Original subtitles

- Hey, Rocky. - Hey Baby.

What's happening?

Moish, listen, do me a favor. I wanna look busy.

WilI you have me paged, okay?

For you, Rocky, any time.

Hey, that's nice.

How are you doing? Got a Tuesday for me?

l'm booked soIid the whole month. One Tuesday.

Haven't you got a Friday?

I'm not kidding you. I'm booked.

Everybody's booked solid so how come nobody's working, huh?

Rocky Papasano.

Excuse me, l got a page.

l want to taIk to you.

AIright, alright. You want a wedding?

- Tuesday? - Tonight.

I told you aII I got is just one...

BeautifuI. You got you got. Forget it. I'lI get somebody eIse.

Hey, for you l'll change my whole scheduIe.

He's booked soIid.

- Where's MitchelI GiImore? - Across the street.

Friedman?

Upstairs.

The usual arrangement, right?

Right.

Hey, Ed. Eddie!

Boy, how do you do it?

Last time l worked l don't remember. Was it ApriI or May.

Hey, Rocky, Rocky. They're paging you.

Yeah, Moish, thanks, I heard it.

No, it's a real one. l didn't do it yet.

Hi, Marge.

Great. Stay there, don't move. Stay right there.

- Hey, you got a caIl for me? - Some broad's paging you.

On the phone?

Bill McGary, BiII McGary.

No, she's around here somewhere. A Iittle broad.

WalIa Crookshank, WaIIa Crookshank.

Hey.

Are you the one that paged me?

Yeah.

Oh, um... umm...

You don't know who I am, do you?

Uh...

Yeah, it was in a dance in BrookIyn this summer.

ln the mountains, right?

It was a dance in the mountains What to you mean I don't remember?

It doesn't matter.

My name's Angela. Can I talk to you a minute?

I'm on my lunch hour. l've only got a minute.

Sure, honey.

l'm gonna have a baby.

Congratulations.

Don't worry. l'm not gonna cause you any trouble.

AIl I want from you is a doctor.

An address, you know?

Now wait, look, you just don't walk in a place Iike this and uh...

Oh, forget it.

Wait... wait...

Listen... you just don't...

You just don't waIk up to a guy and teII him something like that.

Finished.

Come on and l'll buy you a cup of coffee.

Hey, hey...

Look!

l didn't think you'd give a damn one way or the other.

But I did hope that you'd...

Look, wiIl you... Look.

Wait a minute.

Where can I get a hold of you?

Macy's. Nine to five.

The fifth floor.

I'm going as fast as I can! Take it easy, take it easy.

Now stop. Knock it off.

That's right. Nice, behave. Come on.

Knock it off, shorty.

That's good. Yes.

Just a minute. Yes.

Get outta here. Come on, get away.

Gonna get hair aIl over me.

Come on, ugly.

UgIy? Who are you calIing ugly?

Him, the ugIiest dog l ever saw.

He is not. Don't you Iisten to him, sweetie

He's a naughty, naughty man, yes he is. Oh, you poor baby.

Where were you this morning? l wake up and you're gone.

I toId you.

The Union HaII.

I forgot.

l wish I'd forgot.

Ethan, eat your eggs.

AIright, now. Eat your eggs... For protein.

What did I do, insult your protein?

Don't start up with me?

What is it my fauIt you couIdn't find work?

Who couIdn't find work? l got a wedding tonight, tonight in the Bronx.

- Don't take it out on me. - Taking what out on you?

Look, anytime you're not happy with the

hospitaIity at my apartment. Here'a the deposit back on your key.

Aw, come on, wiII you?

l'm dying.

My shirt is sweated right through.

My bones ache.

And my head's kiIIing me.

Are you okay, honey?

You feeI warm. You aIright?

I thought you were dying.

What's the matter? Jane RusselI wouId do it for BilIy the Kid.

My Iuck I wind up with a sex maniac.

You good?

Yeah.

You know me in the cold weather, how l Iove to be in love.

We are in love, aren't we?

RealIy in love.

Yeah...

You with yourself...

and me with myself.

Wanna hear your horoscope?

Today?

Your stars in the wrong orbit, pIay it cooI, lock yourself in the toiIet

and don't come out.

AIright...

What happened today?

- Nothing happened. - Oh, obviousIy.

What happened, nothing happened.

Great day. Marvelous day.

What am l going to teIl you? I'm sick and tired of that...

kind of Iife l lead.

Hey, Barb.

Hey, Barb.

Mm-hmm.

A friend of mine asked me if I'd ask you

if you knew the name of maybe a kind of doctor or something.

He's got himseIf in a little troubIe with a girI.

Hey, Barb?

You want me to find you a doctor?

You want me to find you a doctor?

Now wait a minute, I didn't...

Angie!

Angie!

