
Browse content similar to Miracle of the Bells. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
BELLS RING | 0:00:10 | 0:00:12 | |
TRAIN WHISTLE BLOWS | 0:01:28 | 0:01:30 | |
Hello, Nick. | 0:01:50 | 0:01:52 | |
Hello. | 0:01:52 | 0:01:53 | |
Looking for someone? | 0:01:53 | 0:01:54 | |
Yeah. | 0:01:54 | 0:01:55 | |
On the 2:30? | 0:01:55 | 0:01:56 | |
Yeah. | 0:01:56 | 0:01:58 | |
Well, there she is. | 0:01:58 | 0:02:00 | |
You Mr Dunnigan? | 0:02:19 | 0:02:20 | |
Yes. | 0:02:20 | 0:02:21 | |
I'm Nick Orloff. How do you do? | 0:02:21 | 0:02:23 | |
Better unload. | 0:02:23 | 0:02:25 | |
Hurry up there. We haven't got all day. | 0:02:28 | 0:02:31 | |
Uh, are you the husband | 0:03:26 | 0:03:28 | |
of the deceased back there? | 0:03:28 | 0:03:31 | |
No, I'm just a friend. | 0:03:31 | 0:03:33 | |
I see. | 0:03:33 | 0:03:34 | |
Quite a surprise when I got your telegram | 0:03:34 | 0:03:36 | |
from Hollywood. | 0:03:36 | 0:03:38 | |
Yes, sir. | 0:03:38 | 0:03:39 | |
Never had a client from Hollywood before. | 0:03:39 | 0:03:42 | |
Hmm. | 0:03:44 | 0:03:45 | |
Thought I knew every family in Coaltown. | 0:03:45 | 0:03:48 | |
Treskovna. | 0:03:48 | 0:03:50 | |
No. Never heard of them. | 0:03:50 | 0:03:53 | |
No. | 0:03:53 | 0:03:55 | |
No family in Coaltown by that name - | 0:03:55 | 0:03:57 | |
Treskovna - willing to bet you. | 0:03:57 | 0:04:00 | |
Olga Treskovna was her professional name. | 0:04:00 | 0:04:03 | |
I see. | 0:04:03 | 0:04:05 | |
She was an actress. | 0:04:05 | 0:04:08 | |
You don't say. | 0:04:08 | 0:04:10 | |
Used to live in Coaltown, huh? | 0:04:10 | 0:04:13 | |
What's her, uh, real name? | 0:04:13 | 0:04:15 | |
Olga Truckee. | 0:04:15 | 0:04:17 | |
What? | 0:04:17 | 0:04:18 | |
You mean Stan Truckee's kid? | 0:04:18 | 0:04:20 | |
He was a coal miner. | 0:04:20 | 0:04:22 | |
Stan Truckee was no miner. | 0:04:22 | 0:04:24 | |
He was a lush. | 0:04:24 | 0:04:26 | |
I gave him a first-class 100 funeral. | 0:04:26 | 0:04:28 | |
His kid, Olga, arranged for it in person. | 0:04:28 | 0:04:31 | |
Deadbeats, both of them. | 0:04:31 | 0:04:32 | |
Never paid me. | 0:04:32 | 0:04:34 | |
BRAKES SQUEAL | 0:04:34 | 0:04:36 | |
Why are you stopping? | 0:04:36 | 0:04:38 | |
It's four years since I buried her drunken pa | 0:04:38 | 0:04:41 | |
for nothing. | 0:04:41 | 0:04:42 | |
I ain't burying any more deadbeats | 0:04:42 | 0:04:44 | |
until they pay up. | 0:04:44 | 0:04:45 | |
You mean right now? | 0:04:45 | 0:04:47 | |
I've waited four years. | 0:04:47 | 0:04:49 | |
It was a 90 funeral, not 100. | 0:04:53 | 0:04:55 | |
She told me. | 0:04:55 | 0:04:56 | |
She paid you 10. That leaves 80. | 0:04:56 | 0:04:58 | |
Give me 20. | 0:04:58 | 0:04:59 | |
Oh, no. | 0:04:59 | 0:05:01 | |
What about the extras - | 0:05:01 | 0:05:02 | |
the flowers for the grave and pallbearers | 0:05:02 | 0:05:04 | |
out of my own pocket? | 0:05:04 | 0:05:06 | |
I'm a respectable businessman. | 0:05:06 | 0:05:08 | |
I never cheated nobody. | 0:05:08 | 0:05:09 | |
When I say 100 bucks, it's 100 bucks. | 0:05:09 | 0:05:12 | |
My mistake, Mr Orloff... | 0:05:15 | 0:05:17 | |
not noticing your fine qualities. | 0:05:17 | 0:05:20 | |
People think dying is cheap, | 0:05:26 | 0:05:28 | |
but it costs more to be buried than to be born. | 0:05:28 | 0:05:32 | |
Yes, sir. When you figure all the incidentals... | 0:05:32 | 0:05:34 | |
Shut up. | 0:05:34 | 0:05:36 | |
I was only saying... | 0:05:36 | 0:05:37 | |
You've said enough. | 0:05:37 | 0:05:38 | |
'You'll be home soon, kid. | 0:05:45 | 0:05:47 | |
'Why anyone would want to come back | 0:05:48 | 0:05:50 | |
'to this flea-bitten end of the world, I don't know, | 0:05:50 | 0:05:53 | |
'but that's what you wanted, | 0:05:53 | 0:05:55 | |
'so you're here. | 0:05:55 | 0:05:58 | |
'That's all I can do for you - | 0:05:58 | 0:06:00 | |
'ride with you | 0:06:00 | 0:06:02 | |
'and tell you I love you. | 0:06:02 | 0:06:05 | |
'That's what's driving me crazy, | 0:06:05 | 0:06:08 | |
'that I waited till now to tell you, | 0:06:08 | 0:06:11 | |
'but I've got to say it now. | 0:06:11 | 0:06:14 | |
'I love you, baby. | 0:06:14 | 0:06:16 | |
'I love you. | 0:06:16 | 0:06:19 | |
'I guess I loved you | 0:06:19 | 0:06:20 | |
'the first time I saw your face. | 0:06:20 | 0:06:23 | |
'Show business is full of beautiful faces, | 0:06:23 | 0:06:25 | |
'and I'd seen them all, | 0:06:25 | 0:06:28 | |
'but I never saw one like yours, baby. | 0:06:28 | 0:06:31 | |
'Never like yours.' | 0:06:31 | 0:06:33 | |
RAGTIME MUSIC PLAYS | 0:06:33 | 0:06:35 | |
1...2... | 0:06:39 | 0:06:40 | |
3...4... | 0:06:40 | 0:06:42 | |
Bend it! | 0:06:42 | 0:06:43 | |
1...2...3...slide! | 0:06:44 | 0:06:47 | |
Travel! | 0:06:47 | 0:06:49 | |
1...2...3...slide! | 0:06:50 | 0:06:52 | |
Travel! | 0:06:52 | 0:06:54 | |
Hold it! | 0:06:54 | 0:06:55 | |
Hold it! | 0:06:55 | 0:06:56 | |
What are you trying to do to me? | 0:06:56 | 0:06:58 | |
You - what's your name? | 0:06:58 | 0:07:01 | |
Olga Treskovna. | 0:07:01 | 0:07:02 | |
OK, Olga. | 0:07:02 | 0:07:03 | |
The first rule of dancing - | 0:07:03 | 0:07:05 | |
a girl has to stay on her feet! | 0:07:05 | 0:07:07 | |
OK, get back in line. | 0:07:07 | 0:07:09 | |
Try it again. | 0:07:09 | 0:07:10 | |
Give them a pick-up, Freddy. | 0:07:10 | 0:07:12 | |
MUSIC PLAYS | 0:07:12 | 0:07:15 | |
Kick! | 0:07:15 | 0:07:17 | |
Kick! Kick! | 0:07:17 | 0:07:18 | |
1...2...3...twist! | 0:07:18 | 0:07:20 | |
Hold it! | 0:07:20 | 0:07:21 | |
Hold it! Wait a minute. | 0:07:21 | 0:07:23 | |
Look, we open in four days. | 0:07:23 | 0:07:25 | |
So it's a burlesque show. | 0:07:25 | 0:07:27 | |
They pay to see you, don't they? | 0:07:27 | 0:07:29 | |
I'm not asking you to act. | 0:07:29 | 0:07:32 | |
I'm not asking you to sing good, | 0:07:32 | 0:07:34 | |
only loud. | 0:07:34 | 0:07:35 | |
There's only one thing I ask you. | 0:07:35 | 0:07:37 | |
Like a brother I ask you. | 0:07:37 | 0:07:39 | |
Give me this! This is all I want! | 0:07:39 | 0:07:42 | |
Look. 1...2...3... | 0:07:42 | 0:07:44 | |
pivot! | 0:07:44 | 0:07:46 | |
OK, have you got it? | 0:07:46 | 0:07:47 | |
Have you got it? | 0:07:47 | 0:07:49 | |
All right, try it again. | 0:07:49 | 0:07:51 | |
Give them a pick-up, Freddy. | 0:07:51 | 0:07:53 | |
MUSIC PLAYS Same place. | 0:07:53 | 0:07:56 | |
Kick, kick! | 0:07:56 | 0:07:57 | |
Kick, kick! | 0:07:57 | 0:07:59 | |
1...2...3... head... | 0:07:59 | 0:08:01 | |
Oh, wait a minute. | 0:08:01 | 0:08:02 | |
You're breaking my heart. | 0:08:02 | 0:08:04 | |
I haven't time for beginners. | 0:08:04 | 0:08:05 | |
Step out of the line. | 0:08:05 | 0:08:06 | |
Come back when you've learned something. | 0:08:06 | 0:08:08 | |
Mr Elmo, please. | 0:08:08 | 0:08:10 | |
No. We'll do it without you. | 0:08:10 | 0:08:12 | |
Let me try again. | 0:08:12 | 0:08:14 | |
I'll learn. I will. | 0:08:14 | 0:08:15 | |
I'll stay after rehearsal. | 0:08:15 | 0:08:17 | |
Please give me another chance. | 0:08:17 | 0:08:19 | |
No can do. I haven't the time. | 0:08:19 | 0:08:21 | |
Please. | 0:08:21 | 0:08:22 | |
Go on, Tommy, give the kid a break. | 0:08:22 | 0:08:25 | |
Who's that? | 0:08:25 | 0:08:26 | |
Bill Dunnigan! | 0:08:29 | 0:08:30 | |
How are you, Tommy? | 0:08:30 | 0:08:31 | |
What are you doing, slumming? | 0:08:31 | 0:08:33 | |
Thought I'd buy you a drink. | 0:08:33 | 0:08:35 | |
You buy me a drink? I owe you a million. | 0:08:35 | 0:08:37 | |
The world's greatest press agent, | 0:08:37 | 0:08:39 | |
meet the world's worst chorus. | 0:08:39 | 0:08:40 | |
Hi, Bill. Hi, girls. | 0:08:40 | 0:08:42 | |
ELMO: OK, ladies, take a half-hour. | 0:08:42 | 0:08:44 | |
Hiya, white spats. | 0:08:44 | 0:08:46 | |
Freddy Evans. Nice to see you, Freddy. | 0:08:46 | 0:08:48 | |
Tommy, do me a favour, will you? | 0:08:48 | 0:08:51 | |
Sure. Just mention it. | 0:08:51 | 0:08:54 | |
Let Freddy work with that new kid. | 0:08:54 | 0:08:55 | |
He'll have her dancing like Pavlova. | 0:08:55 | 0:08:57 | |
Oh, that kid's got two left feet. | 0:08:57 | 0:09:00 | |
Come on. She's a nice girl. | 0:09:00 | 0:09:02 | |
You know her, huh? | 0:09:02 | 0:09:03 | |
No. I just like her face, and she needs the job. | 0:09:03 | 0:09:06 | |
Give her a break. | 0:09:06 | 0:09:07 | |
OK, if that's our pleasure. | 0:09:07 | 0:09:09 | |
Freddy, take her and work with her. | 0:09:09 | 0:09:12 | |
You be able to show me that pivot, or else. | 0:09:12 | 0:09:14 | |
I will. Thanks. | 0:09:14 | 0:09:16 | |
And thank you so much, Mr... | 0:09:16 | 0:09:18 | |
Dunnigan, you sap. | 0:09:18 | 0:09:20 | |
Bill Dunnigan. | 0:09:20 | 0:09:21 | |
Never mind the thanks. | 0:09:21 | 0:09:23 | |
Just get that pivot. | 0:09:23 | 0:09:24 | |
I will, Mr Dunnigan. | 0:09:24 | 0:09:26 | |
Come on, big boy. | 0:09:26 | 0:09:28 | |
It's like old times seeing you out front again. | 0:09:28 | 0:09:30 | |
'That's where it began, | 0:09:35 | 0:09:37 | |
'and this is where it ends. | 0:09:37 | 0:09:39 | |
'You're home, Olga.' | 0:09:40 | 0:09:42 | |
Take that chair there, please. | 0:09:58 | 0:10:00 | |
Hello, Eddie? This is Mr Orloff. | 0:10:04 | 0:10:07 | |
I'm back from Nanticoke. | 0:10:07 | 0:10:08 | |
Anybody been trying to get me? | 0:10:08 | 0:10:11 | |
You don't have to use that tone of voice. | 0:10:11 | 0:10:16 | |
Mr Dunnigan, | 0:10:16 | 0:10:17 | |
I was stung once on the Truckees. | 0:10:17 | 0:10:18 | |
I won't get stung again. | 0:10:18 | 0:10:20 | |
No hard feelings, I hope. | 0:10:20 | 0:10:22 | |
No hard feelings. | 0:10:22 | 0:10:23 | |
Just honest business. | 0:10:23 | 0:10:25 | |
That's right. | 0:10:25 | 0:10:27 | |
OK, the job will cost you 150 bucks. | 0:10:27 | 0:10:31 | |
150? | 0:10:31 | 0:10:32 | |
That includes transportation | 0:10:32 | 0:10:33 | |
from the train to Coaltown. | 0:10:33 | 0:10:35 | |
Of course, that ain't including pallbearers. | 0:10:35 | 0:10:38 | |
You don't have to have them. | 0:10:38 | 0:10:39 | |
I want them. | 0:10:39 | 0:10:40 | |
Then you'll need six. | 0:10:40 | 0:10:42 | |
That's 2.00 apiece. | 0:10:42 | 0:10:44 | |
Could you get some of her father's friends | 0:10:44 | 0:10:47 | |
or some people who knew her? | 0:10:47 | 0:10:49 | |
You mean free? | 0:10:49 | 0:10:50 | |
No chance. | 0:10:50 | 0:10:51 | |
Stan Truckee was a sweet guy. | 0:10:51 | 0:10:54 | |
I'm sure he must've had some friends. | 0:10:54 | 0:10:56 | |
You think I'm trying to shake you down, huh? | 0:10:56 | 0:10:59 | |
All right, I'll introduce you | 0:10:59 | 0:11:01 | |
to some of his friends. | 0:11:01 | 0:11:03 | |
Come on. | 0:11:03 | 0:11:04 | |
You'll see if you can get them free. | 0:11:04 | 0:11:06 | |
Come on. You'll see. | 0:11:06 | 0:11:08 | |
BOISTEROUS CONVERSATION | 0:11:13 | 0:11:15 | |
Hey, pipe down, will you? | 0:11:15 | 0:11:18 | |
I want to ask you a question | 0:11:18 | 0:11:21 | |
in front of this gentleman. | 0:11:21 | 0:11:23 | |
I want to ask you | 0:11:23 | 0:11:24 | |
if any of you remember Stan Truckee. | 0:11:24 | 0:11:27 | |
Stan Truckee? | 0:11:27 | 0:11:28 | |
Yeah. I knew him. | 0:11:28 | 0:11:29 | |
What about Stan Truckee? | 0:11:29 | 0:11:31 | |
His kid died. | 0:11:31 | 0:11:32 | |
We're burying her alongside her old man. | 0:11:32 | 0:11:35 | |
Would any of you | 0:11:36 | 0:11:38 | |
like to act as pallbearers, | 0:11:38 | 0:11:40 | |
on account of you knew Stan? | 0:11:40 | 0:11:42 | |
Don't try to put nothing over on us, Nicky. | 0:11:42 | 0:11:44 | |
We'll be pallbearers for 2 bucks apiece. | 0:11:44 | 0:11:47 | |
Me, too. | 0:11:47 | 0:11:49 | |
Who's that guy? | 0:11:49 | 0:11:50 | |
A friend of the deceased. | 0:11:50 | 0:11:53 | |
OK, gents, I'll use the first six. | 0:11:53 | 0:11:56 | |
Now I want four guys to carry her inside. | 0:11:56 | 0:11:59 | |
Give me the stick, Billy. | 0:11:59 | 0:12:01 | |
You guys better be good now. | 0:12:01 | 0:12:03 | |
There's competition. | 0:12:03 | 0:12:05 | |
Put it down on the floor. | 0:12:27 | 0:12:29 | |
Now put your names down there for pallbearers. | 0:12:33 | 0:12:35 | |
We don't want no arguments afterwards. | 0:12:35 | 0:12:38 | |
I give you the bill before the hearse pulls out, | 0:12:38 | 0:12:42 | |
and I get paid before the funeral. | 0:12:42 | 0:12:44 | |
You said that. | 0:12:44 | 0:12:46 | |
I just want it understood. | 0:12:46 | 0:12:47 | |
Send in two more. | 0:12:47 | 0:12:49 | |
The first thing is to fix it up with Father Spinsky. | 0:12:49 | 0:12:52 | |
His church is the big one on Spring Street. | 0:12:52 | 0:12:54 | |
I'll arrange everything for you. | 0:12:54 | 0:12:58 | |
Now, make yourself comfortable. | 0:12:58 | 0:13:00 | |
I'll be back in a few minutes. | 0:13:00 | 0:13:02 | |
'I'll try to remember | 0:13:17 | 0:13:18 | |
'that you loved these people, baby, | 0:13:18 | 0:13:21 | |
'but it's hard figuring out why. | 0:13:21 | 0:13:23 | |
'What a sap I was, | 0:13:27 | 0:13:29 | |
'walking out of that theatre | 0:13:29 | 0:13:31 | |
'and not seeing you again for a whole year. | 0:13:31 | 0:13:34 | |
'Yes, a whole year before I ran into you again.' | 0:13:34 | 0:13:39 | |
'I'll never forget that town.' | 0:13:39 | 0:13:41 | |
'I wasn't thinking of you that night. | 0:13:43 | 0:13:45 | |
'I wasn't thinking about much of anything | 0:13:45 | 0:13:47 | |
'except what a cold and lonely place | 0:13:47 | 0:13:49 | |
'a small town can be on Christmas Eve... | 0:13:49 | 0:13:52 | |
'and wondering how to kill time | 0:13:52 | 0:13:54 | |
'till I could get the next train out... | 0:13:54 | 0:13:56 | |
'for my next stop.' | 0:13:56 | 0:13:57 | |
Is Miss Treskovna still in the theatre? | 0:14:18 | 0:14:21 | |
Yeah. She's number one, right over there. | 0:14:21 | 0:14:23 | |
Great. Thanks. | 0:14:23 | 0:14:25 | |
Come in. | 0:14:33 | 0:14:34 | |
Merry Christmas. | 0:14:41 | 0:14:44 | |
Oh. Mr Dunnigan. | 0:14:44 | 0:14:46 | |
Well, that's a pretty good memory. | 0:14:46 | 0:14:48 | |
Katie - Miss Hallwin, | 0:14:48 | 0:14:50 | |
this is Mr Dunnigan. | 0:14:50 | 0:14:51 | |
Pleased to meet you. | 0:14:51 | 0:14:53 | |
I saw your picture in the lobby. | 0:14:53 | 0:14:54 | |
Success, huh? | 0:14:54 | 0:14:55 | |
This is the most exciting thing | 0:14:55 | 0:14:58 | |
that could have happened. | 0:14:58 | 0:14:59 | |
I wanted to thank you so. | 0:14:59 | 0:15:02 | |
I've never forgotten how kind you were. | 0:15:02 | 0:15:04 | |
"Give the kid a break." | 0:15:04 | 0:15:06 | |
And disappearing like Santa Claus. | 0:15:06 | 0:15:09 | |
If it hadn't been for you, | 0:15:09 | 0:15:11 | |
I'd never have become Smokey Sue, | 0:15:11 | 0:15:13 | |
the terror of the Ozarks. | 0:15:13 | 0:15:15 | |
She's good, huh? | 0:15:15 | 0:15:17 | |
Oh, she's in there hollerin'. | 0:15:17 | 0:15:18 | |
Show business? | 0:15:18 | 0:15:19 | |
I'm the advance man | 0:15:19 | 0:15:21 | |
for the Up In The Moon company. | 0:15:21 | 0:15:22 | |
I'm glad you've got a date tonight, kid. | 0:15:22 | 0:15:25 | |
See you in the morning. | 0:15:25 | 0:15:26 | |
Merry Christmas. | 0:15:26 | 0:15:28 | |
Merry Christmas. | 0:15:28 | 0:15:29 | |
Well, if you've got a date, I'll blow along. | 0:15:29 | 0:15:32 | |
I just wanted to say hello. | 0:15:32 | 0:15:34 | |
I haven't any date. | 0:15:34 | 0:15:35 | |
You're not going somewhere? | 0:15:35 | 0:15:36 | |
Just about town - | 0:15:36 | 0:15:37 | |
pretend it's a real Christmas Eve. | 0:15:37 | 0:15:40 | |
I suppose you're with friends. | 0:15:40 | 0:15:42 | |
I won't keep you, Mr Dunnigan. | 0:15:42 | 0:15:43 | |
The name is Bill, and I'm your date tonight. | 0:15:43 | 0:15:45 | |
Go and get your coat on. | 0:15:45 | 0:15:47 | |
You hungry? Yes. | 0:15:48 | 0:15:50 | |
Wonderful. | 0:15:50 | 0:15:51 | |
Must be some place in this town that's open, | 0:15:51 | 0:15:53 | |
besides the county jail. | 0:15:53 | 0:15:55 | |
'There will never be a walk again | 0:16:06 | 0:16:08 | |
'like the one that night. | 0:16:08 | 0:16:09 | |
'Laughing in the snow, | 0:16:09 | 0:16:11 | |
'you telling me to listen to the reindeer bells. | 0:16:11 | 0:16:15 | |
'I felt as though I were drunk, | 0:16:15 | 0:16:17 | |
'but I didn't know I'd feel the same way | 0:16:17 | 0:16:21 | |
