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BROADCASTER: America On The March brings you a special event. | 0:01:18 | 0:01:23 | |
'When war ended last year, | 0:01:23 | 0:01:26 | |
'numberless plans were proposed for the advancement of peace and prosperity. | 0:01:26 | 0:01:31 | |
'One has captured the imagination of the world. | 0:01:31 | 0:01:35 | |
'Its popularity enhanced by the fact that it's presented in the form of a novel. | 0:01:35 | 0:01:42 | |
'Here Is Tomorrow offers the daring concept that man can shape his own destiny. | 0:01:42 | 0:01:48 | |
'Mark Winston, the hero, has become the centre of a storm of controversy | 0:01:48 | 0:01:53 | |
'which could not be greater were he a leader of the people. | 0:01:53 | 0:01:56 | |
'Here's fortunate publisher, Philip Jerome. | 0:01:56 | 0:01:59 | |
Here Is Tomorrow has led the bestselling list for 16 consecutive weeks. | 0:01:59 | 0:02:03 | |
It has been translated for worldwide distribution. | 0:02:03 | 0:02:07 | |
'As with all bestsellers, Here Is Tomorrow goes to Hollywood to be produced by Henry Baldwin | 0:02:07 | 0:02:14 | |
'with Cary Grant as Mark Winston and Lana Turner as the girl. Says producer Baldwin...' | 0:02:14 | 0:02:22 | |
I am proud of bringing Here Is Tomorrow to the screen - | 0:02:23 | 0:02:28 | |
the most important picture of my career. | 0:02:28 | 0:02:32 | |
-Beautiful speech, Mr Baldwin. -Later, Charlie, later. | 0:02:32 | 0:02:37 | |
'People in every walk of life have been influenced by it. From the highest...' | 0:02:37 | 0:02:43 | |
For my money, this book offers the best answer yet to all our problems. | 0:02:43 | 0:02:48 | |
'To the lowest...' | 0:02:48 | 0:02:51 | |
I come to America 32 years ago. It's great country. | 0:02:51 | 0:02:56 | |
Here Is Tomorrow will sure get us out of the hole. | 0:02:56 | 0:03:00 | |
'Each one finds in it something for himself, or herself.' | 0:03:00 | 0:03:05 | |
I didn't understand the deep things in the book but it's got a beautiful love story. | 0:03:05 | 0:03:12 | |
Mark Winston's a wonderful guy. Not like my customers. | 0:03:12 | 0:03:16 | |
'The younger generation too takes its place in the struggle.' | 0:03:16 | 0:03:20 | |
Number 12 of the Chipmunk Patrol of Pennsylvania. | 0:03:20 | 0:03:25 | |
-We're behind Here Is Tomorrow 100%. -YEAH! | 0:03:25 | 0:03:29 | |
'And in the Senate of the United States.' | 0:03:29 | 0:03:32 | |
Everyone should read this book. | 0:03:32 | 0:03:34 | |
It is a blueprint for happiness - politically, socially and spiritually. | 0:03:34 | 0:03:40 | |
It gives me great pride that it was a member of my own sex who pointed the way. | 0:03:40 | 0:03:47 | |
Christopher Madden is a woman. A girl in shining armour. An American Joan of Arc. | 0:03:47 | 0:03:53 | |
'Now the authoress, Miss Christopher Madden, | 0:03:53 | 0:03:58 | |
'parrying questions from the press of the world | 0:03:58 | 0:04:02 | |
'before her departure for Hollywood to adapt her book for the screen.' | 0:04:02 | 0:04:07 | |
How does it feel to be called America's Joan of Arc? | 0:04:07 | 0:04:11 | |
I only wrote a book. I didn't intend to head a movement! | 0:04:11 | 0:04:14 | |
So did Harriet Beecher Stowe and look what happened. | 0:04:14 | 0:04:17 | |
Did you model Mark Winston after an actual person? | 0:04:17 | 0:04:21 | |
Any resemblance between Mark Winston and any living person is coincidental. | 0:04:21 | 0:04:28 | |
But he's very real to me. I lived with him for two years as I wrote the book. | 0:04:28 | 0:04:34 | |
I know everything about him - his tastes, habits, the books he reads, the music he likes. | 0:04:34 | 0:04:40 | |
It's an experience I won't forget. | 0:04:40 | 0:04:43 | |
'Whether Christopher Madden and Mark Winston will make history, only time can tell. | 0:04:43 | 0:04:50 | |
'America On The March.' | 0:04:50 | 0:04:53 | |
-You've done a wonderful job. -Thanks. This reel will be in every theatre. | 0:04:55 | 0:05:01 | |
-Get Miss Madden in New York. -It's too late. It's four o'clock there. | 0:05:01 | 0:05:06 | |
Did you send out the invitations? | 0:05:06 | 0:05:09 | |
The mayor will speak at the station. The governor at dinner. | 0:05:09 | 0:05:13 | |
-I want everyone there. -We've invited everybody. | 0:05:13 | 0:05:17 | |
-Did you wire Miss Madden about Cary Grant? -She should be receiving it now. | 0:05:17 | 0:05:24 | |
The whole office was upset. We didn't tell Mr Baldwin. | 0:05:24 | 0:05:28 | |
It's an upper, but from Chicago you'll have a drawing room. | 0:05:28 | 0:05:33 | |
-I like travelling on Pullmans. You meet the people. -Nothing but people. | 0:05:33 | 0:05:38 | |
-Our man has the tickets for the drawing room. -Call if you need me. | 0:05:38 | 0:05:43 | |
-I will. -Miss Madden! -Yes. -A telegram. | 0:05:43 | 0:05:48 | |
-Here you are, son. -Thank you, sir. Thank you. | 0:05:48 | 0:05:53 | |
-Anything else? -I'd like to ask a question. -What? | 0:05:53 | 0:05:57 | |
It's about my girl. Since she read the book, she says all she feels for me is a glandular attraction. | 0:05:57 | 0:06:05 | |
What is a glandular attraction? | 0:06:05 | 0:06:07 | |
It's from Baldwin. "Cary Grant informs me he cannot be Mark Winston due to commitments. | 0:06:07 | 0:06:14 | |
"This would have been a setback, but it came to me how wrong it would be to have a known actor. | 0:06:14 | 0:06:21 | |
"It should be a new face. My staff are searching for the right man. | 0:06:21 | 0:06:26 | |
"This will be a bigger search than for Scarlett O'Hara. | 0:06:26 | 0:06:31 | |
"Don't worry, we have Lana Turner. | 0:06:31 | 0:06:33 | |
-"Regards." -Lana Turner! Lana Turner! Oh, boy! | 0:06:33 | 0:06:39 | |
And that is a glandular attraction. | 0:06:39 | 0:06:42 | |
-I sold the story to Baldwin because he promised me Cary Grant. -All aboard. -Wait! | 0:06:42 | 0:06:49 | |
I won't have an amateur! You call him up immediately and tell him I insist on Cary Grant. | 0:06:49 | 0:06:56 | |
Call him and tell him. And be firm! | 0:06:56 | 0:06:59 | |
-Take care. -Louis Burt will meet you. | 0:06:59 | 0:07:03 | |
Never mind calling Baldwin. I will. | 0:07:03 | 0:07:06 | |
-Goodbye! -Goodbye. | 0:07:06 | 0:07:08 | |
Oh! Oh, I'm so sorry. | 0:07:14 | 0:07:17 | |
Huh! An intellectual. | 0:07:22 | 0:07:24 | |
-Here you are. -Thanks. | 0:07:24 | 0:07:27 | |
-Ah! -Want it? It would make a lovely scarf. | 0:08:12 | 0:08:17 | |
-No, thanks. -OK. | 0:08:17 | 0:08:19 | |
-Nice day, isn't it? -Mm-hm. -Are you travelling by yourself? | 0:08:23 | 0:08:28 | |
Yes, I'm travelling by myself. | 0:08:29 | 0:08:32 | |
-Kind of lonesome, isn't it? -I haven't had a chance to find out. -Oh, it is. Take it from me. | 0:08:32 | 0:08:39 | |
Oh, well, I always find something to do, if people let me. | 0:08:39 | 0:08:44 | |
I can get so lonesome. | 0:08:44 | 0:08:46 | |
Here. You take this and go back to your seat and read it, huh? | 0:08:50 | 0:08:56 | |
Thanks, but I read awfully fast. | 0:08:56 | 0:08:58 | |
WHISTLING | 0:09:00 | 0:09:03 | |
-Rusty. -What? -You were right. -Yeah. You chase around and find what you want in your own back yard. | 0:09:14 | 0:09:21 | |
Three times we walked through and we didn't see a thing. | 0:09:21 | 0:09:26 | |
You said if we relaxed everything would be lovely. | 0:09:26 | 0:09:30 | |
It's like that French story about kids who looked for a bluebird. | 0:09:30 | 0:09:35 | |
-They chased around all night then, guess what? -What? -They found it in their back yard. | 0:09:35 | 0:09:41 | |
-What happened then? -It flew away. | 0:09:41 | 0:09:44 | |
-But this bluebird won't fly away. -That's right. -Are you gonna do something about it? -Sure. | 0:09:44 | 0:09:52 | |
Hello. | 0:09:53 | 0:09:55 | |
Hello. | 0:10:08 | 0:10:11 | |
Hello. | 0:10:11 | 0:10:12 | |
-You up there? -Uh-huh. -I'm down here. | 0:10:12 | 0:10:16 | |
-Uh-huh. -He sleeps over there. | 0:10:16 | 0:10:20 | |
Uh-huh. | 0:10:20 | 0:10:22 | |
Oh! | 0:10:22 | 0:10:24 | |
M-M-Maurice Medalinc is Belgian. | 0:10:26 | 0:10:29 | |
-Do we know him? -Apparently. -Does he know us? -He's the author of The Bluebird. He got the Nobel Prize. | 0:10:29 | 0:10:37 | |
-He deserved it. -Yes, well, he's Belgian, not French. | 0:10:37 | 0:10:42 | |
-This girl is repeating herself. -It's nice the way things turn out. You sleep up there. Rusty down here. | 0:10:42 | 0:10:49 | |
-I'm over there. Everything's chummy. -That's what I like about travelling. People are more relaxed. | 0:10:49 | 0:10:56 | |
Rusty can relax anywhere. | 0:10:56 | 0:10:59 | |
I know. | 0:10:59 | 0:11:00 | |
Oh! | 0:11:02 | 0:11:04 | |
No, I mean. He seems the sort of person who's naturally friendly. | 0:11:04 | 0:11:09 | |
Oh, if everybody could be like that! | 0:11:09 | 0:11:13 | |
If everyone in the whole world could get together with that relaxed spirit. | 0:11:13 | 0:11:19 | |
If people could brush aside their differences and let down their back fences. | 0:11:19 | 0:11:25 | |
Isn't it crowded in here? | 0:11:25 | 0:11:27 | |
Oh! | 0:11:27 | 0:11:29 | |
Oh, I guess I talk too much. | 0:11:29 | 0:11:32 | |
No! But doesn't that yacking make you thirsty? Come to the club car for a drink. | 0:11:32 | 0:11:39 | |
-Thanks, but I'll see you later. I've things to do. -Good deal. ..A beetle! | 0:11:39 | 0:11:45 | |
SHE HUMS LOUDLY | 0:11:45 | 0:11:48 | |
Yep. A beetle. | 0:11:53 | 0:11:55 | |
"Dear Mr Baldwin, | 0:12:05 | 0:12:08 | |
"After mature consideration, I subscribe to your plan of having unknown play Mark Winston. | 0:12:08 | 0:12:15 | |
"But search is NOT necessary as I have met Mark Winston in the flesh. | 0:12:15 | 0:12:23 | |
"It's incredible, but it's true. | 0:12:23 | 0:12:27 | |
"I instinctively feel this dark-haired, deep-voiced marine flier is our man. | 0:12:27 | 0:12:35 | |
"Stop. | 0:12:35 | 0:12:37 | |
"I am thrilled. Stop. | 0:12:37 | 0:12:40 | |
"How shall I proceed? | 0:12:40 | 0:12:43 | |
"Regards. Madden." | 0:12:43 | 0:12:47 | |
-Oh, porter. Porter, would you take care of this wire for me? -Yes, ma'am. -Thank you. | 0:13:00 | 0:13:07 | |
HUMMING CONTINUES | 0:13:08 | 0:13:11 | |
-Where ya goin'? -Hollywood. | 0:13:15 | 0:13:19 | |
-Got a job? -Uh-huh. -You got a boyfriend in Hollywood? -Uh-uh. | 0:13:19 | 0:13:25 | |
