. However good or bad it is, it's yours. | 0:14:30 | 0:14:34 | |
It means something and it's beautiful. | 0:14:34 | 0:14:36 | |
Like a 20 bill never is. | 0:14:36 | 0:14:40 | |
Nobody despises money like rich people. | 0:14:40 | 0:14:43 | |
-That isn't it. -Well... | 0:14:43 | 0:14:46 | |
If it's economics, I don't understand it, but if it's love, | 0:14:46 | 0:14:49 | |
which I suspect, you have my permission. | 0:14:49 | 0:14:52 | |
You don't even believe me. | 0:14:52 | 0:14:54 | |
I'm a cynical old girl, but I believe you. | 0:14:54 | 0:14:56 | |
We can't do anything about it today. | 0:14:56 | 0:14:58 | |
This afternoon, you're going to the Coles' Musicale. | 0:14:58 | 0:15:00 | |
-Remember? -No. | 0:15:00 | 0:15:02 | |
That's what I'm here for - I keep files, ledgers, books. | 0:15:02 | 0:15:05 | |
You could always burn 'em. | 0:15:05 | 0:15:07 | |
CLASSICAL MUSIC PLAYS | 0:15:09 | 0:15:14 | |
There's something obscene about music in the afternoon. | 0:15:24 | 0:15:27 | |
People should be selling stocks or bonds or playing golf. | 0:15:27 | 0:15:30 | |
Tonight, I'm going to take a long hot bath and read a detective story. | 0:15:36 | 0:15:40 | |
You can't think of the profound pleasure there is | 0:15:40 | 0:15:43 | |
in such a prospect, especially after... | 0:15:43 | 0:15:46 | |
-Where are you going? -What? | 0:15:53 | 0:15:55 | |
-Think nothing of it. -Oh, I'm sorry. | 0:15:55 | 0:15:57 | |
-You mean tonight? -Mm. | 0:15:57 | 0:15:59 | |
-I'm going dancing. -Very good idea. | 0:15:59 | 0:16:01 | |
-With George. -Very nice young man. | 0:16:01 | 0:16:04 | |
-Doesn't he want to marry you? -Usually. | 0:16:04 | 0:16:06 | |
The sort of young man women should be happy to marry. | 0:16:06 | 0:16:09 | |
-Yes. -Ssh! | 0:16:09 | 0:16:10 | |
They seldom are. They like rascals and vagabonds. | 0:16:12 | 0:16:15 | |
They only marry a George. | 0:16:15 | 0:16:17 | |
It's one of the tragedies of life. | 0:16:17 | 0:16:19 | |
You can't put salt and pepper in the same shaker. | 0:16:19 | 0:16:21 | |
George is all right. | 0:16:21 | 0:16:23 | |
That's what I mean. | 0:16:23 | 0:16:25 | |
SSH! | 0:16:25 | 0:16:26 | |
MUSIC STOPS | 0:16:26 | 0:16:28 | |
APPLAUSE | 0:16:30 | 0:16:32 | |
It can't be that late. | 0:16:49 | 0:16:50 | |
Where's George? | 0:16:50 | 0:16:52 | |
I came home in a cab. | 0:16:52 | 0:16:55 | |
Have some coffee. | 0:16:55 | 0:16:57 | |
No, thanks. | 0:16:57 | 0:16:59 | |
What happened with George? | 0:16:59 | 0:17:01 | |
Oh, he's an absolute 24-carat idiot. | 0:17:01 | 0:17:03 | |
About 18-carat, I think. | 0:17:03 | 0:17:05 | |
-Willey? -Yes? | 0:17:07 | 0:17:10 | |
-I'm going back there. -To George? | 0:17:10 | 0:17:12 | |
No. | 0:17:15 | 0:17:17 | |
Well, I wouldn't go if I were you. | 0:17:17 | 0:17:20 | |
If I were you, you might wind up like me. | 0:17:20 | 0:17:22 | |
-I hope I do. -I'll go with you. | 0:17:22 | 0:17:25 | |
They say it's never too late. | 0:17:25 | 0:17:27 | |
Plato didn't learn Greek till he was 80. | 0:17:27 | 0:17:30 | |
-I'm going alone. -I begin to see what happened to George. | 0:17:30 | 0:17:33 | |
You don't approve, do you? | 0:17:36 | 0:17:38 | |
I'll let you know when you get back. | 0:17:42 | 0:17:44 | |
# Who killed her? | 0:18:12 | 0:18:14 | |
# Who killed the black wid-er? | 0:18:14 | 0:18:17 | |
# Who took a broom and a frying pan | 0:18:17 | 0:18:20 | |
# Hit her on the head and took it on the lam? | 0:18:20 | 0:18:22 | |
# Who killed her? | 0:18:22 | 0:18:24 | |
# Who killed the black wid-er? | 0:18:24 | 0:18:27 | |
# Who beat her up till she was dead | 0:18:27 | 0:18:30 | |
# And left poor me in a jam now? | 0:18:30 | 0:18:32 | |
# I'm the district attorney | 0:18:32 | 0:18:35 | |
# A very intelligent mouse | 0:18:35 | 0:18:37 | |
# How could that villain escape me | 0:18:37 | 0:18:40 | |
# When I was right here in her house | 0:18:40 | 0:18:42 | |
# Who killed her? | 0:18:42 | 0:18:44 | |
# Who killed the black wid-er? | 0:18:44 | 0:18:47 | |
# Who threw her out in the garbage can | 0:18:47 | 0:18:50 | |
# And left without a clue? | 0:18:50 | 0:18:52 | |
# Well, I'm beginning to believe it was you | 0:18:52 | 0:18:56 | |
# Who killed her? | 0:19:02 | 0:19:04 | |
# Who killed the black wid-er? | 0:19:04 | 0:19:06 | |
# Who took a broom to her spider web | 0:19:08 | 0:19:10 | |
# Pulled her by the hair right out of her bed? | 0:19:10 | 0:19:12 | |
# Who killed her? | 0:19:12 | 0:19:14 | |
# Who killed the black wid-er? | 0:19:14 | 0:19:17 | |
# Who beat her up with a kitchen chair | 0:19:17 | 0:19:20 | |
# And hid her body in bed? | 0:19:20 | 0:19:22 | |
# Now I just got a confession | 0:19:22 | 0:19:25 | |
# The butler told me the deal | 0:19:25 | 0:19:27 | |
# I caught him in the pantry | 0:19:27 | 0:19:29 | |
# With a bloodstain on his heel | 0:19:29 | 0:19:32 | |
# He killed her | 0:19:32 | 0:19:34 | |
# He killed the black wid-er | 0:19:34 | 0:19:37 | |
# He told me she'd poisoned him | 0:19:37 | 0:19:40 | |
# But he got her instead | 0:19:40 | 0:19:42 | |
# So case is dismissed It's self-defence | 0:19:42 | 0:19:45 | |
# And I'm mighty glad she's dead. # | 0:19:45 | 0:19:49 | |
APPLAUSE | 0:19:49 | 0:19:54 | |
-Table for two? -For one. | 0:20:02 | 0:20:04 | |
We've got a rule here, sister. | 0:20:04 | 0:20:05 | |
-Really? -Against dames sitting alone. | 0:20:05 | 0:20:08 | |
Er, but I think, er... | 0:20:08 | 0:20:10 | |
-Well, don't think any more. -No chance! | 0:20:10 | 0:20:12 | |
No, it ain't him. He quit last night. | 0:20:30 | 0:20:34 | |
He quits about once a month. | 0:20:34 | 0:20:36 | |
Very unpredictable character, Miss Mallory. | 0:20:36 | 0:20:40 | |
What'll you have? | 0:20:40 | 0:20:41 | |
Do you mind if I have a cup of coffee? | 0:20:41 | 0:20:43 | |
-Two coffees, please. -How did you know my name? | 0:20:43 | 0:20:46 | |
I saw your picture in the paper when you joined the army, | 0:20:46 | 0:20:48 | |
and I was in that London hospital | 0:20:48 | 0:20:50 | |
when you brought Kleister to play for us. | 0:20:50 | 0:20:52 | |
Small world. | 0:20:52 | 0:20:53 | |
Was he blinded in the war? | 0:20:53 | 0:20:56 | |
No, afterward. He had his own band before the war. | 0:20:56 | 0:20:59 | |
I started with him. Now he's with me. | 0:20:59 | 0:21:02 | |
-What happened? -When he went blind, he went sour. | 0:21:02 | 0:21:06 | |
That music he was playing the other night, was it something of his own? | 0:21:06 | 0:21:10 | |
The piano concerto he started two, three years ago. | 0:21:10 | 0:21:13 | |
He won't finish it. | 0:21:13 | 0:21:15 | |
Won't finish it? | 0:21:15 | 0:21:17 | |
He's Mr Blind Man and nobody with eyes can tell him anything. | 0:21:17 | 0:21:21 | |
How about somebody without eyes? | 0:21:21 | 0:21:23 | |
You know somebody? | 0:21:23 | 0:21:26 | |
I was just thinking. | 0:21:26 | 0:21:29 | |
I don't get you. | 0:21:29 | 0:21:29 | |
You've got a jillion dollars and a pretty boyfriend. | 0:21:29 | 0:21:33 | |
What do you keep slumming after him for? | 0:21:33 | 0:21:35 | |
The music. I can't get it out of my head. | 0:21:35 | 0:21:37 | |
I think it's fine and I want to help | 0:21:37 | 0:21:39 | |
a man who can write like that any way I can, that's all. | 0:21:39 | 0:21:42 | |
-You couldn't help him. -I could try, couldn't I? | 0:21:42 | 0:21:45 | |
I live with him, I know the guy. | 0:21:45 | 0:21:47 | |
I pour his beer, I make his bed, I read books to him. | 0:21:47 | 0:21:50 | |
I spell out the big words and I take him walking on the beach. | 0:21:50 | 0:21:53 | |
I know the guy and the only thing he wants from somebody like you | 0:21:53 | 0:21:57 | |
is to be left alone. | 0:21:57 | 0:21:58 | |
I think you're on the level, but that won't get it. | 0:21:58 | 0:22:01 | |
We forgot the marinated herring for the seagulls. | 0:22:27 | 0:22:30 | |
Come on, let's take a walk. | 0:22:30 | 0:22:32 | |
One of these times, we'll fish in the surf. | 0:22:53 | 0:22:57 | |
The only fish I ever caught | 0:22:57 | 0:22:58 | |
was a silverfish in the pocket of an old tuxedo. | 0:22:58 | 0:23:01 | |
You might charm a halibut with that clarinet. | 0:23:01 | 0:23:04 | |
-Ouch! -Just don't let the fresh air go to your head. | 0:23:04 | 0:23:09 | |
You forget how old and soft you are. | 0:23:09 | 0:23:12 | |
Many people on the beach? | 0:23:12 | 0:23:14 | |
No, just a girl. | 0:23:20 | 0:23:22 | |
-Chick. -Yeah? | 0:23:25 | 0:23:27 | |
I thought I recognised your voice. | 0:23:27 | 0:23:29 | |
-Hello there. -My companion left me for a while. | 0:23:29 | 0:23:33 | |
-He did? -No, she. | 0:23:33 | 0:23:35 | |
-You really do remember me, don't you? -Oh, sure. | 0:23:35 | 0:23:38 | |
Maybe you don't know my friend Dan Evans. | 0:23:38 | 0:23:40 | |
-Dan, this is Miss... -Mary Willey, in case you've forgotten. | 0:23:40 | 0:23:44 | |
-Mary Willey. -How do you do? | 0:23:44 | 0:23:46 | |
You may be holding out your hand, Mr Evans, but if you are, I can't see. | 0:23:47 | 0:23:52 | |