Angie!

Hey, Angie, over here!

Come on.

Come on.

What are you looking. We happened to pass by you in the neighborhood

so what's so terrible to give you a ride home?

It's embarrassing the fruit truck alI the time.

Excuse me very much, your highness,

When I start hauling vegetables in a limousine

l'II pick you up in a Iimousine.

AIright, I grant you that time you went to the dance and everything...

you were all dressed up and everything.

I can see maybe you don't want to ride in a truck.

But now you got on your reguIar clothes in the daytime.

You're right, Dominic, what can I tell you?

When you're right, you're right.

Go talk to her IateIy, anything you say.

Drive, wiIl you, drive! l got a date tonight.

She won't run away, I guarantee you. Miss skin and bones.

Going out tonight, Angie?

Why?

Nothing why, l'm making conversation.

AIright, who did you happen to bump into today?

- What're you taIking, wiII ya? - Nobody?

Tell her, Julie, what happened. Did l do anything? Tell her.

We bumped into, what's his name, CoIumbo.

Columbo.

Columsy!

Is that nice? Why do you calI a person names?

CIumsy, Clumsy. He can't turn around without banging into something.

Who wouldn't be clumsy the way you Iook at him?

Make 'em nervous.

Anyhow, we met him on the street. Did we meet him on the street, JuIie?

Yeah, we met him on the street.

He said, "Now we're taIking, how's Angie?"

l said, "Fine."

He said, "Maybe I'lI drop by the house sometime." I said, "Fine."

He said, "Maybe tonight." l said, "Fine...

wonderfuI that you'd Iike to see him." That's the whoIe thing.

l told you, Dominic, if you don't stop with this...

What you telling me? The fella's coming over to the house.

What shouId l telI him? You'd hate to see him?

l'm not gonna see him!

So, why don't you like him?

A nice boy, responsible, a nice little business of his own.

l Iike him, l Iike him. l love him.

He's Prince Charming, l'm crazy about him.

Hey, you! Don't party in the kitchen.

lt's a dance. In a nightcIub dance, in the kitchen eat.

You can't keep him home. This one Iooks like an old Iady.

Why does it bother you? What's it your business?

If l wanna stay home, if l wanna bIow bubbIes,

I have a right to do what I like. That's what l Iike to do.

Like? In America everybody wants to do what they Iike.

But, what do they like? They don't know what they like.

She's waiting on the story books, a movie star on a big white horse.

Mr Charming. Boy, a prince, huh.

What does she want? A movie star, she wants? On a horse?

- Right, Angie? - Exactly.

Is that alI right with you, Ma?

For me? As Iong as he's Catholic.

Hey, Angie.

BeIieve me, in the oId days a young person had respect.

ln the old days, you didn't have to like everything.

You did what you had to do

and if you didn't like it you Iiked it anyway.

Take me, for example.

l met your papa, Bonanima, on a Sunday, eh?

And on Tuesday you were married.

Yeah. And what did l have? Such a terrible life for 32 years?

l hate to remind you about this,

but today is not the Dark Ages when you were a littIe girI.

Oh, child, today is the Light Ages, sure.

Ah, questa CampaneIIa... AlI right, vengo, vengo.

I'm not here. That's aII.

Angie! It's not nice.

- Hey, look who's here. How are you? - l was just in the neighborhood...

- Hi Tommy, nice to see you. - How are you doing?

Wait a minute, l'm going to get Angie.

- Angie, wilI you come on out. - Oh, for crying out loud!

Can't l have any privacy in this house even in the bathroom?

ls it gonna kilI you just to say helIo to him?

- Dominic, I've toId you 400 times... - What did you tell me, what?

- Hey, wiIl you get out there and... - Get out of here!

Who could live your whoIe life in a house that

never had a corner where I could put a turtle.

To put or have a littIe turtIe.

Turtle, what turtle? You want a turtle?

I want a room of my own, I want to be able to...

What are you telling me about turtles? You want a turtIe, buy a turtle.

It's my own fault. Its my own fault. lt's me.

I'm a big girl, l'm making my own money.

Who says l have to Iive here if I don't wanna Iive here?

And I don't wanna live here.

I'm gonna move out of this house tonight.

This time l reaIly mean it.

- Hey, look who's here. Mr Columbo is here. - I'm sorry, I mean uh...

you know, but excuse me for dropping in. l just happened to be in the...

We're gonna have some coffee. Come on, Angie, have a cup of coffee.

l was in the neighborhood...

Darn it! WouId you mind if l turn the water off?

Come on, sit down. You're just in time for a cup.

Oh, no, reaIIy, I couldn't. l just...

- How's your mother? - Oh, she...

Sit down.

Bye-bye everybody.

Have fun.

Don't put a dent on that truck or l'II break your head.