Well, whaddya wanna go to Hollywood for? It's full of dames. You wanna wait tables in San Diego. | 0:13:25 | 0:13:32 | |
-25 bucks a week, tips and two meals. The union takes care of you. -Are you a member? | 0:13:32 | 0:13:39 | |
Yes. My guy's an organiser. If you're interested in a guy you've got to be sympathetic to his cause. | 0:13:39 | 0:13:46 | |
That's where lots of girls lose out. | 0:13:46 | 0:13:48 | |
-A relationship without mental accord is sterile. -You bet. | 0:13:48 | 0:13:56 | |
Say that again. | 0:13:57 | 0:13:59 | |
So many girls chose a man for the excitement or social security it gives them. | 0:13:59 | 0:14:05 | |
According to Professor Metcalfe's book... | 0:14:05 | 0:14:09 | |
Books are no good. If you give in to a fellow on the unimportant things you get what you want. | 0:14:09 | 0:14:16 | |
Oh. | 0:14:16 | 0:14:18 | |
Does it hurt me if I encourage his union work? Does it cost me? No. | 0:14:18 | 0:14:23 | |
It makes him feel so good that when I say, why doesn't he take me to the Ritz roof, | 0:14:23 | 0:14:29 | |
he says, it's full of reactionaries, but he takes me. | 0:14:29 | 0:14:34 | |
-He doesn't like reactionaries? -No, so I agree with him. | 0:14:34 | 0:14:39 | |
The Ritz roof is expensive | 0:14:39 | 0:14:42 | |
but does a fella have respect for a girl satisfied with a cheap old bottle of wine and a hamburger? | 0:14:42 | 0:14:49 | |
Is he gonna praise the girl who lets him burn cigarette holes in her sofa? No, he'll find a blonde. | 0:14:49 | 0:14:56 | |
-And she's different? -You bet. | 0:14:56 | 0:14:59 | |
-But what about the girl who let him burn the cigarette holes? -Oh. | 0:14:59 | 0:15:04 | |
She's spending nickels calling him up. Does he say he likes someone better? He does not. | 0:15:04 | 0:15:12 | |
He's saying he's too busy. He's saying he's doing overtime. | 0:15:12 | 0:15:16 | |
He's also worried about his mother. If she calls, he gives her the KO. | 0:15:16 | 0:15:21 | |
-You mean hits her? -No, the brushoff. | 0:15:21 | 0:15:26 | |
That's when a fella tells a girl she's too good for him. She should find someone who appreciates her. | 0:15:26 | 0:15:33 | |
Honey, when a girl gets that routine, she knows she's through. She's washed up completely. | 0:15:33 | 0:15:40 | |
Well, I'm sorry for her. | 0:15:40 | 0:15:43 | |
I am not! She's a dope. A girl has to look into the future. She's got to keep an eye on her pitching. | 0:15:43 | 0:15:50 | |
Oh, brother, will Joe get sore when he gets a load of that! He'll start worrying about who bought it. | 0:15:50 | 0:15:58 | |
An orchid gives a girl prestige. | 0:15:58 | 0:16:01 | |
It cost five bucks and I'm not gonna waste it on GIs. | 0:16:01 | 0:16:05 | |
HUMS AGAIN | 0:16:05 | 0:16:07 | |
-A-ah! -You want it? I took it off a storm trooper. -Thank you, no. | 0:16:22 | 0:16:28 | |
-Did I scare you? -That's all right. -Where are you going? -The club car. -Let me buy you a drink. -No, thanks. | 0:16:28 | 0:16:35 | |
-Don't you like me? -I don't know you. -I don't know YOU but I like you. | 0:16:35 | 0:16:40 | |
-How could you? -I don't know, but I do. -You don't. You're fooling yourself. | 0:16:40 | 0:16:46 | |
-You're letting your natural impulses run away with you. -What? | 0:16:46 | 0:16:51 | |
Just because you won the war your duties aren't over. They're beginning. | 0:16:51 | 0:16:57 | |
You're coming back to build a better world, a healthier nation. | 0:16:57 | 0:17:01 | |
A nation is only as strong as its single family unit. That's why you must be careful approaching a girl. | 0:17:01 | 0:17:09 | |
You have to find out about her. Is she going to be a good friend besides a faithful wife and mother? | 0:17:09 | 0:17:16 | |
Don't let passing impulses blind you. | 0:17:16 | 0:17:19 | |
I wasn't thinking about marriage. | 0:17:19 | 0:17:22 | |
But soon you will and I want you to remember every word I told you. The world's future depends on you. | 0:17:22 | 0:17:29 | |
-Hello. -Hello. -Hello. Have a seat. -Thank you. | 0:17:41 | 0:17:46 | |
-What'll you have? -Orange juice. | 0:17:46 | 0:17:49 | |
-The beetle is at it. -Who? -The beetle. | 0:17:53 | 0:17:57 | |
-What's a beetle? -Oh, they're very cute to look at but you've got to keep your eye on them. | 0:17:57 | 0:18:04 | |
They make out they've no angles. Then they crawl in your hair. They give you mental fatigue. | 0:18:04 | 0:18:11 | |
Then you can't take up Uncle's planes after the psychiatrist's injections. | 0:18:11 | 0:18:17 | |
-So beetles are out? -No. | 0:18:17 | 0:18:19 | |
-Two bourbons and an orange juice. -Yes, sir. | 0:18:19 | 0:18:23 | |
-Oh, I'm sorry. -I beg your pardon, sir. | 0:18:23 | 0:18:27 | |
-That book gets around. -Are you familiar with it? -We picked it up in a bed in Jacksonville. -Sickbay. | 0:18:30 | 0:18:38 | |
The fella next to Rusty was giving that book a hard time. That's how we got these Jap medals. | 0:18:38 | 0:18:45 | |
-Jap medals? -Would you like some? | 0:18:45 | 0:18:48 | |
No, thanks. Would someone mind telling me what the book has to do with Jap medals? | 0:18:48 | 0:18:55 | |
-I was reading Esquire and this Joe wanted to trade. -Rusty said no. | 0:18:55 | 0:19:00 | |
-He said no?! -Rusty kept reading and the army got desperate. | 0:19:00 | 0:19:06 | |
1.35. | 0:19:06 | 0:19:08 | |
We were at the point where the army got desperate. | 0:19:08 | 0:19:12 | |
Then he offered an Afrika Korps helmet with a Rommel insignia, practically a collector's item. | 0:19:12 | 0:19:19 | |
-Rusty couldn't resist that? -I had to save the book from the army. | 0:19:19 | 0:19:24 | |
It might interest you. They're going to make a picture of the book with Cary Grant and Lana Turner. | 0:19:24 | 0:19:31 | |
Cary Grant's gonna play the part of that pilot? He always seemed a sharp fellow. | 0:19:31 | 0:19:37 | |
They're probably giving him a lot of bananas. | 0:19:37 | 0:19:40 | |
-Grant already HAS a lot of bananas. -Why shouldn't he play it? | 0:19:40 | 0:19:45 | |
-Why? Because it would make him look silly. -Silly? -Certainly. -But why? | 0:19:45 | 0:19:50 | |
Because Lana Turner keeps chasing him and he keeps saying no. | 0:19:50 | 0:19:55 | |
-To Lana Turner? -He does. -Was there something wrong with this pilot guy? | 0:19:55 | 0:20:01 | |
He's busy fixing up the world for everybody. | 0:20:01 | 0:20:04 | |
Can't he take care of Lana first? | 0:20:04 | 0:20:07 | |
He'd like to, Dink, but this pilot is a progressive and Lana Turner is a reactionary. | 0:20:07 | 0:20:13 | |
Exactly! | 0:20:13 | 0:20:16 | |
But this reactionary's Lana Turner! What does it matter what she thinks? | 0:20:16 | 0:20:21 | |
-That's what makes it so silly. -I just don't understand it. -Gentlemen, you've missed the point. | 0:20:21 | 0:20:28 | |
The characters that Grant and Turner play are symbols. | 0:20:28 | 0:20:32 | |
He of the future and she of the past. The clash between them is ideological. | 0:20:32 | 0:20:39 | |
-Look. He's a man? -Well, yes. -She's a woman? -Yes. -That's all. | 0:20:39 | 0:20:43 | |
I know what you're thinking. You're thinking I know nothing about men. | 0:20:46 | 0:20:51 | |
Well, don't let that worry you. Neither did the character that wrote that book. | 0:20:51 | 0:20:57 | |
What would you do if you were Mark Winston? | 0:20:57 | 0:21:01 | |
I tell you what I'd do if I were Mark Winston, Miss... What IS your name? | 0:21:01 | 0:21:07 | |
Er...Kit. Kitty...Klotsch. | 0:21:07 | 0:21:10 | |
Klotsch? | 0:21:13 | 0:21:15 | |
Is that, er, Polish? | 0:21:15 | 0:21:17 | |
Lithuanian. | 0:21:17 | 0:21:19 | |
Very old Lithuanian. | 0:21:19 | 0:21:22 | |
Well...Miss Klotsch, | 0:21:22 | 0:21:25 | |
if I were Mark Winston, I would behave like Lana Turner were a woman and argue after. | 0:21:25 | 0:21:32 | |
But suppose you've just come back from the war and you're sick of it all. Tired! | 0:21:32 | 0:21:39 | |
Honey... no pilot gets THAT tired. | 0:21:39 | 0:21:43 | |
(Hello.) | 0:21:59 | 0:22:01 | |
(Oh, hello.) | 0:22:01 | 0:22:04 | |
-(Let me help you.) -Oh, thank you. | 0:22:06 | 0:22:09 | |
I wonder where the ladder is. | 0:22:09 | 0:22:12 | |
I, er...haven't seen it lately. | 0:22:12 | 0:22:15 | |
I think I better call the porter. | 0:22:15 | 0:22:18 | |
-I'll do that. -BUZZER | 0:22:18 | 0:22:22 | |
-I guess he must be out somewhere. -It doesn't look much without you in it. | 0:22:22 | 0:22:28 | |
-I'll give you a lift. -A lift? | 0:22:31 | 0:22:33 | |
It's simple. | 0:22:33 | 0:22:36 | |
-Oh. -It's the only way I can think of. | 0:22:36 | 0:22:39 | |
Thank you. I'm sure I can manage. | 0:22:39 | 0:22:42 | |
-Oh, goodnight. -Goodnight. | 0:22:42 | 0:22:45 | |
-Night. -Oh, goodnight. | 0:22:47 | 0:22:50 | |
-OW! -(Oh, I'm so sorry!) -That's all right. Go ahead. -Thanks. | 0:23:11 | 0:23:16 | |
-How are you doing? -So far so good. | 0:23:23 | 0:23:26 | |
What you need is six weeks' basic training. | 0:23:27 | 0:23:31 | |
O-oh! | 0:23:31 | 0:23:33 | |
Oh, I'm sorry. | 0:23:36 | 0:23:39 | |
-I'll give you a hand. -Yeah. | 0:23:39 | 0:23:41 | |
-Can you make it? -Yes, thank you. -Are you sure? -Yes. -Say, where are you going? | 0:23:44 | 0:23:51 | |
-To my bed. -No, I mean where are you heading for? -California. -Well, good. We're going to San Diego. | 0:23:51 | 0:23:58 | |
-Oh, that's fine. -You know what? You're much lighter than I thought. | 0:23:58 | 0:24:04 | |
-You're much stronger than I thought. -I bet I could hold you for 20 minutes. | 0:24:04 | 0:24:09 | |
-I'm sure you could but I want to go to bed. -Am I holding you up? -Yes. Please. | 0:24:09 | 0:24:16 | |
Thank you. Thank you. | 0:24:16 | 0:24:18 | |
-Goodnight. -Goodnight. | 0:24:24 | 0:24:26 | |
OTHERS: Goodnight! | 0:24:26 | 0:24:29 | |
Chicago. Chicago is next. | 0:24:39 | 0:24:42 | |
The next stop is Chicago. Chicago. | 0:24:43 | 0:24:48 | |
-Oh, for you, miss. -Thank you. | 0:24:48 | 0:24:50 | |
-How much time have I got to make The Chief? -Just time enough. -Thank you. | 0:24:50 | 0:24:56 | |
Next stop Chicago. Chicago. | 0:24:56 | 0:24:59 | |
"Dear Miss Madden, I'm enthusiastic over the marine you feel could play Winston. | 0:25:03 | 0:25:10 | |
"He sounds perfect. Bring him to Hollywood for a test. | 0:25:10 | 0:25:14 | |
"Don't let him get away. Regards, Baldwin." | 0:25:14 | 0:25:18 | |
Excuse me. I'm sorry. | 0:25:26 | 0:25:28 | |
Pardon me. | 0:25:28 | 0:25:31 | |