I'm blind. | 0:23:52 | 0:23:54 | |
Blind? | 0:23:54 | 0:23:57 | |
Er, yes, I told you about him, didn't I? | 0:23:57 | 0:24:00 | |
Of course, Dan Evans, the pianist. | 0:24:00 | 0:24:02 | |
Look, why don't you two sit down and I'll go back and get the beer? | 0:24:02 | 0:24:06 | |
Sure. | 0:24:06 | 0:24:07 | |
I... I hear you're a fine musician. | 0:24:17 | 0:24:20 | |
So, you're blind? | 0:24:23 | 0:24:24 | |
Do you like music? | 0:24:29 | 0:24:31 | |
I love it. | 0:24:31 | 0:24:33 | |
-What do you like? -Oh, Bach, Debussy, Stravinsky... | 0:24:33 | 0:24:38 | |
-Classics. -I like Gershwin, the Duke, Bix. | 0:24:38 | 0:24:42 | |
Beiderbecke? | 0:24:42 | 0:24:43 | |
-You know his stuff? -People think he was just a man with a horn, | 0:24:43 | 0:24:46 | |
but he played a good piano. | 0:24:46 | 0:24:48 | |
He died too soon. | 0:24:48 | 0:24:50 | |
Yeah. | 0:24:50 | 0:24:51 | |
I'd like to hear you play sometime. | 0:24:53 | 0:24:55 | |
No, I don't play any more. | 0:24:55 | 0:24:57 | |
-I just trade boogie-woogie for beer and hamburger. -Why? | 0:24:57 | 0:25:01 | |
Because I like to eat. | 0:25:01 | 0:25:03 | |
I wish you'd teach me to play. | 0:25:06 | 0:25:08 | |
You must like to be around blind people. | 0:25:09 | 0:25:12 | |
I don't. | 0:25:12 | 0:25:15 | |
I didn't think of it that way. | 0:25:15 | 0:25:18 | |
It's just that music is about all I have to live for. | 0:25:18 | 0:25:21 | |
I asked him to teach me to play the piano and now I think he's angry. | 0:25:26 | 0:25:30 | |
He's an angry man. | 0:25:30 | 0:25:32 | |
Now, if you want to take up clarinet, | 0:25:32 | 0:25:34 | |
maybe we could talk business. | 0:25:34 | 0:25:35 | |
-Have some suds? -No, thank you. | 0:25:35 | 0:25:38 | |
Do you, er, do you play at all? | 0:25:39 | 0:25:42 | |
-A little. -What do you care? | 0:25:42 | 0:25:45 | |
She's busted. She couldn't pay you anything. | 0:25:45 | 0:25:48 | |
He's a very mercenary character. | 0:25:48 | 0:25:51 | |
That's why he's a second-rate musician. | 0:25:51 | 0:25:53 | |
Come on, Chick, let's walk. | 0:25:55 | 0:25:57 | |
-I'll see you around, Miss...? -Mary. | 0:26:01 | 0:26:04 | |
Mary. | 0:26:04 | 0:26:05 | |
Well, what do you think? | 0:26:08 | 0:26:10 | |
I don't know. With him, you never know. | 0:26:10 | 0:26:13 | |
Are you with me or against me? | 0:26:13 | 0:26:15 | |
I'm right where you put me - dead in the middle. | 0:26:15 | 0:26:17 | |
You don't think I can get away with it? | 0:26:17 | 0:26:19 | |
You can try. One thing. | 0:26:19 | 0:26:21 | |
-Yes? -You can't pull anything in that Nob Hill palace - | 0:26:21 | 0:26:23 | |
no mink coats, no limousines. | 0:26:23 | 0:26:25 | |
-No. -Nobody loves a millionaire except politicians, models and me. | 0:26:25 | 0:26:31 | |
Be poor. Get some job with a piano and a hot plate. | 0:26:31 | 0:26:34 | |
You know, clean but crummy. | 0:26:34 | 0:26:36 | |
It's a high one. And duck. | 0:27:01 | 0:27:03 | |
Like the man said, clean but crummy. | 0:27:10 | 0:27:12 | |
They should be here any minute. | 0:27:12 | 0:27:14 | |
How do you really feel about this? | 0:27:14 | 0:27:16 | |
Scared to death. Oh, you remember who you are, don't you? | 0:27:16 | 0:27:19 | |
This is my badge of office. | 0:27:19 | 0:27:21 | |
You're still my aunt and companion, but now you paint. | 0:27:21 | 0:27:23 | |
I paint. I can't even bear the smell of turpentine. | 0:27:23 | 0:27:26 | |
DOORBELL | 0:27:26 | 0:27:28 | |
I'm Chick Morgan, this is Dan Evans. | 0:27:34 | 0:27:36 | |
-I'm Miss Willey. -How do you do? | 0:27:36 | 0:27:38 | |
-How do you do? Would you come in? -Thank you. | 0:27:38 | 0:27:40 | |
Hello. I brought the maestro. | 0:27:42 | 0:27:45 | |
I'm so glad you came. | 0:27:45 | 0:27:46 | |
Who's been painting something? | 0:27:48 | 0:27:50 | |
That's Aunt Willey. She's an artist. | 0:27:50 | 0:27:53 | |
Here. | 0:27:53 | 0:27:54 | |
I just dashed off a magazine cover. | 0:27:57 | 0:27:58 | |
She's very clever. | 0:27:58 | 0:27:59 | |
One of the reasons I like to live with her - she can respect my work cos she can't see it. | 0:28:02 | 0:28:05 | |
I'd like to see some of your stuff. | 0:28:08 | 0:28:09 | |
-You would? -Mm-hmm. -Come with me. | 0:28:09 | 0:28:12 | |
You ever painted, Mr Morgan? | 0:28:12 | 0:28:14 | |
I once painted things with iodine. | 0:28:14 | 0:28:17 | |
I had my piano tuned. | 0:28:25 | 0:28:26 | |
Oh? | 0:28:27 | 0:28:28 | |
-What is it? -A Steinway. | 0:28:39 | 0:28:41 | |
-Baby grand? -No, concert. | 0:28:41 | 0:28:43 | |
-Concert! -It belonged to my father. | 0:28:43 | 0:28:45 | |
It's all I have left. | 0:28:45 | 0:28:46 | |
He was very good when he was young. | 0:28:48 | 0:28:51 | |
-What happened to him? -He got married. | 0:28:51 | 0:28:54 | |
-So did Mozart. -This was different. | 0:28:54 | 0:28:56 | |
-He's dead now. -Let's hear how you play. | 0:28:57 | 0:29:01 | |
How about Schumann's Carnaval? | 0:29:15 | 0:29:16 | |
How about it? | 0:29:16 | 0:29:17 | |
SHE PLAYS | 0:29:20 | 0:29:22 | |
MUSIC DRIFTS THROUGH | 0:29:40 | 0:29:42 | |
What did you put in this brew? | 0:29:42 | 0:29:44 | |
It's a secret formula - took me years of research. | 0:29:44 | 0:29:46 | |
So, you're Miss Willey? | 0:29:48 | 0:29:50 | |
You sound as if you're looking at the Washington Monument for the first time. | 0:29:50 | 0:29:54 | |
What do you think of this blind man's bluff? | 0:29:56 | 0:29:58 | |
I haven't thought for 20 years, | 0:29:59 | 0:30:01 | |
but I tell you this - | 0:30:01 | 0:30:02 | |
I wouldn't be surprised if she played better than he did. | 0:30:02 | 0:30:05 | |
SHE CONTINUES TO PLAY | 0:30:07 | 0:30:10 | |
That's a nice thing. | 0:30:19 | 0:30:21 | |
Of course, it says rubato and you play it straight, | 0:30:21 | 0:30:24 | |
but, anyway, I recognised it. | 0:30:24 | 0:30:25 | |
Was it as bad as that? | 0:30:25 | 0:30:27 | |
I wish you'd show me how. | 0:30:27 | 0:30:29 | |
HE PLAYS | 0:30:45 | 0:30:50 | |
She seems to be improving already. | 0:31:07 | 0:31:09 | |
You see, you should play it with more feeling, | 0:31:34 | 0:31:36 | |
not so much like a metronome. | 0:31:36 | 0:31:38 | |
I shouldn't play after that. | 0:31:38 | 0:31:40 | |
Hi, Chick. | 0:31:41 | 0:31:43 | |
Why don't we all have dinner together and go to the concert? | 0:31:43 | 0:31:45 | |
I'm giving one at the Chez Mamie. | 0:31:45 | 0:31:47 | |
They're playing Mussorgsky and Delius. | 0:31:47 | 0:31:49 | |
-Delius, huh? -Yeah, why don't you? | 0:31:49 | 0:31:52 | |
What do we do about tickets? | 0:31:52 | 0:31:54 | |
Oh, Aunt Willey can always get some. | 0:31:54 | 0:31:56 | |
The first violinist proposed to me in 1917. | 0:31:56 | 0:31:59 | |
We could go to Petropolis up the street and have spaghetti. | 0:32:01 | 0:32:04 | |
-Spaghetti... -Yeah, how can you go against that? | 0:32:04 | 0:32:07 | |
Delius and spaghetti! | 0:32:07 | 0:32:09 | |
I'm afraid I can't. | 0:32:12 | 0:32:14 | |
ORCHESTRA PLAYS | 0:32:19 | 0:32:21 | |
Come in. | 0:32:44 | 0:32:46 | |
Just put your things over on the settee. | 0:32:49 | 0:32:51 | |
-How does it look in here? -Very clean and neat. | 0:32:54 | 0:32:57 | |
A tribute to a nice friend. | 0:32:57 | 0:32:59 | |
Chick? Not a chance. | 0:32:59 | 0:33:00 | |
A gal comes up here afternoons and teases the place with a dust rag. | 0:33:00 | 0:33:04 | |
She cheats. Look. | 0:33:04 | 0:33:05 | |
I'll fix the drinks. | 0:33:05 | 0:33:07 | |
-What'll it be? -Could we have coffee? | 0:33:07 | 0:33:10 | |
-If you've got to. -I'd like some coffee too. | 0:33:10 | 0:33:13 | |
-OK, I'll fix it. -No, I'll do it. | 0:33:13 | 0:33:15 | |
No man ever made coffee for me and no man ever will. | 0:33:15 | 0:33:17 | |
-Where's the kitchen? -There. | 0:33:17 | 0:33:19 | |
That's where I belong. You show Cathy around. | 0:33:19 | 0:33:21 | |
-Cathy? -Oh, that's me, Mary Catherine. | 0:33:21 | 0:33:24 | |
-You see, Aunt Willey hates the name of Mary. It's her name. -Oh. | 0:33:24 | 0:33:27 | |
Maybe you'd like to try a good piano? | 0:33:31 | 0:33:33 | |
Of course, it's not a concert grand like yours, | 0:33:33 | 0:33:35 | |
but it does have all the keys. | 0:33:35 | 0:33:36 | |
-SHE BEGINS TO PLAY -Sounds like the keys are yellow. | 0:33:41 | 0:33:43 | |
They are. Kind of old and loose. | 0:33:43 | 0:33:46 | |
Oh, please like Aunt Willey's coffee. | 0:33:46 | 0:33:48 | |
It's horrible. She pours a handful into boiling water cowboy-style. | 0:33:48 | 0:33:52 | |
You worry about hurting people's feelings. | 0:33:52 | 0:33:55 | |
That's real nice. You want a torch? | 0:33:55 | 0:33:57 | |
No, thanks. | 0:33:59 | 0:34:01 | |
SHE PLAYS | 0:34:02 | 0:34:05 | |
Very pretty. | 0:34:11 | 0:34:13 | |
What? | 0:34:15 | 0:34:17 | |
You play real pretty, real sweet. | 0:34:17 | 0:34:19 | |
How long have you been blind? | 0:34:20 | 0:34:23 | |
Since I was a child. | 0:34:23 | 0:34:25 | |
Yeah, sure, that's what I figured. | 0:34:25 | 0:34:27 | |