I, uh, I didn't see her aIl week. So l seen your sister and I asked her.

- She tells me it's a virus or something? - Yeah...

Poor thing, everyday it's something new, eh?

WelI, they couIdn't, you know, find anything...

they took all the tests, but she still got this, you know... pain

Come on, sit down. I'Il get you a cup of coffee.

And your other sister, how is she? ls she out of the hospitaI?

Oh, next week, I think, we hope, you know...

Ask him would he like a piece of cake or something.

Would you Iike a piece of cake or something?

No, no, l just came... Ooh!

- lt's okay, it's okay. - Oh, Che peccato. Presto una spugna.

lt's alI right. Spero non Si ai brusciatto.

No, no, it's...

It's aIright. Una più, una meno.

- Angie! - lt's nothing.

I'lI fix it.

So, how's everything in the restaurant business?

WelI, you know, one day it's pretty good and the next it's...

uh, you know, it's...

Oh, Iook, let me do that. You'Il cut your finger...

No, no.

I'lI fix it.

Thank you.

Hey, Dominic, c'mon we go in the other room and we cIose the door.

On the couch l wouldn't trust them five minutes, but in the kitchen...

what can happen? Andiamo.

Why don't you sit down?

Just... sit down.

If l sit down, l'll probably break the chair.

I don't know what it is.

You oughta see me during the day, I...

I got 1 0 or 1 5 hamburgers going, l got franks in the griII...

white down, wheat down...

scramble a pair in a skiIIet.

I don't know. With this hand I'm breaking Iettuce

l just don't know what it is. All you have to do is just look at me and...

What's the matter?

What happened?

Look, I...

I better ask you what I...

You know...

WeIl, I... Anyhow, the thing is...

that they're having this dance, you know...

Iike a dance...

over at the Sons of Garibaldi...

and I thought that uh...

WeII, you probably got a date aIready, probabIy.

This Saturday night?

This Saturday?

Tomorrow night?

I knew it. WelI...

Listen, it's uh...

- Good night, everybody, l gotta... - Where are you going? What's your hurry?

WelI, you know, listen, with the kind of help

you got to put up with these days, you know

you're out of business in a couple of hours.

I'lI see you, Dom, JuIie. lt's good to see you, Mrs Rossini.

Come again soon, eh?

- Listen, l'm sorry about... - Oh, that's okay.

Next time. Listen, what are you doing New year's Eve?

It's onIy nine months away.

I'm kidding you.

I'm joking. lt's a big joke, huh?

I'm a big comedian.

WelI, Iisten, I...

Good night, Angie.

Good night, Anthony.

What are you doing?

Where are you going?

l'm oId enough.

Hey, wilI you stop that. No, no, Iet her go.

You wanna go? Go. Go. Tonto. How many years have I got Ieft in this worId?

- Go, go, be happy. - Mama, she don't mean it.

I mean it! I mean it!

Go, be a mother in America. Day and night you watch her, day and night.

You take her here, you meet her there.

Your whoIe Iife you're waiting in the truck

afraid maybe some Iunatic might grab her in the street.

For what? So that she go in the room with a movie star on a horse?

l don't know. I telI you the truth.

On papa's grave l don't understand what's so terrible.

What shouId I say? Go in the street? Who cares about you?

I care about you. Do me something. I love you.

Don't love me so much.

- Hey, America... - I can't breathe.

How can I telI you?

Even if I didn't wanna do anything crazy.

Once, just once, I have to.

I really have to, just to keep from... choking to death.

What are you talking about?

Every day you meet me in the truck!

What every day?

Three, four times a week you take me to lunch.

You folIow me around on dates.

You pick out alI my boyfriends.

It's my job to protect you!

WelI, then why don't you protect Guido for a change?

Take him to Iunch.

Every night he goes out with alI kinds of...

Guido, Guido! Guido's a boy!

Who cares what he does?

AngeIina, Bella Mia, if I'm wrong about it. l Iove you.

Alright, too much! Go, go in the world by yourself in a room!

Go, go eat in the drugstore by yourself!

lf that's what you want to make you happy! By yourself with strangers! Go!

I'Il go see her tomorrow.

We'Il have a taIk.

l'll find out what's the matter.

Take her out to lunch.

ActualIy, you know, this Iooks orange.

They calI it rust.

WelI, you never can tell what a manufacturer is going to say.

l wonder if you couId show me something else?

Oh, yes.

Thank you, I'd appreciate that.

Hi.

What are you doing here?

What am I doing here?

Would you excuse me one moment, please?

You know how many peopIe are on the fifth floor at Macy's?

That's alI you toId me, Macy's, fifth floor.

I'm sorry. l thought I told you.

Fifth floor you toId, that's aIl, you know.

l'm sorry.

Pretty, pretty tweety. C'mon, bite my finger.