Excuse me. | 0:25:31 | 0:25:34 | |
-Please, stay back. -Have you seen those marine fliers? -No, ma'am. -Are they in the club car? -It's closed. | 0:25:34 | 0:25:41 | |
-If you see them, will you tell them I'm looking for them? -Yes, ma'am. -Thank you. -Chicago! | 0:25:41 | 0:25:48 | |
Oh, my coat! | 0:25:48 | 0:25:50 | |
-Rusty! Dink! -Miss Madden? | 0:26:00 | 0:26:02 | |
-Yes. -I'm Burt, from Arrowhead Pictures. I have your drawing room on The Chief. My car's outside. | 0:26:02 | 0:26:09 | |
-I have something important to do. -Can I help? -Could you put my things on The Chief and get my ticket? | 0:26:09 | 0:26:17 | |
-I'll wait for you. -No. Just put my things on the train. You should be in bed with that cold. -Yes, miss. | 0:26:17 | 0:26:25 | |
-Pardon me. Aren't you Christopher Madden? May I have your autograph? -Certainly. | 0:26:44 | 0:26:50 | |
Would you mind putting "To Jack Benny"? | 0:26:50 | 0:26:54 | |
Jack Ben... | 0:26:54 | 0:26:57 | |
Thank you. | 0:26:57 | 0:26:59 | |
Thank you very much. | 0:27:01 | 0:27:03 | |
-I haven't seen them either. -They must be somewhere. -More than likely. | 0:27:12 | 0:27:17 | |
-Where? -You're making a big mistake. You should know better than to give in to your passionate impulses. -Sh! | 0:27:17 | 0:27:24 | |
You should find out if he's going to be a thoughtful husband. The future depends on you. | 0:27:24 | 0:27:30 | |
-Hello! -Miss Klotsch! -Hello! -We're happy to see you. -Oh, thank you. | 0:27:49 | 0:27:55 | |
-We'd like you to make a purchase for us. -Oh! | 0:27:55 | 0:27:59 | |
-Would you buy us a bottle of Scotch? -Isn't that out of character? | 0:27:59 | 0:28:03 | |
-We wanted something older than last week. -The sign says "One bottle of Scotch per customer. Sorry." | 0:28:03 | 0:28:11 | |
-Sorry is right. -But our train? -We'll get a cab. -Get more than one, we'll get you a bus. | 0:28:11 | 0:28:17 | |
-I'm afraid it's only gonna be one bottle. -Yeah. | 0:28:17 | 0:28:21 | |
Miss Klotsch is an amateur. | 0:28:21 | 0:28:24 | |
I gotta keep everybody happy, miss. Scotch is still scarce. Take it, or leave it. | 0:28:24 | 0:28:30 | |
After what I've done for you the least you could do is give me three. | 0:28:39 | 0:28:44 | |
-What have you done? -I wrote that book. | 0:28:44 | 0:28:48 | |
You? Christopher Madden? | 0:28:48 | 0:28:51 | |
Ah, you're kidding! | 0:28:51 | 0:28:53 | |
I can prove it to you. Read your last line. | 0:28:55 | 0:28:59 | |
"Mark Winston looked above him. The land seemed abandoned. Its usefulness ended." | 0:29:01 | 0:29:07 | |
"But in this vast and empty land his eyes saw something else - a vision of construction, | 0:29:07 | 0:29:15 | |
"a land that would turn into factories and communities. A frontier of new hopes | 0:29:15 | 0:29:21 | |
"where men might use opportunities. | 0:29:21 | 0:29:24 | |
"It was all there. Realisation for tomorrow." | 0:29:24 | 0:29:28 | |
-Will three be enough? -That's fine. -Would you autograph my book? -Yes. | 0:29:28 | 0:29:33 | |
-What's your name? -Timothy Helgalander. Oh, but write T Helgalander. I can't stand Timothy. | 0:29:36 | 0:29:43 | |
-Planning to do some writing? -Some rewriting. -I'll put them in a bag. -No, thanks. I'm in a hurry. Bye. | 0:29:45 | 0:29:53 | |
-Well, here you are. -What happened? -Nothing. I just smiled. | 0:29:53 | 0:29:57 | |
-You don't have a three-quart smile. -What did you write? -I said I was Christopher Madden and I signed it. | 0:29:57 | 0:30:05 | |
-He fell for it? -Hook, line and Scotch. | 0:30:05 | 0:30:08 | |
-Oh, you promised me a bus! -The station. | 0:30:08 | 0:30:12 | |
-Sunrise Limited. -Yes, sir. -Sunrise Limited? -Yeah. Section five. Car 62. | 0:30:27 | 0:30:33 | |
-What's yours? -Mine? | 0:30:33 | 0:30:36 | |
-Er...I think I'm in car 62 too. -Never mind. Put the bags on my seat. Where ARE your bags? | 0:30:36 | 0:30:43 | |
-I sent them on. They're on the train. -Good. | 0:30:43 | 0:30:47 | |
'The Chief, Kansas City, La Junta, Albuquerque, Los Angeles - leaving on track seven.' | 0:30:49 | 0:30:56 | |
-What's the matter? -What's the matter? -Nothing. | 0:30:57 | 0:31:01 | |
I wish we were on The Chief. | 0:31:05 | 0:31:08 | |
I wish we were too. | 0:31:11 | 0:31:13 | |
'Sunrise Limited - all aboard!' | 0:31:13 | 0:31:16 | |
Your tickets, please. | 0:31:16 | 0:31:18 | |
It's gonna be nice, the three of us. | 0:31:23 | 0:31:26 | |
-It's getting to be a habit. -Some are healthy. -It's as if we know you. | 0:31:26 | 0:31:32 | |
-That's what you told that beetle. -She said it. | 0:31:32 | 0:31:36 | |
Then you should have taken her home. | 0:31:36 | 0:31:39 | |
We were OK, except we mixed our drinks. It was lovely until we had vodka and wine. | 0:31:39 | 0:31:46 | |
-We shouldn't be telling this girl sordid things. -Why not? Miss Klotsch is no beetle! | 0:31:46 | 0:31:51 | |
Your tickets, please. | 0:31:51 | 0:31:54 | |
Your ticket, please. | 0:31:56 | 0:31:58 | |
Oh, yes! | 0:31:58 | 0:32:00 | |
Oh! | 0:32:04 | 0:32:06 | |
-Oh! I seem to have misplaced it. -Oh! | 0:32:06 | 0:32:10 | |
Perhaps you have other identification, Miss, er...? | 0:32:10 | 0:32:14 | |
Klotsch. | 0:32:14 | 0:32:16 | |
Oh! | 0:32:19 | 0:32:20 | |
Now, isn't that funny! I just don't seem to have a thing with me with my name on it. | 0:32:20 | 0:32:28 | |
Where's your luggage? | 0:32:28 | 0:32:30 | |
Well... | 0:32:31 | 0:32:33 | |
Maybe it's on the wrong train. | 0:32:36 | 0:32:39 | |
Very funny, Miss Klotsch. | 0:32:39 | 0:32:41 | |
There's a serious penalty for riding trains without tickets and with servicemen. | 0:32:41 | 0:32:48 | |
Yes, I know, but I really DID have it but something just happened. | 0:32:48 | 0:32:54 | |
Something always happens. | 0:32:54 | 0:32:55 | |
-I can vouch for her. -I can vouch for him. | 0:32:55 | 0:32:59 | |
-And you can vouch for him? -Uh-huh. | 0:32:59 | 0:33:02 | |
I should have you put off right here. | 0:33:02 | 0:33:06 | |
I'd be glad to buy a compartment. | 0:33:08 | 0:33:11 | |
-No compartments. -She'll have no place to sleep? -Up in the coach. | 0:33:11 | 0:33:17 | |
-Remember, if there's any trouble, you'll go off the train. Is that clear? -Yes. | 0:33:17 | 0:33:25 | |
-Come with me up to the coach, miss. -Well, goodbye. -You'll hear from us. | 0:33:25 | 0:33:32 | |
Brandy, cigars, cigarettes. Brandy, cigars, cigarettes. Brandy, cigars... | 0:33:32 | 0:33:38 | |
BABY CRIES | 0:33:38 | 0:33:41 | |
Miss Klotsch? Miss Klotsch? | 0:33:41 | 0:33:44 | |
-Miss Klotsch? -Yes? | 0:33:44 | 0:33:47 | |
-The marine gentlemen are waiting for you for dinner. -Oh, thank you. | 0:33:47 | 0:33:52 | |
Klotsch? | 0:33:54 | 0:33:56 | |
One single? One single? | 0:33:59 | 0:34:01 | |
-Good evening. -Good evening. -Good evening. -We are happy to have you with us. -You bet. | 0:34:08 | 0:34:15 | |
Oh, thank you, gentlemen. | 0:34:15 | 0:34:18 | |
-For me? -We thought it would look nice on you. -Thank you. This makes me feel very grand. -Freddie's right. | 0:34:18 | 0:34:26 | |
-He says an orchid makes a woman feel good. -Is he the psychiatrist? | 0:34:26 | 0:34:31 | |
-No, he's the barman in the club car. -Oh. You gentlemen certainly get around. | 0:34:31 | 0:34:36 | |
Pst! Pst! | 0:34:36 | 0:34:39 | |
Pst! Pst! | 0:34:39 | 0:34:42 | |
CHIRRUPS LOUDLY | 0:34:42 | 0:34:45 | |
-For two. -We only have a single. | 0:34:45 | 0:34:48 | |
-Oh. -Give him a tip. Haven't you ever been around? | 0:34:48 | 0:34:53 | |
Thank you, sir. Thank you. | 0:34:53 | 0:34:57 | |
Oh, excuse me. I see some friends. | 0:34:57 | 0:35:00 | |
-I'm simply starved. Trains make me hungry. I get an appetite from the darnedest things. Hello. -Hello. | 0:35:00 | 0:35:07 | |
-I don't think I've met your friends. -I'm sorry. Captain Rusty... | 0:35:07 | 0:35:12 | |
-Thomas. -I'm sure. | 0:35:12 | 0:35:15 | |
-And Lieutenant Dink... -Watson. -Miss, er...? | 0:35:15 | 0:35:19 | |
Consuela Callaghan. I come from a very old Spanish family. I see you took my advice. | 0:35:19 | 0:35:25 | |
My orchid's on ice. | 0:35:25 | 0:35:28 | |
So is your friend the, er, admiral. | 0:35:28 | 0:35:32 | |
Oh, er, what are you drinking? | 0:35:35 | 0:35:37 | |
Wine. | 0:35:37 | 0:35:39 | |
Oh! | 0:35:39 | 0:35:41 | |
Wine. | 0:35:42 | 0:35:45 | |
-I haven't seen you. Do you have a compartment? -I'm in the coach. | 0:35:45 | 0:35:50 | |
Oh, that's tough. I'm right next to your officer friends. I'm seven. Lucky seven, huh? | 0:35:50 | 0:35:56 | |
-You're seven? -But we're still five. | 0:35:56 | 0:36:01 | |
Oh, well, you're too young for me. | 0:36:06 | 0:36:09 | |
-I have a two now. -Oh, fine, thanks. | 0:36:09 | 0:36:13 | |
-They asked me to stay with them but I told them I was with you. -That's nice. | 0:36:13 | 0:36:19 | |
-It never fails to surprise me that there are vast lands still uncultivated. -Not for long. | 0:36:28 | 0:36:35 | |
With aeroplanes, people will spread. | 0:36:35 | 0:36:38 | |
It'll be wonderful to be part of a new world. | 0:36:38 | 0:36:41 | |
I don't think it'll change much. | 0:36:41 | 0:36:44 | |
-Oh, but it must! -Why? | 0:36:44 | 0:36:46 | |
For too long we've had that laissez faire attitude! | 0:36:46 | 0:36:51 | |
We must educate ourselves to share the responsibilities of citizenship. | 0:36:51 | 0:36:57 | |
I read that book too. It certainly made an impression on you but it's hooey! | 0:36:57 | 0:37:03 | |
Fixing everybody up when they give a first squawk. Giving pointers on government between bottle feeds. | 0:37:03 | 0:37:11 | |
-Teaching kids not to smack each other. -It's very easy to make fun of everything. -Listen, Miss Klotsch, | 0:37:11 | 0:37:19 | |
have you ever heard of the fellas who first came over here? Do you know what they found? | 0:37:19 | 0:37:26 | |
A howling wilderness with summers hot and winters freezing | 0:37:26 | 0:37:30 | |
and unpleasant characters who painted their faces. | 0:37:30 | 0:37:34 | |
Do you think these pioneers filled out form X6277 saying the Indians were unreasonable? | 0:37:34 | 0:37:41 | |
Did they have insurance for their old age, for their crops, for their homes? No. | 0:37:41 | 0:37:47 | |
They looked at the land, the forests and the rivers, their wives, kids and houses. | 0:37:47 | 0:37:53 | |
-Then they looked up and said, "Thanks, God, we'll take it from here." -They were rugged. | 0:37:53 | 0:38:00 | |