'every time I was with you.' | 0:16:21 | 0:16:23 | |
This way, please. | 0:16:25 | 0:16:27 | |
How nice. | 0:16:27 | 0:16:28 | |
Yes. | 0:16:28 | 0:16:30 | |
Here you are close to the snow and to a radiator. | 0:16:30 | 0:16:33 | |
Are you Ming Gow? | 0:16:35 | 0:16:36 | |
Yes. | 0:16:36 | 0:16:37 | |
My name's Bill. This is Olga. | 0:16:37 | 0:16:39 | |
I hope we're not a nuisance coming in. | 0:16:39 | 0:16:42 | |
I'm happy to have you. | 0:16:42 | 0:16:43 | |
Not much trade on Christmas Eve. | 0:16:43 | 0:16:45 | |
No. Everybody is home. | 0:16:45 | 0:16:47 | |
But show people. | 0:16:47 | 0:16:48 | |
And Ming Gow. | 0:16:48 | 0:16:50 | |
No, no. Please. | 0:16:50 | 0:16:52 | |
Will the lady and gentleman | 0:16:52 | 0:16:53 | |
allow me to prepare dinner? | 0:16:53 | 0:16:55 | |
Thank you. | 0:16:55 | 0:16:56 | |
In Iowa, we run into a Chinese Santa Claus. | 0:16:56 | 0:16:59 | |
It's a wonderful night. | 0:16:59 | 0:17:00 | |
First, bird's nest soup | 0:17:00 | 0:17:02 | |
with lotus seed floating in it, | 0:17:02 | 0:17:05 | |
then fing han, | 0:17:05 | 0:17:07 | |
which is lobster fixed in the Cantonese manner. | 0:17:07 | 0:17:09 | |
Oh. | 0:17:09 | 0:17:10 | |
Then a dish of gaiset gai | 0:17:10 | 0:17:12 | |
and some gai-lan soon, | 0:17:12 | 0:17:13 | |
which is only broccoli with a Chinese accent. | 0:17:13 | 0:17:16 | |
Then hop tan yei - chicken and walnuts. | 0:17:16 | 0:17:18 | |
Hold it, Ming. That'll be enough. | 0:17:18 | 0:17:21 | |
Please. There will be more. | 0:17:21 | 0:17:23 | |
Bill, let him. | 0:17:23 | 0:17:25 | |
You're so nice, Ming Gow. | 0:17:25 | 0:17:26 | |
We're so lucky to meet you tonight. | 0:17:26 | 0:17:28 | |
We were walking through the snow... | 0:17:28 | 0:17:31 | |
and the weary travellers | 0:17:31 | 0:17:32 | |
came upon a castle in the snow, | 0:17:32 | 0:17:34 | |
presided over by a magician named Ming Gow, | 0:17:34 | 0:17:36 | |
who set before them | 0:17:36 | 0:17:38 | |
pomegranates and guinea hen from Zanzibar. | 0:17:38 | 0:17:40 | |
Give us the works. | 0:17:40 | 0:17:42 | |
Let's have a feast to remember. | 0:17:42 | 0:17:43 | |
You shall have a feast | 0:17:43 | 0:17:45 | |
that you shall always remember. | 0:17:45 | 0:17:47 | |
Ahh. | 0:17:51 | 0:17:53 | |
Ming, tremendous. | 0:17:53 | 0:17:56 | |
Calls for a cigar. | 0:17:56 | 0:17:57 | |
I'll bring it. No, I'll get it. | 0:17:57 | 0:17:59 | |
SHE COUGHS | 0:18:06 | 0:18:09 | |
Thank you. | 0:18:13 | 0:18:15 | |
How about some music, Olga? | 0:18:22 | 0:18:23 | |
Oh, I'd love it. | 0:18:23 | 0:18:25 | |
MUSIC: Silent Night | 0:18:30 | 0:18:33 | |
I always liked those tunes on Christmas Eve. | 0:18:36 | 0:18:39 | |
Used to hear them when I was a kid. | 0:18:39 | 0:18:42 | |
How are you, baby? | 0:18:43 | 0:18:44 | |
Fine, Bill. | 0:18:44 | 0:18:45 | |
Good. | 0:18:45 | 0:18:46 | |
A toast from that eminent philosopher Ming Gow | 0:18:46 | 0:18:49 | |
is in order. | 0:18:49 | 0:18:50 | |
The floor is yours, Ming. | 0:18:50 | 0:18:52 | |
A long time ago, | 0:18:56 | 0:18:58 | |
three wise men followed a star, | 0:18:58 | 0:19:01 | |
found a child in a cradle. | 0:19:01 | 0:19:04 | |
We also are all from far away. | 0:19:04 | 0:19:08 | |
Tonight, we were brought together | 0:19:08 | 0:19:10 | |
by someone who makes the snow fall. | 0:19:10 | 0:19:14 | |
I drink to what we shall find. | 0:19:14 | 0:19:17 | |
How nice. | 0:19:17 | 0:19:19 | |
You don't think it was an accident, | 0:19:23 | 0:19:25 | |
my running into Olga again? | 0:19:25 | 0:19:27 | |
No. These things are all written. | 0:19:27 | 0:19:30 | |
We follow the script, huh? | 0:19:30 | 0:19:32 | |
Yes. We follow. | 0:19:32 | 0:19:34 | |
Maybe you tell me something. | 0:19:36 | 0:19:38 | |
What would you like to know, Ming Gow? | 0:19:38 | 0:19:40 | |
Your name. | 0:19:40 | 0:19:41 | |
Olga Truckee, alias Olga Treskovna. | 0:19:41 | 0:19:45 | |
Truckee, huh? | 0:19:45 | 0:19:46 | |
Do you mind telling me a little? | 0:19:46 | 0:19:48 | |
No. | 0:19:48 | 0:19:49 | |
When did you first decide to be an actress? | 0:19:49 | 0:19:52 | |
When I was a little girl, I think. | 0:19:52 | 0:19:55 | |
Where was that? | 0:19:55 | 0:19:57 | |
I was born in Poland. | 0:19:57 | 0:19:59 | |
When I was quite young, | 0:19:59 | 0:20:01 | |
we came to America to a place in Pennsylvania | 0:20:01 | 0:20:04 | |
called... | 0:20:04 | 0:20:06 | |
Coaltown. | 0:20:06 | 0:20:07 | |
Little Poland. | 0:20:07 | 0:20:09 | |
Near Wilkes-Barre? | 0:20:09 | 0:20:10 | |
Yes. | 0:20:10 | 0:20:11 | |
Coaltown killed my mother. | 0:20:12 | 0:20:15 | |
And then four years ago, | 0:20:16 | 0:20:19 | |
my father died. | 0:20:19 | 0:20:21 | |
Coaltown killed him, too. | 0:20:21 | 0:20:23 | |
But my father was very sweet and kind. | 0:20:26 | 0:20:29 | |
He played the accordion and sang, | 0:20:29 | 0:20:31 | |
and he used to say to me | 0:20:31 | 0:20:33 | |
when he had a hangover... | 0:20:33 | 0:20:35 | |
which was... very often... | 0:20:35 | 0:20:38 | |
"Go away someplace, Olga, and sing. | 0:20:40 | 0:20:43 | |
"Dance, act, and sing. | 0:20:43 | 0:20:45 | |
"Try to be happy. | 0:20:45 | 0:20:48 | |
"That will make other people happy, too." | 0:20:48 | 0:20:52 | |
He taught me all the songs he knew. | 0:20:52 | 0:20:54 | |
Polish songs. | 0:20:54 | 0:20:56 | |
Sad ones, happy ones, | 0:20:56 | 0:20:58 | |
all kinds. | 0:20:58 | 0:21:00 | |
Sing one for us - a happy one. | 0:21:00 | 0:21:02 | |
Oh, no. | 0:21:02 | 0:21:03 | |
Yes. Please do. | 0:21:03 | 0:21:05 | |
SHE SINGS IN POLISH | 0:21:11 | 0:21:13 | |
That's good. | 0:21:56 | 0:21:58 | |
Just a little song. | 0:21:58 | 0:21:59 | |
Everybody in Coaltown knows it. | 0:21:59 | 0:22:02 | |
It's about coming home | 0:22:02 | 0:22:03 | |
when you've been away for a long time. | 0:22:03 | 0:22:06 | |
Now you're going to be a star. | 0:22:06 | 0:22:08 | |
Yes. I keep studying between shows and on the trains. | 0:22:08 | 0:22:12 | |
I'll be ready when my chance comes. | 0:22:12 | 0:22:14 | |
You know our show's headed west? | 0:22:14 | 0:22:16 | |
That's where Hollywood is. | 0:22:16 | 0:22:18 | |
According to last reports. | 0:22:18 | 0:22:19 | |
I'm going to make good there. | 0:22:21 | 0:22:23 | |
I must. | 0:22:23 | 0:22:25 | |
Not so fast. You've just started. | 0:22:25 | 0:22:27 | |
You need a couple years in stock | 0:22:27 | 0:22:29 | |
playing the old plays. | 0:22:29 | 0:22:31 | |
You've got a lot to learn. | 0:22:31 | 0:22:32 | |
I haven't time for that, Bill. | 0:22:32 | 0:22:34 | |
I want to get there quickly. | 0:22:34 | 0:22:36 | |
When I am a big star in my own dressing room | 0:22:38 | 0:22:42 | |
and all the interviewers ask me, | 0:22:42 | 0:22:44 | |
"How did this success come to you, Olga?" | 0:22:44 | 0:22:47 | |
I'll tell them it came from... | 0:22:47 | 0:22:50 | |
..Bill Dunnigan, | 0:22:52 | 0:22:54 | |
who once said, "Give the kid a break." | 0:22:54 | 0:22:58 | |
And I'll be right there taking a bow, too. | 0:22:58 | 0:23:01 | |
But a year in stock is what you need. | 0:23:01 | 0:23:03 | |
You're only 20. | 0:23:03 | 0:23:05 | |
There are two kinds of people | 0:23:05 | 0:23:06 | |
who don't have enough time - | 0:23:06 | 0:23:09 | |
the very old... and the very young. | 0:23:09 | 0:23:12 | |
I think we'd better go. | 0:23:15 | 0:23:16 | |
It's late, and we have to catch early trains. | 0:23:16 | 0:23:19 | |
Look. It stopped snowing. | 0:23:19 | 0:23:22 | |
I'll bet you the whole town's asleep except us. | 0:23:22 | 0:23:25 | |
Well, let's have the check, Ming. | 0:23:25 | 0:23:27 | |
No check. | 0:23:27 | 0:23:28 | |
Oh, come on. We ate the whole restaurant. | 0:23:28 | 0:23:30 | |
No check, please. | 0:23:30 | 0:23:32 | |
On Christmas, people exchange gifts. | 0:23:32 | 0:23:34 | |
Let this humble meal be my gift | 0:23:34 | 0:23:36 | |
to the other two wise guests from far away. | 0:23:36 | 0:23:39 | |
OK. | 0:23:39 | 0:23:41 | |
Admit Ming Gow and party. | 0:23:41 | 0:23:45 | |
There you are, Ming, | 0:23:45 | 0:23:47 | |
for Up In The Moon any night you want to go. | 0:23:47 | 0:23:48 | |
Just ask for Fred Cooper. | 0:23:48 | 0:23:50 | |
Oh, here it is. | 0:23:50 | 0:23:52 | |
It's nothing very much, | 0:23:52 | 0:23:53 | |
just a little medal. | 0:23:53 | 0:23:55 | |
It's dedicated to St Michael, the archangel. | 0:23:55 | 0:23:57 | |
He's my favourite saint. | 0:23:57 | 0:23:59 | |
Will you take it, please? | 0:23:59 | 0:24:00 | |
Thank you. | 0:24:00 | 0:24:02 | |
St Michael? What's his specialty? | 0:24:02 | 0:24:04 | |
Fighting...for God. | 0:24:04 | 0:24:07 | |
He is a very gallant saint, Bill. | 0:24:07 | 0:24:09 | |
I will carry this | 0:24:09 | 0:24:11 | |
and hope for that great success. | 0:24:11 | 0:24:14 | |
Goodnight, Ming Gow. | 0:24:16 | 0:24:18 | |
And Merry Christmas, Ming Gow. | 0:24:20 | 0:24:22 | |
Yes. Merry Christmas, Ming. | 0:24:22 | 0:24:23 | |
Merry Christmas to you. | 0:24:23 | 0:24:25 | |
Huh? | 0:24:30 | 0:24:31 | |
Which way? | 0:24:31 | 0:24:32 | |
The Iowa Hotel. | 0:24:32 | 0:24:34 | |
Oh, around the corner. | 0:24:34 | 0:24:35 | |
I'm at the Dexter. | 0:24:36 | 0:24:38 | |
What time are you pulling out? | 0:24:40 | 0:24:41 | |
6:30. | 0:24:41 | 0:24:43 | |
Are you going the other way? | 0:24:43 | 0:24:45 | |
Yeah. I go east - at 5:30. | 0:24:45 | 0:24:47 | |
It's a mill train, but it's the only connection. | 0:24:47 | 0:24:50 | |
What is it? | 0:24:54 | 0:24:55 | |
Look. | 0:24:55 | 0:24:56 | |
The stars. | 0:24:58 | 0:24:59 | |
Yes. | 0:24:59 | 0:25:00 | |
There are a lot of them. | 0:25:00 | 0:25:02 | |
One of them's mine. | 0:25:02 | 0:25:04 | |
Oh? Which one? | 0:25:04 | 0:25:06 | |
Do you see over there, | 0:25:06 | 0:25:08 | |
where the V-shaped cluster is? | 0:25:08 | 0:25:10 | |
Yeah. | 0:25:10 | 0:25:11 | |
Just to the right of it. The bright one. | 0:25:11 | 0:25:14 | |
Oh, yeah. I see it. | 0:25:14 | 0:25:15 | |
It's yours. | 0:25:15 | 0:25:17 | |
Yes. | 0:25:17 | 0:25:18 | |
My father told me it appeared in the sky | 0:25:18 | 0:25:20 | |
for the first time the night I was born. | 0:25:20 | 0:25:22 | |
Could be. | 0:25:22 | 0:25:24 | |
It's there to remind me every night | 0:25:24 | 0:25:27 | |
of where I'm going. | 0:25:27 | 0:25:30 | |
Oh, I am being very silly. | 0:25:30 | 0:25:33 | |
I won't see you again | 0:25:33 | 0:25:35 | |
for a long time, maybe. | 0:25:35 | 0:25:37 | |
Will you accept a Christmas present | 0:25:37 | 0:25:39 | |
from a strange young lady? | 0:25:39 | 0:25:41 | |
My star up there. | 0:25:44 | 0:25:47 | |
I'll give you half of it. | 0:25:47 | 0:25:49 | |
'Why didn't I say something? | 0:25:50 | 0:25:52 | |
'But no, not a word. | 0:25:52 | 0:25:54 | |
'Not even, where can I write you? | 0:25:54 | 0:25:56 | |
'What's your route sheet? | 0:25:56 | 0:25:58 | |
'I want to see you again. | 0:25:58 | 0:26:00 | |
'Just old clam-mouth | 0:26:00 | 0:26:01 | |
'walking along with his heart jumping | 0:26:01 | 0:26:03 | |
'and never a word. | 0:26:03 | 0:26:05 | |
'I got to start thinking, kid. | 0:26:05 | 0:26:07 | |
'It can't end like this. | 0:26:07 | 0:26:10 | |
'It can't end with Dunnigan the dummy staring at a box.' | 0:26:10 | 0:26:13 | |
Didn't keep you waiting too long, I hope. | 0:26:13 | 0:26:17 | |
You got everything fixed? | 0:26:17 | 0:26:19 | |
Yessiree, I had a big talk with Father Spinsky. | 0:26:19 | 0:26:21 | |
We worked everything out fine. | 0:26:21 | 0:26:23 | |
He's going to give you a solemn Requiem Mass. | 0:26:23 | 0:26:25 | |
I got hold of a singer from Wilkes-Barre. | 0:26:25 | 0:26:27 | |
She happened to be in town. | 0:26:27 | 0:26:28 | |
Let's see, that'll be 30 bucks extra. | 0:26:28 | 0:26:33 | |
I figured a blanket of roses for the coffin, | 0:26:33 | 0:26:36 | |
then I figured a wreath as a personal tribute from yourself. | 0:26:36 | 0:26:39 | |
Altogether, the floral tributes will amount to 80 bucks. | 0:26:39 | 0:26:43 | |
We mustn't forget the charge | 0:26:43 | 0:26:44 | |
for the sexton of the church. | 0:26:44 | 0:26:46 | |
Almost forgot that. | 0:26:46 | 0:26:47 | |
You wouldn't want to forget any charges. | 0:26:47 | 0:26:50 | |
I'll have to figure out a donation | 0:26:50 | 0:26:52 | |
for Father Spinsky's church. | 0:26:52 | 0:26:54 | |
Personally, I think 75 bucks will do it. | 0:26:54 | 0:26:56 | |
Not too much and not too little, | 0:26:56 | 0:26:58 | |
which brings the total up to 350. | 0:26:58 | 0:27:01 | |
350? That's a lot more than... | 0:27:01 | 0:27:03 | |
That ain't much for a service at St Leo's. | 0:27:03 | 0:27:05 | |
St Leo's? Is that where you made the arrangements? | 0:27:05 | 0:27:08 | |
Yes, sir. The biggest church in town. | 0:27:08 | 0:27:10 | |
But that's the wrong church. | 0:27:10 | 0:27:12 | |
I wanted them made at St Michael's. | 0:27:12 | 0:27:15 | |
Oh, no, no. You don't want St Michael's. | 0:27:15 | 0:27:18 | |
You don't want your friend buried from there. | 0:27:18 | 0:27:20 | |
It a broken-down old church. | 0:27:20 | 0:27:22 | |
Nobody worthwhile goes there. | 0:27:22 | 0:27:23 | |
Father Spinsky's church is the only place. | 0:27:23 | 0:27:27 | |
Mr Orloff, where is St Michael's? | 0:27:27 | 0:27:29 | |
All right. I ain't worried. | 0:27:29 | 0:27:31 | |
You ain't going to do business with Father Paul. | 0:27:31 | 0:27:34 | |
He ain't got nothing to offer you. | 0:27:34 | 0:27:36 | |
You'll be back. | 0:27:36 | 0:27:38 | |
It's down at the end of the street, | 0:27:38 | 0:27:40 | |
right across from the hotel. | 0:27:40 | 0:27:41 | |
Thanks. | 0:27:41 | 0:27:42 | |
Remember, Father Paul can't do nothing for you. | 0:27:42 | 0:27:44 | |
He's got no connections in town, just miners. | 0:27:44 | 0:27:47 | |
DOORBELL RINGS | 0:28:15 | 0:28:17 | |
Come in. | 0:28:17 | 0:28:19 | |
Are you Father Paul? | 0:28:27 | 0:28:29 | |
Yes. | 0:28:29 | 0:28:30 | |
My name's Bill Dunnigan. | 0:28:30 | 0:28:31 | |
How do you do? | 0:28:31 | 0:28:33 | |
I brought a friend of mine back to Coaltown - a girl. | 0:28:35 | 0:28:38 | |
She wanted to be buried from your church. | 0:28:38 | 0:28:41 | |
From St Michael's? | 0:28:41 | 0:28:42 | |
Yes. She has a plot in your cemetery. | 0:28:42 | 0:28:45 | |
It's already been paid for in full. | 0:28:45 | 0:28:47 | |
What I want to do now | 0:28:47 | 0:28:48 | |
is arrange for a church funeral. | 0:28:48 | 0:28:50 | |
How much do you charge? | 0:28:50 | 0:28:53 | |
Please sit down, Mr Dunnigan. | 0:28:53 | 0:28:56 | |
Her Father was buried from your place | 0:28:59 | 0:29:01 | |
five years ago. | 0:29:01 | 0:29:02 | |
His name was Stan Truckee. | 0:29:02 | 0:29:05 | |
That bill's unpaid. | 0:29:05 | 0:29:07 | |
I'll take care of that | 0:29:07 | 0:29:08 | |
up to any reasonable amount. | 0:29:08 | 0:29:10 | |
I wasn't here five years ago. | 0:29:10 | 0:29:13 | |
Did you bring this girl from somewhere out of town? | 0:29:13 | 0:29:15 | |
From Hollywood. | 0:29:15 | 0:29:16 | |
Hollywood? | 0:29:16 | 0:29:17 | |
That's where they make the movies. | 0:29:17 | 0:29:19 | |
Yes, I know. | 0:29:19 | 0:29:20 | |
Hollywood to St Michael's. | 0:29:20 | 0:29:22 | |
That's rather strange. | 0:29:22 | 0:29:24 | |
I understand there are certain charges, | 0:29:24 | 0:29:26 | |
fees and so forth. | 0:29:26 | 0:29:28 | |
If you'd give an estimate... | 0:29:28 | 0:29:30 | |
Maybe I'd better tell you first. | 0:29:30 | 0:29:32 | |
She wanted a few...extras. | 0:29:32 | 0:29:35 | |
She wanted organ music, | 0:29:35 | 0:29:36 | |
and she also wanted... | 0:29:36 | 0:29:39 | |
six angels with wings | 0:29:39 | 0:29:40 | |
to stand beside the coffin. | 0:29:40 | 0:29:43 | |
The angels will be little girls. | 0:29:43 | 0:29:44 | |
That's an old Polish custom. | 0:29:44 | 0:29:47 | |
How much for the girls with wings and the organist? | 0:29:47 | 0:29:49 | |
The children will be happy to serve without any fee. | 0:29:49 | 0:29:53 | |
Sometimes our organist receives 3.00, | 0:29:53 | 0:29:56 | |
but this is a poor parish. | 0:29:56 | 0:29:57 | |
She's used to not being paid. | 0:29:57 | 0:30:00 | |
Oh. | 0:30:00 | 0:30:02 | |
How much for you? | 0:30:03 | 0:30:05 | |