Look, aII l came to say was l made you an appointment Sunday afternoon

and l got you a doctor, okay?

I'lI write down the address and, if you want, it's $400.

You got a piece of paper?

Four hundred dollars.

How much can you raise?

Maybe two at the most.

Yeah...

You raise haIf and I'lI try to raise half.

Okay?

l don't know anything about this guy...

So I'Il meet you there 3 o'clock Sunday afternoon.

Got a piece of paper?

l'm sorry.

Look, if you're not absolutely sure about this

then, l mean, just...

There's onIy four here.

You'll need another fifty.

What do you mean, they toId me four. Right, plus fifty for me.

Yeah? WelI I don't have it.

Bring it with ya. Four o'clock.

- Yeah, weII... - Here's the address.

Third floor, front.

- Yeah, but what happens if I... - Five minutes Iate, don't bother coming.

But what happens if l can't go... Wait a minute!

He says another fifty.

What?

l got thirteen. How much you got?

l think I have about...

eIeven. And some change.

We got about 45 minutes.

You got any ideas?

C'mon.

Where?

To get the money.

Alright, lady, drop the gun.

How're you doing, sexy?

l'll give you sexy!

What's the matter? Postcard once in a year?

Can't you say heIIo?

Hm? Give me a kiss.

Come on!

Where do you live now? Milan or somepIace, Africa?

Two minutes, you get on a subway, you pick up the telephone...

Mama, Mama, I want you to meet a friend of mine. Angie...

Rossini.

Hi.

Mama, she's a friend.

Friend? Who says no? She's an enemy?

Where's Papa?

Where? He's losing the money.

BeIieve me, it's across the street by the U.N.

They take everything so serious. Like my husband.

With the bocce game? Goodbye, CharIie.

What do you give me, a doIIar? I tell you what he's gonna say.

"What the damn helI, he's home," watch.

Hey, hey, hey, hey, your son's here.

Enrico, take my pIace.

What the damn hell.

- He's home. - What I tell you?

He's got a girIfriend.

Ay, BeIla ropa.

Where she work, in a saloon?

- Hey! - Papa...

Oh, I'm sorry.

I want you to meet a friend of mine, Angie Rossini.

Excuse my big mouth.

l didn't know the girlfriend in person.

And what I said about the saIoon is because...

he bring home a girl...

BeIieve me...

I'd be ashamed to be seen with the same girl at a party.

Ma questo mascalzone...

he bring her in the house.

That was ten years ago and he stilI putting on about it.

How're you doing, Pop?

- How're you feeIing? - Me, Iike a horse.

Some horse. He's up all night Iike a horse coughing from the cigarette.

Shut up! She taIk, eh? Let's take her... you want something to eat, eh?

A bottIe of wine... Si, Si, come on, come with me.

How're you doing?

AIright?

Okay.

What do you need, a coupIe of doIlars?

Can't l come down and see you and Mama?

Come on, take it, big shot. Take it.

And don't say anything to your mother.

That's what I have here.

Angie, come on, I want you to meet some of my friends.

How're you doing, beautifuI?

Nothing, not a cent, not a penny, nothing.

Did l ask? When did I ask?

Rocky.

- Hey, how are you? - Hello, Lou.

- How've you been? - Good, good.

l can't beIieve it.

Hey, you seen Beetie?

- No, no l haven't. - She's sitting right over there.

- Come on over say hello. - Yeah, weII, look, I got a coupIe of things I gotta do...

Come on, say helIo.

C'mon, now.

It's been a Iong time.

Beetie. Hey, Beetie Iook who's here.

Hey, Maria. Maria, come here, Maria.

How're you doing?

Great.

You're looking great.

I told you not to cIimb.

Maria.

- Hi. - Hi.

Hey, she's reaIIy big.

You oughta see my older boy. He's bigger than me.

- My girIfriends are waiting. - Hey, shut up a minute.

This is Rocky Papasano.

We grew up together.

We went to the same school.

Hey, don't you remember the time l said thought I saw him

on the Lawrence Welk show on teIevision?

Hey, he's been everywhere. Hollywood, everyplace.

Bye.

Oh, weIl.

Come on eat with us, eh?

- Oh, no, no. - Oh, no come on.

- Go eat your steak. - Alright, I ask you. C'mon, eat. C'mon

Aspetta.

- Hey, Mama, I don't need... Mama.

Shut up. If you teIl your Papa l break your face.

C'mon.

Oh, no, no. La signorina prima.

My brother's here.

- Hm? - My brother's here.

What brother?

In the truck.

Mama...

What happened?

I have to go, Papa..

Rocky! Rocky!

Guido, go get him.

What're you standing there? Go get him, go on!

That did it.

l can't even run anymore.

Brothers now.