-Why? -Because you play like you've had a nice, sheltered kind of life. | 0:34:27 | 0:34:30 | |
We sit over here. | 0:34:32 | 0:34:33 | |
Why don't you ask me how long I've been blind? | 0:34:42 | 0:34:44 | |
-I... -You've been wanting to ask me ever since we met. | 0:34:44 | 0:34:47 | |
If you want to ask something, ask it. | 0:34:47 | 0:34:48 | |
If you want to do something, do it. | 0:34:48 | 0:34:50 | |
If you live like that... Oh, forget it. | 0:34:50 | 0:34:53 | |
-How long have you been blind? -A year and a half. | 0:34:56 | 0:34:59 | |
Too long or not long enough, I don't know yet which. | 0:35:00 | 0:35:03 | |
What do you see when you play? | 0:35:05 | 0:35:07 | |
I mean, what pictures do you get in your mind? | 0:35:07 | 0:35:10 | |
I don't know. Sometimes I remember | 0:35:11 | 0:35:15 | |
the sun on the lattice, | 0:35:15 | 0:35:17 | |
the rain on the windowpane... | 0:35:17 | 0:35:19 | |
..or flowers, a whole field. | 0:35:21 | 0:35:23 | |
That's real pretty. | 0:35:25 | 0:35:26 | |
Rain on the windowpane and you nice and safe and warm behind the window. | 0:35:28 | 0:35:32 | |
That's not what rain means to me. | 0:35:34 | 0:35:36 | |
It's trying to find a job in the rain, | 0:35:39 | 0:35:41 | |
keeping a newspaper under your shirt - best way to keep you warm. | 0:35:41 | 0:35:45 | |
Only pretty soon the paper gets soggy and the water drips down | 0:35:45 | 0:35:49 | |
into your shoes. Rotten, cold rain. | 0:35:49 | 0:35:51 | |
It never stops, you hate it. | 0:35:51 | 0:35:53 | |
Did you ever in your life really hate anything? | 0:35:56 | 0:35:59 | |
Field of flowers, she says. | 0:36:04 | 0:36:06 | |
No. | 0:36:07 | 0:36:08 | |
It's a kid finding out somebody on the block just died - | 0:36:09 | 0:36:12 | |
old Mrs Halloran, maybe. | 0:36:12 | 0:36:14 | |
It's running like crazy to Mr Kilp the undertaker. | 0:36:14 | 0:36:16 | |
If it was a funeral that paid well, | 0:36:17 | 0:36:19 | |
Kilp would turn his back and let you take some of the flowers. | 0:36:19 | 0:36:21 | |
You could sell them, maybe make enough to see a movie. | 0:36:21 | 0:36:24 | |
Oh, it was a happy day | 0:36:24 | 0:36:25 | |
when you found there was a funeral on the block. | 0:36:25 | 0:36:27 | |
Not very pretty, is it? | 0:36:31 | 0:36:33 | |
No, not very pretty. But you do make me see what you mean. | 0:36:36 | 0:36:40 | |
Sure. | 0:36:41 | 0:36:42 | |
The pictures in my mind... | 0:36:44 | 0:36:45 | |
..put them all together and they make music. | 0:36:48 | 0:36:50 | |
Music for Sweeney - half-down on paper and it'll never get finished. | 0:36:51 | 0:36:57 | |
-Why not? -Because the picture stopped a year and a half ago. | 0:36:57 | 0:37:02 | |
-How did you...? -How did I get blind? | 0:37:03 | 0:37:06 | |
I told you, if you want to ask something, ask it. | 0:37:06 | 0:37:09 | |
Yes. I was going to ask you that. | 0:37:09 | 0:37:10 | |
OK, I'll tell you. | 0:37:11 | 0:37:13 | |
HE PLAYS | 0:37:17 | 0:37:19 | |
I spent four years in the war, two years overseas. | 0:37:21 | 0:37:24 | |
Never got a scratch. | 0:37:25 | 0:37:27 | |
And then I came home and became a nice, safe civilian again. | 0:37:27 | 0:37:32 | |
I was sitting in a drug store at the fountain. | 0:37:32 | 0:37:34 | |
A drunken driver crashed into the plate glass window. | 0:37:34 | 0:37:37 | |
The glass flew all over the place. | 0:37:37 | 0:37:39 | |
DISSONANT CHORD | 0:37:41 | 0:37:42 | |
Hearts and Flowers, that's one you ought to know. | 0:37:42 | 0:37:45 | |
The thing I like about coffee, it keeps me awake. | 0:37:50 | 0:37:52 | |
Nothing more ridiculous than lying unconscious on a bed. | 0:37:52 | 0:37:56 | |
Besides, I have insomnia. | 0:37:56 | 0:37:57 | |
I like to blame it on the coffee instead of my conscience. | 0:37:57 | 0:38:01 | |
-How do you take it? -Straight. | 0:38:01 | 0:38:03 | |
Don't you believe her? She's one of those awful heart of gold villains. | 0:38:03 | 0:38:06 | |
My heart's an old wastepaper basket, | 0:38:07 | 0:38:10 | |
filled with unpaid bills and paperback novels. | 0:38:10 | 0:38:13 | |
How's the coffee? | 0:38:14 | 0:38:16 | |
A work of art. | 0:38:16 | 0:38:18 | |
What's this music manuscript? | 0:38:18 | 0:38:20 | |
-It's nothing. -I heard you play this afternoon. | 0:38:20 | 0:38:23 | |
I know music when I hear it, I know music when I see it. | 0:38:23 | 0:38:27 | |
-Do you mind if I try it? -No. | 0:38:27 | 0:38:29 | |
SHE PLAYS | 0:38:32 | 0:38:34 | |
I'll play it. | 0:38:34 | 0:38:36 | |
HE PLAYS | 0:38:44 | 0:38:46 | |
Hello, Mother! I'm home. | 0:39:16 | 0:39:18 | |
You shouldn't stay out so late, Son. | 0:39:18 | 0:39:20 | |
Cigarettes and loss of sleep is bad for your wind. | 0:39:20 | 0:39:23 | |
-You won't be able to blow your horn when you're a big boy. -Huh! | 0:39:23 | 0:39:26 | |
You know, Chick, you're not a bad musician. | 0:39:27 | 0:39:30 | |
You're too good for that dump. | 0:39:30 | 0:39:33 | |
Well, that's what I keep telling myself, but nobody answers. | 0:39:33 | 0:39:36 | |
Come on in and listen to something. | 0:39:38 | 0:39:40 | |
You know that piece of music? | 0:39:46 | 0:39:47 | |
-For Sweeney? -Yeah. Light me up. | 0:39:47 | 0:39:49 | |
I've got something new for it. | 0:39:55 | 0:39:57 | |
Shoot. | 0:39:57 | 0:39:59 | |
HE PLAYS | 0:40:00 | 0:40:02 | |
I can do it like that or like this. | 0:40:13 | 0:40:15 | |
HE PLAYS STACCATO | 0:40:15 | 0:40:17 | |
Keep them both! | 0:40:23 | 0:40:24 | |
This is singing, all right. It's different. | 0:40:28 | 0:40:31 | |
Yeah, it's like rain. Rain on the windowpane, | 0:40:31 | 0:40:34 | |
simple as that. | 0:40:34 | 0:40:35 | |
It's beautiful, baby - very, very pure. | 0:40:42 | 0:40:44 | |
Good to see you back in the groove again after a year in the mothballs. | 0:40:45 | 0:40:49 | |
Thanks. | 0:40:49 | 0:40:50 | |
I've got news for you. | 0:40:53 | 0:40:55 | |
We're being evicted again. | 0:40:55 | 0:40:57 | |
I'm going back to the Chez Mamie. | 0:40:59 | 0:41:01 | |
-How did it go tonight? -Delius was a little ragged, | 0:41:03 | 0:41:06 | |
but the spaghetti was perfect. | 0:41:06 | 0:41:08 | |
-That girl, what's her name? -You know her name. | 0:41:12 | 0:41:15 | |
Mary. | 0:41:16 | 0:41:18 | |
-What's she look like? -Oh, not too big, not too small, | 0:41:20 | 0:41:23 | |
not too bad to look at, not too bad to be around. | 0:41:23 | 0:41:26 | |
But not red, white and blue, huh? | 0:41:26 | 0:41:30 | |
Listen, she's the kind that, | 0:41:30 | 0:41:31 | |
no matter how crowded the streetcar was, or how tired you were, | 0:41:31 | 0:41:34 | |
you'd get up and give her your seat. | 0:41:34 | 0:41:36 | |
-Is that clear enough? -It'll have to do. | 0:41:36 | 0:41:38 | |
Too bad she's blind. | 0:41:40 | 0:41:42 | |
Yeah, ain't it(?) | 0:41:44 | 0:41:46 | |
ORCHESTRA PLAYS | 0:41:47 | 0:41:50 | |
INDISTINCT CHATTER | 0:41:50 | 0:41:52 | |
-Am I late? -You're a woman. | 0:41:57 | 0:41:59 | |
-Let's sit in a booth, shall we? -Uh-huh. -This way, please. | 0:41:59 | 0:42:02 | |
William? | 0:42:09 | 0:42:10 | |
A lemonade, please. | 0:42:14 | 0:42:16 | |
A glass of beer and a saucer of milk. | 0:42:16 | 0:42:18 | |
-I beg your pardon, sir? -A glass of beer and a saucer of milk. | 0:42:20 | 0:42:23 | |
Thank you, sir. | 0:42:26 | 0:42:28 | |
-I bought the guy a cat. It's his birthday. -Oh, Dan's? | 0:42:28 | 0:42:30 | |
Yes, he likes cats. | 0:42:30 | 0:42:32 | |
-He thinks they can sing. -Oh, he's singing now. | 0:42:32 | 0:42:34 | |
Huh? Oh, here. Hurry, quick. | 0:42:34 | 0:42:37 | |
CAT MEOWS | 0:42:53 | 0:42:54 | |
I want to talk to you about Dan. | 0:42:58 | 0:43:00 | |
-Why, sure. -How is he? | 0:43:00 | 0:43:02 | |
Oh, I guess you performed a miracle - he's back at the Mamie and I think he's writing on that music. | 0:43:02 | 0:43:06 | |
Oh, that's wonderful! Chick... | 0:43:06 | 0:43:08 | |
You know, the good thing about this animal | 0:43:08 | 0:43:10 | |
is it gives him something to roustabout instead of me. | 0:43:10 | 0:43:12 | |
-Or me! -You ain't seen nothing. | 0:43:12 | 0:43:15 | |
Oh? | 0:43:15 | 0:43:16 | |
Maybe it's because he pities me, huh? | 0:43:18 | 0:43:19 | |
Well, wasn't that the idea? | 0:43:19 | 0:43:21 | |
I suppose so. Only now I feel funny. | 0:43:21 | 0:43:26 | |
Well, think nothing of it | 0:43:26 | 0:43:27 | |
because it's just as dangerous to go back now as it is to go ahead. | 0:43:27 | 0:43:30 | |
-Well, that's what I wanted to talk to you about - going ahead. -Where? | 0:43:30 | 0:43:34 | |
About Dan's eyes - what did the doctors say? | 0:43:35 | 0:43:38 | |
Is there anything that can be done? | 0:43:38 | 0:43:39 | |
Sure, a trick operation - it works sometimes, sometimes no. | 0:43:39 | 0:43:43 | |
But the only guy he'll let touch him is a big shot surgeon in New York. | 0:43:43 | 0:43:46 | |
Well? | 0:43:46 | 0:43:48 | |
You know that stuff they keep in banks? | 0:43:48 | 0:43:50 | |
-Why can't I...? -Because he's a very independent guy. | 0:43:52 | 0:43:55 | |