-They were men. -You and I are talking about two entirely different things. | 0:38:00 | 0:38:06 | |
-Dink, do you know what? -What? -This girl is stubborn. | 0:38:06 | 0:38:11 | |
BOOGIE-WOOGIE PLAYS | 0:38:19 | 0:38:21 | |
SHE HUMS HAPPILY | 0:38:26 | 0:38:29 | |
-Oh, it's lovely. -What's lovely? | 0:38:35 | 0:38:39 | |
The Blue Danube. | 0:38:39 | 0:38:41 | |
I love Strauss waltzes. | 0:38:41 | 0:38:44 | |
How can you think about a waltz when they're playing a boogie? | 0:38:44 | 0:38:48 | |
-It sounds to me like a waltz. -If she says so, it IS. | 0:38:48 | 0:38:52 | |
-Take it easy, Miss Klotsch. -I love Strauss waltzes. | 0:39:10 | 0:39:15 | |
That's my orchid! | 0:39:15 | 0:39:17 | |
-Oh, no. No, it isn't. This is mine. -I would be a little more careful. | 0:39:17 | 0:39:22 | |
You can get in trouble accusing innocent people. | 0:39:22 | 0:39:26 | |
-Where did you get that orchid? -My friends gave it to me. | 0:39:26 | 0:39:32 | |
Uh! Who? Who us? | 0:39:32 | 0:39:34 | |
-We didn't give anybody any orchid. -No. -She got that from the president for heroic conduct. -That's right. | 0:39:34 | 0:39:42 | |
It's not an orchid. It's a medal. It's the distinguished flying orchid. | 0:39:42 | 0:39:48 | |
Aren't you going to do anything? | 0:39:48 | 0:39:51 | |
I can't do anything. She got it from the president. | 0:39:51 | 0:39:55 | |
Awwww! | 0:39:55 | 0:39:57 | |
-Are you sure I got this from the president? -Not exactly. | 0:40:00 | 0:40:04 | |
We couldn't let Freddie take the rap after giving it to us, even if we had to give him the Jap medals. | 0:40:04 | 0:40:12 | |
-That's lovely. -This girl's saying silly things. She's in a tailspin. | 0:40:12 | 0:40:18 | |
No, it's not a tailspin. | 0:40:18 | 0:40:20 | |
-I know. -What do you know? | 0:40:22 | 0:40:25 | |
I know about tailspins. | 0:40:25 | 0:40:27 | |
I had four and a half hours once in a cub plane. | 0:40:27 | 0:40:31 | |
And if you can fly a cub plane, you can fly anything. | 0:40:31 | 0:40:35 | |
-You should have told us. -You didn't ask me. -I'm asking now. Do you know how you make a three-point landing? | 0:40:35 | 0:40:43 | |
-Oh, sure. -This girl doesn't wanna fly. She has other things in mind. | 0:40:43 | 0:40:48 | |
-Yes, I do. -What do you wanna do? -Fly. | 0:40:48 | 0:40:52 | |
-All right, Dink, let's let her fly. A C47. -Isn't that a little big? | 0:40:54 | 0:40:59 | |
-That's the problem. -I'll have a drink. | 0:40:59 | 0:41:02 | |
-Not on the job. -Where's my plane? -That's easy. | 0:41:02 | 0:41:06 | |
-Would you hold this? -Certainly. -Grab a table. | 0:41:06 | 0:41:10 | |
-What are you doing? -Getting the plane out. | 0:41:10 | 0:41:13 | |
-What? -Getting the plane out. ..Come on. | 0:41:13 | 0:41:18 | |
-Oh, it's kinda high up there! -Sure, it's high. It's a plane. | 0:41:18 | 0:41:22 | |
Gentlemen! Gentlemen! Gentlemen! Gentlemen! | 0:41:22 | 0:41:26 | |
Be careful. You might get in trouble. | 0:41:26 | 0:41:29 | |
-It's government business. -Oh, it's high. | 0:41:29 | 0:41:32 | |
-What's that? -Compass, air-speed indicator, altometer. | 0:41:32 | 0:41:37 | |
-She should be in a Hellcat. -Why? -Maybe she should. -She's ready to go. | 0:41:37 | 0:41:42 | |
-Where's her copilot? -Buckling his belt. | 0:41:42 | 0:41:46 | |
-Why? -Do you want him to fall out? -It depends. Is he interesting? | 0:41:46 | 0:41:51 | |
-The man has 1,400 hours flying time and she wants to know that! -You're horsing around. -All right. | 0:41:51 | 0:41:59 | |
-Our objective is 500 miles south. -I see it. | 0:41:59 | 0:42:02 | |
-LAUGHTER -You cannot see it! | 0:42:02 | 0:42:07 | |
-Sharpen this parachute. -I never use 'em. -What if you have to bail out? -I'll keep a stiff upper lip. | 0:42:07 | 0:42:14 | |
-Take her up north-east to 7,000ft. -She hasn't got her wings yet. | 0:42:14 | 0:42:20 | |
-And she's flying a C47? -What if the air inspector finds out? -He won't. | 0:42:20 | 0:42:25 | |
-I'm in a draft. Let's meet the head winds. -Is the gyro-directional set? -Check the flaps. -What? | 0:42:25 | 0:42:32 | |
Where? | 0:42:32 | 0:42:34 | |
-Take this plane to its hangar. -Complain to administration. Have you got a pass? | 0:42:34 | 0:42:41 | |
-You're obstructing a flight. -I am? | 0:42:41 | 0:42:45 | |
Has she filed her flight plan? | 0:42:45 | 0:42:48 | |
-I forgot! -We better get out of here. Clear on left? -Clear. Clear on right? -Clear. | 0:42:48 | 0:42:54 | |
Clear the runway! | 0:42:54 | 0:42:57 | |
-You're rolling down the runway at 60mph. -70. -80. -90. -What am I waiting for? | 0:42:57 | 0:43:03 | |
-Get off the ground! -Your landing gear! -Where is it? | 0:43:03 | 0:43:08 | |
Left rudder! | 0:43:08 | 0:43:10 | |
-Hit it! Hit it! -Hit it! | 0:43:12 | 0:43:15 | |
-I hit it. -You crashed. -I crashed. | 0:43:17 | 0:43:21 | |
I think the beetle's got an idea. Let's go! | 0:43:27 | 0:43:31 | |
Here she is! Here she is! I know she's here. Where is she? | 0:43:34 | 0:43:39 | |
Where is she? | 0:43:39 | 0:43:42 | |
Come on. | 0:43:42 | 0:43:44 | |
-(The coach'll be the first place they'll look. -I hear you.) | 0:43:49 | 0:43:54 | |
-(A beetle and two bogeys approaching at 12 o'clock. -OK.) | 0:44:01 | 0:44:05 | |
(Emergency landing. Our berth.) | 0:44:10 | 0:44:13 | |
LAUGHTER | 0:44:13 | 0:44:16 | |
-Shh! -Shh! | 0:44:16 | 0:44:19 | |
Conductor, I think I can be of some help. | 0:44:24 | 0:44:27 | |
OH! AH! | 0:44:27 | 0:44:30 | |
-But that's their berth! -Come on, we'll find her. | 0:44:30 | 0:44:35 | |
MUFFLED GIGGLES Shh! | 0:44:35 | 0:44:39 | |
A-ha! | 0:44:43 | 0:44:46 | |
Hm! | 0:44:46 | 0:44:48 | |
Oh, my orchid! | 0:44:50 | 0:44:52 | |
I'll have you thrown off the train! | 0:44:52 | 0:44:55 | |
I don't see how they can do this! | 0:45:18 | 0:45:21 | |
I'm an immoral character. Kicked off for conduct unbecoming to a lady, | 0:45:21 | 0:45:26 | |
consorting in a vulgar way with the troops and stealing an orchid. | 0:45:26 | 0:45:30 | |
You be careful going off alone. | 0:45:30 | 0:45:34 | |
It isn't like you've us looking out for you. | 0:45:34 | 0:45:37 | |
-I'll be all right. Will I hear from you? -Sure. You can write. | 0:45:37 | 0:45:42 | |
-Where to? -The Ritz Hotel in San Diego. | 0:45:42 | 0:45:45 | |
-Will you be in San Diego long? -You'll have to ask the Navy. | 0:45:45 | 0:45:50 | |
Give my love to Dink. | 0:45:50 | 0:45:53 | |
-And what about me? -Well, er, I'm awfully happy I met you and... | 0:45:53 | 0:45:57 | |
-And what? -Look, your train! | 0:45:57 | 0:45:59 | |
-I know. -Goodbye. -We never say goodbye. | 0:45:59 | 0:46:04 | |
-Oh! You missed it! -Fancy meeting you in La Junta. | 0:46:13 | 0:46:17 | |
-Dink! -It's La HUNTA, you dope! Come on. | 0:46:17 | 0:46:22 | |
-What now? -We'll put you on the next train. | 0:46:22 | 0:46:25 | |
-What about you? -We'll have to go and catch a plane. -We have a date. -A date? | 0:46:25 | 0:46:32 | |
-Yeah, with a couple of swell... -Sisters of a friend. -That's right. | 0:46:32 | 0:46:37 | |
-Friends of the family, you know. -Mm-hm. I'm afraid I do. | 0:46:37 | 0:46:42 | |
-Thanks. -Thank you. -Thanks, pal. | 0:47:00 | 0:47:03 | |
That's OK. Good luck. | 0:47:03 | 0:47:05 | |
You two stay out here and I'll see what's up. | 0:47:15 | 0:47:20 | |
-Is there a good chance of you getting on a plane? -Sometimes. Rusty and I play on luck. | 0:47:24 | 0:47:31 | |
-What's the matter with you? Are you sore? -No. I'm not. -Don't take him seriously. | 0:47:33 | 0:47:39 | |
He's kind-hearted. He can't pass a stray dog or cat without petting 'em. | 0:47:39 | 0:47:45 | |
-Is that how he feels about me? -It's hard to tell with any woman. | 0:47:45 | 0:47:50 | |
We expect a B32 from Kansas City within the hour. | 0:47:50 | 0:47:55 | |
-Within the hour? -It goes straight to San Diego. -Straight to San Diego? | 0:47:55 | 0:48:00 | |
Do you want me to put you down? | 0:48:04 | 0:48:07 | |
I, er... I don't think so. You see, we're really not in such a hurry. | 0:48:07 | 0:48:12 | |
-Thanks a lot, Lieutenant. -You're welcome, Captain. And good luck. | 0:48:12 | 0:48:17 | |
-Sure beats everything. All flights are down. -What's the matter? | 0:48:21 | 0:48:26 | |
-There's storms over the Rockies and flights are cancelled. -Too bad. | 0:48:26 | 0:48:31 | |
-Well, what next? -Back to town. | 0:48:31 | 0:48:35 | |
-It says "Bus stop". -Let's walk. | 0:48:41 | 0:48:44 | |
-We've been sitting for days. -This girl has a mean streak. | 0:48:44 | 0:48:48 | |
-Do you mean because she's glad we're stuck? -Guess what? -What? | 0:48:48 | 0:48:51 | |
ALL: You're right! LAUGHTER | 0:48:51 | 0:48:53 | |
-Oh! -How do you like that? Rain! | 0:49:18 | 0:49:22 | |
-You said there was gonna be a storm. -What? -You said there was gonna be a storm. | 0:49:22 | 0:49:28 | |
-Oh, yeah. It's good for the crops. -It's good for Elizabeth Arden. | 0:49:28 | 0:49:34 | |
Why don't people drive their cars? | 0:49:34 | 0:49:35 | |
Uncle Sam spends millions to build highways. People don't appreciate it. | 0:49:35 | 0:49:41 | |
Why does this always have to happen to me? Oh, this is terrible. | 0:49:47 | 0:49:52 | |
-Watch out! You'll get wet. -It's too much. I can't stand it. | 0:49:52 | 0:49:58 | |
-Is something wrong? -I'm loaded with misery. | 0:49:58 | 0:50:01 | |
-Well, unload it on us. -Oh, what's the use? | 0:50:01 | 0:50:06 | |
Maybe you could help me push it. | 0:50:07 | 0:50:09 | |
-We not only push troubles, we make 'em vanish. -This won't. | 0:50:09 | 0:50:14 | |
I wish it would. It's down the road where I left it. | 0:50:14 | 0:50:19 | |
-What did you leave? -The Isota. | 0:50:19 | 0:50:22 | |
-What's that? -It's a car. Italian, I think. -You got a car down the road and we're sweating out a routine? | 0:50:22 | 0:50:30 | |
-What are we waiting for? -It'll take more than good wishes to get it going. | 0:50:30 | 0:50:36 | |
-We'll find out. -It started when that actor got a contract to go to Hollywood. | 0:50:36 | 0:50:42 | |
The ham decided to ride there in style. He broke down at my door. | 0:50:42 | 0:50:46 | |
My wife's hospitable. We took him in. It was nice to talk to someone from the east. I'm from New Jersey. | 0:50:46 | 0:50:54 | |
We moved west because my wife wanted altitude. I hate it! | 0:50:54 | 0:50:59 | |