Quarter to four we're gonna sneak out the back way and get a cab.

WeII, we got the money, in case you're interested.

Look, I'm gonna leave now.

You don't have to go with me.

l mean it. Just give me the...

address and tell me where I'm supposed to go.

Sure, l'm going to let you go up there alone, huh?

You don't have to worry about protecting me.

Why did you go with me that night in the mountains?

Do you mind if I ask you that?

Let's forget about that. WilI you just forget about it?

How do I know why l did it? I don't know.

I was just stupid.

lt was just a stupid experiment.

The hoteI is fuII of women, I wind up with Louis Pasteur.

Oh, boy, how they build things up.

In the books, in alI the movies.

How the world comes to an end every time the fIame of your Iips touches mine.

AlI I felt was just scared and disgusted with myself.

Oh, reaIIy?

Look, he's insuIted.

Don't take it personalIy.

Thanks.

You uh... you want a littIe vino?

Man, there's been a lot of vino under the bridge today.

Just think a pair of nights with a girI.

You know the girl at the park?

My friend the big guy's wife?

You wouldn't believe this.

She's two years younger than me.

WouId you believe that?

Man, I hate to come back here.

Listen, that girl and I, we used to break a lot of bread together.

Now we Iook at each other and we got nothing to say.

That's what Iove is?

Bells and banjos pIaying?

How they brainwash you.

And here l spend my whoIe Iife life Iike a nut, waiting for what?

A stranger.

Listen, it's possible.

Don't teIl me you beIieve that.

WeIl, it's a known chemical fact.

Some people, you just have to look at them. It's kind of kicky.

With other peopIe, chopped Iiver.

That's true, but...

How come...

You know, my cIass in high schooI.

HaIf a dozen kids, they couIdn't live without each other.

They got married...

and almost everyone of them now...

either they're divorced aIready or they're miserable.

WelI, let's face it. Ever take a cIose Iook at a married man?

Prisoner of Zenda.

Not everybody.

Nine times out of ten.

Maybe.

l don't know.

I used to try to pick out the peopIe who Iived alone, you know,

in the subway, in the street...

and almost everytime they had those... I don't know, gIassy eyes.

Nothing's Iiving in them.

Like?

l don't know.

Dead.

What are you looking at me for?

Do l look dead to you?

CouIdn't resist it.

l don't know.

Hey, you wanna see something?

Hey, come here.

- ls that you? - Yeah, you Iike that haircut?

l kinda Iike the haircut, but those knickers...

Hey, hey, I was a very cool cat.

lt seems very funny putting you together with a family somehow.

What did you think, l got hatched out of an egg?

The way they love you.

What are you taIking about love?

What's love about it? They're glad to see me?

They haven't seen me for a Iong time.

Let me hang around here for a couple of months,

I'lI melt right into the waIIpaper just Iike everybody eIse.

Love, huh?

That's what makes it rough.

When they Iove you.

Come in.

Come on.

Come on.

- Move. - Come on.

Hey, buddy, wait. You have to wait out here now.

Come on, hurry up.

Get undressed.

WelI, come on.

Take it easy.

Are you a doctor?

You said a doctor.

Take it or leave it.

Come on, get your clothes on.

Get your cIothes on. We're gonna get out of here.

Come on.

Come on! Get your cIothes...

Come on, get your clothes on and...

Come on...

Come on... get your cIothes on.

Get your cIothes on. C'mon. l want you to get out of here.

Get your cIothes on. Now!

Get your...

Oh, God... Get your cIothes on now.

No...

No, no, no, no!

I'lI kilI them before l Iet them touch you.

I'II kiII them...

lt's okay, it's a friend of mine's apartment.

He works nights.

You need some rest.

Hi.

Now knock it off. It's been a rough morning.

AIright, now. Here, eat.

No, no, no, that's not yours. Here.

No, no, here's yours.

Don't you beIieve in knocking?

What are you doing here?

Paying the rent, for one thing.

Which brings me to a Iittle Orphan Annie you parked here.

lncidentalIy, without my permission.

Number one, which I wouId not give you, number two over my dead body.

Take it easy, wiII you? I want you to meet a friend of mine.

Dominic Rossini, Barbie MargoIies

I'm sorry we kinda busted in on you Iike this.

- Oh... - Where's the girl?

Honey, would you put some coffee on, hm?

WeII, it's a IoveIy day, isn't it?

- AngeIa... - I gotta taIk...

I have to telI you, Angie, l...

When he toId me my whoIe stomach turned over on me.

I mean it. I'lI teIl you the truth, I can't believe it.

Anyhow, we had a Iong taIk.

And the thing is, he came to me Iike a man.

And he's wiIIing to marry you.

Why?

l know you're embarrassed by the stupid way he put it, but...

I'm not embarrassed. I'd Iike to know.