For me? | 0:30:05 | 0:30:06 | |
I, too, am used to not being paid, | 0:30:06 | 0:30:09 | |
and I'd rather not break the precedent. | 0:30:09 | 0:30:13 | |
I am very proud | 0:30:13 | 0:30:15 | |
that this girl wanted to be buried | 0:30:15 | 0:30:16 | |
from my church. | 0:30:16 | 0:30:18 | |
To a humble priest, that's a great satisfaction, | 0:30:18 | 0:30:21 | |
and it is fee enough. | 0:30:21 | 0:30:23 | |
Please, put that away, Mr Dunnigan. | 0:30:23 | 0:30:26 | |
I'm sorry, Father. | 0:30:28 | 0:30:31 | |
I came in here like a sorehead. | 0:30:31 | 0:30:33 | |
It was just that... | 0:30:33 | 0:30:35 | |
Well, it's a pleasure to run into a human being | 0:30:35 | 0:30:37 | |
in Coaltown or anywhere. | 0:30:37 | 0:30:39 | |
I was beginning to think the world had run out of them. | 0:30:39 | 0:30:43 | |
Look, Father, I might as well lay it on the line. | 0:30:43 | 0:30:46 | |
Ever hear of poverty? | 0:30:46 | 0:30:48 | |
Yes, an old friend of St Michael's. | 0:30:48 | 0:30:52 | |
I'm down to 300 | 0:30:52 | 0:30:53 | |
and with no visible means of support at the moment. | 0:30:53 | 0:30:56 | |
I've made millions for people I've worked for. | 0:30:56 | 0:30:58 | |
A press agent can do that. | 0:30:58 | 0:30:59 | |
I never got around to making myself rich. | 0:30:59 | 0:31:01 | |
I never wanted to be a millionaire. | 0:31:01 | 0:31:03 | |
I just wanted to live like one. | 0:31:03 | 0:31:05 | |
That'll keep you poor, you know. | 0:31:05 | 0:31:08 | |
Father, I hate the thought of her being in Orloff's place. | 0:31:08 | 0:31:10 | |
That's a little rough even on a brave kid like Olga. | 0:31:10 | 0:31:13 | |
Could we have her brought here to your church? | 0:31:13 | 0:31:16 | |
Certainly. She belongs here. | 0:31:16 | 0:31:18 | |
She'll like that. | 0:31:18 | 0:31:19 | |
I mean, she would've liked that. | 0:31:19 | 0:31:23 | |
That's the whole trouble with this trip, | 0:31:23 | 0:31:25 | |
all these arrangements about the funeral. | 0:31:25 | 0:31:28 | |
To me she isn't dead. | 0:31:28 | 0:31:30 | |
It's as if she were here | 0:31:30 | 0:31:32 | |
and we were doing all this together. | 0:31:32 | 0:31:35 | |
Oh, I don't mean that I see her | 0:31:35 | 0:31:37 | |
or anything like that. | 0:31:37 | 0:31:39 | |
I mean... | 0:31:39 | 0:31:40 | |
I know what you mean. | 0:31:40 | 0:31:42 | |
Hello? | 0:31:45 | 0:31:47 | |
Hello, this is Father Paul. | 0:31:47 | 0:31:49 | |
Hello, Hattie. | 0:31:49 | 0:31:50 | |
Would you get me Nick Orloff? | 0:31:50 | 0:31:52 | |
Yes. Thank you. | 0:31:52 | 0:31:54 | |
Telephoning in Coaltown is sort of different. | 0:31:54 | 0:31:59 | |
Mr Orloff, this is Father Paul speaking. | 0:31:59 | 0:32:03 | |
Yes. Yes, I know. He's - he's here now. | 0:32:03 | 0:32:07 | |
I've called to tell you to bring the body | 0:32:07 | 0:32:09 | |
of Stan Truckee's daughter | 0:32:09 | 0:32:10 | |
to St Michael's immediately. | 0:32:10 | 0:32:13 | |
Not tomorrow, Mr Orloff. | 0:32:13 | 0:32:15 | |
Immediately. Now. Right away. | 0:32:15 | 0:32:18 | |
You're a greedy and stupid man, Mr Orloff. | 0:32:18 | 0:32:22 | |
No, I'm not afraid of you and all your friends. | 0:32:22 | 0:32:25 | |
Bring the girl here immediately | 0:32:25 | 0:32:27 | |
without any further discussion. | 0:32:27 | 0:32:29 | |
Goodbye. | 0:32:29 | 0:32:31 | |
You can be tough when you have to. | 0:32:31 | 0:32:34 | |
You didn't look it. | 0:32:34 | 0:32:36 | |
My adviser, Michael the archangel. | 0:32:36 | 0:32:39 | |
Oh, yes. I've heard of him. | 0:32:39 | 0:32:41 | |
He had to be, as you say, tough. | 0:32:41 | 0:32:43 | |
Mr Orloff will be here in half an hour. | 0:32:43 | 0:32:46 | |
Thank you, Father. | 0:32:46 | 0:32:48 | |
I'm probably taking up your time. | 0:32:48 | 0:32:49 | |
I'll wait in the church. | 0:32:49 | 0:32:51 | |
No, please. Wait here. | 0:32:51 | 0:32:53 | |
Talk to me about Olga. | 0:32:53 | 0:32:55 | |
I can see you loved her very much. | 0:32:55 | 0:32:58 | |
You can, huh? | 0:32:58 | 0:33:00 | |
Are you sure I won't bore you? | 0:33:00 | 0:33:02 | |
No. Come, Mr Dunnigan. | 0:33:02 | 0:33:05 | |
I'd like to hear what's in your heart. | 0:33:05 | 0:33:07 | |
I only met Olga twice | 0:33:14 | 0:33:15 | |
before I took a job on the coast. | 0:33:15 | 0:33:18 | |
I'd become tired of hopping around | 0:33:18 | 0:33:20 | |
peddling a road company | 0:33:20 | 0:33:21 | |
to a lot of antitheatrical towns, | 0:33:21 | 0:33:24 | |
so I figured on settling down | 0:33:24 | 0:33:26 | |
in the lotus land of Hollywood. | 0:33:26 | 0:33:28 | |
And I get me a job as personal drumbeater | 0:33:28 | 0:33:30 | |
for the great Marcus Harris. | 0:33:30 | 0:33:32 | |
Marcus Harris? | 0:33:32 | 0:33:34 | |
You've never heard of him? | 0:33:34 | 0:33:37 | |
Well, Marcus Harris is one of the greatest | 0:33:37 | 0:33:39 | |
motion picture producers in America, | 0:33:39 | 0:33:42 | |
who at the moment was giving birth | 0:33:42 | 0:33:44 | |
to his greatest production, | 0:33:44 | 0:33:46 | |
a 3 million epic called Joan Of Arc. | 0:33:46 | 0:33:49 | |
Now, gentlemen, | 0:33:49 | 0:33:50 | |
I want this trouble with Anna Klovna settled. | 0:33:50 | 0:33:53 | |
I don't want to have a fight going on. | 0:33:53 | 0:33:55 | |
Hard enough to make pictures without fights. | 0:33:55 | 0:33:57 | |
It's Miss Klovna who's doing all the fighting. | 0:33:57 | 0:34:00 | |
Where's Dunnigan? | 0:34:00 | 0:34:01 | |
Why isn't he here, Miss Mulhauser? | 0:34:01 | 0:34:03 | |
He's on his way, Mr Harris. | 0:34:03 | 0:34:05 | |
Thank you very much. | 0:34:05 | 0:34:07 | |
I sent for you an hour ago. | 0:34:10 | 0:34:13 | |
Well, here I am, chief. | 0:34:13 | 0:34:16 | |
Whenever he's late, I get promoted to chief. | 0:34:16 | 0:34:20 | |
Bill, we're in trouble. | 0:34:20 | 0:34:21 | |
Yeah, I heard rumours. | 0:34:21 | 0:34:23 | |
Uh, Miss Klovna is playing nasty again. | 0:34:23 | 0:34:25 | |
Let's not call anybody any names. | 0:34:25 | 0:34:28 | |
I've got a million dollars invested in Miss Klovna, | 0:34:28 | 0:34:31 | |
so I would like to think she isn't nasty, | 0:34:31 | 0:34:34 | |
just a little nervous. | 0:34:34 | 0:34:36 | |
I'm assigning you the job of handling Miss Klovna. | 0:34:36 | 0:34:40 | |
Thanks very much, | 0:34:40 | 0:34:41 | |
but I don't think that'll solve any problems. | 0:34:41 | 0:34:45 | |
I'm asking this as a favour. | 0:34:45 | 0:34:47 | |
Two days after she landed in this country, | 0:34:47 | 0:34:49 | |
you got her the keys to the city of New York, | 0:34:49 | 0:34:51 | |
arranged a parade in her honour, | 0:34:51 | 0:34:53 | |
kept her picture in the papers for 55 days. | 0:34:53 | 0:34:56 | |
Have another. | 0:34:56 | 0:34:58 | |
She'll listen to you and nobody else. | 0:34:58 | 0:35:00 | |
I don't know, Marcus. | 0:35:00 | 0:35:02 | |
Fame is very bad for some people. | 0:35:02 | 0:35:04 | |
It goes to their heads. | 0:35:04 | 0:35:06 | |
Come on, gentlemen, we'll go with Mr Dunnigan | 0:35:06 | 0:35:08 | |
and give him all the help we can. | 0:35:08 | 0:35:10 | |
With all the respect in the world, Miss Klovna... | 0:35:15 | 0:35:18 | |
Respect? That is what you do not give me. | 0:35:18 | 0:35:20 | |
I have played Joan in Europe. | 0:35:20 | 0:35:22 | |
Shaw's Joan. Schiller's Joan. | 0:35:22 | 0:35:25 | |
What have I to learn from you? | 0:35:25 | 0:35:26 | |
That was the stage. This is the movies. | 0:35:26 | 0:35:28 | |
Hello. What's all the fireworks? | 0:35:28 | 0:35:30 | |
Oh, Mr Dunnigan! | 0:35:30 | 0:35:31 | |
This imbecile is trying to tell me how to act Joan. | 0:35:31 | 0:35:34 | |
Me! He wants me to get here before I'm awake - to rehearse. | 0:35:34 | 0:35:38 | |
He needs rehearsal, not me. | 0:35:38 | 0:35:39 | |
Relax. Be yourself. You're a great artist. | 0:35:39 | 0:35:42 | |
Don't act like a two-year-old. | 0:35:42 | 0:35:43 | |
Then I want to be treated like a great artist. | 0:35:43 | 0:35:46 | |
I don't want to be screamed at like a servant girl. | 0:35:46 | 0:35:49 | |
A little late? | 0:35:49 | 0:35:50 | |
Two hours late every morning this week! | 0:35:50 | 0:35:54 | |
A full crew and 300 extras, | 0:35:54 | 0:35:56 | |
standing around waiting for her nibs. | 0:35:56 | 0:35:58 | |
They are waiting, eh? Who cares? | 0:35:58 | 0:36:00 | |
Let's talk it over in your dressing room. | 0:36:00 | 0:36:02 | |
He tells me it costs Mr Marcus Harris 10,000 because I'm late. | 0:36:02 | 0:36:07 | |
What do I care how much money it costs that stupid upstart? | 0:36:07 | 0:36:11 | |
The only education he has is vending from a pushcart. | 0:36:11 | 0:36:13 | |
No ignorant peasant can give orders to Anna Klovna. | 0:36:13 | 0:36:16 | |
We don't talk like that in America. | 0:36:16 | 0:36:18 | |
No. All you talk in America is money, money, money! | 0:36:18 | 0:36:22 | |
What do you know about art in America, | 0:36:22 | 0:36:24 | |
you and your Marcus Harris? | 0:36:24 | 0:36:27 | |
Oh, I spit on you both. | 0:36:27 | 0:36:30 | |
I'm finished! | 0:36:30 | 0:36:32 | |
I quit! | 0:36:32 | 0:36:33 | |
I go back to the theatre! | 0:36:33 | 0:36:35 | |
No more here! No more! | 0:36:35 | 0:36:37 | |
You ought to have some sense knocked into you. | 0:36:37 | 0:36:39 | |
Enough, Mr Dunnigan. I'll talk to Miss Klovna. | 0:36:39 | 0:36:41 | |
You can't make me do anything, | 0:36:41 | 0:36:43 | |
you and all your money. | 0:36:43 | 0:36:46 | |
I don't want you to do anything. | 0:36:46 | 0:36:48 | |
You can quit. | 0:36:48 | 0:36:49 | |
I'm sorry you don't like me, Miss Klovna, | 0:36:49 | 0:36:51 | |
but that's all right. | 0:36:51 | 0:36:54 | |
I'm sorry you don't like America. | 0:36:54 | 0:36:57 | |
That isn't all right. | 0:36:57 | 0:36:59 | |
So many people from your country have learned to love America. | 0:36:59 | 0:37:03 | |
It's too bad you couldn't see something nice | 0:37:03 | 0:37:06 | |
in such a wonderful place. | 0:37:06 | 0:37:08 | |
We'll pay Miss Klovna off in full and shelve the picture. | 0:37:10 | 0:37:13 | |
Send out a notice that Anna Klovna's had a...nervous breakdown | 0:37:13 | 0:37:16 | |
and won't be able to finish the picture. | 0:37:16 | 0:37:18 | |
Oh! Oh! | 0:37:18 | 0:37:20 | |
Well, you surely called her bluff, Marcus. | 0:37:24 | 0:37:27 | |
She'll be back in half an hour ready to play marbles. | 0:37:27 | 0:37:30 | |
I don't want her back. | 0:37:30 | 0:37:31 | |
I like this country. | 0:37:31 | 0:37:33 | |
I won't work with anyone who doesn't like it. | 0:37:33 | 0:37:35 | |
We'll get somebody else. | 0:37:35 | 0:37:36 | |
Klovna isn't the only actress in the world. | 0:37:36 | 0:37:38 | |
There's nobody else available who can play Joan of Arc, | 0:37:38 | 0:37:40 | |
at least nobody who's available for some time. | 0:37:40 | 0:37:44 | |
Not a very nice woman, Miss Klovna, | 0:37:44 | 0:37:45 | |
but she's a great talent. | 0:37:45 | 0:37:47 | |
She was made for the part of Joan. | 0:37:47 | 0:37:50 | |
Well, that's too bad. | 0:37:50 | 0:37:51 | |
I'm shelving the picture. | 0:37:51 | 0:37:53 | |
I'll see you in my office, Mr Dolan. | 0:37:53 | 0:37:56 | |
Ladies and gentlemen, | 0:37:56 | 0:37:58 | |
I'm sorry this has happened. | 0:37:58 | 0:38:00 | |
Maybe next time we'll have better luck. | 0:38:00 | 0:38:03 | |
Thank you. | 0:38:03 | 0:38:04 | |
Wrap it up, boys! | 0:38:04 | 0:38:06 | |
Mr Dunnigan! | 0:38:18 | 0:38:20 | |
Mr Dunnigan! | 0:38:22 | 0:38:24 | |
Bill! | 0:38:24 | 0:38:25 | |
Holy ike! Am I dreaming? | 0:38:25 | 0:38:27 | |
Hello, Bill. | 0:38:27 | 0:38:28 | |
Olga, look at you. | 0:38:28 | 0:38:30 | |
Don't tell me you're in pictures. | 0:38:30 | 0:38:32 | |
I was. I lost my job. | 0:38:32 | 0:38:34 | |
I was a stand-in for Anna Klovna. | 0:38:34 | 0:38:36 | |
No more Anna Klovna, no more job, | 0:38:36 | 0:38:38 | |
at least for the moment. | 0:38:38 | 0:38:40 | |
I didn't know you were working for Mr Harris. | 0:38:40 | 0:38:42 | |
I nearly fell over when I saw you. | 0:38:42 | 0:38:44 | |
Let's get out of here. | 0:38:44 | 0:38:46 | |
Pardon me. | 0:38:46 | 0:38:47 | |
So you're a stand-in, huh? | 0:38:50 | 0:38:52 | |
Not much of a job | 0:38:52 | 0:38:54 | |
for a foolish young lady who dreamed of being a star. | 0:38:54 | 0:38:57 | |
You quit dreaming, huh? | 0:38:57 | 0:38:58 | |
No, I haven't, | 0:38:58 | 0:38:59 | |
only it's taking longer than I thought. | 0:38:59 | 0:39:02 | |
You know, it makes me happy just to look at you. | 0:39:02 | 0:39:06 | |
I've got to go hold Marcus' hand for a while. | 0:39:06 | 0:39:08 | |
Where would you like to go for dinner? | 0:39:08 | 0:39:10 | |
Bill, let me cook dinner for you. | 0:39:10 | 0:39:13 | |
I've got a sort of apartment with a stove, | 0:39:13 | 0:39:15 | |
and I've been dying to have a guest. | 0:39:15 | 0:39:17 | |
No guests? | 0:39:17 | 0:39:18 | |
No. | 0:39:18 | 0:39:19 | |
I'm glad. | 0:39:19 | 0:39:21 | |
What's the address? | 0:39:21 | 0:39:22 | |
1461 Curson Avenue. | 0:39:22 | 0:39:24 | |
It's over a garage. | 0:39:24 | 0:39:25 | |
1461. I'll be there. | 0:39:25 | 0:39:27 | |
I have to go home and change. | 0:39:27 | 0:39:29 | |
Will it be all right if I get there about 7:00? | 0:39:29 | 0:39:32 | |
More coffee? | 0:39:36 | 0:39:37 | |
Oh, no, thanks. | 0:39:37 | 0:39:38 | |
Won't you finish the pie? | 0:39:38 | 0:39:40 | |
I couldn't handle it. | 0:39:40 | 0:39:41 | |
I've had three big pieces | 0:39:41 | 0:39:43 | |
and two pounds of goulash. | 0:39:43 | 0:39:44 | |
Have a heart, will you? | 0:39:44 | 0:39:46 | |
You know, it's a very cute layout. | 0:39:51 | 0:39:55 | |
Restful. | 0:39:55 | 0:39:56 | |
I was lucky to get it. | 0:39:56 | 0:39:58 | |
Come furnished? | 0:39:58 | 0:39:59 | |
Oh, yes. | 0:39:59 | 0:40:00 | |
I painted the floor myself. | 0:40:00 | 0:40:02 | |
Oh? | 0:40:02 | 0:40:03 | |
Oh. | 0:40:03 | 0:40:04 | |
I think it's just as good as a carpet. | 0:40:04 | 0:40:07 | |
Oh, sure. | 0:40:07 | 0:40:09 | |
Better. | 0:40:09 | 0:40:10 | |
Thanks. | 0:40:11 | 0:40:13 | |
HE SIGHS | 0:40:15 | 0:40:17 | |
Well, baby, | 0:40:17 | 0:40:19 | |
now tell me the rest of it. | 0:40:19 | 0:40:21 | |
There isn't any rest of it. | 0:40:25 | 0:40:29 | |
I kept going round and round the studios, | 0:40:29 | 0:40:32 | |
and sometimes they said, "Come back," | 0:40:32 | 0:40:34 | |
and sometimes they said, "Don't come back." | 0:40:34 | 0:40:38 | |
But whatever they said, | 0:40:38 | 0:40:40 | |
it always ended the same way - | 0:40:40 | 0:40:43 | |
no job for a new young movie star. | 0:40:43 | 0:40:46 | |
So I tried to get an agent | 0:40:46 | 0:40:48 | |
because the girls I met all told me, | 0:40:48 | 0:40:50 | |
"Olga, you cannot become a star without an agent." | 0:40:50 | 0:40:54 | |
So I started going round and round the agencies. | 0:40:54 | 0:40:58 | |
I sang for them, | 0:40:58 | 0:41:00 | |
I acted for them, | 0:41:00 | 0:41:02 | |
I even danced for them... | 0:41:02 | 0:41:04 | |
and ended up without an agent. | 0:41:04 | 0:41:07 | |
Imagine. Olga Treskovna without an agent. | 0:41:09 | 0:41:13 | |
Bill, you are not listening. | 0:41:13 | 0:41:16 | |
I'm listening, baby. | 0:41:16 | 0:41:18 | |
I'm listening to a lot of things. | 0:41:18 | 0:41:20 | |
What's the matter, Bill, did the pie upset you? | 0:41:20 | 0:41:23 | |
No, no, no, I'm just thinking. | 0:41:23 | 0:41:25 | |
Can you act? | 0:41:30 | 0:41:31 | |
Who, me? | 0:41:31 | 0:41:32 | |
Who else would I mean? | 0:41:32 | 0:41:33 | |
You know I can act. | 0:41:33 | 0:41:35 | |
How do I know? | 0:41:35 | 0:41:36 | |
I told you. | 0:41:36 | 0:41:37 | |
Oh, yeah. So you did. | 0:41:37 | 0:41:38 | |
I'm much better now. | 0:41:38 | 0:41:40 | |
I spend all my spare time reading plays, learning parts. | 0:41:40 | 0:41:44 | |
Juliet and Meg Wiley. Elizabeth Barrett. | 0:41:44 | 0:41:47 | |
You're better-looking than she is. | 0:41:47 | 0:41:48 | |
Who? | 0:41:48 | 0:41:49 | |
Anna Klovna. You're younger, prettier. | 0:41:49 | 0:41:51 | |
You got more heart. | 0:41:51 | 0:41:52 | |
What are you talking about? | 0:41:52 | 0:41:54 | |
Take it easy, baby. I'm incubating. | 0:41:54 | 0:41:56 | |
Bill, you don't mean Joan Of Arc? | 0:41:58 | 0:42:01 | |