Then that actor came into my life with his miserable Isota. | 0:50:59 | 0:51:04 | |
He stayed a week and left by train but he sold me the car first. | 0:51:04 | 0:51:09 | |
I bought it because my wife told me I should. She liked the upholstery! She didn't care about transmission. | 0:51:09 | 0:51:16 | |
Every time something happens to this car it's expensive. It's raining and something's wrong again. | 0:51:16 | 0:51:23 | |
I never want to see this car again. There it is, the ingrate! | 0:51:23 | 0:51:28 | |
-Well, come on. I'll take a look at it. I'll try to start it. -Optimist! | 0:51:32 | 0:51:37 | |
Get out of the rain. | 0:51:37 | 0:51:40 | |
It sure is a beautiful job. | 0:51:46 | 0:51:48 | |
-O-oh! -What's the matter? -I'm cold! | 0:51:48 | 0:51:51 | |
I've a heater. It has everything except an engine. | 0:51:51 | 0:51:55 | |
Are you three together? | 0:51:55 | 0:51:57 | |
I guess so. | 0:51:57 | 0:51:59 | |
Maybe you would like to buy a car together? | 0:51:59 | 0:52:03 | |
-Without an engine? -We couldn't afford it. | 0:52:03 | 0:52:06 | |
It isn't a question of affording it. Think of the pleasure it would give. | 0:52:06 | 0:52:11 | |
-Pleasure? -And who's better entitled to pleasure than war heroes? | 0:52:11 | 0:52:16 | |
We'd just go to a second-hand lot. | 0:52:16 | 0:52:19 | |
What have they got? A bunch of lemons and wrecks. | 0:52:19 | 0:52:24 | |
Even if they had a decent car, what do you get out of it? Anxiety! Headaches! | 0:52:24 | 0:52:30 | |
EXHAUST FIRES NOISILY | 0:52:30 | 0:52:34 | |
-Say, how much do you want for this car? -How much would you offer? | 0:52:38 | 0:52:43 | |
-I have 300 in traveller's cheques. -That's good for me. | 0:52:43 | 0:52:47 | |
-Why would you want this car? -I'm going to make a splash in Hollywood. | 0:52:47 | 0:52:53 | |
I can assure you, it'll make a splash. | 0:52:53 | 0:52:57 | |
EXHAUST FIRES | 0:52:57 | 0:53:00 | |
But I can't let it go for 300. I spent that much on hotel bills waiting for parts to arrive. | 0:53:03 | 0:53:10 | |
-You have a valuable item. -What item? | 0:53:10 | 0:53:14 | |
A genuine collector's item. | 0:53:14 | 0:53:17 | |
-The helmet? -A helmet? What's that to me? | 0:53:17 | 0:53:20 | |
I was offered 150 for it. | 0:53:20 | 0:53:23 | |
The longer I keep it the more valuable it is. | 0:53:23 | 0:53:26 | |
It has the Rommel insignia. | 0:53:26 | 0:53:28 | |
An antique? Could I perhaps see the item? I'm not saying I'll take it but I'd like to see it. | 0:53:28 | 0:53:36 | |
-Dink, come 'ere. -Yeah? | 0:53:36 | 0:53:40 | |
-What is it? -Give me that helmet. Well, what do you say? | 0:53:40 | 0:53:45 | |
You can't buy a thing like that for 150 bananas. | 0:53:45 | 0:53:49 | |
I'm not interested in money. | 0:53:49 | 0:53:51 | |
A real souvenir from a real hero of the marines. | 0:53:51 | 0:53:55 | |
I can't resist it. | 0:53:59 | 0:54:01 | |
Friends, the car is yours. | 0:54:01 | 0:54:04 | |
-You know what, boys? -BOTH: What? | 0:54:13 | 0:54:15 | |
-We bought a car. -BOTH: You're right! | 0:54:15 | 0:54:18 | |
It's really a nice car. | 0:54:55 | 0:54:57 | |
-With ME driving. -It's better than the train. | 0:54:57 | 0:55:02 | |
-Cosier. -I think so too. | 0:55:02 | 0:55:05 | |
I want to make a phone call. | 0:55:06 | 0:55:09 | |
-Do you want to call a friend? -Dink! | 0:55:09 | 0:55:12 | |
I just don't want her talking to strangers. | 0:55:12 | 0:55:16 | |
-Hello, folks! -Hello. -Gas? -Yeah. | 0:55:23 | 0:55:26 | |
-Do you have a telephone? -Inside. | 0:55:26 | 0:55:29 | |
HE WHISTLES | 0:55:29 | 0:55:32 | |
-Can you reach it? -You're doggone right I can. | 0:55:32 | 0:55:37 | |
PHONE RINGS | 0:55:40 | 0:55:43 | |
Yes? Who? Christopher Madden? Sure, we'll accept the charges. Put her on. | 0:55:44 | 0:55:50 | |
Hello, Miss Madden. Er, yes, er, just a moment. Mr Baldwin. | 0:55:50 | 0:55:56 | |
Mr Baldwin, Miss Madden's on the phone. | 0:55:56 | 0:56:00 | |
Miss Madden! | 0:56:00 | 0:56:03 | |
-Miss Madden, where are you? -I'm in Rattan, New Mexico. | 0:56:03 | 0:56:07 | |
-Where is Rattan, New Mexico? -In New Mexico. | 0:56:07 | 0:56:11 | |
That's immpossible. We expect you here. I've arranged a big reception. | 0:56:11 | 0:56:16 | |
You can't do this. How did this happen? | 0:56:16 | 0:56:20 | |
-I missed The Chief so I took the Sunrise Limited to La Junta. -'Why there?' | 0:56:20 | 0:56:25 | |
-That's where I was taken off it. -What do you mean taken off? | 0:56:25 | 0:56:30 | |
-They thought I was a beetle. -'A what?' | 0:56:30 | 0:56:34 | |
B, like in Boston, double E, T-L-E. | 0:56:34 | 0:56:38 | |
-I'll tell you all about it when I see you. -'That doesn't sound good.' | 0:56:38 | 0:56:43 | |
Nobody knows who I am, not even the marines. | 0:56:43 | 0:56:47 | |
How many have you got? | 0:56:47 | 0:56:49 | |
Only two. Rusty Thomas. He's Mark Winston. And his pal, Dink. Dink's driving my car. | 0:56:49 | 0:56:56 | |
Oh, yes, I bought an Isota. | 0:56:56 | 0:56:59 | |
A what? How can I get in touch with you? | 0:56:59 | 0:57:02 | |
You can't! Rusty musn't find out who I am. | 0:57:02 | 0:57:06 | |
-Are you letting personal feelings run away with you? -Of course I am! | 0:57:06 | 0:57:12 | |
Here Is Tomorrow is all my personal feelings bound together and he IS Mark Winston as I dreamed of him. | 0:57:12 | 0:57:20 | |
We'll be there Friday or Saturday. I'll call when we get there. Bye! | 0:57:20 | 0:57:26 | |
Miss Madden! Miss Madden! Miss Madden! | 0:57:26 | 0:57:29 | |
-See if you can get her back. She's in Rattan, New Mexico. -Rattan. | 0:57:29 | 0:57:34 | |
Look, Mr Baldwin. She made the front page. Next to Stalin! | 0:57:34 | 0:57:39 | |
-To make the early editions I gave them the story early. -She won't be here. -What? -She missed The Chief. | 0:57:39 | 0:57:46 | |
-She's in New Mexico. Call the mayor, call the governor, call everything off. -Yes, Mr Baldwin. | 0:57:46 | 0:57:54 | |
-I hope Dink can fix it. -Oh, sure. Dink's a first-class mechanic. | 0:58:10 | 0:58:15 | |
But it'll take a little time. | 0:58:15 | 0:58:18 | |
How long do you think it'll take? | 0:58:19 | 0:58:22 | |
Well, if he's half the man I think he is, it'll take him a couple of hours. | 0:58:22 | 0:58:27 | |
Oh. | 0:58:27 | 0:58:29 | |
What made you buy a car like that? | 0:58:33 | 0:58:36 | |
Maybe I just wanted to show off that I could buy it. | 0:58:36 | 0:58:41 | |
-You know what? -What? -I don't think that's why you bought it at all. -You don't? -No. | 0:58:41 | 0:58:48 | |
-Do you want me to tell you why you bought it? -I don't think so. | 0:58:48 | 0:58:53 | |
Maybe I won't like why I bought it. | 0:58:53 | 0:58:55 | |
< HAMMERING | 0:58:55 | 0:58:58 | |
-Hello. -How do you do? | 0:59:07 | 0:59:10 | |
-Am I crowding you? -Yes. -Do you mind? -No. | 0:59:15 | 0:59:19 | |
-Are you warm enough? -Yes. | 0:59:22 | 0:59:25 | |
-Well, what's the joke? -Nothing. | 0:59:27 | 0:59:30 | |
-Well, come on. Tell me. What made you laugh? -Just you and me. | 0:59:30 | 0:59:35 | |
And what's so funny about us? | 0:59:35 | 0:59:38 | |
I thought you were going to put your arms around me and you did. | 0:59:38 | 0:59:44 | |
-I didn't exactly expect to surprise you. -I know. | 0:59:44 | 0:59:49 | |
-I guess you have a pretty good idea what I'm gonna do now. -Uh-huh. | 0:59:53 | 0:59:56 | |
-Any objections? -Uh-uh. | 0:59:56 | 0:59:58 | |
-Did that mean anything to you? -Yes. | 1:00:08 | 1:00:11 | |
-What? -Nice. | 1:00:11 | 1:00:13 | |
Just nice? | 1:00:13 | 1:00:16 | |
-Very nice. -You mean it could have been nicer? | 1:00:16 | 1:00:20 | |
-Uh-huh. -How? | 1:00:20 | 1:00:23 | |
Oh, if it had happened under different circumstances. | 1:00:23 | 1:00:27 | |
You kissed me because we're out here in a hayfield, | 1:00:27 | 1:00:31 | |
with the moon shining above and a lot of stars blinking at us. | 1:00:31 | 1:00:37 | |
If we could know each other better. If we were sure of what's inside us. | 1:00:39 | 1:00:44 | |
Our tastes, our objectives. | 1:00:44 | 1:00:47 | |
-That couldn't have made it any better. -It would. -I can prove it. | 1:00:47 | 1:00:51 | |
I told you I could prove it. | 1:01:00 | 1:01:02 | |
Oh, you're unfair! | 1:01:02 | 1:01:04 | |
Things like kisses shouldn't be discussed! | 1:01:04 | 1:01:08 | |
You make them sound like laboratory tests. | 1:01:08 | 1:01:11 | |
I? You're the one who wants to analyse everything. I'd be willing not to say another word. | 1:01:11 | 1:01:18 | |
-That's all right with me. -You're a little crazy. | 1:01:18 | 1:01:23 | |
Oh, no, please! | 1:01:23 | 1:01:25 | |
Oh, why don't you stop thinking? | 1:01:25 | 1:01:28 | |
-No, stop it! -Shh! | 1:01:28 | 1:01:31 | |
Oh, no! There you see. | 1:01:31 | 1:01:34 | |
It's just... It's not good enough to be carried away like this by an errant impulse. | 1:01:34 | 1:01:40 | |
You know I like you. I'm fond of you. I'm very fond of you but I believe that... | 1:01:40 | 1:01:47 | |
-"And can we be friends?" I wish I'd met you before you read that book! Finished? -All finished. | 1:01:47 | 1:01:55 | |
-Come on. -Oh! | 1:01:56 | 1:01:59 | |
-Aren't you tired? You've been driving almost ten hours. -No. | 1:02:14 | 1:02:19 | |
-Well, I am. -Wanna stop? | 1:02:19 | 1:02:22 | |
-No. -I think the Isota needs a little water. -We'll stop at the next ranch. | 1:02:23 | 1:02:29 | |
-Oh, what's the matter with you? -Nothing. -Well, why sit there looking like...like...? -Like what? | 1:02:29 | 1:02:36 | |
I don't know, but it's depressing. | 1:02:36 | 1:02:40 | |
Well, nobody says you have to look. | 1:02:40 | 1:02:43 | |
It's time to show off my tenor. | 1:02:43 | 1:02:46 | |
Do you know It Must Be Jelly Cos Jam Don't Shake Like That? No? | 1:02:46 | 1:02:51 | |
Do you know I'll Buy That Dream? | 1:02:51 | 1:02:54 | |
# Imagine me with my head on your shoulder | 1:02:54 | 1:02:58 | |
# And you with your lips growing bolder | 1:02:58 | 1:03:02 | |
# A skyful of moon and an old mellow tune | 1:03:02 | 1:03:05 | |
# I'll buy that dream. # | 1:03:05 | 1:03:08 | |
-Why don't you shut up? -I'm just trying to be the life of the party. | 1:03:08 | 1:03:13 | |
Un carro! | 1:03:37 | 1:03:39 | |
ALL: Carro! Carro! Un carro! | 1:03:39 | 1:03:44 | |
HUBBUB | 1:03:44 | 1:03:47 | |
-Buenos dias, amigos! Buenos dias, amigos. -What's this about? | 1:03:47 | 1:03:53 | |