- What do you mean stupid? - Stupid, you're stupid.

- You're calIing me stupid? - Why don't you cooI it?

WiII you stop that?

Sit down. The both of you.

The both of you, wiIl you sit down?

Do you want to get married?

l said I wouId, didn't I?

That's not what I asked you.

Well, who wants to get married?

You mean, even though you don't wanna marry me...

you're wilIing to do it anyway?

Well...

l'm just as much to blame as you are.

More, it was my fauIt the whoIe thing and I'm willing to take my medicine.

That's reaIly wonderfuI.

And I'm the medicine, right?

I know this may come as a great big shock to the both of you...

but underneath aII this hair and skin is a human girl.

With alI the reguIar things going for me.

And, believe it or not,

I don't wanna spend the rest of my Iife married to a man who's doing me a big favor.

- What did I say? - What are you taIking about?

AIright, l made one mistake.

And it was a beaut.

But that doesn't mean I have to ruin my whole life, and his, and the baby's.

The man is wiIIing to marry you. What do you want?

l don't want to be a warden all my life.

The Prisoner of Zenda?

Look...

I appreciate what you're wiIIing to do.

l mean that.

I realIy mean it.

But as long as you feel Iike being married is being in jail

then you wouIdn't be happy, right?

So, if you're not happy, then you take it out on me.

And then l'm not happy.

And if you're not happy, and I'm not happy, then the baby's not happy.

So, who needs a whole house fuIl of unhappy people?

Where are you going?

l don't know. I gotta get out of here. I'm gonna be Iate for work.

WeII, look, you wanna here me say l wanna get married?

Alright.

I wanna get married.

l'm only trying to be honest with you.

TeII the truth.

lf I said okay, your teeth wouId fall out.

Right or wrong?

Dominic, I realIy owe you an apology, you know.

l reaIly do.

AIl this time I've been bIaming you for everything.

You ruining my life and aII that.

Well, that's over now.

You know why I've never been abIe to Ieave home?

l just suddenly figured it out.

Very compIicated.

I was scared.

And I'm not scared anymore.

I'm terrified. Funny?

Well, Iisten.

Thank you Barbie for the use of the Teddy bear.

Coffee anyone?

I understand how you feel Mrs Rossini.

But in this country it isn't considered unusuaI

for a girI to want an apartment of her own.

WeII, you see, Father there's a Iittle more to it than just wanting an apartment...

Oh, sure, tell him. TeII the whole world. Why don't you put it in the paper.

Mama, we asked him to come here to help.

He's a priest, Ma.

ln the church he's a priest. In my house he don't have to know everything.

- Alright, mama, you rest now. - Yes, yes, in my grave I'm gonna rest.

In my grave l'm gonna rest. Hey, don't forget...

What we're trying to do...

is there any way you can make a person get married if they don't wanna?

There must be a law or something.

Look, there's no Iaw.

I toId you before, you can't force a person to get married.

Look, I'lI bury you.

Get him out of here.

Get him out of here. Not in front of the priest.

Get out of here. Go out to the kitchen. Sit down.

You can force somebody to pay upkeep, or something Iike that

but you can't force somebody to get married.

My son, often in this world you'II find

that the law of man comes second to the Iaw of God.

- And the individuaI conscience of man... - Look, Father, l...

Admit your guiIt, my chiId, and face the fuII responsibiIity.

I'm willing to get married. She won't.

- But didn't you say... - She don't wanna.

I'II telI you what she wants. She wants beIIs and banjos.

- Banjos? - What banjos?

You want me to teII you something?

What am l doing here? l was wiIIing to do my part.

She didn't want me.

Right?

Good Iuck. From now on it's your problem.

- From now on it's your problem. - Hey, wait a minute.

- Listen, just for a minute. - No.

Wait a minute, just a second.

Hey, Angie!

- Hi. - How are you?

Fine.

- How are you? - Fine.

That's fine.

How're you doing in your Iittle room and everything?

Who said it's a Iittle room?

It's two rooms and a half.

Mom's in bed, you know. We had a doctor and everything.

I think she lost the wiIl to Iive.

Dom, she'lI live. Listen, I gotta run. I'lI see you, okay?

Taxi!

Listen, I toId her maybe we could have some Iunch or something?

What?

l said maybe we could have Iunch or something, I thought.

I can't, Dom. I got an appointment.

Taxi.

Who with?

The beauty parlor.

Okay, what for?

Hey, taxi!

What you got? A date or something?

Maybe.

Who have you got a date with?

Taxi.

Do l know him?

Where did you meet him?

Can't you tell me who he is, at least?

Rock Hudson.

On a horse.

So I'm Iucky l feII on my, you know, wrist.

l know this Iady lives on Pickney Avenue...

The cake is almost, you know.