Never mind what I mean. | 0:42:01 | 0:42:03 | |
Let me see you act. | 0:42:03 | 0:42:04 | |
Mr Harris would never hire a stand-in for a star. | 0:42:04 | 0:42:07 | |
Never mind. | 0:42:07 | 0:42:08 | |
Do you know any scenes from the script? | 0:42:08 | 0:42:11 | |
Bill, I know the whole script. | 0:42:11 | 0:42:12 | |
I just want one scene, one big scene. | 0:42:12 | 0:42:15 | |
When? | 0:42:15 | 0:42:16 | |
Right now. | 0:42:16 | 0:42:18 | |
We've got to move quick. | 0:42:18 | 0:42:19 | |
It's one of those things. | 0:42:19 | 0:42:20 | |
All right. You ready? | 0:42:22 | 0:42:23 | |
Yes. | 0:42:23 | 0:42:25 | |
OK, now, come on. | 0:42:25 | 0:42:26 | |
The camera's rolling. You're on. | 0:42:26 | 0:42:28 | |
Action! | 0:42:28 | 0:42:30 | |
It's the scene when she comes into the courtroom | 0:42:32 | 0:42:35 | |
in the castle of Rouen | 0:42:35 | 0:42:37 | |
for the first time. | 0:42:37 | 0:42:39 | |
They've brought her up from the dungeon... | 0:42:40 | 0:42:44 | |
and she walks down the hallway | 0:42:44 | 0:42:47 | |
with her chains hanging from her. | 0:42:47 | 0:42:51 | |
Then the doors of the courtroom open. | 0:42:52 | 0:42:58 | |
She sees all the great English aristocrats | 0:43:03 | 0:43:08 | |
and all the great philosophers | 0:43:08 | 0:43:11 | |
and doctors of theology. | 0:43:11 | 0:43:14 | |
They sit in a circle above her, | 0:43:15 | 0:43:19 | |
all those stone faces. | 0:43:19 | 0:43:23 | |
They're here in the courtroom | 0:43:25 | 0:43:26 | |
to make her confess she is a liar | 0:43:26 | 0:43:28 | |
and a blasphemer | 0:43:28 | 0:43:31 | |
and that the voices she has listened to | 0:43:31 | 0:43:33 | |
come from the devil and not from God, | 0:43:33 | 0:43:37 | |
because if they can make her say that, | 0:43:37 | 0:43:40 | |
then her name would be fouled and ruined. | 0:43:40 | 0:43:43 | |
The French have only one weapon left - | 0:43:45 | 0:43:49 | |
the name of Joan of Arc | 0:43:49 | 0:43:51 | |
and the belief that God is helping them through her. | 0:43:51 | 0:43:55 | |
Cauchon, the bishop in charge of the trial, speaks. | 0:43:57 | 0:44:01 | |
Do you consider yourself in a state of grace? | 0:44:03 | 0:44:07 | |
If I am not, | 0:44:10 | 0:44:12 | |
I hope God will put me there. | 0:44:12 | 0:44:15 | |
And if I am, | 0:44:17 | 0:44:18 | |
I hope he'll keep me there. | 0:44:18 | 0:44:21 | |
We want you to speak the truth. | 0:44:24 | 0:44:28 | |
Truth is a sacred gift from God. | 0:44:28 | 0:44:32 | |
Do you believe that? | 0:44:32 | 0:44:34 | |
Yes... | 0:44:34 | 0:44:36 | |
but people have been hanged | 0:44:37 | 0:44:39 | |
for speaking it. | 0:44:39 | 0:44:41 | |
Why did Satan first command you | 0:44:41 | 0:44:44 | |
to slay the English? | 0:44:44 | 0:44:47 | |
The voices of my saints | 0:44:47 | 0:44:49 | |
commanded me to fight for France. | 0:44:49 | 0:44:52 | |
You went into battle. | 0:44:55 | 0:44:57 | |
I led the battle! | 0:44:57 | 0:44:58 | |
You were present when English blood was shed! | 0:44:58 | 0:45:02 | |
Yes! And what were the English doing on the soil of France? | 0:45:02 | 0:45:06 | |
Why didn't they keep their blood at home | 0:45:06 | 0:45:09 | |
where French swords couldn't spill it? | 0:45:09 | 0:45:11 | |
No... | 0:45:16 | 0:45:18 | |
whatever you do to me... | 0:45:18 | 0:45:21 | |
I will not say what isn't true. | 0:45:21 | 0:45:24 | |
And the truth is... | 0:45:27 | 0:45:30 | |
I am a peasant girl, | 0:45:30 | 0:45:32 | |
and I love my mother and father and my brothers. | 0:45:32 | 0:45:37 | |
And I would have stayed in Domremy | 0:45:37 | 0:45:39 | |
and cooked and sewed and tended the sheep... | 0:45:39 | 0:45:45 | |
but God spoke to me, | 0:45:45 | 0:45:48 | |
through his angel Michael, | 0:45:48 | 0:45:52 | |
and he told me to go out into the world | 0:45:52 | 0:45:55 | |
and help my people. | 0:45:55 | 0:45:57 | |
I went... | 0:45:59 | 0:46:01 | |
and I fought... | 0:46:01 | 0:46:04 | |
and if I escape from here, | 0:46:04 | 0:46:06 | |
I will continue to fight for them. | 0:46:06 | 0:46:09 | |
And if I do not escape | 0:46:12 | 0:46:14 | |
and you burn me for what I've done... | 0:46:14 | 0:46:18 | |
..I will kneel in the fire | 0:46:21 | 0:46:25 | |
and give God my thanks | 0:46:25 | 0:46:27 | |
for his kindness to me | 0:46:27 | 0:46:30 | |
and my people. | 0:46:30 | 0:46:32 | |
OK. | 0:46:41 | 0:46:42 | |
OK, baby, sit down. | 0:46:45 | 0:46:46 | |
Where's the phone? Oh. | 0:46:46 | 0:46:48 | |
Was it all right? | 0:46:54 | 0:46:56 | |
Yeah, yeah. | 0:46:56 | 0:46:58 | |
Hello. Mr Harris, please. | 0:47:04 | 0:47:05 | |
Bill Dunnigan calling. | 0:47:05 | 0:47:07 | |
Yes, will you, please? | 0:47:07 | 0:47:08 | |
Bill. | 0:47:08 | 0:47:10 | |
Shh. | 0:47:10 | 0:47:11 | |
Hello, Marcus. Bill Dunnigan. | 0:47:11 | 0:47:13 | |
I've got some very important news. | 0:47:13 | 0:47:15 | |
Hang on to your hat. | 0:47:15 | 0:47:16 | |
All right. Hang on to your pyjamas, then. | 0:47:16 | 0:47:18 | |
You don't have to shelve the picture. | 0:47:18 | 0:47:20 | |
Just keep listening, will you? | 0:47:20 | 0:47:22 | |
I found another Anna Klovna, plus. | 0:47:22 | 0:47:25 | |
Would I call you up if I were kidding? | 0:47:25 | 0:47:28 | |
She's young, beautiful, completely unknown. | 0:47:28 | 0:47:31 | |
Can she act? | 0:47:31 | 0:47:32 | |
Can Heifetz fiddle? Can Joe Louis fight? | 0:47:32 | 0:47:34 | |
I'm telling you, this is it. | 0:47:34 | 0:47:36 | |
I want her tested first thing in the morning. | 0:47:36 | 0:47:40 | |
Give me your OK and I'll set everything up. | 0:47:40 | 0:47:42 | |
Sure, sure. I've got her all tied up. | 0:47:42 | 0:47:45 | |
Nobody'll get to her before you see the test. | 0:47:45 | 0:47:47 | |
I give you my solemn word of honour. | 0:47:47 | 0:47:50 | |
I'll see you tomorrow. Goodnight. | 0:47:50 | 0:47:53 | |
Bill. | 0:47:53 | 0:47:54 | |
Relax, baby. | 0:47:54 | 0:47:55 | |
I'm going to explode. | 0:47:55 | 0:47:57 | |
You're going to bed. | 0:47:57 | 0:47:58 | |
It's like the time I heard you in the dark | 0:47:58 | 0:48:01 | |
saying, "Give the kid a break." | 0:48:01 | 0:48:04 | |
I don't know why I deserve anybody like you. | 0:48:04 | 0:48:07 | |
I've got to talk Dolan into making the test. | 0:48:07 | 0:48:09 | |
We don't want it made by some stooge. | 0:48:09 | 0:48:11 | |
And you're going to bed right now and sleep. | 0:48:11 | 0:48:16 | |
You didn't tell him who I really am. | 0:48:16 | 0:48:18 | |
We'll come to that jump tomorrow. | 0:48:18 | 0:48:20 | |
How can I ever repay you? | 0:48:20 | 0:48:21 | |
By knocking 'em dead, baby. | 0:48:21 | 0:48:23 | |
Tomorrow's the big day. | 0:48:25 | 0:48:27 | |
Not as big as now. | 0:48:27 | 0:48:29 | |
Oh, Bill. | 0:48:29 | 0:48:31 | |
Thanks. | 0:48:32 | 0:48:34 | |
No, they don't have to worry which side to photograph. | 0:48:39 | 0:48:42 | |
They're both perfect. | 0:48:42 | 0:48:43 | |
And those eyes. | 0:48:43 | 0:48:46 | |
All right, baby, I want you fresh | 0:48:46 | 0:48:47 | |
when you play that big scene for the camera tomorrow. | 0:48:47 | 0:48:50 | |
Goodnight. | 0:48:50 | 0:48:51 | |
Goodnight. | 0:48:56 | 0:48:57 | |
Now, don't worry about anything. | 0:48:57 | 0:48:58 | |
I'll take care of wardrobe and notify make-up. | 0:48:58 | 0:49:00 | |
See you on the barricades at dawn, baby. | 0:49:00 | 0:49:03 | |
Somebody's crazy. | 0:49:15 | 0:49:16 | |
It isn't I, it's you. | 0:49:16 | 0:49:17 | |
You're the craziest man I've had here. | 0:49:17 | 0:49:20 | |
Will you listen to me? | 0:49:20 | 0:49:21 | |
I'm listening and hearing a lunatic. | 0:49:21 | 0:49:23 | |
How can you ask me to spend 3 million | 0:49:23 | 0:49:25 | |
on somebody called Olga Trestoogy... | 0:49:25 | 0:49:27 | |
Treskovna. | 0:49:27 | 0:49:28 | |
A girl who's never acted, | 0:49:28 | 0:49:29 | |
a burlesque girl. | 0:49:29 | 0:49:31 | |
Joan of Arc. | 0:49:31 | 0:49:32 | |
You're a nice guy. | 0:49:32 | 0:49:34 | |
I don't want to get sore. | 0:49:34 | 0:49:36 | |
He doesn't want to get sore. | 0:49:36 | 0:49:38 | |
You don't have to test Olga Treskovna. | 0:49:38 | 0:49:41 | |
You don't have to hire her, | 0:49:41 | 0:49:42 | |
but you're going to know this. | 0:49:42 | 0:49:44 | |
She's better than any star you ever wanted. | 0:49:44 | 0:49:46 | |
Not only her acting, | 0:49:46 | 0:49:48 | |
it's what's inside her. | 0:49:48 | 0:49:49 | |
It's something you don't see in the world often. | 0:49:49 | 0:49:52 | |
Don't test it, don't buy it, | 0:49:52 | 0:49:54 | |
but take your hat off to it. | 0:49:54 | 0:49:55 | |
INTERCOM BUZZES | 0:49:55 | 0:49:58 | |
What is it? | 0:49:58 | 0:49:59 | |
Miss Olga Treskovna is here. | 0:49:59 | 0:50:01 | |
Tell her to come in. | 0:50:03 | 0:50:05 | |
Olga Treskovna, | 0:50:20 | 0:50:22 | |
Mr Marcus Harris. | 0:50:22 | 0:50:23 | |
How do you do, Mr Harris? | 0:50:23 | 0:50:26 | |
I always wanted to come through that door | 0:50:30 | 0:50:32 | |
and stand here in a lovely costume | 0:50:32 | 0:50:34 | |
and say, "How do you do, Mr Harris?" | 0:50:34 | 0:50:37 | |
Mr Dolan, | 0:50:46 | 0:50:48 | |
you will please make a test of Miss Treskovna | 0:50:48 | 0:50:51 | |
for the leading part in our picture. | 0:50:51 | 0:50:54 | |
And good luck. | 0:51:01 | 0:51:03 | |
Thank you. | 0:51:03 | 0:51:05 | |
Well, the test was great. | 0:51:05 | 0:51:07 | |
We started shooting three days later, | 0:51:07 | 0:51:09 | |
and she was even better. | 0:51:09 | 0:51:10 | |
We were all set and away. | 0:51:10 | 0:51:13 | |
She had a special dressing room, | 0:51:13 | 0:51:15 | |
special studio car, | 0:51:15 | 0:51:16 | |
and everybody raving about her. | 0:51:16 | 0:51:18 | |
No gags. Real raves. | 0:51:18 | 0:51:21 | |
I'll tell you, Father, | 0:51:21 | 0:51:23 | |
you've never seen a dream come true like this one. | 0:51:23 | 0:51:25 | |
Sounds wonderful. | 0:51:25 | 0:51:26 | |
DOORBELL RINGS | 0:51:26 | 0:51:28 | |
I think that's Mr Orloff. | 0:51:30 | 0:51:32 | |
Come in, please. | 0:51:36 | 0:51:37 | |
Where do you want the box? | 0:51:39 | 0:51:41 | |
Would you carry it into the church? | 0:51:41 | 0:51:44 | |
I got it uncrated for you. | 0:51:44 | 0:51:47 | |
Yes, you may keep the lumber, Mr Orloff. | 0:51:47 | 0:51:49 | |
That don't pay me. | 0:51:49 | 0:51:51 | |
There's an extra charge - | 0:51:51 | 0:51:53 | |
5 bucks. | 0:51:53 | 0:51:55 | |
There you are. | 0:51:59 | 0:52:00 | |
Now beat it. | 0:52:00 | 0:52:02 | |
You're going to hear from Father Spinsky. | 0:52:02 | 0:52:04 | |
Yes, sir. | 0:52:04 | 0:52:06 | |
I hope this isn't causing you any trouble, Father. | 0:52:10 | 0:52:12 | |
Oh, no. | 0:52:12 | 0:52:14 | |
Father Spinsky is a man of God | 0:52:14 | 0:52:16 | |
with a rather expensive church to keep up, | 0:52:16 | 0:52:18 | |
and I'm sure he'll understand the situation | 0:52:18 | 0:52:21 | |
when I explain it. | 0:52:21 | 0:52:22 | |
It's time for the evening services. | 0:52:23 | 0:52:25 | |
Would you care to come with me? | 0:52:25 | 0:52:27 | |
In church? Oh, I don't know, Father. | 0:52:27 | 0:52:29 | |
Please, come and see her there. | 0:52:29 | 0:52:31 | |
I wouldn't worry about Mr Orloff's revenge, Mr Dunnigan. | 0:52:35 | 0:52:38 | |
There isn't anything that anyone can do to St Michael's | 0:52:38 | 0:52:41 | |
that the wind, rain, and coal dust haven't already done. | 0:52:41 | 0:52:45 | |
Not much of a house. | 0:53:05 | 0:53:07 | |
We're fixing the leaks in the roof. | 0:53:07 | 0:53:09 | |
Oh, I didn't mean that. | 0:53:09 | 0:53:10 | |
I mean nobody out front. | 0:53:10 | 0:53:12 | |
You know, attending. | 0:53:12 | 0:53:14 | |
Is this an off night? | 0:53:14 | 0:53:15 | |
No. We hardly ever have more than a dozen or so. | 0:53:15 | 0:53:19 | |
The men are tired when they come out of the mines. | 0:53:19 | 0:53:23 | |
The women also work very hard here in Coaltown. | 0:53:23 | 0:53:27 | |
It seems they're almost too tired | 0:53:27 | 0:53:28 | |
to come to God. | 0:53:28 | 0:53:30 | |
Those statues look rather lonely, don't they? | 0:53:32 | 0:53:35 | |
Say, isn't that our boy up there? | 0:53:35 | 0:53:37 | |
Yes, St Michael the archangel. | 0:53:37 | 0:53:39 | |
I thought so. | 0:53:39 | 0:53:41 | |
It's a shame, a house like this. | 0:53:45 | 0:53:47 | |
I think your church needs a press agent, Father. | 0:53:47 | 0:53:51 | |
God doesn't need a press agent. | 0:53:51 | 0:53:53 | |
I'm not so sure. | 0:53:53 | 0:53:55 | |
Once upon a time, | 0:53:55 | 0:53:56 | |
he had 12 very good press agents. | 0:53:56 | 0:53:58 | |
Top men. | 0:53:58 | 0:54:00 | |
My, I never thought of the apostles as press agents. | 0:54:00 | 0:54:04 | |
What else were they? | 0:54:04 | 0:54:05 | |
They sold the biggest story that ever happened | 0:54:05 | 0:54:07 | |
to a whole world - | 0:54:07 | 0:54:08 | |
and without the benefit of newspapers and radio. | 0:54:08 | 0:54:10 | |
Terrific job. | 0:54:10 | 0:54:12 | |
Oh, yes, terrific job. | 0:54:12 | 0:54:16 | |
You'll stay for the services? | 0:54:16 | 0:54:17 | |
Oh, I don't think so, Father. | 0:54:17 | 0:54:21 | |
I guess I haven't been inside a church | 0:54:21 | 0:54:23 | |
since my mother stopped taking me. | 0:54:23 | 0:54:25 | |
She died when I was seven. | 0:54:25 | 0:54:27 | |
She was a Protestant. | 0:54:28 | 0:54:30 | |
You won't change your mind and stay, | 0:54:30 | 0:54:32 | |
as a Protestant? | 0:54:32 | 0:54:33 | |
No. I'll drop in some other time. | 0:54:33 | 0:54:37 | |
I'll see you tomorrow. | 0:54:37 | 0:54:38 | |
Yeah. | 0:54:38 | 0:54:40 | |
Goodnight, kid. | 0:54:50 | 0:54:51 | |
Olga used to talk to me about these hills. | 0:54:54 | 0:54:57 | |
"Mountains covered with flowers", she called them. | 0:54:57 | 0:55:00 | |
Coaltown doesn't look so bad from here. | 0:55:03 | 0:55:06 | |
The coal dust doesn't blow up here. | 0:55:06 | 0:55:09 | |
The flowers are always clean. | 0:55:09 | 0:55:11 | |
If I had to live down there, | 0:55:11 | 0:55:14 | |
I think I'd welcome coming up here | 0:55:14 | 0:55:15 | |
for a good long sleep. | 0:55:15 | 0:55:18 | |
Perhaps most of them do. | 0:55:18 | 0:55:20 | |
SINGING IN POLISH | 0:55:20 | 0:55:22 | |
Good morning. | 0:55:32 | 0:55:34 | |
Good morning, Father. | 0:55:34 | 0:55:35 | |
HE HUMS THE POLISH SONG | 0:55:38 | 0:55:40 | |
You know that song? | 0:55:43 | 0:55:45 | |
Yes. Olga sang it for me once. | 0:55:45 | 0:55:48 | |
She said it was about coming home | 0:55:48 | 0:55:50 | |
after you've been away for a long time. | 0:55:50 | 0:55:52 | |
Yes. It's a sort of a Polish "Home, Sweet Home". | 0:55:52 | 0:55:57 | |
It has an English translation, too. | 0:55:57 | 0:55:59 | |
# Ever homeward | 0:56:01 | 0:56:04 | |
# Ever homeward | 0:56:04 | 0:56:07 | |
# Yearns the weary rover | 0:56:07 | 0:56:11 | |
# Ever homeward | 0:56:11 | 0:56:14 | |
# Ever homeward | 0:56:14 | 0:56:17 | |
# Till the journey's over | 0:56:17 | 0:56:22 | |
# Warm embraces, friendly faces | 0:56:22 | 0:56:27 | |
# Sing welcome home | 0:56:27 | 0:56:31 | |
# Let me lie there | 0:56:31 | 0:56:33 | |
# 'Neath the sky there | 0:56:33 | 0:56:36 | |
# Nevermore to roam | 0:56:36 | 0:56:41 | |
# Ever homeward | 0:56:41 | 0:56:44 | |
# Ever homeward | 0:56:44 | 0:56:47 | |
# Yearns the weary rover | 0:56:47 | 0:56:52 | |
# Ever homeward | 0:56:52 | 0:56:55 | |
# Ever homeward | 0:56:55 | 0:56:58 | |
# Now the journey's over. # | 0:56:58 | 0:57:05 | |
Thank you, Father. | 0:57:05 | 0:57:06 | |
That song makes Coaltown seem different somehow. | 0:57:06 | 0:57:10 | |
When you're up here, | 0:57:10 | 0:57:11 | |
you can understand Coaltown. | 0:57:11 | 0:57:14 | |
You realise that the sins of the poor | 0:57:14 | 0:57:16 | |
are mostly in their poverty, | 0:57:16 | 0:57:17 | |
not in themselves. | 0:57:17 | 0:57:20 | |
My own small troubles seem very unimportant, | 0:57:20 | 0:57:23 | |
my failures insignificant. | 0:57:23 | 0:57:25 | |
Your failures, Father? | 0:57:25 | 0:57:27 | |
Oh, yes. | 0:57:27 | 0:57:28 | |
When I was ordained, | 0:57:28 | 0:57:30 | |
I came here filled with the zeal and confidence of a crusader. | 0:57:30 | 0:57:34 | |