They're telling us their names. | 1:03:53 | 1:03:56 | |
We have nice names - Ramerios, Chucho, Espacion, Landrosa, Otelo. | 1:03:56 | 1:04:03 | |
Rusty, Kit, Dink. | 1:04:03 | 1:04:05 | |
Aviators? I too will be an aviator. Padrecito says, "No, too young." | 1:04:05 | 1:04:10 | |
But I have constructed a plane. | 1:04:10 | 1:04:13 | |
-That's a pretty good start. -Perhaps you'd like to look at it? -Sure. -Gracias. | 1:04:13 | 1:04:20 | |
We are not long here. The president wished us to come from Mexico. | 1:04:20 | 1:04:25 | |
We grow crops and raise sheep. | 1:04:25 | 1:04:28 | |
-You? -I watch. | 1:04:28 | 1:04:30 | |
Only Dolores, she doesn't like it. | 1:04:32 | 1:04:35 | |
Not enough caballeros to take her out. | 1:04:35 | 1:04:39 | |
ANGRY SHOUTS AMID HUBBUB | 1:04:41 | 1:04:44 | |
Please, for me you will forgive their bad manners. | 1:04:51 | 1:04:55 | |
You are Dolores, I presume? | 1:04:55 | 1:04:58 | |
Senores, senorita, perhaps you will grace our poor and simple hacienda? | 1:05:03 | 1:05:09 | |
We had a beautiful hacienda in Mexico. Many rooms, wine, and flowers. | 1:05:09 | 1:05:14 | |
-Not so. -Callate! | 1:05:14 | 1:05:17 | |
We are now prepared for dinner. | 1:05:17 | 1:05:19 | |
The padrecito, he would be proud to have as his guests - officers. | 1:05:19 | 1:05:24 | |
He's a patriotic man - padrecito. | 1:05:24 | 1:05:27 | |
Thank you very much but I'm afraid we must be going. | 1:05:27 | 1:05:32 | |
Oh, I'm sure we can spare the time as good-neighbour policy. | 1:05:32 | 1:05:37 | |
Then come in, senores. What is ours is yours. | 1:05:37 | 1:05:41 | |
-Si, si! -La casa. La casa. | 1:05:41 | 1:05:45 | |
Yeah. I see, see, see! | 1:05:49 | 1:05:51 | |
-It's a P38, as you will recognise. I made it back home. -It has good lines. | 1:05:51 | 1:05:58 | |
-Gracias. -A high-class job. Muchas gracias. | 1:05:58 | 1:06:01 | |
-And made in Mexico. -Si, si, si. | 1:06:01 | 1:06:04 | |
Gracias a Dios. | 1:06:14 | 1:06:17 | |
Todo poderoso por su infinita bondad al darnos el alimento del cada dia, | 1:06:17 | 1:06:22 | |
ya si no estaremos eternamente. Amen. | 1:06:22 | 1:06:26 | |
OK. Have not the bad manners to seat yourself before the guests! | 1:06:26 | 1:06:29 | |
Please, sit down. | 1:06:29 | 1:06:32 | |
Sientate! | 1:06:35 | 1:06:37 | |
Are the hands of the little ones clean? Good. | 1:06:37 | 1:06:42 | |
You will show our guests hospitality and manners befitting the Ortegas. | 1:06:42 | 1:06:47 | |
Senores, senorita, it is only a humble meal we have to offer you but we are happy to have you here. | 1:06:47 | 1:06:55 | |
-Thank you. -Thank you. -Arroz con pollo? | 1:06:55 | 1:06:59 | |
Any time you say. | 1:06:59 | 1:07:02 | |
-She means do you want chicken and rice? -Are you sure? | 1:07:02 | 1:07:07 | |
The senorita looks a little pale. Our peppers will warm her blood. | 1:07:09 | 1:07:14 | |
In a Mexican family she will grow fat. | 1:07:14 | 1:07:17 | |
Don't let her worry you. Since we've known her, she's always been thin. | 1:07:17 | 1:07:22 | |
Papa, you see our guests are fliers and they are big and strong. Perhaps you will let me become a flier? | 1:07:22 | 1:07:29 | |
It is not in the spirit of hospitality to discuss private matters when guests are present. | 1:07:29 | 1:07:36 | |
Please, senor, do not let me make you inconvenient. | 1:07:46 | 1:07:50 | |
Not at all! There's plenty of room. | 1:07:50 | 1:07:52 | |
You must pardon me, senorita, for the forwardness of my offsprings. They lack the hand of their mother. | 1:07:56 | 1:08:04 | |
(Papa speaks much nicer about mama since she's gone.) | 1:08:04 | 1:08:08 | |
# Negrito, por tu amor estoy loca | 1:08:11 | 1:08:15 | |
# No puedo ya vivir con mi dolor | 1:08:15 | 1:08:18 | |
# Tu eres tan prieto | 1:08:18 | 1:08:22 | |
# Llore por tu amor | 1:08:22 | 1:08:25 | |
# Negrito, te suplico no me deje | 1:08:25 | 1:08:29 | |
-# Por que si tu murio, morire... -# | 1:08:29 | 1:08:32 | |
SINGING CONTINUES | 1:08:32 | 1:08:35 | |
You do not look happy. Is it because Dolores is making eyes at the senor? | 1:08:44 | 1:08:50 | |
Of course not. The senor is only a friend of mine. | 1:08:50 | 1:08:54 | |
Dolores says the senorita loves the aviator. The one with the blue eyes and dark hair pleasing to women. | 1:08:54 | 1:09:02 | |
-Dolores assumes too much. -Dolores is 18. | 1:09:02 | 1:09:06 | |
Dolores knows all about caballeros. She knew lots in Mexico. | 1:09:06 | 1:09:11 | |
I'll bet. | 1:09:11 | 1:09:13 | |
-Rusty said we have time for me to do these shirts. -Rusty has forgotten his date with San Diego. | 1:09:13 | 1:09:20 | |
-We'll make it. -Senor, I'll take them. -When do you two gay caballeros plan on leaving? | 1:09:20 | 1:09:28 | |
Dolores says we should wait till it cools off. | 1:09:28 | 1:09:31 | |
That Dolores. | 1:09:31 | 1:09:33 | |
-Besides, her girlfriend is coming over. -What does she figure for me to do? | 1:09:33 | 1:09:39 | |
Rusty thought you needed a little siesta. You look awfully tired. | 1:09:39 | 1:09:44 | |
Come, I give you my bed. | 1:09:49 | 1:09:51 | |
SINGING BEGINS | 1:09:52 | 1:09:55 | |
# Si a tu ventana llega una paloma... # | 1:10:30 | 1:10:35 | |
-Senorita. That was a very short siesta. -It's a little warm, isn't it? | 1:10:49 | 1:10:56 | |
-Sit down, please. -Thank you. | 1:10:56 | 1:10:58 | |
You have very nice children, senor. | 1:11:01 | 1:11:04 | |
I guess. Only for Dolores do I fear. She has too much rich blood. | 1:11:04 | 1:11:08 | |
LAUGHTER | 1:11:08 | 1:11:11 | |
She'll calm down when she's kept busy. | 1:11:11 | 1:11:15 | |
I hope so. And you, what do you occupy yourself with? | 1:11:15 | 1:11:20 | |
-I'm a writer. -Oh, an artiste! That is good. | 1:11:20 | 1:11:24 | |
-And what does the senorita write? -I've written only one book. | 1:11:24 | 1:11:29 | |
LAUGHTER | 1:11:29 | 1:11:32 | |
It concerns a man who can't reconcile his ideals with the woman he loves. | 1:11:32 | 1:11:37 | |
That is a study of importance. Has the senorita the experience for so deep a philosophy? | 1:11:37 | 1:11:44 | |
Well, I've kept my eyes open and read a great deal. | 1:11:44 | 1:11:48 | |
Pardon the observation but, to a man of my years, it would seem best to first live then write a book. | 1:11:48 | 1:11:55 | |
-That just seems to be full of confusion. -But it is better to make confusion than to borrow, not live. | 1:11:55 | 1:12:03 | |
Senor Ortega. | 1:12:03 | 1:12:06 | |
-It's obvious you're a man of the world. -Oh, you flatter me, senorita. | 1:12:07 | 1:12:12 | |
It's that I... | 1:12:12 | 1:12:15 | |
-I seem to have the wrong idea about love. -Love! | 1:12:16 | 1:12:21 | |
You see, I always thought that love, when it's real, should be gentle and considerate. | 1:12:21 | 1:12:27 | |
-It should have a great deal of dignity. -Senorita, the reverse! | 1:12:27 | 1:12:32 | |
It is brutal, selfish and turbulent. | 1:12:32 | 1:12:35 | |
To be young again, to feel the primitive urge of conquest. Senorita, | 1:12:35 | 1:12:41 | |
I can remember as yesterday a dancer, skin the colour of ripe corn, | 1:12:41 | 1:12:46 | |
hair thick and black as the night. | 1:12:46 | 1:12:48 | |
Constantly she put me to torment. | 1:12:48 | 1:12:51 | |
She scorned me, hurt me, | 1:12:51 | 1:12:53 | |
-humiliated me before my friends. She was wonderful! -Wonderful? | 1:12:53 | 1:12:58 | |
THIS she gave me when I attempted to arouse her jealousy with another. | 1:12:58 | 1:13:02 | |
She was a woman! | 1:13:02 | 1:13:05 | |
-And that's what a man wants? -That's what a man remembers. | 1:13:05 | 1:13:10 | |
LAUGHTER | 1:13:10 | 1:13:12 | |
Senor Ortega, you've honoured me with your confidence. | 1:13:16 | 1:13:21 | |
I feel I owe you the same sincerity. | 1:13:21 | 1:13:24 | |
I notice the senorita appears disturbed. | 1:13:24 | 1:13:28 | |
You're so kind and gracious. You've treated us with respect. | 1:13:28 | 1:13:32 | |
Senor, we don't deserve it. | 1:13:32 | 1:13:35 | |
You mustn't be too modest, senorita. It's admirable, but not practical. | 1:13:35 | 1:13:40 | |
The aviator and I, we've been friends for years. | 1:13:43 | 1:13:48 | |
-I knew that from the first minute. -You did? | 1:13:48 | 1:13:51 | |
-I don't think you understand, senor. We should have been married long ago. -It's very wrong. | 1:13:51 | 1:13:58 | |
But not you. LAUGHTER | 1:13:58 | 1:14:03 | |
I love him but he treats me like a slave. | 1:14:03 | 1:14:07 | |
He drinks, he stays out with women and when he comes home, he beats me. | 1:14:07 | 1:14:13 | |
Love and violence walk hand in hand, senorita. | 1:14:13 | 1:14:17 | |
-Well, all right, but that's not all. -I know. -No, you don't! | 1:14:20 | 1:14:25 | |
-Those two men out there, they're not marine officers. They stole their uniforms. -Not officers? -No! | 1:14:25 | 1:14:33 | |
HUBBUB OF SHOUTS | 1:14:33 | 1:14:36 | |
Remember your children. | 1:14:36 | 1:14:39 | |
-Out of my way, senorita. -No! No! No, don't! | 1:14:39 | 1:14:43 | |
SCREAMING | 1:14:43 | 1:14:46 | |
Oh, wait for me! | 1:14:50 | 1:14:52 | |
HUBBUB | 1:14:52 | 1:14:55 | |
SHOT FIRES | 1:15:11 | 1:15:14 | |
-OK, Miss Klotsch, come clean. -I have nothing to say. -Come clean. -I didn't do anything. -For the last time. | 1:15:31 | 1:15:38 | |
-You're wasting time, let's go. -That's what we'll do. | 1:15:38 | 1:15:43 | |
-Come on, Dink. -What? | 1:15:43 | 1:15:45 | |
What are you doing? | 1:15:45 | 1:15:48 | |
-Goodbye, Miss Klotsch. -Goodbye. -Oh, no! Oh, Rusty! | 1:15:48 | 1:15:52 | |
DINK! RUSTY! | 1:15:52 | 1:15:55 | |
Now, don't! | 1:15:55 | 1:15:58 | |
Oh, come on now, stop that! | 1:15:58 | 1:16:00 | |
Come here! | 1:16:00 | 1:16:03 | |
Rusty! | 1:16:03 | 1:16:04 | |
All right, I confess. I told him you and I were an old story and should have been married long ago. | 1:16:04 | 1:16:12 | |
I thought that would do the trick but it didn't. | 1:16:12 | 1:16:16 | |
Then I embellished it a little. I told him you came home late at night and beat me. | 1:16:16 | 1:16:23 | |
-That's when he took to the gun? -No, he said love and violence walked hand in hand. | 1:16:23 | 1:16:29 | |
-What came next? -You won't like this. -Never mind. -You and Rusty are not in the marines. | 1:16:29 | 1:16:36 | |
-What? -We aren't? -No, you stole those uniforms. That's when he got the gun. | 1:16:36 | 1:16:43 | |