I'm sorry, baby, you were rather late. | 0:43:56 | 0:43:59 | |
-I've got a rehearsal. -I'll drop you, shall I? | 0:43:59 | 0:44:01 | |
Thank you. | 0:44:01 | 0:44:02 | |
Why couldn't I give you the money and you give it to him? | 0:44:05 | 0:44:08 | |
Same thing. | 0:44:08 | 0:44:09 | |
I know what - he could win a prize in a musical competition. | 0:44:10 | 0:44:13 | |
A big cash prize. | 0:44:13 | 0:44:15 | |
Very good, if there was a big cash prize and if you could get him to | 0:44:15 | 0:44:19 | |
write the music and his music won it. | 0:44:19 | 0:44:21 | |
You forget - I'm Catherine Mallory. | 0:44:21 | 0:44:23 | |
I give it. I become a foundation. | 0:44:23 | 0:44:24 | |
I give an award. | 0:44:24 | 0:44:25 | |
-Well, I've got it. -What is it? | 0:44:31 | 0:44:33 | |
We all get even, it's right here in the paper. | 0:44:33 | 0:44:35 | |
It ain't no good reading those newspapers, they just make you unhappy. | 0:44:35 | 0:44:38 | |
Listen, I'm skipping the build-up, | 0:44:38 | 0:44:39 | |
but a dame named Mallory is giving a big prize. | 0:44:39 | 0:44:41 | |
-Now, let's see. -Oh, fine, who's Mallory? | 0:44:41 | 0:44:44 | |
Somebody with a jillion dollars. You want to hear it or not? | 0:44:44 | 0:44:47 | |
I do. Go ahead. | 0:44:47 | 0:44:48 | |
All right, so Mallory is a dame, | 0:44:48 | 0:44:50 | |
so if they can give five grand for a golf tournament or a puzzle contest | 0:44:50 | 0:44:54 | |
or the cutest man at Yale, this dame is going to do the same thing | 0:44:54 | 0:44:57 | |
for the best piece of music lying around. | 0:44:57 | 0:44:59 | |
-Why not? -Well, here it is. | 0:44:59 | 0:45:01 | |
"Submitted compositions may be in any major musical form for a piano and orchestra." Hmm! | 0:45:01 | 0:45:07 | |
"Compositions must be submitted within three months of above date. | 0:45:07 | 0:45:11 | |
"First prize will be 5,000." | 0:45:11 | 0:45:14 | |
5,000! | 0:45:14 | 0:45:16 | |
Yes, can you pick that up at Telegraph Hill on a rainy night? | 0:45:16 | 0:45:19 | |
That's wonderful! | 0:45:19 | 0:45:21 | |
Now you can go to work and get us all fat. | 0:45:21 | 0:45:23 | |
Sure, I'll just whip up a boogie-woogie of Old Black Joe(!) | 0:45:24 | 0:45:27 | |
My mistake. | 0:45:32 | 0:45:34 | |
Is there anything in the ice box? | 0:45:35 | 0:45:37 | |
I think so. | 0:45:37 | 0:45:38 | |
You could win it, Dan. The piece you played for me - | 0:45:40 | 0:45:43 | |
all you'd have to do is finish it. | 0:45:43 | 0:45:44 | |
-Oh, just like that, huh? -I know my opinion doesn't count for much, | 0:45:44 | 0:45:47 | |
but Chick knows something about it, doesn't he? | 0:45:47 | 0:45:49 | |
-And he thinks it's great. -He's slightly prejudiced. | 0:45:49 | 0:45:51 | |
-But... -If I could have finished it, I'd have finished it. | 0:45:51 | 0:45:55 | |
My luck's gone, flown out the window. | 0:45:55 | 0:45:58 | |
The plate glass window of a drug store, remember? | 0:45:58 | 0:46:01 | |
When your luck's gone, it's gone. | 0:46:01 | 0:46:03 | |
That's that. | 0:46:03 | 0:46:04 | |
All I wanted to say was that your music had meant so much to me | 0:46:04 | 0:46:08 | |
and I thought perhaps... | 0:46:08 | 0:46:09 | |
-Are you ready? -Let's go. | 0:46:14 | 0:46:15 | |
DOOR SHUTS | 0:46:40 | 0:46:41 | |
SHE PLAYS | 0:46:48 | 0:46:51 | |
HE PLAYS WITH GUSTO | 0:47:23 | 0:47:27 | |
MUSIC DRIFTS THROUGH | 0:47:27 | 0:47:29 | |
-Chick? -Yeah? -Not bad, is it? -How many times do I have to say it? | 0:47:39 | 0:47:43 | |
That second theme needs development. | 0:47:57 | 0:48:00 | |
It ought to be scored for full orchestra. | 0:48:00 | 0:48:02 | |
That's right. | 0:48:02 | 0:48:04 | |
If I have to tear this piano apart, I'm going to do it. | 0:48:04 | 0:48:06 | |
Now you're talking, baby. Tear it apart! | 0:48:06 | 0:48:08 | |
-Well, what are you waiting for? Go out and get some manuscript paper. -I just left! | 0:48:08 | 0:48:12 | |
DAN RESUMES PLAYING | 0:48:12 | 0:48:15 | |
Cathy? Well, the man just went to work. | 0:48:18 | 0:48:22 | |
He had more trouble making up his mind than I do a bed, but he did it. | 0:48:22 | 0:48:26 | |
Yeah. 88 to the bar, too. | 0:48:26 | 0:48:29 | |
# Oh, the sheriff he came too He came too | 0:48:31 | 0:48:35 | |
# Oh, the sheriff he came too with his little boys in blue... # | 0:48:35 | 0:48:41 | |
So, we're stumped. Let's go to sleep on it. | 0:48:48 | 0:48:51 | |
What a rotten occupation - a blind man grabbing music out of the air! | 0:48:51 | 0:48:55 | |
I should have got a pencil concession. | 0:48:55 | 0:48:57 | |
You may yet. | 0:48:57 | 0:48:58 | |
Why don't you get out of here and live a normal life? | 0:48:58 | 0:49:02 | |
I'm too happy with you. | 0:49:02 | 0:49:03 | |
I'd miss your friendly smile(!) | 0:49:03 | 0:49:06 | |
You and that girl, you pushed me into this. | 0:49:06 | 0:49:08 | |
Nothing you can't push yourself out of. | 0:49:08 | 0:49:11 | |
PIANO MUSIC DRIFTS THROUGH | 0:49:19 | 0:49:23 | |
Get this. | 0:49:48 | 0:49:49 | |
You got it! Is the left hand chromatic all the way? | 0:49:57 | 0:49:59 | |
No, it doubles back, like this. | 0:49:59 | 0:50:01 | |
All right, go ahead. | 0:50:11 | 0:50:13 | |
Horns and strings in unison. | 0:50:13 | 0:50:16 | |
HE RESUMES PLAYING | 0:50:16 | 0:50:19 | |
HE HUMS | 0:50:19 | 0:50:21 | |
Strings start moving after first quarter, right? | 0:50:24 | 0:50:28 | |
Right. Piano again, starting with D flat and left hand's the same, | 0:50:28 | 0:50:33 | |
only this time with seventh chords. | 0:50:33 | 0:50:35 | |
HE RESUMES PLAYING | 0:50:35 | 0:50:38 | |
That puts the finale in F minor. | 0:50:45 | 0:50:48 | |
Swell for orchestra. | 0:50:48 | 0:50:49 | |
HE RESUMES PLAYING | 0:50:49 | 0:50:51 | |
-What happens now? -It goes to the committee of critics | 0:51:18 | 0:51:21 | |
and if they agree with Catherine Mallory, it wins the first prize. | 0:51:21 | 0:51:25 | |
And if they don't? | 0:51:25 | 0:51:26 | |
Then it will lose. | 0:51:30 | 0:51:31 | |
You're a strange girl. | 0:51:33 | 0:51:36 | |
Even if it does lose, it so happens that Arthur Rubinstein is on | 0:51:36 | 0:51:39 | |
the committee. He's also a very good friend of Miss Mallory's. | 0:51:39 | 0:51:42 | |
If he likes it, maybe she can get him to play it. | 0:51:42 | 0:51:44 | |
I don't want to sound corrupt, but if Miss Mallory's a friend of | 0:51:44 | 0:51:48 | |
Mr Rubinstein, perhaps she could do some business with him. | 0:51:48 | 0:51:51 | |
Not a chance in the world! | 0:51:53 | 0:51:54 | |
It seems we might arrange | 0:51:54 | 0:51:56 | |
this whole thing a little more on the frame-up side. | 0:51:56 | 0:51:59 | |
Aunt Willey, I'm ashamed of you. | 0:51:59 | 0:52:01 | |
No, this doesn't need it. | 0:52:01 | 0:52:03 | |
It's first-rate. | 0:52:03 | 0:52:04 | |
And you better get ready. | 0:52:05 | 0:52:07 | |
-Where am I going? -Where the man said - fishing! | 0:52:07 | 0:52:10 | |
My father always said a fishing rod had a hook at one end | 0:52:27 | 0:52:31 | |
-and an idiot at the other. -That's only when your old man went fishing. | 0:52:31 | 0:52:35 | |
Don't splash the oars so much. | 0:52:35 | 0:52:37 | |
-What will we catch? -Rainbow, cutthroat. | 0:52:37 | 0:52:40 | |
I've never caught a fish in my life. | 0:52:40 | 0:52:42 | |
Maybe the fish are asleep. | 0:52:42 | 0:52:44 | |
I never thought of that. Do fish sleep? | 0:52:44 | 0:52:46 | |
-Sure, they sleep. -How do you know? | 0:52:46 | 0:52:49 | |
I've seen them. | 0:52:49 | 0:52:50 | |
Together? | 0:52:50 | 0:52:51 | |
I've got a bite, I've got a bite. | 0:52:51 | 0:52:54 | |
Snub him. Snub him! | 0:52:54 | 0:52:56 | |
What's that poor little fish ever done to her | 0:52:56 | 0:52:58 | |
-that she should snub him? -She has to get the fish on the hook. | 0:52:58 | 0:53:00 | |
Jerk, then, if you're so fussy about words. | 0:53:00 | 0:53:02 | |
Reel in - easy. | 0:53:02 | 0:53:03 | |
-Take your time. -Take the pole! Take the pole! | 0:53:03 | 0:53:05 | |
I can't, I've got one myself. | 0:53:05 | 0:53:08 | |
Just reel in easy and watch it, | 0:53:08 | 0:53:09 | |
don't let any slack get in your line. | 0:53:09 | 0:53:11 | |
Now, keep it taut. Hey, look at him break water! | 0:53:11 | 0:53:14 | |
I never knew a fish could dance. | 0:53:16 | 0:53:17 | |
He's doing a first class hula. | 0:53:17 | 0:53:19 | |
Keep reeling in. | 0:53:20 | 0:53:21 | |
Bring him over towards the boat. Ah, looks like a rainbow. | 0:53:23 | 0:53:27 | |
That's it, bring him in. | 0:53:27 | 0:53:28 | |
It's a good thing you don't have twin hooks on your lines, | 0:53:28 | 0:53:31 | |
I'd need a couple more hands! | 0:53:31 | 0:53:33 | |
-What did I get, Chick? -Well, you got... | 0:53:40 | 0:53:42 | |
Let me feel mine. | 0:53:42 | 0:53:43 | |
Here, Dan. | 0:53:48 | 0:53:49 | |
Oh, this is a beauty! | 0:53:49 | 0:53:51 | |
Oh, I think I caught a guppy. I better put him back. | 0:53:51 | 0:53:54 | |