St Michael and I would form a partnership | 0:57:34 | 0:57:37 | |
and make over Coaltown, | 0:57:37 | 0:57:40 | |
but I had forgotten that the first lesson | 0:57:40 | 0:57:42 | |
a young student learns in a seminary is humility. | 0:57:42 | 0:57:46 | |
Tell me more about Olga. | 0:57:46 | 0:57:48 | |
I asked a friend if she had heard of Olga Treskovna, | 0:57:48 | 0:57:51 | |
the movie actress. | 0:57:51 | 0:57:52 | |
She said she hadn't. | 0:57:52 | 0:57:54 | |
I told her she was very famous. | 0:57:54 | 0:57:58 | |
They wouldn't let her become famous. | 0:57:58 | 0:58:01 | |
But you said she was very successful. | 0:58:01 | 0:58:03 | |
No, not that way. | 0:58:03 | 0:58:05 | |
She was great, but no-one will ever know it. | 0:58:05 | 0:58:07 | |
A new star, but no-one will ever see her. | 0:58:07 | 0:58:10 | |
Well, what happened, Mr Dunnigan? | 0:58:10 | 0:58:12 | |
You don't know Hollywood, do you, Father? | 0:58:12 | 0:58:14 | |
Only from what I've seen in pictures. | 0:58:14 | 0:58:17 | |
I'll tell you. | 0:58:17 | 0:58:18 | |
Maybe I'll get an idea if I talk. | 0:58:18 | 0:58:20 | |
You got time? | 0:58:20 | 0:58:21 | |
Oh, yes. | 0:58:21 | 0:58:22 | |
Well, Marcus tripled her take | 0:58:22 | 0:58:24 | |
after two weeks of shooting. | 0:58:24 | 0:58:25 | |
That's how good she was. | 0:58:25 | 0:58:26 | |
Tore up her contract. | 0:58:26 | 0:58:29 | |
But she never changed. | 0:58:29 | 0:58:31 | |
It's quite a thing to jump from nowhere into stardom. | 0:58:31 | 0:58:35 | |
One day nobody's talking to you, | 0:58:35 | 0:58:37 | |
the next day there's a world at your feet. | 0:58:37 | 0:58:39 | |
'She was hounded by reporters, | 0:58:39 | 0:58:41 | |
'interviewers, columnists. | 0:58:41 | 0:58:43 | |
'Helped along by me, of course. | 0:58:43 | 0:58:45 | |
'She was a natural for publicity. | 0:58:45 | 0:58:47 | |
'A real Cinderella story. | 0:58:47 | 0:58:50 | |
'And all the time she was getting thinner | 0:58:50 | 0:58:52 | |
'and more tired, | 0:58:52 | 0:58:53 | |
'but she'd been working very hard, | 0:58:53 | 0:58:55 | |
'and I thought it was just that. | 0:58:55 | 0:58:57 | |
'I was too blind | 0:58:57 | 0:58:58 | |
'to even suspect anything more serious | 0:58:58 | 0:59:00 | |
'until one day in her dressing room...' | 0:59:00 | 0:59:02 | |
See you soon. Bye-bye. | 0:59:02 | 0:59:04 | |
Help me out of this. | 0:59:04 | 0:59:06 | |
It weighs a tonne. | 0:59:06 | 0:59:08 | |
Oh, what a day. | 0:59:08 | 0:59:10 | |
What a lovely, lovely day. | 0:59:10 | 0:59:12 | |
I've never worked so hard in all my life. | 0:59:12 | 0:59:14 | |
Dolan's a regular slave-driver, | 0:59:14 | 0:59:16 | |
but I love him for it. | 0:59:16 | 0:59:18 | |
Oh, I feel as light as air. | 0:59:18 | 0:59:22 | |
Does she have a temperature? | 0:59:22 | 0:59:25 | |
She's awfully hot. | 0:59:25 | 0:59:26 | |
You would be, too, under those lights | 0:59:26 | 0:59:28 | |
with all this armour on. | 0:59:28 | 0:59:31 | |
Let's have a wonderful party, Bill, | 0:59:32 | 0:59:34 | |
when the picture's over. | 0:59:34 | 0:59:36 | |
Yeah, we'll do that. | 0:59:36 | 0:59:38 | |
Poor serious Bill. | 0:59:38 | 0:59:40 | |
He is so terribly serious. | 0:59:40 | 0:59:42 | |
He doesn't know how gay life can be, | 0:59:42 | 0:59:44 | |
how wonderful it... | 0:59:44 | 0:59:46 | |
SHE COUGHS | 0:59:46 | 0:59:48 | |
Get me that bottle, Mr Dunnigan. | 0:59:48 | 0:59:51 | |
Here, dear. Take this. | 1:00:00 | 1:00:01 | |
It's just some cough medicine | 1:00:07 | 1:00:09 | |
Dr Jennings has given me. | 1:00:09 | 1:00:11 | |
Dr Jennings? | 1:00:11 | 1:00:13 | |
I've been using my voice so much lately - | 1:00:13 | 1:00:15 | |
all those long speeches - | 1:00:15 | 1:00:17 | |
10, 11 takes. | 1:00:17 | 1:00:18 | |
By the way, Miss Olga, | 1:00:18 | 1:00:20 | |
the doctor's office phoned. | 1:00:20 | 1:00:21 | |
He wants you to come in after work. | 1:00:21 | 1:00:24 | |
He'll wait for you. | 1:00:24 | 1:00:25 | |
Yes, I'll go. | 1:00:25 | 1:00:26 | |
I told him you would. | 1:00:26 | 1:00:28 | |
Just think, Bill - | 1:00:28 | 1:00:30 | |
three more days, and the picture will be finished. | 1:00:30 | 1:00:33 | |
As soon as it's finished, | 1:00:33 | 1:00:35 | |
you're going down to Palm Springs for a rest. | 1:00:35 | 1:00:37 | |
I'll arrange for a bungalow. | 1:00:37 | 1:00:39 | |
That would be wonderful, Bill. | 1:00:39 | 1:00:41 | |
You look so tired, you frighten me. | 1:00:41 | 1:00:43 | |
I don't see patients without appointments, | 1:00:45 | 1:00:48 | |
but my nurse tells me this is an emergency. | 1:00:48 | 1:00:49 | |
Maybe it is. | 1:00:49 | 1:00:52 | |
Doctor, I want to know what's wrong with Olga Treskovna. | 1:00:52 | 1:00:55 | |
I don't discuss my patients with strangers. | 1:00:55 | 1:00:57 | |
I'm not a stranger. | 1:00:57 | 1:01:00 | |
Is your name Dunnigan? | 1:01:00 | 1:01:01 | |
Yeah. How did you know? | 1:01:01 | 1:01:03 | |
I asked her as a matter of routine | 1:01:03 | 1:01:05 | |
her next of kin. | 1:01:05 | 1:01:07 | |
She filled in the name of William Dunnigan. | 1:01:07 | 1:01:10 | |
How sick is she, Doctor? | 1:01:12 | 1:01:16 | |
She's a very sick girl, Mr Dunnigan. | 1:01:16 | 1:01:18 | |
She has been for a long time. | 1:01:18 | 1:01:20 | |
Coal dust weakened her lungs as a child. | 1:01:20 | 1:01:22 | |
We call that anthracosis. | 1:01:22 | 1:01:24 | |
It isn't always serious if we get it in time. | 1:01:24 | 1:01:26 | |
I see. | 1:01:26 | 1:01:27 | |
But Olga has developed tuberculosis. | 1:01:27 | 1:01:30 | |
Her X-rays are pretty bad. | 1:01:30 | 1:01:32 | |
She needs what we call surgical rest. | 1:01:32 | 1:01:35 | |
She should have had this supervised rest a long time ago. | 1:01:35 | 1:01:40 | |
If we could send her to a sanitarium... | 1:01:40 | 1:01:42 | |
I tried to persuade her to, | 1:01:42 | 1:01:45 | |
but something seems to be driving her. | 1:01:45 | 1:01:48 | |
She's determined to finish this picture, | 1:01:48 | 1:01:50 | |
even if it kills her. | 1:01:50 | 1:01:51 | |
Yeah, I know. | 1:01:51 | 1:01:53 | |
But she will get well? | 1:01:54 | 1:01:56 | |
If it's not too late. | 1:01:56 | 1:01:58 | |
Perhaps you and I, working together, | 1:01:58 | 1:02:01 | |
can save her. | 1:02:01 | 1:02:02 | |
There's always a chance. | 1:02:02 | 1:02:05 | |
No more than that, huh? | 1:02:05 | 1:02:07 | |
Well... | 1:02:11 | 1:02:13 | |
Thanks for telling me, Doctor. | 1:02:14 | 1:02:16 | |
Goodbye. | 1:02:16 | 1:02:17 | |
Goodbye. | 1:02:17 | 1:02:18 | |
OLGA: Do you see over there | 1:02:45 | 1:02:47 | |
where that V-shaped cluster is? | 1:02:47 | 1:02:49 | |
Just to the right of it. The bright one. | 1:02:49 | 1:02:53 | |
It's there to remind me every night | 1:02:53 | 1:02:55 | |
of where I'm going. | 1:02:55 | 1:02:56 | |
How is she? | 1:03:07 | 1:03:09 | |
All right, I guess. | 1:03:09 | 1:03:10 | |
Everybody ready? | 1:03:10 | 1:03:11 | |
Ready. | 1:03:11 | 1:03:12 | |
Start your background action. Camera ready? | 1:03:12 | 1:03:14 | |
Ready. Take it up. | 1:03:14 | 1:03:16 | |
Background, action! | 1:03:16 | 1:03:17 | |
All right, roll it! | 1:03:17 | 1:03:19 | |
Action! | 1:03:23 | 1:03:24 | |
CROWD SHOUT | 1:03:24 | 1:03:26 | |
All right, cut! That's it! | 1:04:08 | 1:04:11 | |
Olga, I'm going to tell Dolan | 1:04:16 | 1:04:17 | |
you're not going to work any more today. | 1:04:17 | 1:04:19 | |
No. No, Bill. Please. | 1:04:19 | 1:04:22 | |
Why? | 1:04:22 | 1:04:23 | |
Because you're all in, that's why. | 1:04:23 | 1:04:25 | |
There's just one more shot, | 1:04:25 | 1:04:27 | |
then it's finished, the whole picture. | 1:04:27 | 1:04:29 | |
Yeah, but look, baby, | 1:04:29 | 1:04:30 | |
it doesn't have to be finished today. | 1:04:30 | 1:04:32 | |
Marcus said we can pick up this | 1:04:32 | 1:04:34 | |
last shot tomorrow or next week. | 1:04:34 | 1:04:35 | |
Oh, please, Bill. | 1:04:35 | 1:04:37 | |
This is important to me. | 1:04:37 | 1:04:40 | |
Please. | 1:04:40 | 1:04:42 | |
We're ready, Miss Treskovna. | 1:04:42 | 1:04:44 | |
Coming. | 1:04:44 | 1:04:45 | |
Come along, Bill. | 1:04:47 | 1:04:48 | |
Here I am, Mike. | 1:04:53 | 1:04:54 | |
Oh. How are you? | 1:04:54 | 1:04:55 | |
Are you ready for the big scene? | 1:04:56 | 1:04:58 | |
Yes. | 1:04:58 | 1:04:59 | |
It's the last shot. | 1:04:59 | 1:05:00 | |
Can you go through to the finish? | 1:05:00 | 1:05:01 | |
Yes. | 1:05:01 | 1:05:03 | |
You're the best there is. | 1:05:03 | 1:05:05 | |
Get up there and give it all you've got. | 1:05:05 | 1:05:08 | |
All right, put the chains on her, boys. | 1:05:12 | 1:05:15 | |
Is the fire ready? | 1:05:16 | 1:05:17 | |
Yes, sir. | 1:05:17 | 1:05:19 | |
OK, let's turn them over. | 1:05:27 | 1:05:30 | |
Action! | 1:05:32 | 1:05:33 | |
All you who are here... | 1:05:39 | 1:05:44 | |
I pardon you for what you do. | 1:05:44 | 1:05:46 | |
I am young, and I do not know much of life, | 1:05:50 | 1:05:53 | |
but I know that this little place in which I stand | 1:05:53 | 1:05:57 | |
is not the world. | 1:05:57 | 1:06:00 | |
There are places I've never seen | 1:06:00 | 1:06:03 | |
where men and women | 1:06:03 | 1:06:05 | |
are full of sweetness and hope. | 1:06:05 | 1:06:09 | |
I speak to them | 1:06:09 | 1:06:11 | |
out of the pain that comes. | 1:06:11 | 1:06:13 | |
Dream on. | 1:06:14 | 1:06:16 | |
Dream on of God and goodness. | 1:06:16 | 1:06:20 | |
Believe in truth and justice, | 1:06:20 | 1:06:24 | |
for the world is yours. | 1:06:24 | 1:06:26 | |
I will not die. | 1:06:28 | 1:06:31 | |
I will not die. | 1:06:31 | 1:06:33 | |
When the fire burns me, | 1:06:33 | 1:06:36 | |
my soul will remain | 1:06:36 | 1:06:39 | |
to sing the glory of God. | 1:06:39 | 1:06:41 | |
I will remain as a light, | 1:06:41 | 1:06:44 | |
a light for those in the dark. | 1:06:44 | 1:06:46 | |
My Jesus... | 1:06:50 | 1:06:53 | |
bless him. | 1:06:53 | 1:06:55 | |
All right, cut! | 1:06:56 | 1:06:58 | |
APPLAUSE | 1:06:58 | 1:07:00 | |
DUNNIGAN: 'It was an inspired performance. | 1:07:00 | 1:07:02 | |
'The crowd knew it, and I knew it, | 1:07:02 | 1:07:05 | |
'but it wasn't until the next day | 1:07:05 | 1:07:06 | |
'that I realised it was more than a performance | 1:07:06 | 1:07:09 | |
'because it wasn't Joan dying, | 1:07:09 | 1:07:11 | |
'it was Olga. | 1:07:11 | 1:07:12 | |
'She died the day after the picture was finished.' | 1:07:12 | 1:07:15 | |
I, uh... | 1:07:24 | 1:07:27 | |
I've decided not to release Joan Of Arc. | 1:07:27 | 1:07:29 | |
I'm going to shelve the picture | 1:07:35 | 1:07:36 | |
and remake it when I can find the proper person | 1:07:36 | 1:07:39 | |
to play the part again. | 1:07:39 | 1:07:40 | |
You're going to shelve it? | 1:07:42 | 1:07:44 | |
Marcus, you can't do that. | 1:07:47 | 1:07:49 | |
Nobody else will ever give you | 1:07:49 | 1:07:51 | |
a performance like that. | 1:07:51 | 1:07:52 | |
Don't argue with me, Bill. | 1:07:52 | 1:07:54 | |
I'm not going to release a picture | 1:07:54 | 1:07:56 | |
with a dead girl in it, | 1:07:56 | 1:07:57 | |
and that's final. | 1:07:57 | 1:08:00 | |
You've got to release it, Marcus. | 1:08:00 | 1:08:02 | |
Olga died to make it. | 1:08:02 | 1:08:04 | |
She gave up her life to act in it, | 1:08:04 | 1:08:05 | |
to make something beautiful. | 1:08:05 | 1:08:07 | |
Where's your heart, Marcus? | 1:08:07 | 1:08:09 | |
You're a great guy. Do it for her. | 1:08:09 | 1:08:12 | |
I'm sorry, Bill. I can't. | 1:08:12 | 1:08:14 | |
If Olga had been a girl | 1:08:14 | 1:08:15 | |
whom the public had seen and known, | 1:08:15 | 1:08:17 | |
learned to love, | 1:08:17 | 1:08:18 | |
I might be willing to take a chance, | 1:08:18 | 1:08:20 | |
but they've never seen her before. | 1:08:20 | 1:08:22 | |
All they could be told | 1:08:22 | 1:08:24 | |
would be that they can't see her again. | 1:08:24 | 1:08:26 | |
We all gambled on an unknown and lost. | 1:08:26 | 1:08:30 | |
We didn't know she was sick. | 1:08:30 | 1:08:33 | |
Now I'm going to take my losses, | 1:08:33 | 1:08:34 | |
and try again when I can recast the part | 1:08:34 | 1:08:36 | |
with an established star. | 1:08:36 | 1:08:39 | |
That's all, gentlemen. | 1:08:39 | 1:08:40 | |
I'm sorry, Bill. | 1:08:47 | 1:08:49 | |
She was a fine girl, | 1:08:49 | 1:08:52 | |
but my going bankrupt | 1:08:52 | 1:08:53 | |
isn't going to help her or you or me. | 1:08:53 | 1:08:56 | |
What are you going to do, Bill? | 1:08:58 | 1:09:01 | |
I'm taking her home. | 1:09:01 | 1:09:03 | |
That's what she wanted. | 1:09:03 | 1:09:05 | |
Take a rest for yourself. | 1:09:06 | 1:09:08 | |
You don't look well. | 1:09:08 | 1:09:09 | |
And then come back. | 1:09:09 | 1:09:11 | |
I don't think so, Marcus. | 1:09:13 | 1:09:15 | |
So long. | 1:09:16 | 1:09:17 | |
It's tough, Bill, but...it'll pass. | 1:09:19 | 1:09:23 | |
Everything does. | 1:09:23 | 1:09:25 | |
I don't think so. | 1:09:27 | 1:09:28 | |
It can't end like this. | 1:09:31 | 1:09:33 | |
But that's the way it did end - | 1:09:34 | 1:09:37 | |
picture shelved, | 1:09:37 | 1:09:38 | |
Olga's talent and beauty stuck away | 1:09:38 | 1:09:40 | |
in a vault... | 1:09:40 | 1:09:43 | |
buried like we're going to bury her. | 1:09:43 | 1:09:46 | |
It's kind of mean for a girl to have two funerals, | 1:09:48 | 1:09:50 | |
one for her body | 1:09:50 | 1:09:53 | |
and one for her soul. | 1:09:53 | 1:09:54 | |
BELL RINGS | 1:09:54 | 1:09:57 | |
HE PRAYS IN LATIN | 1:09:57 | 1:10:00 | |
Church bells, aren't they, Father? | 1:10:00 | 1:10:02 | |
Yes. | 1:10:02 | 1:10:03 | |
What are they ringing for? | 1:10:03 | 1:10:05 | |
Why, they ring every day at noon | 1:10:05 | 1:10:07 | |
all over the world. | 1:10:07 | 1:10:08 | |
I guess I never listened. | 1:10:08 | 1:10:10 | |
They ring to remind us | 1:10:10 | 1:10:11 | |
how the angel of the Lord came to Mary. | 1:10:11 | 1:10:14 | |
Hey, I knew there was something I'd forgotten. | 1:10:14 | 1:10:16 | |
It's been haunting me. | 1:10:16 | 1:10:18 | |
Olga wanted your church bell rung at the funeral. | 1:10:18 | 1:10:21 | |
That's the kind of sap I am. | 1:10:21 | 1:10:22 | |
I almost forgot her last request. | 1:10:22 | 1:10:24 | |
I'd like to arrange that, Father. | 1:10:24 | 1:10:26 | |
Certainly. I'll tell the sexton. | 1:10:26 | 1:10:27 | |
Is it expensive? | 1:10:27 | 1:10:29 | |
I just don't want to short-change anybody. | 1:10:29 | 1:10:32 | |
We usually give the sexton 5.00, | 1:10:32 | 1:10:34 | |
and he rings the bell for 15 minutes. | 1:10:34 | 1:10:37 | |
You've thought of something else? | 1:10:39 | 1:10:40 | |
Yeah. | 1:10:40 | 1:10:42 | |
Father, how many churches are there in Coaltown? | 1:10:42 | 1:10:45 | |
Why, we have five churches. | 1:10:45 | 1:10:47 | |
Do they all have bells? | 1:10:47 | 1:10:49 | |
Well, yes. They have fine bells. | 1:10:49 | 1:10:51 | |
Five churches with bells, huh? | 1:10:51 | 1:10:53 | |
Mr Dunnigan, you're not thinking... | 1:10:53 | 1:10:55 | |
I'm thinking of a lot of things. | 1:10:55 | 1:10:57 | |
This is pretty big. | 1:10:57 | 1:10:59 | |
I've been sleeping. I've been walking around in a daze. | 1:10:59 | 1:11:03 | |
Look, Father. Five churches, five bells. | 1:11:03 | 1:11:05 | |
I want all the bells to ring at 8:00 tonight | 1:11:05 | 1:11:08 | |
and keep on ringing for three days. | 1:11:08 | 1:11:10 | |
But why? | 1:11:10 | 1:11:11 | |
A brain cell moved finally. | 1:11:11 | 1:11:13 | |
I was sitting around moaning | 1:11:13 | 1:11:14 | |
like a beggar on a rainy day. | 1:11:14 | 1:11:16 | |
It's going to cost money. | 1:11:16 | 1:11:17 | |
What? | 1:11:17 | 1:11:19 | |
Ringing the bells for three days and three nights. | 1:11:19 | 1:11:21 | |
You'll have to hire men at so much per hour. | 1:11:21 | 1:11:23 | |
That will be taken care of. | 1:11:23 | 1:11:24 | |
You said you had no money. | 1:11:24 | 1:11:26 | |
You've heard of St Michael. | 1:11:26 | 1:11:28 | |
He was a scrapper, wasn't he? | 1:11:28 | 1:11:30 | |
Indeed. He was the first warrior of Heaven. | 1:11:30 | 1:11:33 | |
He rescued Peter the Apostle from prison twice | 1:11:33 | 1:11:35 | |
and fought and defeated Lucifer, Prince of Darkness. | 1:11:35 | 1:11:37 | |
What are you worried about? | 1:11:37 | 1:11:39 | |