And she was waIking down the, you know, street

and she feII down and broke something

in her back something

and now she can't move both her, you know, legs.

Excuse me, I better see if the, you know...

Anthony. Oh...

lf l couId see what I'm eating, I couId eat.

Oh, Mama, leave it romantic.

It's romantic enough.

Excuse me, I'Il go see if I can, you know, heIp.

- Hi. - Hi.

Hot. Careful, it's hot.

I'II do it.

Did you, um, tell your mother?

I haven't told her yet. But I'm going to.

I'm gonna teII her what uh...

l'm gonna tell her about the uh...

you know, the baby, and uh...

WeII... only... what I'm gonna teII her is...

l'm gonna teIl her that I'm the...

you know, the father.

Get some butter.

- CoId water. No, no it's alright.

Butter, wiIl you get the butter?

- It's alright. It's fine. - You sure?

- You hurt yourself. - No, no!

- No, it's nothing. - You sure?

- Yes. - Sit down. I'Il heIp him.

No, l'd Iike to, reaIIy.

I love to heIp in the kitchen.

What are you gonna heIp. There's nothing to heIp.

Both of you, sit. All of you, you know, come on, sit down.

- Huh? - C'mon, c'mon.

Too many, uh, too many cooks spoiI the, you know...

the broth.

- Better have a doctor check that hand. - Oh, no it's... Oh!

Oh, my goodness.

Very sorry.

Nine out of ten accidents happen in the home.

It's statistics.

This is really a Iovely room.

You have wonderful taste.

What you've done to this apartment.

Okay!

I'm ready!

Readier.

I'm uh... you know.

Anthony.

Oh, it's beautifuI. It's just beautifuI.

What's the idea?

WeII, I thought that... you know, Iike uh...

like the 4th of JuIy, huh?

Big joke, huh?

Mama... when Anthony gets married you wiIl not be Iosing a son.

Somebody wiII be gaining a cook.

Uh, sis...

ColIege girI. Going to coIIege.

You'lI have to excuse my mother. She's anti-education at the present moment.

Ever since I toId her l was taking a course in Iove.

A course in love?

Not realIy, it's just part of a course.

l only say that to agitate them.

The concept is that Iove

taken on the mature IeveI as opposed to the uh...

erotic, or the so-caIIed romantic, with aIl it's faIse conceptions, is reaIly an art.

And like every other art, it demands practice and patience

consistent dedication and hard work.

I believe that. l realIy do.

WeII, of course.

Now, how can any inteIligent person in this age of reason

make the most important seIection of his Iife merely on the basis of some kind of

vague sexuaI attraction?

Of course.

I mean, if two people just start out being nice to each other

if they're just concerned about what happens to each other

that's aII...

and they're just nice...

then I think it happens.

Don't you?

- What do you mean? - Love.

I mean, what they calI being in love.

I think that love, actually,

as such...

is strictly a middIe-cIass idea.

And it is definitely on it's way out.

Yes, l think so too.

Actually.

l mean, I don't think that love is something that you...

fall into. Like a hoIe in the ground.

Now, if a person is even halfway mature

when you consider the enormous responsibilities invoIved in marriage,

you can't take it Iightly.

You can't. Knowing that the future generation

is entirely due to the wisdom of your procreation.

Of course.

- You want the... - Sorry.

I just don't know what is the matter with me.

- I'lI get a towel... you know, wipe it. - Don't worry about the dress, l'm just...

- worried about the dinner table. - That's alright.

We're only Iucky it wasn't, you know, hot coffee.

Oh, it's terrible. l'm so sorry.

She's not a bad-Iooking girl.

But she's so cIumsy.

Hi.

Oh, hi.

How're you doing?

Fine.

I was in the neighborhood,

so I thought l'd drop up see how you were making out.

Oh...

So, how's everything?

Fine.

No, l mean the probIem.

Fine.

What do you mean fine?

WouId you excuse me just a minute, please?

Listen, what time do you get off? Let's have a cup of coffee or something.

WilI you excuse me a minute?

Well, what do you say? ShaIl l pick you up after?

Oh, l can't tonight.

Oh, yeah, AI right, weII uh...

Tomorrow then, okay? I'II pick you up after or what?

No, l can't tomorrow night either.

Oh. What do you mean you can't? lt's a cup of coffee.

WelI, I've got a date.

With who?

What's funny?

lf I didn't know better, l'd swear you're my brother Dominic.

Look. l just wanted to see you that's aII.

See how you feeI and see how you're making out.

So, fine, I saw you. And everything's fine, so...

fine.

Oh.

Listen...

Do you want to make it Monday?

Monday, what am I supposed to do? Wait around untiI Monday?

Hey, Angie, when you get a minute.

AIright, l'll meet you Monday. l'lI see you Monday.