If the poor little thing had had any strength, I'd never have landed him. | 0:53:54 | 0:53:57 | |
At 60 cents a pound, we're doing all right. | 0:53:57 | 0:53:59 | |
Well, how's the aroma? | 0:54:06 | 0:54:09 | |
-Wonderful! -The French say a fish must swim three times - | 0:54:09 | 0:54:12 | |
in water, sauce and wine. | 0:54:12 | 0:54:14 | |
Here's to Mary's promise. | 0:54:14 | 0:54:15 | |
And to yours, sir. | 0:54:15 | 0:54:16 | |
I think I'll fix some hamburger. | 0:54:22 | 0:54:24 | |
-Hamburger? -You don't like fish? | 0:54:25 | 0:54:27 | |
She loves fish. | 0:54:27 | 0:54:28 | |
Not this particular fish. | 0:54:28 | 0:54:29 | |
-I can't eat it. -What's the matter with this fish? It's good fish. | 0:54:29 | 0:54:32 | |
-I caught it. -And I cooked it. | 0:54:32 | 0:54:35 | |
But I met this fish this afternoon. | 0:54:35 | 0:54:37 | |
I saw him swimming. He was alive and happy. | 0:54:37 | 0:54:40 | |
I was an accessory before the fact of his death. | 0:54:40 | 0:54:42 | |
She's kidding, of course. | 0:54:42 | 0:54:44 | |
This morning, he had his life before him. | 0:54:44 | 0:54:46 | |
Now, he's lying on my plate, coated with cracker crumbs. | 0:54:46 | 0:54:49 | |
I'm sorry, but I can't eat him. | 0:54:49 | 0:54:51 | |
How can you eat that potato? | 0:54:51 | 0:54:53 | |
It was torn out of the ground, | 0:54:53 | 0:54:54 | |
peeled and boiled before your very eyes. | 0:54:54 | 0:54:56 | |
What about a hamburger? | 0:54:56 | 0:54:58 | |
Yes, you eat beef, don't you? They slaughter beef. | 0:54:58 | 0:55:00 | |
I don't witness the execution. | 0:55:00 | 0:55:02 | |
I don't spend the afternoon with a cow. | 0:55:02 | 0:55:05 | |
Let's see - four, five, six... | 0:55:19 | 0:55:22 | |
Don't tell me, I'm your opponent. | 0:55:22 | 0:55:24 | |
Oh. | 0:55:24 | 0:55:26 | |
Remember now - three or more cards | 0:55:26 | 0:55:28 | |
in sequence in the same suit, or three or more of a kind | 0:55:28 | 0:55:30 | |
make a spread and when your whole hand's that way, | 0:55:30 | 0:55:33 | |
you discard and say "gin rummy". | 0:55:33 | 0:55:35 | |
I discard? You do. | 0:55:35 | 0:55:36 | |
Gin rummy. | 0:55:39 | 0:55:40 | |
40, | 0:55:45 | 0:55:46 | |
50, 60, | 0:55:46 | 0:55:47 | |
67 and 20. For gin, 87. | 0:55:47 | 0:55:50 | |
Deal, deal, deal. | 0:55:50 | 0:55:51 | |
# I'll be in Scotland before you | 0:56:06 | 0:56:11 | |
SHE HUMS LOCH LOMOND | 0:56:11 | 0:56:14 | |
# Will never meet again | 0:56:14 | 0:56:17 | |
# On the bonnie, bonnie banks | 0:56:17 | 0:56:19 | |
# Of Loch Lomond. # | 0:56:19 | 0:56:22 | |
-Nice. -The song? | 0:56:24 | 0:56:25 | |
No, about the fish. | 0:56:27 | 0:56:28 | |
What about the fish? | 0:56:29 | 0:56:30 | |
You saw to it that I got the big one. | 0:56:30 | 0:56:33 | |
Chick told me. | 0:56:33 | 0:56:34 | |
I've been fishing before, I can tell an anchovy from a whale. | 0:56:34 | 0:56:38 | |
-SHE LAUGHS -I suppose it was silly of me. | 0:56:38 | 0:56:40 | |
Well, now I owe you for two things. | 0:56:41 | 0:56:43 | |
I owe you for a fish. | 0:56:43 | 0:56:46 | |
And I owe you something else. | 0:56:46 | 0:56:48 | |
I know about the fish, but... | 0:56:49 | 0:56:51 | |
A long time ago, I had the band up in Buffalo. | 0:56:52 | 0:56:55 | |
I was playing a one-night date. | 0:56:55 | 0:56:57 | |
The manager had a sign above his desk that said... | 0:56:57 | 0:57:00 | |
"I don't want to be a millionaire. | 0:57:01 | 0:57:03 | |
"I just want to live like one." | 0:57:03 | 0:57:05 | |
Well, with me, it's always been kind of the opposite. | 0:57:07 | 0:57:12 | |
I didn't want to live like a composer. | 0:57:12 | 0:57:14 | |
I wanted to BE one. | 0:57:14 | 0:57:16 | |
I wanted to be one bad. | 0:57:17 | 0:57:19 | |
Now I've written a piece of music, | 0:57:20 | 0:57:22 | |
it's on its way and I'm what I wanted to be. | 0:57:22 | 0:57:25 | |
You'd have been that anyway, without me. | 0:57:25 | 0:57:28 | |
No, you added it all up. | 0:57:29 | 0:57:30 | |
I don't know what's going to happen about the contest, who will win it, | 0:57:32 | 0:57:36 | |
but that's not important. | 0:57:36 | 0:57:38 | |
The point is I've written something and, win or lose, I'm a composer. | 0:57:38 | 0:57:41 | |
Yes, Dan. | 0:57:43 | 0:57:45 | |
So... | 0:57:45 | 0:57:47 | |
that's why I'm saying thanks. | 0:57:47 | 0:57:48 | |
Thanks for the fish. | 0:57:50 | 0:57:52 | |
And... | 0:57:52 | 0:57:53 | |
..thanks for... | 0:57:54 | 0:57:55 | |
-Dan? -Yeah? | 0:57:57 | 0:57:58 | |
Your music's going to win that prize. | 0:57:59 | 0:58:01 | |
I know it. You're going to get your sight back and be famous. | 0:58:01 | 0:58:04 | |
I can feel it. | 0:58:04 | 0:58:05 | |
I'll be anything you predict. | 0:58:07 | 0:58:08 | |
You have beautiful hands. | 0:58:15 | 0:58:16 | |
FOOTSTEPS APPROACH | 0:58:34 | 0:58:35 | |
-Chick? -Yeah? | 0:58:37 | 0:58:39 | |
How do you stand? | 0:58:39 | 0:58:41 | |
I think about 50 years ago, she was a 21 dealer in Reno. | 0:58:41 | 0:58:45 | |
LAUGHTER | 0:58:45 | 0:58:47 | |
What on Earth are you trying to do? | 0:58:59 | 0:59:01 | |
Painting. I thought I might have a small whirl at it. | 0:59:01 | 0:59:03 | |
After all, I'm supposed to be an artist. | 0:59:03 | 0:59:05 | |
What is it supposed to represent? | 0:59:05 | 0:59:07 | |
You wouldn't dare say that in front of a Picasso. | 0:59:07 | 0:59:09 | |
As a matter of fact, I started to paint Dan sitting at the piano | 0:59:09 | 0:59:12 | |
and it turned out to be the piano sitting on Dan. | 0:59:12 | 0:59:14 | |
No talent at all, no flair. | 0:59:14 | 0:59:17 | |
Have you heard from Chick or anybody? | 0:59:17 | 0:59:19 | |
There's a telegram over there. | 0:59:19 | 0:59:21 | |
-A telegram? -On the piano. | 0:59:21 | 0:59:23 | |
Oh. | 0:59:24 | 0:59:26 | |
I want to built out a Christmas tree. | 0:59:26 | 0:59:28 | |
I've beginning to feel at home here. I'm really a Bohemian at heart. | 0:59:28 | 0:59:31 | |
-Why don't you open it? -I'm afraid to. | 0:59:31 | 0:59:34 | |
-What if they reject it? -Fire them and get another bunch of critics. | 0:59:34 | 0:59:38 | |
I'll open it. I've been rejected before. | 0:59:38 | 0:59:41 | |
ORGAN PLAYS | 0:59:46 | 0:59:48 | |
I'll get the car and come back for you. | 0:59:56 | 0:59:59 | |
Dan, I've got something for you. | 0:59:59 | 1:00:01 | |
It's a telegram. Chick read it to me. | 1:00:01 | 1:00:03 | |
-We've got the news, huh? -I memorised it. | 1:00:05 | 1:00:07 | |
Go ahead, I'm ready. | 1:00:09 | 1:00:12 | |
It said... | 1:00:12 | 1:00:13 | |
"Delighted to inform you, your concerto awarded Mallory Prize. | 1:00:13 | 1:00:17 | |
"Proud to give it first performance this spring at Carnegie Hall. | 1:00:17 | 1:00:20 | |
"Artur Rubinstein." | 1:00:20 | 1:00:22 | |
You've won! | 1:00:23 | 1:00:25 | |
Now you go to your doctor in New York. | 1:00:25 | 1:00:28 | |
You'll see again. | 1:00:28 | 1:00:29 | |
No. | 1:00:31 | 1:00:32 | |
You did this. | 1:00:34 | 1:00:36 | |
If it hadn't been for you, it never would have happened. | 1:00:36 | 1:00:39 | |
You're going. | 1:00:39 | 1:00:40 | |
It wouldn't be any use. | 1:00:42 | 1:00:44 | |
I can't do anything without my eyes. | 1:00:44 | 1:00:47 | |
If you did it for me... | 1:00:48 | 1:00:49 | |
You said you did. | 1:00:50 | 1:00:52 | |
That's what I said. | 1:00:52 | 1:00:53 | |
Then go on for me. | 1:00:55 | 1:00:56 | |
I'll be back. | 1:01:00 | 1:01:02 | |
ORGAN PLAYS | 1:01:02 | 1:01:04 | |
What's this? | 1:01:08 | 1:01:10 | |
It's the Christmas music, I suppose. | 1:01:10 | 1:01:12 | |
Holy smoke, I won it! | 1:01:14 | 1:01:16 | |
I won it! | 1:01:17 | 1:01:20 | |
Here's your daily vitamin. | 1:01:24 | 1:01:26 | |
Thank you. | 1:01:26 | 1:01:27 | |
I had wicked old aunt who used to quote, | 1:01:27 | 1:01:30 | |
"Man's love is of his life a thing apart. | 1:01:30 | 1:01:32 | |
"Tis woman's whole existence." | 1:01:32 | 1:01:35 | |
Cut me in. | 1:01:35 | 1:01:36 | |
"As usual, Chick is here, pushing the pen. | 1:01:37 | 1:01:39 | |
"I want to say again, even in his cynical presence..." | 1:01:39 | 1:01:42 | |
Never mind that. | 1:01:42 | 1:01:44 | |
"The big news is that the main event goes on tomorrow." | 1:01:45 | 1:01:48 | |
That means they operated yesterday. | 1:01:50 | 1:01:52 | |
Why hasn't Chick called me? | 1:01:55 | 1:01:56 | |
No news is good news. | 1:01:57 | 1:01:59 | |
I suppose. | 1:02:01 | 1:02:02 | |
"My doctor assures me that success is an absolute cinch. | 1:02:06 | 1:02:09 | |
"You'd go for him - he's a young fat man with a happy face, Chick says, | 1:02:11 | 1:02:15 | |
"and he has fingers like a card shark, | 1:02:15 | 1:02:16 | |
"so things look pretty optimistic. | 1:02:16 | 1:02:18 | |
"Of course, it will be several weeks until the bandages are removed | 1:02:18 | 1:02:21 | |
"and then I can put away my cane until I break an ankle. | 1:02:21 | 1:02:25 | |
"So cross your fingers for me." | 1:02:25 | 1:02:27 | |
Weeks! We've got to wait weeks! | 1:02:32 | 1:02:34 | |