He's on our side, isn't he? | 1:11:39 | 1:11:42 | |
Sit down, Mr Dunnigan. | 1:11:57 | 1:11:59 | |
Thank you. | 1:11:59 | 1:12:00 | |
Father Spinsky, | 1:12:04 | 1:12:05 | |
I have been visiting the churches of Coaltown. | 1:12:05 | 1:12:07 | |
St Leo's being the largest and most important, | 1:12:07 | 1:12:10 | |
I saved it for last. | 1:12:10 | 1:12:12 | |
I've arranged to have their bells rung starting at 8:00 tonight, | 1:12:12 | 1:12:16 | |
and I'd like to have St Leo's bell included. | 1:12:16 | 1:12:19 | |
I'm doing this to satisfy the dying wish | 1:12:19 | 1:12:22 | |
of someone dear to me. | 1:12:22 | 1:12:24 | |
It's unusual for St Leo's bell to ring | 1:12:24 | 1:12:27 | |
for a funeral in St Michael's. | 1:12:27 | 1:12:29 | |
Oh, I appreciate that, Father, | 1:12:29 | 1:12:31 | |
and I'm ready to pay for this unusual privilege. | 1:12:31 | 1:12:35 | |
I want the bell rung for three days and three nights. | 1:12:35 | 1:12:38 | |
Three days and three nights? | 1:12:38 | 1:12:40 | |
Yes. | 1:12:40 | 1:12:41 | |
The other pastors have agreed that 10 an hour would be satisfactory. | 1:12:41 | 1:12:47 | |
This is St Leo's, Mr Dunnigan. | 1:12:47 | 1:12:49 | |
We have much higher expenses | 1:12:49 | 1:12:51 | |
than the other little churches. | 1:12:51 | 1:12:53 | |
Oh, I can see that, Father. | 1:12:53 | 1:12:56 | |
How much will it cost? | 1:12:56 | 1:12:59 | |
I'm afraid St Leo's could not ring its bell | 1:12:59 | 1:13:02 | |
for less than... | 1:13:02 | 1:13:03 | |
20 an hour. | 1:13:03 | 1:13:06 | |
I can understand that. | 1:13:06 | 1:13:07 | |
It must cost a lot to keep up this magnificent church. | 1:13:07 | 1:13:10 | |
Now, that'll be a total of 72 hours at 20 an hour. | 1:13:10 | 1:13:15 | |
That'd come to... | 1:13:15 | 1:13:16 | |
1,440. Is that right? | 1:13:16 | 1:13:19 | |
I don't carry that much cash with me. | 1:13:19 | 1:13:21 | |
I assume a check will be all right? | 1:13:21 | 1:13:23 | |
If you haven't the cash... | 1:13:23 | 1:13:26 | |
of course. | 1:13:26 | 1:13:27 | |
I'm honoured St Leo's will be part of the... | 1:13:27 | 1:13:30 | |
funeral services for Olga Treskovna. | 1:13:30 | 1:13:32 | |
There you are. | 1:13:35 | 1:13:36 | |
Thank you, sir. | 1:13:36 | 1:13:38 | |
Then it's agreed. | 1:13:38 | 1:13:39 | |
You'll start at 8:00 and ring continuously until the 1,440 are used up. | 1:13:39 | 1:13:44 | |
Yes, Mr Dunnigan. | 1:13:44 | 1:13:45 | |
You'll want a receipt? | 1:13:45 | 1:13:47 | |
No, Father. | 1:13:47 | 1:13:48 | |
The cancelled cheque will be my receipt. | 1:13:48 | 1:13:51 | |
Thank you. You've been very kind. | 1:13:51 | 1:13:53 | |
Good afternoon, Mr Dunnigan. | 1:13:53 | 1:13:55 | |
Oh, could I see you? | 1:13:59 | 1:14:00 | |
Just a minute. | 1:14:00 | 1:14:03 | |
Where do you want to go? | 1:14:03 | 1:14:04 | |
Nowhere. I want to send a telegram. | 1:14:04 | 1:14:05 | |
It's very important. | 1:14:05 | 1:14:06 | |
The taxi driver said you could handle it. | 1:14:06 | 1:14:08 | |
Well, come on in. | 1:14:08 | 1:14:10 | |
Oh, you come in yesterday on the eastbound - | 1:14:12 | 1:14:15 | |
brought that body. | 1:14:15 | 1:14:17 | |
I want this sent straight. | 1:14:17 | 1:14:18 | |
Full rate, huh? | 1:14:20 | 1:14:22 | |
Let's see if I can read it. | 1:14:22 | 1:14:25 | |
I'm in a hurry. | 1:14:25 | 1:14:26 | |
Mister, if I can't read it, I can't send it. | 1:14:26 | 1:14:29 | |
Let's see... | 1:14:29 | 1:14:32 | |
"Marcus Harris, Excelsior Studios, Hollywood, Cal." | 1:14:32 | 1:14:36 | |
That's California, huh? | 1:14:36 | 1:14:38 | |
"Dear Marcus, have terrific stunt to save Joan Of Arc. | 1:14:38 | 1:14:42 | |
"Ask no questions. Wire...10,000... | 1:14:42 | 1:14:46 | |
"immediately, care of Miners' Bank and Trust Company, Nanticoke, Pennsylvania..." | 1:14:46 | 1:14:51 | |
That's just a block down... | 1:14:51 | 1:14:52 | |
Yes, I know where it is. | 1:14:52 | 1:14:54 | |
Uh..."Must have it by noon. | 1:14:54 | 1:14:56 | |
"It will pay back 10 million... | 1:14:56 | 1:15:01 | |
"gross for picture. Doonigan is in great..." | 1:15:01 | 1:15:04 | |
That's Dunnigan. | 1:15:04 | 1:15:05 | |
"Dunnigan is in great form. | 1:15:05 | 1:15:07 | |
"Trust Dunnigan completely. | 1:15:07 | 1:15:09 | |
"Dunnigan is still world's greatest press agent. | 1:15:09 | 1:15:12 | |
"Regards, Dunnigan." | 1:15:12 | 1:15:14 | |
Who's Dunnigan? | 1:15:14 | 1:15:15 | |
I am. | 1:15:15 | 1:15:16 | |
You don't say? | 1:15:16 | 1:15:18 | |
I counted. It comes to 4.08. | 1:15:19 | 1:15:21 | |
There's 5.00. | 1:15:21 | 1:15:22 | |
Keep the change and buy yourself a drink. | 1:15:22 | 1:15:25 | |
Here's the number I want you to call in Coaltown. | 1:15:25 | 1:15:30 | |
Call me when the answer comes through. | 1:15:30 | 1:15:32 | |
That comes to 4.08. | 1:15:32 | 1:15:34 | |
I paid you. Here's 5.00. | 1:15:34 | 1:15:35 | |
10,000. | 1:15:35 | 1:15:37 | |
Nobody ever sent 10,000 to Nanticoke. | 1:15:37 | 1:15:40 | |
I'll sure like to see that return wire. | 1:15:40 | 1:15:43 | |
So will I. But just the two of us. | 1:15:43 | 1:15:45 | |
That's why I didn't phone it in. | 1:15:45 | 1:15:47 | |
Oh, yes, sir. | 1:15:47 | 1:15:48 | |
Get that right off, will you? | 1:15:48 | 1:15:50 | |
Yes, yes. This is something. | 1:15:50 | 1:15:53 | |
HORN HONKS | 1:16:04 | 1:16:07 | |
MAN HUMS | 1:16:07 | 1:16:09 | |
Where do you want to go now? | 1:16:09 | 1:16:11 | |
Back to Coaltown. | 1:16:11 | 1:16:12 | |
Oh, I don't know if we can make it. | 1:16:12 | 1:16:16 | |
HE HUMS | 1:16:17 | 1:16:21 | |
Hey, Sleski, you think maybe I'd better drive? | 1:16:24 | 1:16:26 | |
No, I can drive all right. | 1:16:26 | 1:16:28 | |
CHURCH BELLS RING | 1:16:28 | 1:16:30 | |
What's the matter? | 1:16:32 | 1:16:33 | |
I must have had one too many. | 1:16:33 | 1:16:36 | |
I keep hearing a church bell. | 1:16:36 | 1:16:38 | |
Right on the dot - 8:00. | 1:16:42 | 1:16:43 | |
You hear that? | 1:16:45 | 1:16:47 | |
Yes, indeed. | 1:16:47 | 1:16:48 | |
Beautiful. | 1:16:48 | 1:16:50 | |
Sounds like all the churches in town. | 1:16:50 | 1:16:53 | |
I never heard church bells ringing in Coaltown | 1:16:58 | 1:17:01 | |
at this time of night. | 1:17:01 | 1:17:03 | |
Hey, what's all the bells ringing for? | 1:17:34 | 1:17:37 | |
Is somebody dead? | 1:17:37 | 1:17:38 | |
Been going on since 8:00. | 1:17:38 | 1:17:40 | |
Yeah, but they wouldn't all be ringing for somebody dead. | 1:17:40 | 1:17:44 | |
Hiya, Bob. What's going on in them churches? | 1:17:54 | 1:17:56 | |
They've been ringing for ten minutes. | 1:17:56 | 1:17:58 | |
Some dope must be getting married. | 1:17:58 | 1:18:01 | |
They're ringing all over town. | 1:18:01 | 1:18:04 | |
They started ringing about 20 minutes ago, | 1:18:04 | 1:18:08 | |
and nobody's been able to tell me why yet. | 1:18:08 | 1:18:11 | |
OK, I'll let you know. | 1:18:11 | 1:18:12 | |
That was the Nanticoke Journal. | 1:18:12 | 1:18:14 | |
Don't they know anything? | 1:18:14 | 1:18:15 | |
No, they don't know anything, either. | 1:18:15 | 1:18:17 | |
BELLS CONTINUE RINGING | 1:18:17 | 1:18:19 | |
That's St Michael's. | 1:18:34 | 1:18:36 | |
St Leo's is ringing, too. | 1:18:36 | 1:18:39 | |
BELLS CONTINUE RINGING | 1:18:41 | 1:18:43 | |
Uh, uh, Mr Dunnigan? | 1:19:08 | 1:19:09 | |
Yeah? | 1:19:09 | 1:19:10 | |
They're in there. | 1:19:10 | 1:19:12 | |
Who? | 1:19:12 | 1:19:13 | |
Newspapermen. They're in the parlour. | 1:19:13 | 1:19:15 | |
Newspapermen, huh? Thanks. | 1:19:15 | 1:19:18 | |
Mr Dunnigan? | 1:19:27 | 1:19:28 | |
Yes. | 1:19:28 | 1:19:29 | |
Tod Jones from the Associated Press. | 1:19:29 | 1:19:31 | |
Briggs. Wilkes-Barre Sun. | 1:19:31 | 1:19:33 | |
Nanticoke - The Journal. Tanner's my name. | 1:19:33 | 1:19:35 | |
Gentlemen. | 1:19:35 | 1:19:36 | |
We got a call from Nanticoke about these bells. | 1:19:36 | 1:19:39 | |
What's it all about? | 1:19:39 | 1:19:40 | |
Father Paul at St Michael's | 1:19:40 | 1:19:42 | |
told us to talk to you. | 1:19:42 | 1:19:45 | |
This is surprising, all this interest. | 1:19:45 | 1:19:47 | |
I didn't think anyone outside of Coaltown would notice. | 1:19:47 | 1:19:51 | |
Who is this Olga Trotki - uh, Treskovna? | 1:19:54 | 1:19:58 | |
She died ten days ago in Hollywood. | 1:19:58 | 1:20:00 | |
She was an actress there - a great actress, gentlemen. | 1:20:00 | 1:20:04 | |
When she died, she wanted to be brought back here | 1:20:04 | 1:20:07 | |
where she'd lived most of her life. | 1:20:07 | 1:20:09 | |
She wanted to be buried beside her father. | 1:20:09 | 1:20:12 | |
Stan Truckee was sort of a wandering minstrel. | 1:20:12 | 1:20:15 | |
He played the accordion and sang. | 1:20:15 | 1:20:18 | |
He was born with a gift of laughter and song. | 1:20:18 | 1:20:21 | |
He passed these on to his daughter. | 1:20:21 | 1:20:24 | |
She was a Hollywood star, eh? | 1:20:24 | 1:20:26 | |
Was she in any movies we've heard of? | 1:20:26 | 1:20:28 | |
I don't see any reason for going into that. Drink? | 1:20:28 | 1:20:31 | |
Yeah. Fine. | 1:20:31 | 1:20:32 | |
Mr Cummer. | 1:20:32 | 1:20:33 | |
Yes? | 1:20:33 | 1:20:34 | |
Will you bring a bottle of bourbon | 1:20:34 | 1:20:36 | |
and some glasses, please? | 1:20:36 | 1:20:38 | |
She'd just finished making Joan Of Arc | 1:20:38 | 1:20:41 | |
for Marcus Harris. | 1:20:41 | 1:20:42 | |
You're Bill Dunnigan, aren't you? | 1:20:42 | 1:20:45 | |
"White spats" Dunnigan. | 1:20:48 | 1:20:51 | |
I haven't worn spats in quite a while. | 1:20:52 | 1:20:54 | |
Well, fellas, this is really good. | 1:20:54 | 1:20:56 | |
You know who we're interviewing? | 1:20:56 | 1:20:58 | |
Bill Dunnigan, the press agent. | 1:20:58 | 1:21:00 | |
The big super-duper press agent. | 1:21:00 | 1:21:02 | |
I read an article about him. | 1:21:02 | 1:21:04 | |
He pulls big daffy stunts | 1:21:04 | 1:21:06 | |
to put over flop shows and movies. | 1:21:06 | 1:21:08 | |
BRIGGS: So that's what's going on - a press agent stunt. | 1:21:08 | 1:21:12 | |
Here you are, boys. | 1:21:12 | 1:21:14 | |
You must've thought we were a bunch of rube journalists. | 1:21:14 | 1:21:18 | |
Bells ringing for three days. Quite a gag. | 1:21:18 | 1:21:22 | |
If Marcus Harris really wants to put over his picture, | 1:21:22 | 1:21:25 | |
tell him he can buy space in the newspapers. | 1:21:25 | 1:21:28 | |
Maybe he hasn't heard about that gag called... | 1:21:28 | 1:21:30 | |
paid advertising. | 1:21:30 | 1:21:33 | |
I think I need this one. | 1:21:33 | 1:21:35 | |
OK, boys. | 1:21:40 | 1:21:41 | |
I was trying to pull a fast one, | 1:21:41 | 1:21:43 | |
but it's not what you're thinking. | 1:21:43 | 1:21:45 | |
Everything I told you is true. | 1:21:45 | 1:21:48 | |
How about the whole story? | 1:21:48 | 1:21:50 | |
The AP doesn't print press agents' copy. | 1:21:50 | 1:21:52 | |
Maybe it's a press agent's story, maybe it isn't. | 1:21:52 | 1:21:54 | |
Won't hurt you to listen. | 1:21:54 | 1:21:57 | |
Who's putting up for the bells? | 1:21:57 | 1:22:00 | |
That's a fair question. | 1:22:00 | 1:22:02 | |
The bells are being paid for by yours truly, | 1:22:02 | 1:22:05 | |
aided by four bad checks | 1:22:05 | 1:22:06 | |
which I have given the clergy of Coaltown. | 1:22:06 | 1:22:10 | |
I've wired Harris for 10,000. | 1:22:10 | 1:22:12 | |
If he sends it, fine. | 1:22:12 | 1:22:13 | |
If he doesn't... | 1:22:13 | 1:22:15 | |
our next meeting will be in Coaltown's jail. | 1:22:15 | 1:22:18 | |
Why wouldn't he send it? | 1:22:18 | 1:22:19 | |
When Olga died, he decided to shelve the picture. | 1:22:19 | 1:22:22 | |
I'm doing this on my own. | 1:22:22 | 1:22:24 | |
I figured ringing the bells would be news - | 1:22:24 | 1:22:27 | |
he'd have to release it. | 1:22:27 | 1:22:28 | |
The public would demand it. | 1:22:28 | 1:22:30 | |
What's your interest in the picture? | 1:22:30 | 1:22:33 | |
I don't want to see Olga's talent buried. | 1:22:33 | 1:22:36 | |
She died for it. | 1:22:36 | 1:22:38 | |
You want to hear why she felt it was worth dying for? | 1:22:38 | 1:22:42 | |
Go ahead. | 1:22:42 | 1:22:44 | |
Shoot. | 1:22:44 | 1:22:45 | |
I'll try to tell you in her own words. | 1:22:48 | 1:22:52 | |
She finished the last scene in the picture and collapsed. | 1:22:52 | 1:22:55 | |
They took her to the hospital that night. | 1:22:55 | 1:22:58 | |
She was so bad, they wouldn't let me see her. | 1:22:58 | 1:23:01 | |
But the next morning at daybreak, they sent for me. | 1:23:01 | 1:23:05 | |
Hello, Bill. | 1:23:13 | 1:23:14 | |
Hello, baby. | 1:23:14 | 1:23:15 | |
You tired? | 1:23:15 | 1:23:17 | |
Good long rest, and you'll be on your feet again. | 1:23:18 | 1:23:21 | |
But you've got to take it easy, hear? | 1:23:21 | 1:23:23 | |
No more of that getting there in a hurry. | 1:23:23 | 1:23:26 | |
No more. | 1:23:26 | 1:23:28 | |
You're going to get better, I'm telling you. | 1:23:28 | 1:23:30 | |
Shh. Shh. | 1:23:30 | 1:23:31 | |
Bill. | 1:23:31 | 1:23:33 | |
Bill... | 1:23:36 | 1:23:38 | |
will you promise me something? | 1:23:38 | 1:23:41 | |
Anything you want, baby. | 1:23:41 | 1:23:42 | |
I want to be buried in Coaltown, | 1:23:46 | 1:23:50 | |
beside my father and mother | 1:23:50 | 1:23:52 | |
on a hill | 1:23:52 | 1:23:55 | |
from St Michael's church. | 1:23:55 | 1:23:57 | |
Olga, don't talk like that. | 1:23:57 | 1:23:59 | |
And I want them to ring the bell for me. | 1:24:01 | 1:24:05 | |
They didn't ring it for my father. | 1:24:05 | 1:24:08 | |
And six angels with white wings | 1:24:10 | 1:24:14 | |
beside the coffin. | 1:24:14 | 1:24:15 | |
Don't forget... | 1:24:18 | 1:24:20 | |
St Michael's. | 1:24:20 | 1:24:22 | |
I like to think of the hill | 1:24:25 | 1:24:28 | |
outside of Coaltown. | 1:24:28 | 1:24:31 | |
I can see it. | 1:24:33 | 1:24:35 | |
Bill... | 1:24:40 | 1:24:41 | |
Is the picture really good? | 1:24:43 | 1:24:46 | |
It's wonderful. | 1:24:46 | 1:24:47 | |
You're great in it. | 1:24:47 | 1:24:49 | |
I hope it's true... | 1:24:49 | 1:24:53 | |
because I didn't play Joan alone. | 1:24:53 | 1:24:56 | |
A lot of people played her - | 1:24:56 | 1:24:59 | |
people you've never seen or heard. | 1:24:59 | 1:25:02 | |
My dad... | 1:25:04 | 1:25:06 | |
and all the other poor, sad people of Coaltown. | 1:25:06 | 1:25:10 | |
You'd better not talk, baby. | 1:25:12 | 1:25:14 | |
Let me talk, Bill, | 1:25:14 | 1:25:16 | |
a little while longer. | 1:25:16 | 1:25:18 | |
I want you to know and remember why I did it, | 1:25:19 | 1:25:24 | |
why I kept on till this happened. | 1:25:24 | 1:25:27 | |
It's because all those poor people, | 1:25:28 | 1:25:32 | |
all the people I came from, | 1:25:32 | 1:25:35 | |
have hopes and dreams in them | 1:25:35 | 1:25:38 | |
that never get a chance. | 1:25:38 | 1:25:42 | |
They just work and die, | 1:25:42 | 1:25:45 | |
and all the nice things inside them... | 1:25:45 | 1:25:48 | |
never come out. | 1:25:48 | 1:25:50 | |
And, Bill... | 1:25:51 | 1:25:54 | |
I came out of them. | 1:25:54 | 1:25:58 | |
When they hear me, they'll know... | 1:25:58 | 1:26:02 | |
it's their own hearts speaking. | 1:26:02 | 1:26:06 | |
When they see my name shining in all the theatres, | 1:26:06 | 1:26:13 | |
it will be something of theirs shining. | 1:26:13 | 1:26:16 | |
Hang on, baby. | 1:26:19 | 1:26:20 | |
Hang on. | 1:26:20 | 1:26:22 | |
Oh, Bill, I'm... | 1:26:22 | 1:26:25 | |
so happy. | 1:26:25 | 1:26:27 | |
I did my job. | 1:26:29 | 1:26:32 | |
Olga. | 1:26:38 | 1:26:40 | |
HE SOBS | 1:26:44 | 1:26:47 | |
BELLS RING | 1:26:55 | 1:26:57 | |
BELLS RING | 1:27:33 | 1:27:35 | |
Do you like them, Olga? | 1:27:45 | 1:27:47 | |
They're ringing your name, baby, | 1:27:48 | 1:27:50 | |
coast to coast. | 1:27:50 | 1:27:52 | |
KNOCK AT DOOR Mr Dunnigan, newspapers. | 1:27:54 | 1:27:57 | |
Yeah. Come in. The door's open. | 1:27:57 | 1:27:59 | |
Here are the papers you ordered. | 1:28:01 | 1:28:03 | |
I put them on the bill, including their delivery - | 1:28:03 | 1:28:06 | |
3.00. | 1:28:06 | 1:28:07 | |
Thanks. | 1:28:07 | 1:28:08 | |
Father Spinsky's downstairs. | 1:28:08 | 1:28:09 | |
He wants to see you. | 1:28:09 | 1:28:10 | |