-What made you do a thing like that? -This girl should be locked up. | 1:16:43 | 1:16:48 | |
-Rusty, you know what? -What? | 1:16:48 | 1:16:50 | |
-The reason she said that was because she didn't want you to have anything to do with Dolores! -Really? | 1:16:50 | 1:16:58 | |
I am about to give you a decoration I thought no girl would wear. | 1:16:58 | 1:17:03 | |
-Do you, Kit, take this man to be the fella you're involved with? -Dink! | 1:17:03 | 1:17:09 | |
Do you take this woman to be the beetle you're involved with? I pronounce you all involved. | 1:17:09 | 1:17:16 | |
# Imagine me with my head on your shoulder | 1:17:16 | 1:17:19 | |
# And you with your lips growing bolder | 1:17:19 | 1:17:23 | |
# A skyful of moon and that old mellow tune | 1:17:23 | 1:17:27 | |
# I'll buy that dream. # | 1:17:27 | 1:17:30 | |
Some say there are more beautiful beetles in Albuquerque than anywhere in the US. It won't interest you. | 1:17:39 | 1:17:46 | |
I'm interested in anything that interests you. | 1:17:46 | 1:17:50 | |
Yes, sir? | 1:18:00 | 1:18:02 | |
I guess it'll take 35 gallons or so. | 1:18:02 | 1:18:06 | |
O-oh! A hotel! | 1:18:06 | 1:18:09 | |
-Would you like to stop? -A bed would be wonderful. | 1:18:09 | 1:18:13 | |
Let's see how much we got. | 1:18:13 | 1:18:16 | |
Let's see, er... Four dollars, | 1:18:16 | 1:18:18 | |
-35 cents and six yen. -That's just enough to keep us going. | 1:18:18 | 1:18:23 | |
-Where is it? -What are you looking for? -My bag! -Are you sure you didn't lose it? -Oh! | 1:18:23 | 1:18:29 | |
-It's at the Ortegas. -That's fine. -I know where. -We can't go back. -My papers are in it. | 1:18:29 | 1:18:36 | |
-You can face that gun, but not me. -Could I cash a cheque at the hotel? -If you're registered. | 1:18:36 | 1:18:43 | |
Boys, you're my guests for the night! | 1:18:43 | 1:18:46 | |
BELL RINGS | 1:18:55 | 1:18:58 | |
-Good evening. -Yes? -Do you have three rooms? | 1:18:59 | 1:19:03 | |
-I have three rooms with a bathroom on each floor. -Fine. | 1:19:03 | 1:19:07 | |
-Three dollars a room. A dollar for a bath. -Fine. | 1:19:07 | 1:19:10 | |
Would you sign the register, please? | 1:19:10 | 1:19:13 | |
-You have some baggage? -In the car at the station. My friends are there. | 1:19:13 | 1:19:18 | |
What is it? Bring the bags from the car. | 1:19:18 | 1:19:23 | |
First, see if we have three rooms ready for Miss, er... Christopher Madden. | 1:19:23 | 1:19:28 | |
Not THE Christopher Madden? | 1:19:28 | 1:19:30 | |
HARRY! This is Christopher Madden! | 1:19:30 | 1:19:33 | |
-Who's Christopher Madden? -The girl who wrote Here Is Tomorrow. | 1:19:33 | 1:19:39 | |
Oh! Oh, THAT one! | 1:19:39 | 1:19:42 | |
You didn't like it? | 1:19:43 | 1:19:46 | |
I don't read. SHE didn't till she joined that club. | 1:19:46 | 1:19:50 | |
Don't listen to him. I'm honoured and the girls will be thrilled. | 1:19:50 | 1:19:55 | |
I'll have to ask you to keep my identity a secret. | 1:19:55 | 1:19:59 | |
I'm travelling as Kit Klotsch. Not even my companions know. | 1:19:59 | 1:20:03 | |
See? She's ashamed because of that book! | 1:20:03 | 1:20:07 | |
Not exactly, but I have certain reasons. | 1:20:07 | 1:20:11 | |
You're the first celebrity to stay. | 1:20:11 | 1:20:13 | |
There's a legend that Buffalo Bill stayed, but he didn't register. I hope you'll be comfortable. | 1:20:13 | 1:20:20 | |
Is there anything I could do? | 1:20:20 | 1:20:22 | |
Yes, would you cash a 50 cheque for me? | 1:20:22 | 1:20:27 | |
-Of course I will. -Have you a blank cheque? -Yes, right here. -Thanks. | 1:20:27 | 1:20:32 | |
Christopher Madden. Isn't that wonderful! | 1:20:37 | 1:20:41 | |
EXCITED CHATTER | 1:20:41 | 1:20:44 | |
Don't cash it. In ten years her signature will be worth 50. | 1:20:49 | 1:20:54 | |
I'll get her autograph. ALL: I want one too. | 1:20:54 | 1:20:58 | |
I promised her not to tell anybody. | 1:20:58 | 1:21:01 | |
But if you happen to be in the lobby and recognise her, | 1:21:01 | 1:21:05 | |
well, that's different. | 1:21:05 | 1:21:07 | |
-She might make a speech. -Maybe. Act casual. | 1:21:07 | 1:21:11 | |
Sit down. Sit down. | 1:21:11 | 1:21:15 | |
EXCITED CHATTER | 1:21:15 | 1:21:18 | |
(Mr Gibbs.) | 1:21:19 | 1:21:22 | |
-Hello, Mrs Randall. -Hello, Gibbs. | 1:21:24 | 1:21:28 | |
I hear you're telling everybody Christopher Madden's staying. | 1:21:28 | 1:21:31 | |
I don't know what you're talking about! | 1:21:31 | 1:21:34 | |
Don't put it in your paper. | 1:21:34 | 1:21:36 | |
I wouldn't, even if you said she was. | 1:21:36 | 1:21:39 | |
Why wouldn't you? Don't you think our town should be proud of a visitor like Miss Madden? | 1:21:39 | 1:21:46 | |
I wouldn't for the reason that she couldn't be in our town. | 1:21:46 | 1:21:51 | |
I didn't say she was, but why couldn't she be? | 1:21:51 | 1:21:55 | |
-I already put it in the paper that she arrived in Hollywood. -Why? | 1:21:55 | 1:22:00 | |
News services send wires round the country, so I know. | 1:22:00 | 1:22:05 | |
"Hollywood. Christopher Madden the author of Here Is Tomorrow arrived in Hollywood today. | 1:22:05 | 1:22:12 | |
"Henry Baldwin who bought the picture rights gave a reception with Lana Turner." | 1:22:12 | 1:22:18 | |
It can't be! | 1:22:18 | 1:22:21 | |
-Really, Bertha, you're something of a fool. -I agree. | 1:22:21 | 1:22:24 | |
-I cashed her cheque! -Whose cheque? | 1:22:24 | 1:22:28 | |
-Miss Madden. -She's a fake! -What should I do? | 1:22:28 | 1:22:33 | |
-I wouldn't do anything. I'd leave it to the police. -Yes, leave it to the police! | 1:22:33 | 1:22:38 | |
I'll call 'em. | 1:22:38 | 1:22:40 | |
Flash. Albuquerque, New Mexico. Police arrested a woman | 1:22:40 | 1:22:45 | |
'who registered and cashed a cheque as Christopher Madden. | 1:22:45 | 1:22:49 | |
'The real Miss Madden is in Hollywood.' | 1:22:49 | 1:22:53 | |
Charlie. Christopher Madden's been arrested in Albuquerque. Get me a plane! | 1:22:59 | 1:23:05 | |
I'll be ready in ten minutes. | 1:23:05 | 1:23:07 | |
Beautiful morning, ain't it? | 1:23:14 | 1:23:17 | |
Will you listen to me? Why can't I make a phone call, or send a wire? | 1:23:17 | 1:23:24 | |
-Not till you're clear. -But it's all a mistake! | 1:23:24 | 1:23:28 | |
My! That sounds familiar. | 1:23:28 | 1:23:31 | |
O-oh! | 1:23:31 | 1:23:32 | |
Look, won't someone believe me? I AM Christopher Madden! | 1:23:32 | 1:23:37 | |
-You ARE? -Yes. -In that case you ain't got nothing to worry about. | 1:23:37 | 1:23:42 | |
OK. SHE GROANS | 1:23:42 | 1:23:46 | |
-Hiya, Pop. -Here's the receipt signed by the judge. -OK. | 1:23:51 | 1:23:57 | |
Open up. | 1:23:57 | 1:23:59 | |
Hi, Kit. | 1:24:01 | 1:24:04 | |
Oh, Rusty! Rusty! | 1:24:04 | 1:24:07 | |
-The marines have landed. -We paid the bond. | 1:24:07 | 1:24:11 | |
-Sorry we took so long. -I've been so lonesome. -I know. -Come on. Let's go. | 1:24:11 | 1:24:16 | |
Oh, wait a minute! My shoes! | 1:24:16 | 1:24:19 | |
-Say, you shouldn't do things like this. -Chicago was a smart trick. | 1:24:21 | 1:24:26 | |
Signing someone else's name to a cheque is an offence. We'll take the first bus west. | 1:24:26 | 1:24:33 | |
I need a bath. | 1:24:33 | 1:24:35 | |
-I'm all crumpled. Goodbye. -You'll get crumpled in a bus. | 1:24:35 | 1:24:40 | |
How can I leave? I'm out on bail. | 1:24:40 | 1:24:42 | |
-That's adding felony to felony. -If we stay we'll be doing a long stretch. -You're not involved! | 1:24:42 | 1:24:49 | |
-Oh, yes, we are. How do you think we got the money for that bail? -How? -We sold the Isota to a woman. | 1:24:49 | 1:24:57 | |
-She's planning some entertainment for us. We won't be around. -Because the pink slip isn't showing. | 1:24:57 | 1:25:04 | |
-It's in your purse. The one you left. -When the lady finds out, she won't be sociable. | 1:25:04 | 1:25:10 | |
SHRIEKS OF EXCITEMENT | 1:25:10 | 1:25:14 | |
Smile! | 1:25:16 | 1:25:17 | |
Forgive me, Miss Madden. It's all Charlie's fault. | 1:25:17 | 1:25:22 | |
The club will send our formal apologies. | 1:25:22 | 1:25:25 | |
-Is there anything you want to say? -Miss Madden has nothing to say! | 1:25:25 | 1:25:30 | |
-Who are you? -My assistant. -Who's he? -He's my boss. | 1:25:30 | 1:25:35 | |
-Oh, hello, Mr Baldwin! -Look what you've done! How could this happen? | 1:25:35 | 1:25:41 | |
-All I did was tell them I was Christopher Madden. -She won't do it again. | 1:25:41 | 1:25:47 | |
-It's publicity we don't want. -I didn't do it! | 1:25:47 | 1:25:52 | |
She's sharing headlines with Stalin and she didn't do anything! | 1:25:52 | 1:25:57 | |
-Are these people bothering you? -Is this the flier? -Yes, it is. | 1:25:57 | 1:26:02 | |
-You told him about me? -I'd better introduce everybody. This is Henry Baldwin, Hollywood producer. | 1:26:02 | 1:26:10 | |
Rusty Thomas and Dink Watson. | 1:26:10 | 1:26:13 | |
We know who everybody is but you. Who are you? | 1:26:13 | 1:26:17 | |
I'm Christopher Madden. | 1:26:19 | 1:26:21 | |
He does look like Mark Winston. | 1:26:23 | 1:26:25 | |
I see your point. We're gonna make a test with you. | 1:26:25 | 1:26:29 | |
-Rusty, you know what? -What? -They're trying to make an actor out of you. | 1:26:29 | 1:26:35 | |
An actor? | 1:26:36 | 1:26:39 | |
Come on, Dink. | 1:26:39 | 1:26:41 | |
-Do you like home-made jelly? -Rusty! | 1:26:41 | 1:26:45 | |
-Rusty! -Miss Madden? -You can't leave me. -Who says? -Not after what's happened. | 1:26:45 | 1:26:51 | |
-You've been lying to us, trailing us. I was beginning to believe you were on the level. -I was! | 1:26:51 | 1:26:59 | |
-Get my wings back. -Why? -I don't want a woman who's telling the world what to do. | 1:26:59 | 1:27:05 | |
I don't want one to tell ME what to do. | 1:27:05 | 1:27:09 | |
I want a woman who needs me. I want a Miss Klotsch who's helpless and cute and... Forget it! | 1:27:09 | 1:27:16 | |
-Let's join the marines! -How could you do a thing like that? | 1:27:16 | 1:27:21 | |
Now, here she is - Hollywood reporter, Louella Parsons. What's the news tonight? | 1:28:00 | 1:28:07 | |
To all of you from Hollywood. Here's our latest Hollywood feud. | 1:28:07 | 1:28:12 | |
Christopher Madden is battling with producer Henry Baldwin | 1:28:12 | 1:28:17 | |
over the script of her bestseller Here Is Tomorrow. | 1:28:17 | 1:28:21 | |