So does he. | 1:02:36 | 1:02:37 | |
PHONE RINGS | 1:02:41 | 1:02:44 | |
Yeah? Oh, fine. California coming through. | 1:02:47 | 1:02:50 | |
Thank you, lady. | 1:02:50 | 1:02:52 | |
Give me a torch, will you? SHIP HORN BLOWS | 1:02:52 | 1:02:54 | |
Mary, how are you? | 1:03:00 | 1:03:02 | |
Oh, he's getting good food, a nice bed and he has a pretty nurse. | 1:03:04 | 1:03:07 | |
What's the matter with that? | 1:03:07 | 1:03:09 | |
Well, they took the bandages off yesterday for a while. | 1:03:09 | 1:03:12 | |
He'll be all right. | 1:03:12 | 1:03:13 | |
Just as soon as the croaker says he can travel. | 1:03:15 | 1:03:18 | |
And don't worry, we'll be there. | 1:03:18 | 1:03:20 | |
Yes, I sure will. Goodbye. | 1:03:22 | 1:03:24 | |
What did she say? | 1:03:24 | 1:03:26 | |
She sent you her love. | 1:03:26 | 1:03:27 | |
He's all right! They'll be back as soon as he can travel. | 1:03:32 | 1:03:35 | |
-He's going to be all right! -Good. SHE LAUGHS | 1:03:35 | 1:03:37 | |
Oh, this is the happiest day of my life. | 1:03:37 | 1:03:40 | |
What can I do to show my gratitude? | 1:03:41 | 1:03:44 | |
Give something to your favourite charity. | 1:03:44 | 1:03:46 | |
-Which one? -Me. | 1:03:46 | 1:03:47 | |
That's an idea. What have you always wanted and never had? | 1:03:48 | 1:03:52 | |
Peace. | 1:03:52 | 1:03:53 | |
Let's grab a cab. | 1:04:17 | 1:04:18 | |
-Let's walk a while. -OK. | 1:04:18 | 1:04:19 | |
-Ah! -LAUGHTER | 1:04:22 | 1:04:24 | |
Wonderful! | 1:04:36 | 1:04:37 | |
Look at that! | 1:04:44 | 1:04:45 | |
Look at that! | 1:04:47 | 1:04:49 | |
Now I know what they mean by... HE WOLF WHISTLES | 1:04:49 | 1:04:51 | |
Yeah, you'll have to grow some wolves wool, | 1:04:51 | 1:04:52 | |
but on that part, take it easy. | 1:04:52 | 1:04:54 | |
DAN LAUGHS | 1:04:54 | 1:04:55 | |
Light me a torch, will ya? | 1:04:58 | 1:05:00 | |
Boy, I need a shave. | 1:05:00 | 1:05:02 | |
Hey, light it yourself! | 1:05:03 | 1:05:04 | |
I'll have to get used to that. | 1:05:06 | 1:05:08 | |
What do you think of yourself? | 1:05:14 | 1:05:16 | |
Well, I didn't know I was so ugly or that you were so handsome. | 1:05:16 | 1:05:19 | |
I was afraid of that. | 1:05:19 | 1:05:20 | |
Boy, you have no idea how much better a cigarette tastes | 1:05:22 | 1:05:25 | |
when you can see the smoke. | 1:05:25 | 1:05:26 | |
Come on! Let's see something! | 1:05:28 | 1:05:30 | |
Two weeks of this. Tougher than a six-day bike race. | 1:05:43 | 1:05:47 | |
But after a while, I'll be like I was - | 1:05:47 | 1:05:49 | |
looking without seeing, like you. | 1:05:49 | 1:05:50 | |
I see. | 1:05:50 | 1:05:52 | |
There's one thing I don't see, though. | 1:05:53 | 1:05:55 | |
What's that? | 1:05:55 | 1:05:56 | |
Why all this stall? | 1:05:56 | 1:05:58 | |
Every letter she sends you, | 1:05:58 | 1:05:59 | |
she wants to know when you're coming back. | 1:05:59 | 1:06:03 | |
I need some time. | 1:06:03 | 1:06:04 | |
Yeah. The longer you stall, the tougher it'll be. | 1:06:04 | 1:06:07 | |
PHONE RINGS | 1:06:07 | 1:06:09 | |
Hello. | 1:06:12 | 1:06:13 | |
OK, it's Mary. | 1:06:13 | 1:06:15 | |
-It's her. I'm out. -What will I tell her? | 1:06:15 | 1:06:18 | |
Hello, Mary. Yeah, I'm fine, and you? | 1:06:20 | 1:06:23 | |
Oh, swell. | 1:06:23 | 1:06:24 | |
No, we haven't been able to get reservations yet. | 1:06:25 | 1:06:29 | |
On the level, it's tough! | 1:06:29 | 1:06:31 | |
No, he isn't here right now. | 1:06:32 | 1:06:35 | |
He'll be very sorry he missed your call. | 1:06:35 | 1:06:38 | |
I'll wire you just as soon as we're able to get reservations. | 1:06:38 | 1:06:41 | |
So long, Mary. | 1:06:41 | 1:06:42 | |
I'm a heel. I know it. | 1:06:45 | 1:06:47 | |
Well... | 1:06:47 | 1:06:49 | |
Just so's you know it. | 1:06:49 | 1:06:50 | |
Well? | 1:06:59 | 1:07:00 | |
I have a feeling something's wrong. | 1:07:00 | 1:07:03 | |
Why should Chick say he's all right? | 1:07:03 | 1:07:05 | |
I don't know. | 1:07:05 | 1:07:07 | |
I think perhaps they're trying to spare me the shock. Perhaps.... | 1:07:07 | 1:07:10 | |
You're thinking too much, that's the trouble with you. | 1:07:10 | 1:07:12 | |
You're lonely and you're bored. | 1:07:12 | 1:07:13 | |
No. No, something's the matter. | 1:07:13 | 1:07:15 | |
Aunt Willey, what do you think I ought to do? | 1:07:16 | 1:07:19 | |
Just what you want to do. | 1:07:19 | 1:07:21 | |
Oh! | 1:07:21 | 1:07:22 | |
I wish you wouldn't be so smug and full of worldly wisdom. | 1:07:22 | 1:07:25 | |
You're in love, I'm trying to humour you. It's a form of insanity. | 1:07:25 | 1:07:28 | |
Well, I happen to think he's still blind. | 1:07:28 | 1:07:31 | |
Because you haven't talked to him? | 1:07:31 | 1:07:32 | |
Hasn't it occurred to you he hasn't talked to you, | 1:07:32 | 1:07:34 | |
because he isn't blind any more? | 1:07:34 | 1:07:36 | |
Oh. | 1:07:38 | 1:07:39 | |
Now that you've had that bee added to your bonnetful, | 1:07:41 | 1:07:44 | |
you want me to do it? | 1:07:44 | 1:07:45 | |
-Do what? -Telephone the airport. | 1:07:46 | 1:07:48 | |
Reservations for New York. | 1:07:48 | 1:07:50 | |
Isn't that what you've been thinking of? | 1:07:50 | 1:07:53 | |
-I think he needs me. -Pack something. | 1:07:53 | 1:07:55 | |
-Where are the house phones, please? -Right over there, miss. | 1:08:02 | 1:08:05 | |
Thank you. | 1:08:05 | 1:08:06 | |
Mr Chick Morgan, please. | 1:08:10 | 1:08:12 | |
PHONE RINGS | 1:08:12 | 1:08:13 | |
Hello. | 1:08:17 | 1:08:18 | |
Oh, hello, Fran, how's the weather out there today? | 1:08:18 | 1:08:22 | |
In the lobby, huh? What lobby? | 1:08:22 | 1:08:24 | |
OK, you stay there. I'll be right down. | 1:08:26 | 1:08:30 | |
-HE SINGS QUIETLY: -# Saw Mary in the crowd, in the crowd | 1:08:30 | 1:08:32 | |
# I saw Mary in the crowd | 1:08:32 | 1:08:34 | |
-LOUDER: -# And I shouted right out loud... # | 1:08:34 | 1:08:36 | |
-Small world! -It began to get too big for me. | 1:08:39 | 1:08:42 | |
It never gets any bigger than a man's head. | 1:08:42 | 1:08:44 | |
Come on, let's get out of this traffic. | 1:08:44 | 1:08:45 | |
Well, you certainly surprised me. | 1:08:45 | 1:08:47 | |
How do you like the big city and how's my old friend Willey? | 1:08:47 | 1:08:50 | |
Yes, I get around sometimes and Willey as well. | 1:08:51 | 1:08:54 | |
You're not writing me a letter now, you know. You can tell me the truth. | 1:08:54 | 1:08:57 | |
All right, let's get it where it belongs. | 1:08:57 | 1:08:59 | |
You should have told me the operation was a failure. | 1:08:59 | 1:09:01 | |
-Failure?! -Well? | 1:09:01 | 1:09:03 | |
Oh, no, baby, it worked. | 1:09:03 | 1:09:05 | |
He can see. He can see as well as I can. | 1:09:05 | 1:09:08 | |
All he does is go around seeing. | 1:09:08 | 1:09:11 | |
-Oh, gee! -He can see people on Mars. | 1:09:11 | 1:09:12 | |
-Here. -Thanks! | 1:09:14 | 1:09:15 | |
-And you didn't believe me? -I didn't know what to believe. | 1:09:16 | 1:09:18 | |
I got kind of frantic when he didn't come back. | 1:09:18 | 1:09:21 | |
That's what I was stalling about. | 1:09:21 | 1:09:23 | |
-Why didn't he come back? -How's the cat? | 1:09:26 | 1:09:28 | |
The cat is fine. Why didn't he? | 1:09:29 | 1:09:32 | |
You see, the guy was blind. | 1:09:32 | 1:09:34 | |
He was in a big black grave as big as this world | 1:09:34 | 1:09:36 | |
and he suddenly came to life and things fell in place again, | 1:09:36 | 1:09:39 | |
like trees and streets and beautiful dames... | 1:09:39 | 1:09:42 | |
Oh, I'm a clarinet player, I can't explain it very good. | 1:09:42 | 1:09:46 | |
But, anyway, it's a big thing and you can't expect a guy to... | 1:09:46 | 1:09:50 | |
-Go back to a blind girl? -Give him time. | 1:09:50 | 1:09:53 | |
-Hello, Evans, how are you? -Oh, fine. | 1:10:05 | 1:10:08 | |
There he is! Same guy! | 1:10:08 | 1:10:10 | |
-Hey! -No... | 1:10:10 | 1:10:12 | |
I heard that new piece of yours the other night. It sounded wonderful. | 1:10:13 | 1:10:16 | |
-Well, thank you very much. I'm glad you liked it. -I'll be seeing you. | 1:10:16 | 1:10:20 | |
Dan, this is... | 1:10:21 | 1:10:23 | |
I've been so anxious to meet you. | 1:10:23 | 1:10:24 | |
I'm Catherine Mallory. | 1:10:24 | 1:10:26 | |
How do you do? | 1:10:26 | 1:10:27 | |
Catherine Mallory, the Mallory Award - your benefactor. | 1:10:27 | 1:10:30 | |
Be very nice to her. | 1:10:30 | 1:10:32 | |
She took us off the streets, remember? | 1:10:32 | 1:10:34 | |
We're all so happy you won the award. | 1:10:34 | 1:10:36 | |
Thank you. | 1:10:37 | 1:10:38 | |
I thought people who gave art prizes were either | 1:10:38 | 1:10:40 | |
conscience-stricken millionaires or old spinsters | 1:10:40 | 1:10:43 | |
who cheated Wall Street. | 1:10:43 | 1:10:44 | |
Have you told her she's having dinner with us tonight? | 1:10:46 | 1:10:49 | |
PIANO PLAYS | 1:10:49 | 1:10:50 | |
This is all new stuff he's written. | 1:11:32 | 1:11:33 | |
The guy writes all the time. He writes in his sleep and mine. | 1:11:33 | 1:11:36 | |