Come here a minute.

Look, why don't you come to my place Sunday?

l'll make dinner.

I'II take you out to dinner.

Don't you want to see my new apartment?

You want me to?

WelI, if you want to.

Okay, you got a deal.

Sunday.

Oh, wait a minute.

You don't know where l live. Oh, East 1 1th street.

Just a minute.

Hi. Come on in.

Hi.

Man, do you Iook wiId.

- Thank you. - No, I mean it

I realIy mean it.

- Look how surprised he sounds. - You Iook so...

What am I gonna teII you?

You Iook Iike a woman.

How can you manage to make even a compIiment sound like a slap in the face?

What did l say? You Iook Iike a woman.

l apologize, excuse me. You Iook like man.

Do you wanna fight aIl day?

Who's fighting? I don't wanna fight.

AIright, then. Sit down.

I'II make you a drink.

I don't know what it is.

First time in my Iife I come to see a girl and I feeI Iike I'm 14 years oId.

Even when I was 14, I didn't feel Iike that.

They're beautiful.

Thank you.

What wouId you like to drink?

Scotch, l don't know. What do you got?

Scotch, gin, bourbon, vodka...

What are you, on the sauce now?

l thought you didn't drink.

- I don't. - What are you running here? The USO?

Would you like a drink?

Thank you.

- Scotch? - Thank you.

Water, soda or tonic?

Scotch and tonic?

Uh, very good.

Zelda,

Gin and tonic, yes. Vodka and tonic, yes.

Scotch and tonic, no.

Water.

- Thank you. - You gotta know these things

if you're gonna run a respectabIe den of inequity.

Well, I'Il Iearn in my own little way.

You know something, l'II tell you the truth.

You're kind of okay, l mean that.

l know you think I'm putting you on, but I'm not.

l mean it. Any other girI in your situation...

Look, will you do me a favor.

Don't pay me any more compliments.

AlI I'm trying to tell you is l think you're pretty great, that's all.

You didn't ask anybody for anything,

and you didn't sit around feeIing sorry for yourseIf.

I think you're something.

l mean that.

And l just wanted to telI you.

Thank you.

ls it aIright?

The way you Iike it?

Delicious.

ReaIly?

No, l mean it. lt's delicious.

This is kind of a test run for me.

The man l'm going out with is in the restaurant business.

And so before I cook for him...

Anything l can do to help, Iady.

WouId you like some?

So teIl me...

How have you been?

Who me?

Great, just great.

That's wonderful.

Yeah, I'm fiIling in for a friend of mine every once in a while over in Radio City.

He's quitting the business, Going to open up a used car lot in New Jersey.

Said I could have a job there if l wanted to.

Permanently.

ReaIIy. That's wonderful.

WonderfuI?

Five days a week, rain or shine, in sickness or heaIth, who needs it?

I go where the wind bIows me.

If I don't wanna go to work, l don't have to go to work.

And l can stay in bed aII day long if l want to.

So wonderfuI. You're happy.

Well, l am.

I reaIIy am.

Nice place you got here.

It really is.

l can see you put a Iot of yourself in it.

LittIe things here and there.

Very nice.

And, you made it very nice.

You know something?

If you didn't try so hard to play against it

you could be a pretty decent kind of a person.

Look how surprised she sounds.

What do you think you're doing?

- As if I didn't know. - Come here, Louis.

Louis?

A new kind of experiment.

Look.

Don't.

You better understand something here and now.

What we did before, that was something happened

don't ask me how or why, but it's not gonna happen again.

Why not?

Don't you understand?

I didn't know you then. I didn't care about you.

But, l know you now. l like you.

Man, I end up with a...

Look. Why don't you sit down?

I invited you to dinner. Let's have dinner.

TeIl me something.

That cook...

that friend of yours in the restaurant business

Do you Iike him too, the way you like me now?

Or do you not care about him the way you used to not care about me?

What are you, some kind of a nut?

Thank you so much for dropping in.

I'm sorry you had to Ieave so earIy.

Look, l'm sorry. l'm sorry. I didn't mean... I made a bad joke.

Dead, dead. You're dead.

- Wait a minute. WiIl you just Iisten. - Look!

Look, l've got a man who wants to get married.

And he wants to get married to me.

And if l don't hear the beIls and the banjos ringing everytime I look at him...

l can just Iive without the bells and the banjos.

Cause l don't hear them when I Iook at you either.

- Listen, Angie. - Will you get away from me, please!

Just get away from me!

And stay away from me. I don't want to see you anymore, ever.

Now, listen, we...

Go, go where the wind bIows you.

Hey, Angie!

And if you think you're such a big prize talking to every girI in the worId

who's out to to trap you.

Now wait a minute, wilI you?

Hey, come on, Angie. Let me in, wiIl you?

Angie.