I'll be down as soon as I'm dressed. | 1:28:10 | 1:28:13 | |
Well, partner, we swept the country. | 1:28:13 | 1:28:15 | |
I got a wire from the office. | 1:28:15 | 1:28:16 | |
It went over big. | 1:28:16 | 1:28:18 | |
Father Spinsky said it was important. | 1:28:18 | 1:28:19 | |
I'll be right down. | 1:28:19 | 1:28:20 | |
Let me see one of those. | 1:28:20 | 1:28:23 | |
Get a load of this Gazette. | 1:28:25 | 1:28:27 | |
Not bad, eh? | 1:28:27 | 1:28:28 | |
Wonderful. | 1:28:28 | 1:28:29 | |
"Born with the gift of laughter and song, | 1:28:31 | 1:28:34 | |
"he passed these on to his lovely daughter." | 1:28:34 | 1:28:36 | |
Thanks, Jonesy. | 1:28:36 | 1:28:37 | |
Think nothing of it. | 1:28:37 | 1:28:38 | |
All that can happen is I get fired | 1:28:38 | 1:28:40 | |
and spend my life mooching drinks. | 1:28:40 | 1:28:42 | |
Hey, hey, hey, hey. Lookee, lookee, lookee, fellas. | 1:28:42 | 1:28:45 | |
Oh, you've already seen them. | 1:28:45 | 1:28:46 | |
Yeah. | 1:28:46 | 1:28:48 | |
Well, here's something you don't know. | 1:28:48 | 1:28:50 | |
I heard it when I was having breakfast. | 1:28:50 | 1:28:52 | |
The company's going to squawk. | 1:28:52 | 1:28:54 | |
The company? | 1:28:54 | 1:28:55 | |
The mining interest. | 1:28:55 | 1:28:56 | |
The big company that runs this town. | 1:28:56 | 1:28:57 | |
Frederick Watson - that monstrous house on the hill - | 1:28:57 | 1:29:00 | |
seems he doesn't like the bells. | 1:29:00 | 1:29:02 | |
Well, that's too bad. | 1:29:02 | 1:29:04 | |
Yeah, but it's serious. | 1:29:04 | 1:29:05 | |
He says they have a bad psychological effect. | 1:29:05 | 1:29:08 | |
Takes the miners' minds off digging coal. | 1:29:08 | 1:29:11 | |
Claims the bells are a nuisance. | 1:29:11 | 1:29:12 | |
He can't think straight, | 1:29:12 | 1:29:14 | |
so he's going to protest. | 1:29:14 | 1:29:16 | |
What can he really do? | 1:29:16 | 1:29:17 | |
Plenty. Seems he's the one | 1:29:17 | 1:29:19 | |
who gave that bell to St Leo's. | 1:29:19 | 1:29:21 | |
He can stop that one easy, | 1:29:21 | 1:29:22 | |
then force the others to quit | 1:29:22 | 1:29:24 | |
as a public nuisance. | 1:29:24 | 1:29:27 | |
Did Los Angeles carry our story? | 1:29:28 | 1:29:29 | |
Big. | 1:29:29 | 1:29:31 | |
No wire from Marcus. I don't understand it. | 1:29:31 | 1:29:33 | |
Or what's worse, maybe I do. | 1:29:33 | 1:29:35 | |
If Marcus doesn't kick through... | 1:29:37 | 1:29:39 | |
Don't let me think such thoughts. | 1:29:40 | 1:29:42 | |
You perhaps do not realise, Mr Dunnigan, | 1:29:43 | 1:29:45 | |
how many friends Olga's father had in coaltown. | 1:29:45 | 1:29:48 | |
I met a number of them | 1:29:48 | 1:29:49 | |
in Mr Orloff's establishment. | 1:29:49 | 1:29:51 | |
All of them will want to attend the funeral. | 1:29:51 | 1:29:53 | |
St Michael's would never accommodate them. | 1:29:53 | 1:29:56 | |
Oh, good morning, Father Paul. | 1:29:57 | 1:29:59 | |
Good morning. Good morning, Father Spinsky. | 1:29:59 | 1:30:01 | |
Did you see your name in the paper? | 1:30:01 | 1:30:02 | |
St Michael is spread over every front page. | 1:30:02 | 1:30:05 | |
I haven't had time to read anything, Bill. | 1:30:05 | 1:30:08 | |
The most unusual thing happened - | 1:30:08 | 1:30:10 | |
really remarkable. | 1:30:10 | 1:30:11 | |
I mean this morning at Mass. | 1:30:11 | 1:30:13 | |
You've already had Mass? Before breakfast? | 1:30:13 | 1:30:15 | |
Yes. There were nearly 100 of them. | 1:30:15 | 1:30:17 | |
They came to view the coffin, | 1:30:17 | 1:30:19 | |
but they stayed for Mass. | 1:30:19 | 1:30:20 | |
I was just talking of that, Father Paul. | 1:30:20 | 1:30:23 | |
I fear your little church will be overtaxed. | 1:30:23 | 1:30:26 | |
There's a busload of sightseers | 1:30:26 | 1:30:27 | |
in from Wilkes-Barre already. | 1:30:27 | 1:30:29 | |
As a matter of fact, | 1:30:29 | 1:30:31 | |
we're really not equipped. | 1:30:31 | 1:30:32 | |
We've already run out of candles, | 1:30:32 | 1:30:34 | |
but I hope to find some. | 1:30:34 | 1:30:36 | |
I'm sure Father Spinsky has some he can spare. | 1:30:36 | 1:30:39 | |
It must be clear to you, Mr Dunnigan, | 1:30:39 | 1:30:41 | |
from what you've just heard, | 1:30:41 | 1:30:43 | |
that it would be wise and sensible | 1:30:43 | 1:30:45 | |
to move Olga to St Leo's | 1:30:45 | 1:30:47 | |
and let us conduct the funeral from my church. | 1:30:47 | 1:30:50 | |
Perhaps it would be better, Bill. | 1:30:50 | 1:30:52 | |
If you wish to alter your arrangements, | 1:30:52 | 1:30:55 | |
I won't stand in your way | 1:30:55 | 1:30:56 | |
or Father Spinsky's. | 1:30:56 | 1:30:57 | |
No, Father Paul. | 1:30:57 | 1:30:59 | |
Olga is going to be buried from St Michael's. | 1:30:59 | 1:31:01 | |
I'm not altering our arrangement. | 1:31:01 | 1:31:03 | |
Well, then you've got to tell him. | 1:31:03 | 1:31:06 | |
I hoped not to be forced into this position. | 1:31:06 | 1:31:09 | |
I came here eager to be of service. | 1:31:09 | 1:31:12 | |
Both of us. | 1:31:12 | 1:31:14 | |
Please, Mr Orloff. | 1:31:14 | 1:31:15 | |
However, | 1:31:15 | 1:31:17 | |
I must now read you this telegram | 1:31:17 | 1:31:19 | |
which our bank received | 1:31:19 | 1:31:20 | |
from the Gotham Exchange bank this morning. | 1:31:20 | 1:31:23 | |
"In reply to your query | 1:31:23 | 1:31:24 | |
"regarding financial rating, William Dunnigan, | 1:31:24 | 1:31:27 | |
"he has account at this bank. | 1:31:27 | 1:31:29 | |
"Present balance 300." | 1:31:29 | 1:31:31 | |
I shall telephone your bank again at noon. | 1:31:31 | 1:31:34 | |
If the money is not in your account, | 1:31:34 | 1:31:36 | |
the bell of my church will stop ringing, | 1:31:36 | 1:31:38 | |
and I shall inform my fellow pastors | 1:31:38 | 1:31:40 | |
of your swindle, | 1:31:40 | 1:31:41 | |
and they will also stop their bells. | 1:31:41 | 1:31:44 | |
Good day. | 1:31:44 | 1:31:45 | |
I'm notifying the town constable | 1:31:45 | 1:31:46 | |
just what's going on. | 1:31:46 | 1:31:48 | |
You had your chance to stay out of jail, | 1:31:48 | 1:31:50 | |
but you were too smart. | 1:31:50 | 1:31:52 | |
Please, Mr Orloff. | 1:31:52 | 1:31:54 | |
You know, Bill, | 1:32:01 | 1:32:02 | |
St Leo's is a very fine church, | 1:32:02 | 1:32:05 | |
and she'd have a wonderful sermon and... | 1:32:05 | 1:32:07 | |
Run out on St Michael's? | 1:32:07 | 1:32:08 | |
Oh, no, Father, forget it. | 1:32:08 | 1:32:10 | |
Hey, uh, Father, | 1:32:10 | 1:32:12 | |
how much is the bus fare to Nanticoke? | 1:32:12 | 1:32:15 | |
Uh, it's 10 cents. | 1:32:15 | 1:32:17 | |
1.00 ought to cover it, then. | 1:32:17 | 1:32:19 | |
But I don't understand, Bill. | 1:32:19 | 1:32:21 | |
Look, Father, don't make it difficult. | 1:32:21 | 1:32:23 | |
I'm putting the bite on you for 1.00. | 1:32:23 | 1:32:25 | |
Oh, of course. | 1:32:25 | 1:32:27 | |
Thanks. | 1:32:29 | 1:32:30 | |
Will that be enough? | 1:32:30 | 1:32:31 | |
Not quite. I need another 4,999, | 1:32:31 | 1:32:33 | |
but I may be able | 1:32:33 | 1:32:35 | |
to pick it up in Nanticoke. | 1:32:35 | 1:32:37 | |
Are you sure there isn't a night letter | 1:32:37 | 1:32:38 | |
lying around Wilkes-Barre? | 1:32:38 | 1:32:40 | |
I've asked him five times. | 1:32:40 | 1:32:41 | |
He's got to answer. | 1:32:41 | 1:32:43 | |
Try him again, will you? | 1:32:43 | 1:32:45 | |
Nope. Nothing. | 1:32:48 | 1:32:51 | |
People don't break their neck | 1:32:51 | 1:32:52 | |
giving 10,000 away. | 1:32:52 | 1:32:55 | |
Is that clock up there right? | 1:32:55 | 1:32:56 | |
Uh...yep. | 1:32:56 | 1:32:58 | |
MACHINE CLICKS Ah, here comes something. | 1:32:58 | 1:33:00 | |
For me? | 1:33:02 | 1:33:03 | |
Uh... | 1:33:03 | 1:33:05 | |
yep. Yep. Prepaid. | 1:33:05 | 1:33:07 | |
From Harris? | 1:33:07 | 1:33:08 | |
Shh. | 1:33:08 | 1:33:09 | |
Hey, wait. I can't read that. | 1:33:11 | 1:33:12 | |
Shh. Please. | 1:33:12 | 1:33:14 | |
Is he sending the money? | 1:33:14 | 1:33:15 | |
Shh! | 1:33:15 | 1:33:17 | |
I can't make that out. | 1:33:18 | 1:33:20 | |
What is that, code or something? | 1:33:20 | 1:33:22 | |
Ah. | 1:33:22 | 1:33:23 | |
Go on, read it. | 1:33:23 | 1:33:25 | |
"William Dunnigan, Coaltown, Pennsylvania. | 1:33:25 | 1:33:27 | |
"Have sent 5,000 to bank in Nanticoke | 1:33:27 | 1:33:30 | |
"as requested." | 1:33:30 | 1:33:31 | |
Cut you down, didn't he? | 1:33:31 | 1:33:32 | |
I expected that. | 1:33:32 | 1:33:34 | |
They always do. | 1:33:34 | 1:33:35 | |
Go on. What's the rest? | 1:33:35 | 1:33:36 | |
"As settlement in full | 1:33:36 | 1:33:38 | |
"of your unexpired contract with me. | 1:33:38 | 1:33:39 | |
"Never mind about saving the picture. | 1:33:39 | 1:33:42 | |
"My decision not to release it | 1:33:42 | 1:33:43 | |
"until remade with another star | 1:33:43 | 1:33:45 | |
"still stands. Marcus Harris." | 1:33:45 | 1:33:47 | |
Thanks. | 1:33:52 | 1:33:53 | |
Uh, the bank is just a block down... | 1:33:53 | 1:33:55 | |
I know where it is. | 1:33:55 | 1:33:57 | |
Harris came through, eh? | 1:33:59 | 1:34:00 | |
Yeah. Here's his wire. | 1:34:00 | 1:34:02 | |
He's not sold yet. | 1:34:02 | 1:34:03 | |
We need something big. | 1:34:03 | 1:34:05 | |
I've got to get him boiling over. | 1:34:05 | 1:34:06 | |
If we could only get some new angle | 1:34:06 | 1:34:08 | |
to hand the papers. | 1:34:08 | 1:34:10 | |
Unless we get something big | 1:34:10 | 1:34:12 | |
to go with the bells, | 1:34:12 | 1:34:13 | |
they're worth a box on page three. | 1:34:13 | 1:34:15 | |
We've got to cook up some new coast-to-coast headlines. | 1:34:15 | 1:34:19 | |
Well, boys, you can calm down. | 1:34:19 | 1:34:21 | |
The party's over. | 1:34:21 | 1:34:22 | |
Listen while you can. | 1:34:22 | 1:34:23 | |
They're mighty pretty, aren't they? | 1:34:23 | 1:34:25 | |
They won't be ringing long. | 1:34:25 | 1:34:26 | |
What's up? | 1:34:26 | 1:34:27 | |
The company. | 1:34:27 | 1:34:29 | |
Mr Watson's filed a protest. | 1:34:29 | 1:34:32 | |
He's on his way to Father Spinsky's | 1:34:32 | 1:34:34 | |
to stop St Leo's bell. | 1:34:34 | 1:34:35 | |
No. He can't do that. | 1:34:35 | 1:34:37 | |
St Michael, you've got to stop this Watson. | 1:34:39 | 1:34:42 | |
St Michael can't do anything. | 1:34:42 | 1:34:43 | |
The company's too big. | 1:34:43 | 1:34:44 | |
Mr Watson's too important. | 1:34:44 | 1:34:46 | |
There must be somebody more important. | 1:34:46 | 1:34:48 | |
The governor, maybe, | 1:34:48 | 1:34:49 | |
or there's always the president. | 1:34:49 | 1:34:51 | |
That's it. | 1:34:51 | 1:34:52 | |
Father Paul, do you know | 1:34:52 | 1:34:53 | |
the governor of this state? | 1:34:53 | 1:34:55 | |
Why, no. Only his name. | 1:34:55 | 1:34:56 | |
I don't know the governor, Dunnigan, | 1:34:56 | 1:34:58 | |
but his secretary Fred Frisby | 1:34:58 | 1:35:00 | |
is my wife's cousin. | 1:35:00 | 1:35:02 | |
Can I use the phone? | 1:35:02 | 1:35:03 | |
Certainly. | 1:35:03 | 1:35:04 | |
Don't worry. I'll pay the charges. | 1:35:04 | 1:35:06 | |
I'm not worried. Merely bewildered. | 1:35:06 | 1:35:08 | |
Hello, Hattie? This is Bill Dunnigan. | 1:35:08 | 1:35:11 | |
Look, this is an emergency. | 1:35:11 | 1:35:12 | |
Can you get me right through? | 1:35:12 | 1:35:13 | |
I want to talk to Fred Frisby | 1:35:13 | 1:35:15 | |
in the governor's mansion in... | 1:35:15 | 1:35:17 | |
Harrisburg. | 1:35:17 | 1:35:18 | |
Harrisburg. Yes, I'll hold on. | 1:35:18 | 1:35:20 | |
"Day of mourning for Olga Treskovna. | 1:35:45 | 1:35:48 | |
"Pennsylvania governor issues proclamation. | 1:35:48 | 1:35:52 | |
"All denominations to observe star's funeral." | 1:35:52 | 1:35:55 | |
I've never seen a campaign like this | 1:35:55 | 1:35:56 | |
in all my born days. | 1:35:56 | 1:35:59 | |
It'll all be over Friday after the funeral. | 1:35:59 | 1:36:01 | |
I know. I understand. | 1:36:01 | 1:36:03 | |
How much did he wire for? | 1:36:03 | 1:36:04 | |
Another 5,000. | 1:36:04 | 1:36:06 | |
We can't release Joan for months. | 1:36:06 | 1:36:08 | |
By then this publicity will be as dead as Olga. | 1:36:08 | 1:36:10 | |
People don't remember funerals. | 1:36:10 | 1:36:12 | |
It's grown bigger every day. | 1:36:12 | 1:36:14 | |
But it can't go on. | 1:36:14 | 1:36:15 | |
It's just a flash in the pan. | 1:36:15 | 1:36:17 | |
It helps us in no way. | 1:36:17 | 1:36:19 | |
PHONE RINGS | 1:36:19 | 1:36:21 | |
Hello. | 1:36:21 | 1:36:23 | |
This is Mr Harris speaking. | 1:36:23 | 1:36:25 | |
Oh, hello, Danny. | 1:36:27 | 1:36:29 | |
Yes. | 1:36:29 | 1:36:31 | |
What? | 1:36:31 | 1:36:33 | |
That's wonderful. | 1:36:33 | 1:36:35 | |
I'm sincerely delighted to hear that. | 1:36:36 | 1:36:38 | |
Goodbye. | 1:36:38 | 1:36:40 | |
Well, gentlemen, that settles it. | 1:36:42 | 1:36:43 | |
Miss Genevieve James is available. | 1:36:43 | 1:36:46 | |
I was beginning to hope | 1:36:47 | 1:36:48 | |
we could go ahead as Dunnigan wanted. | 1:36:48 | 1:36:51 | |
Ah, but you're right. | 1:36:52 | 1:36:55 | |
We'll remake Joan | 1:36:55 | 1:36:56 | |
with a great actress in the part. | 1:36:56 | 1:36:58 | |
It'll be a better picture, I'm sure. | 1:36:58 | 1:37:00 | |
More legitimate sales campaign. | 1:37:00 | 1:37:04 | |
Miss Mulhauser, take a wire | 1:37:04 | 1:37:05 | |
to William Dunnigan, Nanticoke, Pennsylvania. | 1:37:05 | 1:37:08 | |
That's mighty pretty writing, Tanner. | 1:37:10 | 1:37:12 | |
Take a look at this subcolumn head. Detroit. | 1:37:12 | 1:37:16 | |
Yeah. If Harris doesn't soften up after all this... | 1:37:16 | 1:37:18 | |
Mr Dunnigan, more telegrams. | 1:37:18 | 1:37:20 | |
Oh, thanks. | 1:37:20 | 1:37:22 | |
You've done a wonderful job, boys. | 1:37:27 | 1:37:29 | |
I don't know how to thank you. | 1:37:29 | 1:37:32 | |
Des Moines. | 1:37:34 | 1:37:35 | |
Signed picture article for the Sunday magazine. | 1:37:35 | 1:37:38 | |
It must be almost 3:00. | 1:37:38 | 1:37:39 | |
Why don't you fellas knock off? | 1:37:39 | 1:37:41 | |
Good idea. I think I'll toddle off to bed. | 1:37:41 | 1:37:44 | |
Sounds good to me. | 1:37:44 | 1:37:45 | |
Hey, wait a minute. | 1:37:45 | 1:37:47 | |
BELLS RING | 1:37:49 | 1:37:51 | |
What's the matter, Bill, bad news? | 1:37:55 | 1:37:57 | |
No. | 1:37:57 | 1:37:59 | |
Someone wants to hire me. | 1:37:59 | 1:38:00 | |
They think I'm pretty good. | 1:38:00 | 1:38:01 | |
Well, goodnight. See you tomorrow. | 1:38:01 | 1:38:03 | |
Yeah. | 1:38:03 | 1:38:05 | |
Thanks for a swell fight, boys. | 1:38:05 | 1:38:07 | |
'Well, baby, | 1:38:20 | 1:38:22 | |
'we didn't do so good. | 1:38:22 | 1:38:25 | |
'You won't ever act for anybody... | 1:38:25 | 1:38:28 | |
'but me.' | 1:38:28 | 1:38:30 | |
'I'll hear you. | 1:38:30 | 1:38:32 | |
'Nobody else.' | 1:38:32 | 1:38:34 | |
'You can quit shining, baby. | 1:38:36 | 1:38:38 | |
'It's no dice. | 1:38:38 | 1:38:40 | |
'I let you down.' | 1:38:40 | 1:38:42 | |
BELLS RING | 1:38:46 | 1:38:48 | |
BELLS CONTINUE RINGING | 1:39:16 | 1:39:18 | |
BELLS CONTINUE RINGING | 1:39:44 | 1:39:46 | |
The statues - look, they're moving! | 1:40:17 | 1:40:20 | |
Look at them. | 1:40:22 | 1:40:23 | |
The statues are turning. | 1:40:23 | 1:40:25 | |
They're turning. | 1:40:25 | 1:40:28 | |
They're turning. | 1:40:28 | 1:40:29 | |
They're looking at the pulpit. | 1:40:32 | 1:40:34 | |
It's a miracle. | 1:40:42 | 1:40:44 | |
It's a miracle. | 1:40:47 | 1:40:48 | |
Merciful Father. | 1:40:48 | 1:40:49 | |
They're looking at the coffin. | 1:40:49 | 1:40:51 | |
They turned to the altar. | 1:40:51 | 1:40:53 | |
Father, have mercy. | 1:40:53 | 1:40:54 | |
Have mercy, Father. | 1:40:54 | 1:40:56 | |
Have mercy. | 1:40:56 | 1:40:57 | |
Mercy. | 1:40:57 | 1:40:58 | |
BELLS CONTINUE RINGING | 1:41:02 | 1:41:04 | |
Father Paul. | 1:41:46 | 1:41:47 | |
He's down there. | 1:41:47 | 1:41:48 | |
In the basement, sir. | 1:41:48 | 1:41:50 | |
Father Paul. | 1:41:54 | 1:41:56 | |
I saw it, Father Paul. | 1:41:56 | 1:41:57 | |
I was in the back of the church. | 1:41:57 | 1:42:00 | |
I saw the statues turn. | 1:42:00 | 1:42:01 | |
Yes, I know, I know. | 1:42:01 | 1:42:02 | |
I started the bells ringing as a gag | 1:42:02 | 1:42:05 | |
to get them to release Olga's picture, | 1:42:05 | 1:42:07 | |
but I didn't do that upstairs. | 1:42:07 | 1:42:09 | |