Are you going to tell him who you are tonight? | 1:11:37 | 1:11:39 | |
-Shall I? -Do you want to play a game? | 1:11:39 | 1:11:41 | |
Never. | 1:11:45 | 1:11:46 | |
MUSIC ENDS, APPLAUSE | 1:11:54 | 1:11:55 | |
-Wonderful! Wonderful! -Thank you. Thank you. | 1:11:55 | 1:11:57 | |
INDISTINCT CHATTER | 1:11:57 | 1:12:00 | |
Thank you very much, glad you liked it. | 1:12:00 | 1:12:02 | |
It's a little rough, but it's better than playing in that joint | 1:12:04 | 1:12:06 | |
in San Francisco for 75 fish a week. | 1:12:06 | 1:12:08 | |
Yeah, now you play for millionaires | 1:12:08 | 1:12:10 | |
and get a martini and a cracker with some anchovy paste. | 1:12:10 | 1:12:13 | |
He's homesick for the slums. | 1:12:13 | 1:12:14 | |
-Aren't you? -Not me. | 1:12:14 | 1:12:15 | |
I'm a bright lights boy from here on in. | 1:12:15 | 1:12:17 | |
I lived with a sack over my head for a long time. | 1:12:17 | 1:12:19 | |
A sack? | 1:12:19 | 1:12:20 | |
Yeah. I was blind. | 1:12:20 | 1:12:22 | |
-Oh, yes, I know. -Chick told me. -I think it's a marvellous story. | 1:12:22 | 1:12:25 | |
It's like a bad novel you can't put down. | 1:12:25 | 1:12:27 | |
You're like a character from a Greek fable. | 1:12:27 | 1:12:29 | |
So are you. | 1:12:29 | 1:12:31 | |
Oh, I can't stand this! | 1:12:31 | 1:12:33 | |
-You mind if I blow? -LAUGHTER | 1:12:33 | 1:12:35 | |
I can catch the last grind at a movie. | 1:12:35 | 1:12:37 | |
That guy knows everything. | 1:12:38 | 1:12:40 | |
He knows that all evening I've been thinking about you and... | 1:12:40 | 1:12:43 | |
looking at you, wanting to talk to you, get alone with you. | 1:12:43 | 1:12:47 | |
How could he guess all those things? | 1:12:47 | 1:12:49 | |
I don't know. The same way you have. | 1:12:49 | 1:12:51 | |
Well, I tried to disguise it a little, so... | 1:12:51 | 1:12:54 | |
I suppose it isn't quite as obvious as the Empire State building. | 1:12:54 | 1:12:58 | |
There must be some way to get out of here. | 1:12:58 | 1:12:59 | |
How about the door? | 1:12:59 | 1:13:01 | |
MUSIC PLAYS | 1:13:01 | 1:13:02 | |
You're a pretty impulsive young man. | 1:13:10 | 1:13:12 | |
I'm happy. | 1:13:12 | 1:13:13 | |
I liked your Park Avenue cakewalk. | 1:13:15 | 1:13:17 | |
Thank you. Could be better. | 1:13:17 | 1:13:20 | |
Much better. | 1:13:20 | 1:13:21 | |
Somehow, maybe I don't get the pictures clear, | 1:13:21 | 1:13:24 | |
like I used to when I was blind, back in San Francisco. | 1:13:24 | 1:13:27 | |
Maybe there are more distractions here. | 1:13:28 | 1:13:31 | |
Tell me about you in San Francisco. | 1:13:31 | 1:13:33 | |
I worked in a joint called the Chez Mamie, with Chick. | 1:13:33 | 1:13:36 | |
Lived with a cat called Sam Hall. Chick gave me this cat. | 1:13:36 | 1:13:39 | |
-Let's talk about somebody else. -No, no, go on. | 1:13:39 | 1:13:42 | |
That's the old trick. | 1:13:42 | 1:13:44 | |
The woman lets the guy unwind. | 1:13:44 | 1:13:45 | |
No. No tricks. I'm curious. | 1:13:45 | 1:13:47 | |
What about? | 1:13:48 | 1:13:50 | |
About the part where a girl comes in. | 1:13:50 | 1:13:52 | |
One does, doesn't she? | 1:13:53 | 1:13:55 | |
Yeah. One did. | 1:13:55 | 1:13:57 | |
This is where the man in that bad book you mentioned | 1:14:17 | 1:14:19 | |
always says something very effective. | 1:14:19 | 1:14:22 | |
Well...say something. | 1:14:22 | 1:14:25 | |
HE CHUCKLES | 1:14:25 | 1:14:26 | |
All I can think of is, "Ain't it pretty". | 1:14:26 | 1:14:30 | |
You were telling me about that girl in San Francisco. | 1:14:30 | 1:14:33 | |
No, I wasn't. You were telling me. | 1:14:33 | 1:14:35 | |
-You don't want to tell? -Oh, I'll tell. | 1:14:35 | 1:14:37 | |
What was she like? | 1:14:37 | 1:14:38 | |
She was blind, like me. | 1:14:40 | 1:14:43 | |
And she isn't the girl in your life? | 1:14:43 | 1:14:45 | |
She's in part of it. | 1:14:50 | 1:14:52 | |
A part you want to... | 1:14:54 | 1:14:56 | |
..forget? | 1:14:57 | 1:14:59 | |
No-one forgets anything. | 1:14:59 | 1:15:00 | |
Are you going back to her? | 1:15:03 | 1:15:05 | |
I think you came from a long line of lawyers. | 1:15:07 | 1:15:10 | |
I suppose I'm interested. | 1:15:10 | 1:15:11 | |
We were two blind people in a city full of eyes. | 1:15:13 | 1:15:16 | |
I wasn't anything until she came along. | 1:15:16 | 1:15:18 | |
I wouldn't even know what she looked like. | 1:15:18 | 1:15:20 | |
I might know her hand, or her voice... | 1:15:20 | 1:15:22 | |
Her voice was like yours. | 1:15:27 | 1:15:29 | |
A little lower, but like yours. | 1:15:29 | 1:15:31 | |
Like mine? | 1:15:31 | 1:15:33 | |
Like yours is now, out here. | 1:15:33 | 1:15:35 | |
So that's how it is. | 1:15:39 | 1:15:40 | |
I remind you of someone. | 1:15:42 | 1:15:44 | |
No. Not of anybody in the world. | 1:15:45 | 1:15:48 | |
And... | 1:15:50 | 1:15:51 | |
you're not going back? | 1:15:51 | 1:15:53 | |
From you? | 1:15:54 | 1:15:55 | |
I don't like looking down on people from a high place. | 1:15:59 | 1:16:01 | |
They look too insignificant. | 1:16:01 | 1:16:04 | |
Well, let's go down and be significant. | 1:16:04 | 1:16:06 | |
I thought this would be a nice place for some conversation. | 1:16:22 | 1:16:25 | |
And the older I get, the more at home I feel with squirrels. | 1:16:25 | 1:16:28 | |
All right. What's the matter? | 1:16:28 | 1:16:30 | |
Last night he checks in about 3am, | 1:16:30 | 1:16:32 | |
and he sits down to write a song about June and the moon. | 1:16:32 | 1:16:34 | |
He's walking on air because he's met a dame named Mallory. | 1:16:34 | 1:16:37 | |
I thought you were going to tip him off. | 1:16:37 | 1:16:39 | |
I was afraid of how he'd take it. | 1:16:39 | 1:16:41 | |
How long do you think you can keep it up? | 1:16:41 | 1:16:43 | |
I don't know. Until he goes back to Mary Willey. | 1:16:43 | 1:16:46 | |
If he ever goes back. | 1:16:46 | 1:16:48 | |
But that was a gag. Mary Willey was a gag. | 1:16:48 | 1:16:51 | |
She was at first, but now she's very real to me. | 1:16:51 | 1:16:53 | |
She's the girl he said he'd never forget. | 1:16:55 | 1:16:57 | |
You once wrote me a letter for him, when you first came here. | 1:16:57 | 1:17:00 | |
In it, he said he'd never been really lonesome | 1:17:00 | 1:17:03 | |
in his life before, remember? | 1:17:03 | 1:17:05 | |
That he'd been lonely but never lonesome. | 1:17:06 | 1:17:08 | |
And that there was a big difference. | 1:17:08 | 1:17:11 | |
And that he would remember very hard sometimes, | 1:17:11 | 1:17:13 | |
just to be sure it wasn't another blind man's dream. | 1:17:13 | 1:17:16 | |
That I, Mary, really did exist | 1:17:16 | 1:17:18 | |
and was waiting for him. | 1:17:18 | 1:17:21 | |
So I want him to go back. | 1:17:21 | 1:17:23 | |
I want him to be great and famous and happy. | 1:17:23 | 1:17:25 | |
I want him to be a lot of wonderful things. | 1:17:25 | 1:17:28 | |
And, still, I want him to remain the man he used to be. | 1:17:28 | 1:17:31 | |
Can you understand that? | 1:17:31 | 1:17:33 | |
The last time I tried to understand a woman... | 1:17:35 | 1:17:38 | |
Skip it. | 1:17:38 | 1:17:40 | |
HE PLAYS | 1:17:40 | 1:17:41 | |
That's better. | 1:17:51 | 1:17:53 | |
I thought you were sleeping. | 1:17:53 | 1:17:54 | |
No. Just practising. | 1:17:54 | 1:17:56 | |
How did it sound to you? | 1:17:58 | 1:18:00 | |
Good. | 1:18:00 | 1:18:02 | |
But not as good as you think I can do, huh? | 1:18:02 | 1:18:04 | |
It's good. | 1:18:04 | 1:18:06 | |
I know. It just doesn't add up. | 1:18:06 | 1:18:08 | |
You shouldn't work it so hard. | 1:18:08 | 1:18:10 | |
It might be you work the life out of it. | 1:18:10 | 1:18:12 | |
HE SIGHS | 1:18:12 | 1:18:14 | |
HE PLAYS A LIVELY TUNE | 1:18:14 | 1:18:18 | |
Miss Mallory, please. | 1:18:37 | 1:18:38 | |
Hi. | 1:18:41 | 1:18:42 | |
Yeah, I wore out another set of keys this afternoon. | 1:18:42 | 1:18:46 | |
Say, they tell me there's a little restaurant up on Staten Island, | 1:18:46 | 1:18:49 | |
where the food is unbelievably bad. | 1:18:49 | 1:18:51 | |
Shall we see for ourselves? | 1:18:51 | 1:18:53 | |
OK. I'll give you a minute-and-a-half. | 1:18:54 | 1:18:57 | |
Right. | 1:18:57 | 1:18:58 | |
Wake me up when you get in. | 1:19:00 | 1:19:02 | |
Otherwise I'll never get to bed. | 1:19:02 | 1:19:04 | |
HE GRUNTS | 1:19:04 | 1:19:06 | |
FERRY RUMBLES | 1:19:09 | 1:19:10 | |
SLOW ACCORDION TUNE | 1:19:12 | 1:19:13 | |
How does it feel to be rich? | 1:19:21 | 1:19:22 | |
Don't know. Never been poor. | 1:19:22 | 1:19:25 | |
I've been so poor the mice have walked out of the place. | 1:19:25 | 1:19:27 | |
You're not any more. | 1:19:27 | 1:19:28 | |
Where all have you lived? | 1:19:30 | 1:19:32 | |
Here, France, Italy. | 1:19:32 | 1:19:33 | |
-I was in Italy. -I studied the piano there. | 1:19:35 | 1:19:37 | |
I was at Salerno. We didn't have a piano. | 1:19:37 | 1:19:41 | |
You know, I keep thinking I've known you, | 1:19:41 | 1:19:44 | |