She thinks she had a lot of nerve to tell the world how to cure itself. | 1:28:21 | 1:28:26 | |
Only yesterday she admitted there are parts of her book she doesn't agree with. | 1:28:26 | 1:28:32 | |
Henry would like to stick to the book but Kit wants to make changes. Here's more about Kit. | 1:28:32 | 1:28:40 | |
'She's not one bit upset over her recent smear publicity. She still looks at handsome marines. | 1:28:40 | 1:28:47 | |
'Kit sleeps in pyjama tops with all the windows open. She detests the cream puff school of fiction. | 1:28:47 | 1:28:55 | |
'She loathes pink dresses and tuna fish but she's crazy about babies, Beethoven and bad men. | 1:28:55 | 1:29:02 | |
'In all, she's a pretty swell gal.' | 1:29:02 | 1:29:04 | |
SWITCHES OFF RADIO | 1:29:04 | 1:29:07 | |
Boy, she is a swell gal, isn't she? | 1:29:07 | 1:29:10 | |
-I said, she is a swell gal, isn't she? -Who? -Kit. You know who! Come on, Rusty, drop her a line. | 1:29:10 | 1:29:17 | |
I don't belong to that cream puff school of fiction. | 1:29:17 | 1:29:21 | |
Well, I do. Give me a little desk space. | 1:29:21 | 1:29:24 | |
-How do you spell Kit? -With a J like in La Junta. | 1:29:29 | 1:29:34 | |
"Dear Kit, I'm not very good at writing letters but Rusty won't write so we're stuck. | 1:29:34 | 1:29:41 | |
"You're giving us a bad time with all those radio reports especially about pyjama tops and open windows. | 1:29:41 | 1:29:49 | |
"You might catch cold. | 1:29:49 | 1:29:51 | |
"Rusty could say this a lot better but what can I do if he doesn't feel like writing? | 1:29:51 | 1:29:58 | |
"PS - Have you met Dolores Moran? She's the kind of girl I wouldn't mind calling long distance." | 1:29:58 | 1:30:04 | |
"Dear Dink, I was surprised and very pleased to get your letter. | 1:30:04 | 1:30:09 | |
"I'm sorry you don't like what they say about me. Surely Rusty doesn't care? | 1:30:09 | 1:30:15 | |
"Remind him worrying about women will give him mental fatigue. | 1:30:15 | 1:30:20 | |
"Hollywood is a lovely place to live in. Come and see me. | 1:30:20 | 1:30:24 | |
"I'll arrange for you to see Dolores Moran. You have good taste. Will write soon. Love - Kit. | 1:30:24 | 1:30:31 | |
"PS - I'm enclosing the pink slip on the Isota which Rusty can send to the lady in Albuquerque." | 1:30:31 | 1:30:39 | |
It's from Kit. | 1:30:39 | 1:30:41 | |
Yeah? | 1:30:41 | 1:30:43 | |
Want to read it? | 1:30:45 | 1:30:47 | |
No. | 1:30:48 | 1:30:50 | |
OK. | 1:30:50 | 1:30:52 | |
Well, I guess I'll take a shower. | 1:30:53 | 1:30:56 | |
Well, here's a surprise. | 1:31:13 | 1:31:15 | |
Last night, Kit Madden was with a well-known director who is rumoured engaged to one of our glamour girls. | 1:31:15 | 1:31:23 | |
'I must say Kit looked lovely in black lace and a small feathered hat. | 1:31:23 | 1:31:28 | |
'She dined at a cosy table for two at the La Rue. | 1:31:28 | 1:31:32 | |
'And later, she was seen dancing with a handsome escort. That gal is certainly getting around.' | 1:31:32 | 1:31:39 | |
That's Hollywood! | 1:31:49 | 1:31:51 | |
I've a letter from Kit. Wanna read it? | 1:31:55 | 1:31:58 | |
Well, I think I'll check up in the back. | 1:32:01 | 1:32:05 | |
"Dear Dink, It was lovely hearing from you but what do you mean I'm running around with just anybody? | 1:32:20 | 1:32:27 | |
"The French major was fascinating and 32. He speaks seven languages. | 1:32:27 | 1:32:32 | |
"In three of them he asked me if I'd like to see his place in France. | 1:32:32 | 1:32:38 | |
"The director only speaks English and says I'm the one thing saving him from being a misogynist - | 1:32:38 | 1:32:45 | |
"a gentleman who doesn't like beetles. I don't see why Rusty should find it so hard to write. | 1:32:45 | 1:32:53 | |
"PS - Come up. We could make a foursome with Dolores Moran and Cary Grant." | 1:32:53 | 1:32:59 | |
-The boys will never believe this. -Oh, Dink! | 1:33:05 | 1:33:08 | |
-It's amazing how these boys make themselves feel at home. -Come on, let's try it. | 1:33:16 | 1:33:23 | |
Attaboy, Cary! | 1:33:29 | 1:33:32 | |
Hm? Oh, attaboy, Lieutenant. | 1:33:32 | 1:33:34 | |
"Dear Kit, I want to thank you for a wonderful time. I enjoyed your house, especially breakfast in bed. | 1:33:52 | 1:33:59 | |
"I was telling Rusty how swell you are. I don't know why he got sore. | 1:33:59 | 1:34:04 | |
"All I said was how beautiful you looked but he's been touchy lately. | 1:34:04 | 1:34:09 | |
"Yeah, Rusty has changed. Maybe I should talk to the psychiatrist. What do you think? As ever, Dink." | 1:34:09 | 1:34:17 | |
"PS - would you tell Dolores I'm not hard to get on with?" | 1:34:17 | 1:34:22 | |
'Kit Madden is seen everywhere now with handsome Paul Gill, | 1:34:22 | 1:34:26 | |
'selected to play the lead in Here Is Tomorrow. | 1:34:26 | 1:34:30 | |
'Kit says he's the movie Mark Winston she's been dreaming about. | 1:34:30 | 1:34:35 | |
'They seem to have a lot in common and there are rumours that Paul will soon be a Benedict.' | 1:34:35 | 1:34:41 | |
-Hello, Kit. -Hello, Mr Baldwin. | 1:34:49 | 1:34:51 | |
-You won't marry that actor? -Are you worried? -It would break my heart, but it's your hearse. | 1:34:51 | 1:34:58 | |
It isn't going to be. | 1:34:58 | 1:35:01 | |
Attagirl! You ever hear from that fella who'd look good in Technicolor? | 1:35:01 | 1:35:08 | |
No. Why? | 1:35:08 | 1:35:10 | |
He's the kind of character I'd like to know better. | 1:35:10 | 1:35:15 | |
-So would I. I'm working on it. -I see. | 1:35:16 | 1:35:21 | |
I met a girl on a train who told me something I hope I'll never forget. | 1:35:21 | 1:35:26 | |
She said, "You've gotta keep a fella on his toes, keep him worried and upset, make him jealous." | 1:35:26 | 1:35:34 | |
There's something in that. Well, so long. And thanks for not marrying that actor. | 1:35:34 | 1:35:42 | |
"Kit Madden and Paul Gill. Kit Madden and Paul Gill." Getting to be like Abbott and Costello! | 1:35:54 | 1:36:01 | |
Who knows? Maybe he's a good Joe. | 1:36:01 | 1:36:04 | |
Sure he's a good Joe. At least he does something. | 1:36:04 | 1:36:07 | |
He's not like you, growing sourer and sourer every day! | 1:36:07 | 1:36:11 | |
What's it gonna be, boys? | 1:36:11 | 1:36:14 | |
-It's you! How are you? How did you know I was working here? -We didn't. | 1:36:18 | 1:36:23 | |
-How are you, Miss Calhoun? -It's Callaghan. It used to be Callaghan. I changed it to Sharp. | 1:36:23 | 1:36:30 | |
-Consuela Sharp. -Why did you do that? -If Kit Klotsch can change her name to Madden, I can do it too! | 1:36:30 | 1:36:38 | |
She changes her name, writes a book and ends up in every gossip column in the country! | 1:36:38 | 1:36:44 | |
-Two ham and eggs, two coffees and toast. -This is my last day as a waitress. -Are you getting married? | 1:36:44 | 1:36:52 | |
No, I'm gonna write a book, too. | 1:36:52 | 1:36:54 | |
Have you heard from her lately? | 1:36:59 | 1:37:02 | |
-Who? -"Who?" You know who Kit. | 1:37:02 | 1:37:06 | |
-Sure. I got a letter this morning. Wanna hear it? -I know you're dying to read it. Go ahead. | 1:37:06 | 1:37:14 | |
"Dear Dink, A number of very fine-looking beetles have applied for your next weekend, but I..." | 1:37:14 | 1:37:22 | |
This is a little personal here. | 1:37:22 | 1:37:25 | |
"..We can make it a foursome. I was very sorry to hear about Rusty. He really sounds quite dull now. | 1:37:25 | 1:37:32 | |
"Encourage him to get out more. | 1:37:32 | 1:37:35 | |
-"There must be some nice beetles in San Diego... -Any good books Rusty would like me to send him?" | 1:37:35 | 1:37:42 | |
Dink, you'll write her a letter and write what I tell you to write. | 1:37:42 | 1:37:47 | |
I can get all the nice girls I want and I know where to find them. | 1:37:47 | 1:37:53 | |
-You know where to find 'em? -Yes. And I know she's doing this to make me jealous. -To make you jealous? | 1:37:53 | 1:38:01 | |
-Know what I'll do about it? -Get jealous? -I am. Take a letter. | 1:38:01 | 1:38:06 | |
"Dear Miss Madden..." Scratch out the "dear". | 1:38:06 | 1:38:10 | |
"Miss Madden, I..." | 1:38:10 | 1:38:13 | |
-Oh, I'll see you later, Dink. -Where are you going? | 1:38:13 | 1:38:17 | |
I'm going to send her a wire to tell her what I think of her. | 1:38:17 | 1:38:23 | |
-Really? -Really. -When you tell her what you think of her, maybe you'll need these. | 1:38:23 | 1:38:29 | |
-What for? -You know how sometimes wings get lost. | 1:38:29 | 1:38:34 | |
Shut up! | 1:38:47 | 1:38:50 | |
PHONE RINGS | 1:38:51 | 1:38:54 | |
I'll get it! | 1:38:54 | 1:38:57 | |
Hello? | 1:39:00 | 1:39:02 | |
-Western Union. I have a message for Christopher Madden. -'This is she.' | 1:39:02 | 1:39:07 | |
The message reads, "Nobody asked me, but I'll be there at 4 o'clock this afternoon. Rusty." | 1:39:07 | 1:39:13 | |
-'Have you got it?' -No, I haven't got it. | 1:39:13 | 1:39:18 | |
-Say it again. -'What?' | 1:39:18 | 1:39:21 | |
-The name. -'Rusty. | 1:39:21 | 1:39:23 | |
'RUSTY.' | 1:39:23 | 1:39:26 | |
Oh, thank you. Thank you so much. | 1:39:26 | 1:39:30 | |
Alma! Alma! | 1:39:30 | 1:39:33 | |
-Alma! -Yes, Miss Kate? -I have a guest coming at 4 o'clock. | 1:39:33 | 1:39:38 | |
Get the guest room ready, fix some cocktails and help me get dressed. | 1:39:38 | 1:39:43 | |
Information, please. Would you get me the phone number of the Sunset Florist on Sunset Boulevard? | 1:39:45 | 1:39:52 | |
I know it's in the phone book, but I'm too excited... I'm too nervous. | 1:39:52 | 1:39:58 | |
Thank you. | 1:39:58 | 1:40:00 | |
Fairfield 820-4. Thank you very much. | 1:40:03 | 1:40:07 | |
8... | 1:40:16 | 1:40:18 | |
8...2... | 1:40:22 | 1:40:24 | |
0...4. | 1:40:24 | 1:40:27 | |
Sunset Florist? Have you got any orchids? | 1:40:27 | 1:40:31 | |
No, no, WHITE orchids. I've got to have a white orchid! | 1:40:31 | 1:40:36 | |
Thank you. Yes Christopher Madden, 1734, Kingswood Drive. | 1:40:38 | 1:40:43 | |
1734. Thank you so much. | 1:40:44 | 1:40:48 | |
Alma! Alma, would you get me my new black dress? | 1:40:48 | 1:40:52 | |
-A white orchid! -There's nothing like orchids to give a girl prestige. | 1:40:52 | 1:40:57 | |
Thanks, God. I'll take it from here. | 1:41:18 | 1:41:22 | |
DOORBELL | 1:41:22 | 1:41:25 | |
-Hello! -Hello, Miss Klotsch. | 1:41:31 | 1:41:34 | |
I brought you back your wings. | 1:41:34 | 1:41:37 |