I had nothing to do with it. | 1:42:09 | 1:42:11 | |
The statues turned by themselves | 1:42:11 | 1:42:13 | |
and looked at Olga. | 1:42:13 | 1:42:14 | |
Yes. I've been investigating it here. | 1:42:14 | 1:42:17 | |
Investigating what? | 1:42:17 | 1:42:19 | |
The statues turning. | 1:42:19 | 1:42:20 | |
Look. You can see. | 1:42:20 | 1:42:21 | |
See what? | 1:42:21 | 1:42:23 | |
The ground is broken, Bill, | 1:42:23 | 1:42:24 | |
at the base of this pillar | 1:42:24 | 1:42:26 | |
and all the way across, | 1:42:26 | 1:42:28 | |
over to the base of the other. | 1:42:28 | 1:42:30 | |
These two pillars support the statues. | 1:42:35 | 1:42:38 | |
Are you trying to knock out the miracle? | 1:42:41 | 1:42:44 | |
There wasn't any miracle, Bill. | 1:42:44 | 1:42:46 | |
There are a lot of old mineshafts under here. | 1:42:46 | 1:42:49 | |
The earth isn't too solid. | 1:42:49 | 1:42:51 | |
The movement of the pillars made the statues turn. | 1:42:51 | 1:42:54 | |
That's it, huh? | 1:42:54 | 1:42:56 | |
Yes. | 1:42:56 | 1:42:57 | |
At first I was worried | 1:42:57 | 1:42:59 | |
about the floor above. | 1:42:59 | 1:43:00 | |
It was just a slight sinking of the earth. | 1:43:00 | 1:43:03 | |
I had to make sure, Bill. | 1:43:03 | 1:43:05 | |
It wasn't a miracle. | 1:43:05 | 1:43:06 | |
The pressure did it. | 1:43:06 | 1:43:08 | |
What pressure? | 1:43:08 | 1:43:09 | |
Of the people above | 1:43:09 | 1:43:10 | |
who came to look at the coffin. | 1:43:10 | 1:43:12 | |
Our flooring is unused to such crowds. | 1:43:12 | 1:43:15 | |
What are you going to do, Father? | 1:43:17 | 1:43:20 | |
I'm going up to tell them the truth. | 1:43:20 | 1:43:22 | |
You know the truth? | 1:43:22 | 1:43:24 | |
Yes. | 1:43:24 | 1:43:25 | |
Wait a minute, Father. | 1:43:25 | 1:43:26 | |
You're not going to tell them | 1:43:26 | 1:43:28 | |
about those mineshafts? | 1:43:28 | 1:43:30 | |
I must tell the truth, Bill. | 1:43:31 | 1:43:33 | |
The church doesn't accept miracles | 1:43:33 | 1:43:35 | |
without investigating them carefully. | 1:43:35 | 1:43:38 | |
It's my duty to tell them. | 1:43:38 | 1:43:40 | |
It's your duty | 1:43:40 | 1:43:41 | |
to take the light out of their faces? | 1:43:41 | 1:43:43 | |
I saw them when it happened. | 1:43:43 | 1:43:45 | |
I saw those poor, bitter faces shining | 1:43:45 | 1:43:47 | |
as if someone had turned a light on inside them, | 1:43:47 | 1:43:50 | |
and I heard them giving thanks | 1:43:50 | 1:43:52 | |
to the somebody who had turned the statues. | 1:43:52 | 1:43:54 | |
Now you're going upstairs | 1:43:54 | 1:43:55 | |
and ask them to thank a couple of basement pillars | 1:43:55 | 1:43:58 | |
and a piece of broken ground. | 1:43:58 | 1:44:00 | |
Look, Father Paul, | 1:44:00 | 1:44:02 | |
maybe I want a miracle because I'm a press agent, | 1:44:02 | 1:44:04 | |
but I'm not thinking of putting over a movie now. | 1:44:04 | 1:44:07 | |
Whoever turned those statues | 1:44:07 | 1:44:08 | |
wasn't selling a picture for Marcus Harris. | 1:44:08 | 1:44:11 | |
I tell you, Father, | 1:44:11 | 1:44:12 | |
God was trying to say, "Life's all right. | 1:44:12 | 1:44:15 | |
"It's not as bad as it seems. | 1:44:15 | 1:44:17 | |
"I'm up here watching and trying to help." | 1:44:17 | 1:44:19 | |
If he didn't say it, | 1:44:19 | 1:44:21 | |
if nobody up there said it, | 1:44:21 | 1:44:22 | |
it's been said, | 1:44:22 | 1:44:24 | |
because it's in their hearts now. | 1:44:24 | 1:44:26 | |
It'll go out all over the world. | 1:44:26 | 1:44:29 | |
And if God doesn't speak like that | 1:44:29 | 1:44:30 | |
out of Heaven, | 1:44:30 | 1:44:32 | |
he'll be speaking out of people's hearts. | 1:44:32 | 1:44:34 | |
And what's the difference where he speaks from? | 1:44:34 | 1:44:38 | |
Your job isn't to hide his word, is it? | 1:44:38 | 1:44:40 | |
BELLS CONTINUE RINGING | 1:44:40 | 1:44:42 | |
No, it isn't to hide his word. | 1:44:42 | 1:44:44 | |
The saints came to Joan of Arc | 1:44:44 | 1:44:46 | |
because she believed in God | 1:44:46 | 1:44:47 | |
and wanted to help the people of France. | 1:44:47 | 1:44:51 | |
Olga believed in God just as much. | 1:44:51 | 1:44:53 | |
She wanted to help the people of Coaltown | 1:44:53 | 1:44:56 | |
just as much. | 1:44:56 | 1:44:58 | |
Give her the chance, Father Paul. | 1:44:58 | 1:45:00 | |
Come with me, Bill. | 1:45:04 | 1:45:05 | |
BELLS RING | 1:45:08 | 1:45:11 | |
Something strange and wonderful has happened. | 1:45:30 | 1:45:34 | |
The faces of the Blessed Virgin | 1:45:34 | 1:45:36 | |
and St Michael | 1:45:36 | 1:45:38 | |
have turned to look on one | 1:45:38 | 1:45:40 | |
who lies among us in a coffin. | 1:45:40 | 1:45:43 | |
I will not speak of what made the statues turn. | 1:45:43 | 1:45:46 | |
Others will tell you the answer to that later. | 1:45:46 | 1:45:50 | |
I speak to you | 1:45:50 | 1:45:51 | |
of no other miracle than the one we know - | 1:45:51 | 1:45:55 | |
the miracle of the Olgas of the world... | 1:45:55 | 1:45:58 | |
..of those who live and dream | 1:45:59 | 1:46:00 | |
only to bring Heaven into our lives, | 1:46:00 | 1:46:03 | |
if it is no more than a smile of fellowship | 1:46:03 | 1:46:07 | |
or a moment of beauty. | 1:46:07 | 1:46:09 | |
Olga died for this, | 1:46:09 | 1:46:12 | |
that the world might see | 1:46:12 | 1:46:13 | |
through her toil and sacrifice | 1:46:13 | 1:46:15 | |
the beauty there was | 1:46:15 | 1:46:17 | |
in the tired and lonely hearts of her people. | 1:46:17 | 1:46:20 | |
I know what makes a saint, | 1:46:23 | 1:46:25 | |
and I also know what makes a beautiful human being. | 1:46:25 | 1:46:29 | |
Such a one lies now at our feet. | 1:46:29 | 1:46:32 | |
Let us pray for her. | 1:46:32 | 1:46:34 | |
ORGAN PLAYS | 1:46:36 | 1:46:39 | |
PRAYING IN LATIN | 1:46:39 | 1:46:41 | |
This is Jones of the Associated Press. | 1:47:03 | 1:47:05 | |
Get me the AP in New York | 1:47:05 | 1:47:06 | |
and reverse the charges. Hurry up. | 1:47:06 | 1:47:09 | |
Just a moment. | 1:47:09 | 1:47:11 | |
"Coaltown, Pennsylvania - | 1:47:11 | 1:47:12 | |
"the little mining town | 1:47:12 | 1:47:13 | |
"which is already the focus of national attention | 1:47:13 | 1:47:16 | |
"as a result of its church bells ringing | 1:47:16 | 1:47:18 | |
"for the funeral of Olga Treskovna | 1:47:18 | 1:47:20 | |
"is today the scene of a new sensation. | 1:47:20 | 1:47:22 | |
'Shortly before Mass began | 1:47:22 | 1:47:24 | |
'in the church of St Michael, | 1:47:24 | 1:47:26 | |
'two large marble statues | 1:47:26 | 1:47:27 | |
'weighing many hundreds of pounds | 1:47:27 | 1:47:29 | |
'were seen to move and turn | 1:47:29 | 1:47:31 | |
'as if to look at the coffin of Olga, | 1:47:31 | 1:47:33 | |
'which lies before the altar. | 1:47:33 | 1:47:35 | |
'All who saw the turning of the statues | 1:47:35 | 1:47:37 | |
'are convinced that it was a miracle. | 1:47:37 | 1:47:39 | |
'Explanations are being offered | 1:47:39 | 1:47:41 | |
'that a movement of earth beneath the church, | 1:47:41 | 1:47:43 | |
'which is honeycombed with old mining tunnels, | 1:47:43 | 1:47:45 | |
'moved the pillars on which the statues stand. | 1:47:45 | 1:47:48 | |
'The bishop is sending a representative | 1:47:48 | 1:47:50 | |
'to Coaltown to investigate. | 1:47:50 | 1:47:51 | |
'But whether miracle or not attended Olga's coffin, | 1:47:51 | 1:47:54 | |
'the life of this young actress | 1:47:54 | 1:47:56 | |
'reads like the story of a latter-day saint.' | 1:47:56 | 1:47:59 | |
Mr Harris. | 1:48:02 | 1:48:04 | |
Mr Harris. | 1:48:04 | 1:48:05 | |
Sorry to break in like this, Mr Harris. | 1:48:05 | 1:48:08 | |
Something tremendous has happened. | 1:48:08 | 1:48:10 | |
There's a mob of newspaper reporters downstairs. | 1:48:10 | 1:48:12 | |
What's happened? | 1:48:12 | 1:48:13 | |
What are you talking about? | 1:48:13 | 1:48:14 | |
A tremendous miracle! | 1:48:14 | 1:48:16 | |
Wh-what miracle? Where? | 1:48:16 | 1:48:17 | |
In Coaltown. | 1:48:17 | 1:48:20 | |
Oh, no, don't tell me. | 1:48:20 | 1:48:22 | |
This is too much. | 1:48:22 | 1:48:24 | |
Listen, Marcus, a miracle has happened to Olga Treskovna. | 1:48:24 | 1:48:28 | |
I won't hear such bunk. It's sacrilegious. | 1:48:28 | 1:48:31 | |
If Dunnigan... | 1:48:31 | 1:48:32 | |
It isn't Dunnigan. | 1:48:32 | 1:48:33 | |
Two huge stone statues at the altar | 1:48:33 | 1:48:35 | |
looked at Olga in her coffin. | 1:48:35 | 1:48:37 | |
What do you mean, it isn't Dunnigan? | 1:48:37 | 1:48:38 | |
Do you think God is interested | 1:48:38 | 1:48:40 | |
in selling movies for me? | 1:48:40 | 1:48:42 | |
I never heard such bunk, | 1:48:42 | 1:48:44 | |
and you believe it. | 1:48:44 | 1:48:45 | |
The whole country believes it. | 1:48:45 | 1:48:47 | |
Let me explain... | 1:48:47 | 1:48:48 | |
Don't explain anything. | 1:48:48 | 1:48:49 | |
This time Dunnigan's gone too far. | 1:48:49 | 1:48:52 | |
Miracles. | 1:48:52 | 1:48:54 | |
We're signing Genevieve James, | 1:48:54 | 1:48:56 | |
so he pulls a miracle. | 1:48:56 | 1:48:58 | |
When a man starts fooling people about religion, | 1:48:58 | 1:49:01 | |
starts faking miracles as a press agent's stunt, | 1:49:01 | 1:49:03 | |
I'm through with him. | 1:49:03 | 1:49:04 | |
This is the real thing. | 1:49:04 | 1:49:06 | |
The statues turned. People saw. | 1:49:06 | 1:49:08 | |
They paid someone to turn them. | 1:49:08 | 1:49:09 | |
Don't you believe in miracles? | 1:49:09 | 1:49:11 | |
You've just made a picture about one, | 1:49:11 | 1:49:13 | |
Joan of Arc. | 1:49:13 | 1:49:14 | |
I believe in miracles. | 1:49:14 | 1:49:15 | |
I was brought up to believe in God and in miracles... | 1:49:15 | 1:49:18 | |
if he made them, | 1:49:18 | 1:49:20 | |
but the difference is as follows - | 1:49:20 | 1:49:22 | |
Moses didn't pay anyone to hold back the Red Sea, | 1:49:22 | 1:49:25 | |
Daniel didn't pay to get out of the lion's den, | 1:49:25 | 1:49:28 | |
and Jonah didn't pay to get out of that whale. | 1:49:28 | 1:49:32 | |
I won't stand for any press agent miracles. | 1:49:32 | 1:49:35 | |
I'm going downstairs and expose Dunnigan | 1:49:37 | 1:49:39 | |
and tell those newspaper people | 1:49:39 | 1:49:41 | |
he's the biggest faker in America! | 1:49:41 | 1:49:42 | |
Here it is on the radio. | 1:49:42 | 1:49:44 | |
'Here's the distinguished correspondent | 1:49:44 | 1:49:46 | |
'Mr Quentin Reynolds, | 1:49:46 | 1:49:47 | |
'who has flown here to report on the amazing happening | 1:49:47 | 1:49:50 | |
'in the church of St Michael the Archangel. | 1:49:50 | 1:49:53 | |
'Mr Reynolds. | 1:49:53 | 1:49:54 | |
'The whole country is asking, | 1:49:54 | 1:49:55 | |
'"Did a miracle occur in Coaltown?" | 1:49:55 | 1:49:58 | |
'But here in the little mining community, | 1:49:58 | 1:50:00 | |
'no-one asks that question. | 1:50:00 | 1:50:02 | |
'Every man, woman, and child here | 1:50:02 | 1:50:04 | |
'believes that the grace of God has touched them. | 1:50:04 | 1:50:07 | |
'To them, a miracle has happened. | 1:50:07 | 1:50:09 | |
'What is a miracle? | 1:50:09 | 1:50:11 | |
'The word "miracle" comes from the Latin, | 1:50:11 | 1:50:13 | |
'and it means, "a wonderful thing." | 1:50:13 | 1:50:16 | |
'Well, most certainly | 1:50:16 | 1:50:17 | |
'a wonderful thing has happened here, | 1:50:17 | 1:50:20 | |
'something so wondrous | 1:50:20 | 1:50:21 | |
'that it has torn the bitterness and the doubts | 1:50:21 | 1:50:24 | |
'from the hearts of the people | 1:50:24 | 1:50:26 | |
'and brought them back to God. | 1:50:26 | 1:50:28 | |
'Whether this is a miracle or not - | 1:50:28 | 1:50:30 | |
'that's up to the church authorities to decide, | 1:50:30 | 1:50:32 | |
'but I do know this - | 1:50:32 | 1:50:34 | |
'when Olga Treskovna was brought home, | 1:50:34 | 1:50:37 | |
'a wonderful thing happened, | 1:50:37 | 1:50:39 | |
'and everyone here is convinced that somehow divine providence | 1:50:39 | 1:50:43 | |
'is blessing Coaltown and the people in it.' | 1:50:43 | 1:50:47 | |
BELLS RING | 1:50:47 | 1:50:49 | |
It'll take some time to answer all these letters, | 1:50:52 | 1:50:55 | |
and tomorrow there'll be more. | 1:50:55 | 1:50:57 | |
You don't answer them. | 1:50:57 | 1:50:58 | |
You get a secretary to answer them. | 1:50:58 | 1:51:00 | |
A secretary? | 1:51:00 | 1:51:02 | |
Oh, no. They were written to me. | 1:51:02 | 1:51:04 | |
We are being given a new organ, | 1:51:04 | 1:51:07 | |
a new roof for the church, | 1:51:07 | 1:51:09 | |
a dozen new altar cloths, | 1:51:09 | 1:51:11 | |
and two stained glass windows, | 1:51:11 | 1:51:13 | |
and my desk is full of cheques for the poor, | 1:51:13 | 1:51:18 | |
and the world has come to St Michael's to pray. | 1:51:18 | 1:51:21 | |
I must thank you, Bill. | 1:51:21 | 1:51:23 | |
Thank me? | 1:51:23 | 1:51:25 | |
Isn't that a little funny coming from you? | 1:51:25 | 1:51:28 | |
You mean you still believe in the miracle? | 1:51:28 | 1:51:30 | |
I've been standing in the church most of the day. | 1:51:32 | 1:51:35 | |
I haven't sent out a line of copy. | 1:51:35 | 1:51:39 | |
You remember when I told you | 1:51:39 | 1:51:40 | |
how I couldn't tell Olga what I felt? | 1:51:40 | 1:51:42 | |
This is the second time in my life I've been dumb. | 1:51:42 | 1:51:45 | |
I can't tell the world this. | 1:51:45 | 1:51:47 | |
That's how I know it's real, Father, | 1:51:47 | 1:51:49 | |
because I'm no good at selling anything that's real. | 1:51:49 | 1:51:53 | |
I guess I'm through here. | 1:51:53 | 1:51:55 | |
You're through? | 1:51:55 | 1:51:56 | |
Mr Bill Dunnigan, | 1:51:56 | 1:51:58 | |
you're just beginning. | 1:51:58 | 1:51:59 | |
Marcus! | 1:51:59 | 1:52:00 | |
I'm happy to see you. | 1:52:00 | 1:52:01 | |
Hello, Marcus. | 1:52:01 | 1:52:02 | |
Hello, fellas. | 1:52:02 | 1:52:03 | |
This is Father Paul. | 1:52:03 | 1:52:05 | |
Mr Harris, Mr Wilde, Mr Tanby - | 1:52:05 | 1:52:07 | |
straight from Hollywood. | 1:52:07 | 1:52:08 | |
I'm very glad to know you. | 1:52:08 | 1:52:10 | |
Father. | 1:52:10 | 1:52:11 | |
Bill, I'm a man who knows when he's licked. | 1:52:11 | 1:52:13 | |
You win - | 1:52:13 | 1:52:14 | |
you, Father Paul, St Michael, Olga... | 1:52:14 | 1:52:20 | |
a couple of statues. | 1:52:20 | 1:52:22 | |
We've decided to release the picture | 1:52:22 | 1:52:24 | |
as quickly as possible. | 1:52:24 | 1:52:25 | |
You have, huh? | 1:52:25 | 1:52:26 | |
We're going to put Olga Treskovna | 1:52:26 | 1:52:28 | |
into theatres in every city in the country. | 1:52:28 | 1:52:30 | |
You're going to make the picture | 1:52:30 | 1:52:32 | |
a tremendous success, Bill. | 1:52:32 | 1:52:34 | |
I'll tell you what she's going to do, your Olga... | 1:52:34 | 1:52:38 | |
she's going to build a hospital for Coaltown, | 1:52:38 | 1:52:41 | |
the biggest, the best that money can buy. | 1:52:41 | 1:52:45 | |
A clinic for her people | 1:52:45 | 1:52:47 | |
for the study of this disease from which she died, | 1:52:47 | 1:52:51 | |
so that someday soon there will be no such disease - | 1:52:51 | 1:52:54 | |
people won't be dying from it - | 1:52:54 | 1:52:57 | |
because Olga Treskovna died for them, | 1:52:57 | 1:53:01 | |
worked and died for them. | 1:53:01 | 1:53:04 | |
This is a great thing you're doing, Mr Harris. | 1:53:04 | 1:53:07 | |
It's beyond anything any of us dreamed. | 1:53:07 | 1:53:10 | |
Maybe. | 1:53:10 | 1:53:12 | |
I don't know how all this started, but... | 1:53:13 | 1:53:16 | |
in my religion, | 1:53:16 | 1:53:18 | |
when something happens that makes the world | 1:53:18 | 1:53:20 | |
a little better place that it was before, | 1:53:20 | 1:53:24 | |
then I know that God had something to do with it. | 1:53:24 | 1:53:28 | |
I don't ask any questions. | 1:53:28 | 1:53:30 | |
In my religion, too, Mr Harris. | 1:53:30 | 1:53:33 | |
CHURCH BELLS RING | 1:53:33 | 1:53:35 | |
OLGA: When they hear me, | 1:54:04 | 1:54:06 | |
they'll know it's their own hearts speaking, | 1:54:06 | 1:54:09 | |
and when they see my name shining in all the theatres, | 1:54:09 | 1:54:13 | |
it'll be something of theirs shining. | 1:54:13 | 1:54:18 | |
I am so happy. | 1:54:18 | 1:54:20 | |
I did my job. | 1:54:20 | 1:54:22 |