that I've met you. | 1:19:44 | 1:19:46 | |
Must be a travelling salesman from Chicago. | 1:19:46 | 1:19:49 | |
Chick remembered me from a hospital during the war. | 1:19:49 | 1:19:51 | |
No, it's not like that. | 1:19:51 | 1:19:53 | |
It's like when you think something has happened | 1:19:53 | 1:19:55 | |
exactly the same way once before. | 1:19:55 | 1:19:58 | |
And you're sure it has. LIVELY ACCORDION TUNE | 1:19:58 | 1:20:00 | |
Oh, that's an exploded theory. | 1:20:00 | 1:20:02 | |
All theories are exploded. | 1:20:02 | 1:20:04 | |
Why so serious? | 1:20:06 | 1:20:08 | |
Not serious, I'm just thinking. | 1:20:08 | 1:20:10 | |
Fine thing to do - go out with a girl and think. | 1:20:10 | 1:20:13 | |
It was about you. | 1:20:15 | 1:20:16 | |
Then it's all right. | 1:20:17 | 1:20:19 | |
I was just wondering why a dozen guys aren't after a girl like you. | 1:20:19 | 1:20:22 | |
I'm hard to find. | 1:20:22 | 1:20:24 | |
Yes, I know. | 1:20:25 | 1:20:27 | |
Took me 30 years. | 1:20:27 | 1:20:28 | |
LIVELY ACCORDION TUNE | 1:20:28 | 1:20:30 | |
I'll have to go on a diet to stay with this laundry. | 1:20:50 | 1:20:53 | |
What's wrong? | 1:20:54 | 1:20:56 | |
-Nothing. -Ah, and the world was such a pretty place, | 1:20:56 | 1:20:59 | |
filled with love songs and a gal named Mallory. | 1:20:59 | 1:21:02 | |
Did she brush you off, baby? | 1:21:02 | 1:21:03 | |
Have a little beef? | 1:21:05 | 1:21:07 | |
-No. -Is it any of my business? | 1:21:07 | 1:21:09 | |
No. | 1:21:09 | 1:21:10 | |
Well, I think you're in love with the little gal out in San Francisco. | 1:21:10 | 1:21:14 | |
Now, this Mallory's a gorgeous dame and she moves in gorgeous circles, | 1:21:14 | 1:21:17 | |
but it's still a circle. | 1:21:17 | 1:21:20 | |
So I think maybe you got yourself mixed up a little bit, I think... | 1:21:20 | 1:21:23 | |
Let me know how I come out, will you? | 1:21:23 | 1:21:26 | |
-HE SINGS SAM HALL: -# Oh, swinging up I go, with the crowd down there below | 1:21:26 | 1:21:30 | |
# Shouting Chick I told you so.... # | 1:21:30 | 1:21:33 | |
TRAFFIC RUMBLES | 1:21:34 | 1:21:37 | |
I like you even when you're sour and gloomy. | 1:21:52 | 1:21:55 | |
What's the matter? Did you bet on a slow horse? | 1:21:55 | 1:21:57 | |
Or is it a piece of music you can't finish? | 1:21:57 | 1:21:59 | |
No, it's not music. | 1:21:59 | 1:22:00 | |
Seventh Avenue. This is us. | 1:22:02 | 1:22:03 | |
Daniel Evans and Company. | 1:22:12 | 1:22:14 | |
Pretty high-class company - Artur Rubinstein, | 1:22:14 | 1:22:16 | |
Eugene Ormandy and the New York Philharmonic. | 1:22:16 | 1:22:18 | |
Are you scared? | 1:22:18 | 1:22:19 | |
-Scared to death. -I'm kind of scared myself. | 1:22:19 | 1:22:22 | |
-Why? -For you. | 1:22:22 | 1:22:24 | |
We'd better get out of here. | 1:22:24 | 1:22:25 | |
BEEPING | 1:22:25 | 1:22:26 | |
What if it's a bust? | 1:22:28 | 1:22:29 | |
-It can't be. -Hm. | 1:22:29 | 1:22:31 | |
Wagner was a bust in Paris one night. | 1:22:31 | 1:22:33 | |
No, Paris was a bust one night. | 1:22:33 | 1:22:35 | |
-Anyway, one thing... -What's that? | 1:22:36 | 1:22:38 | |
It can't be a bust with me. | 1:22:40 | 1:22:41 | |
-FAINT MUSIC PLAYS -Let's go. | 1:22:46 | 1:22:47 | |
Those rehearsal licks - someday I'm going to do a piece about that. | 1:22:52 | 1:22:55 | |
Carnegie tune-up. How's that? | 1:22:55 | 1:22:57 | |
Big thing. | 1:22:57 | 1:22:58 | |
Well, pal, you're on the eve of fame. | 1:23:01 | 1:23:03 | |
I was on the eve of Christmas once and nothing happened. | 1:23:03 | 1:23:05 | |
Not last Christmas. | 1:23:05 | 1:23:06 | |
-No. -Now you're a big man in Kashmir, and waiters give you the nod. | 1:23:06 | 1:23:10 | |
How do you feel? Are you happy? | 1:23:10 | 1:23:12 | |
Why shouldn't I be? Made the grade, didn't I? | 1:23:12 | 1:23:14 | |
More than a hop, skip and a jump | 1:23:14 | 1:23:15 | |
from the Chez Mamie to Carnegie Hall. Try it sometime. | 1:23:15 | 1:23:18 | |
-I just asked you how you felt. -I think I'll write a thing... | 1:23:18 | 1:23:21 | |
Did you write Mary and tell her the broadcast time? | 1:23:21 | 1:23:24 | |
-Yeah. -That was sweet of you. How is she these days? | 1:23:24 | 1:23:26 | |
And what does she say? | 1:23:26 | 1:23:28 | |
-Oh, not much. -And what do you say? | 1:23:28 | 1:23:30 | |
Do you say that Mallory, the millionaire glamour girl, | 1:23:30 | 1:23:33 | |
is taking you where the woodbine twineth? | 1:23:33 | 1:23:35 | |
INDISTINCT CHATTER | 1:23:38 | 1:23:40 | |
-Really, no more seats? -Sorry, not a thing. | 1:23:42 | 1:23:45 | |
-Well, this is it. -I thought it was tough at Salerno. | 1:23:49 | 1:23:51 | |
Why don't you sit with me? | 1:23:51 | 1:23:52 | |
I won't be able to sit. I have to be ready to run. | 1:23:52 | 1:23:54 | |
Don't be silly. If it weren't good, Rubinstein wouldn't play it. | 1:23:54 | 1:23:57 | |
-And, if he's wrong, anything he plays will sound good. -Maybe. Maybe. | 1:23:57 | 1:24:00 | |
If you run, where will you go? | 1:24:00 | 1:24:01 | |
-That's joint in the village, remember? -Yes. | 1:24:01 | 1:24:04 | |
Shall we synchronise watches? | 1:24:05 | 1:24:06 | |
HE LAUGHS | 1:24:06 | 1:24:07 | |
Good luck. | 1:24:10 | 1:24:12 | |
ORCHESTRAL MUSIC | 1:24:12 | 1:24:16 | |
MUSIC ENDS | 1:24:23 | 1:24:26 | |
APPLAUSE | 1:24:27 | 1:24:29 | |
You have just heard the New York Philharmonic Symphony Orchestra, | 1:24:31 | 1:24:34 | |
under the direction of Eugene Ormandy, | 1:24:34 | 1:24:36 | |
in Beethoven's 5th Symphony. | 1:24:36 | 1:24:38 | |
After a brief intermission, | 1:24:38 | 1:24:40 | |
Artur Rubinstein will join the orchestra as soloist, | 1:24:40 | 1:24:42 | |
for a first performance of the piano concerto in C minor | 1:24:42 | 1:24:45 | |
by the young composer Daniel Evans. | 1:24:45 | 1:24:47 | |
That Beethoven was pretty good. | 1:24:49 | 1:24:51 | |
-Was it? -Yeah. Think he'll make the grade? | 1:24:51 | 1:24:54 | |
You're next. Here. | 1:24:54 | 1:24:55 | |
Hold my hand. | 1:25:00 | 1:25:01 | |
Did you know how eccentric he was? | 1:25:06 | 1:25:08 | |
He stopped right in the middle of the concerto, | 1:25:08 | 1:25:10 | |
turned to the audience and said, "You like that? | 1:25:10 | 1:25:12 | |
"I'll play it for you again." | 1:25:12 | 1:25:13 | |
LAUGHTER | 1:25:13 | 1:25:15 | |
Are you nervous? | 1:25:17 | 1:25:18 | |
Me? No, I'm not nervous. Not a bit. | 1:25:18 | 1:25:20 | |
Ah, well, I'm glad to hear that, | 1:25:20 | 1:25:22 | |
because if you were there's not a thing to be done about it. | 1:25:22 | 1:25:25 | |
DAN LAUGHS NERVOUSLY | 1:25:25 | 1:25:26 | |
THEY LAUGH | 1:25:26 | 1:25:28 | |
I like your music. | 1:25:28 | 1:25:29 | |
-I like to play it. -Oh, thank you, sir. -We're ready. | 1:25:30 | 1:25:32 | |
I'm nervous, too. | 1:25:36 | 1:25:37 | |
-Rabbit's foot. -Thank you. | 1:25:38 | 1:25:39 | |
APPLAUSE | 1:25:41 | 1:25:43 | |
APPLAUSE FADES | 1:26:01 | 1:26:03 | |
ORCHESTRA PLAYS | 1:26:12 | 1:26:15 | |
DRAMATIC PIANO MUSIC | 1:26:23 | 1:26:25 | |
PIANO PLAYS | 1:29:58 | 1:29:59 | |
PIANO CONTINUES TO PLAY | 1:30:28 | 1:30:30 | |
STRINGS PLAY | 1:30:52 | 1:30:55 | |
PIANO PLAYS | 1:31:38 | 1:31:41 | |
CLARINET PLAYS | 1:31:41 | 1:31:44 | |
MUSIC SWELLS | 1:33:17 | 1:33:18 | |
MUSIC ENDS | 1:34:09 | 1:34:11 | |
APPLAUSE | 1:34:11 | 1:34:13 | |
Baby, shake my hand! | 1:34:20 | 1:34:21 | |
-Take a message to Cathy for me, will you? -But she's waiting for you. | 1:34:21 | 1:34:24 | |
-Will you take it? -Yeah. | 1:34:24 | 1:34:25 | |
-Tell her I've gone. -Gone? -To San Francisco. | 1:34:25 | 1:34:27 | |
Tell her I've gone back to that blind girl. | 1:34:27 | 1:34:29 | |
You ought to know how. You've buddied for me enough. | 1:34:29 | 1:34:31 | |
-But wait a minute! -Tell her, will you? | 1:34:31 | 1:34:33 | |
APPLAUSE CONTINUES | 1:34:35 | 1:34:36 | |
Oh, wasn't it thrilling, Chick? Where's Daniel? | 1:34:39 | 1:34:41 | |
I got news for you. We're leaving for San Francisco. | 1:34:41 | 1:34:44 | |
Back to Mary. Not supposed to tell you why. | 1:34:44 | 1:34:46 | |
You see, I've got a gift for the gab | 1:34:46 | 1:34:48 | |
and I'm supposed to break it to you easy. | 1:34:48 | 1:34:50 | |
Well, isn't that what you wanted? | 1:34:51 | 1:34:53 | |
-Mm. -Oh, tears of joy, huh? | 1:34:53 | 1:34:55 | |
TRAIN RUMBLES | 1:34:59 | 1:35:01 | |
-HE SINGS SAM HALL: -# Oh, I killed a man, they said | 1:35:03 | 1:35:05 | |
# And I smashed his bleeding head... | 1:35:05 | 1:35:07 | |
# And I left him lying dead... # | 1:35:08 | 1:35:11 | |
Says here that you show great promise. Mm. | 1:35:11 | 1:35:13 | |
Pretty sweet of them, isn't it? This guy calls it promise. | 1:35:13 | 1:35:17 | |
We might send him a little note. | 1:35:17 | 1:35:19 | |
Sort of a promissory note, huh? | 1:35:19 | 1:35:21 | |
Sorry. | 1:35:25 | 1:35:26 | |
ORCHESTRAL MUSIC PLAYS | 1:35:28 | 1:35:31 | |
HORN BLARES | 1:35:48 | 1:35:49 | |
PIANO PLAYS | 1:36:17 | 1:36:19 | |
DRAMATIC MUSIC PLAYS | 1:37:09 | 1:37:13 |