All language subtitles for The.Guilt.Of.Janet.Ames.1947.1080p.BluRay.x264.AAC-[YTS.LT]

(dramatic music)

(gentle music)

(dramatic music)

- Hello babe.

Little drink?

All alone?

How 'bout it, how 'bout a little drink?

Looking for somebody?

Won't I do?

Buy you a little something to eat maybe?

Lonesome?

(dramatic music)

Change your mind?

I know this swell place.

Nice little bar right down the street.

Hey!

Hey!

(car honking)

(tires screeching)

(siren blaring)

- Up to emergency for x-ray and general.

Possible skull fracture.

Traffic accident on fifth
and Spring, possible suicide.

No identification.

- No name?

- You wanna name her?

- A mystery woman.

- Maybe she's the daughter of
a wealthy herring merchant,

caught in the web of an
international spy ring.

(purse items clattering)

- She knows five guys in a row.

- Oh, lucky girl.

Hey, look, look who's here.

- Ain't that Smitty?

- Sure, Smithfield Cobb, that's Smitty.

- Why don't I call him to identify her?

Is he still on the Enquirer?

- He got fired a couple of days ago.

- How will I find him?

- Drunk.

- Yes I know but where?

- Danny's Bar I'd say.

- What the number of that joint?

- It's main something.

Main 1762 I think it is.

(phone whirring)

(phone buzzing)

- Busy.

- Oh no honey you oughta
know better than that.

I've been remembering about it, all day.

Sure.

Uh huh.

You ain't kidding.

Yeah, meatballs and spaghetti.

Rotten.

What'd you have?

Who?

Well I don't think you oughta
honey, you know how it is.

- Hey wasn't that Smitty?

- It looked like him.

Yeah honey, yeah.

- What do you know, he didn't come in.

- He had a suitcase.

- Must have been thrown
out of his boarding house.

Set one up for Smitty Dan.

He'll be back this is the
only place left in town

he can drink under cover.

- That's not very
complimentary to me Mr. Nelson.

Smithfield Cobb comes in here

cause he likes my conversation.

We have some interesting
cultural discussions.

- I bet.

- Dan, did he ever tell you?

- Tell me what?

We only converse about Peter
Ibbetson and the universe.

- Yeah we know, we know.

- He ever tell ya anything
that would explain the,

you know, the change in him?

- You mean what started him
drinking all of a sudden.

Yes Mr. Walker I asked him.

- You did?

- Yes.

I said one day after he'd had a few

and was getting kind of ripe

and talking kind of loose,

I said Mr. Cobb, I said,

what happened to you over there in the war

that you came back so different?

He is a different man you know.

Came back and started hittin' the bottle

(pops) just like that.

Ah well, one day the most
successful newspaper man in town

the next a very unhappy person.

- And what did Smitty say?

- Well, if I remember correctly
it took him a long time

to express it.

You know how he talks when he wants to,

a very fine vocabulary.

But what it all added up to was,

I should mind my own business.

(horn honking)

(door clicking)

- Hello Smitty.

- Hello.

- Good evening Mr. Cobb.

- I thought I'd drop in and
have a drink with my friends.

- We thought you thought that.

- You must be planning on a
long stay with your friends.

Last time he brightened
this corner for eight days.

- What's your beef Nelson?

Isn't it enough you took his job?

- I'm not proud of it.

Lots of people have taken his jobs.

Don't blame me for his condition.

I only took the one before
the one before the last.

- You got reason to be sore,
I'm a tough guy to follow.

But you'll be pleased to know
that I'm leaving the city.

- That's tough on the city.

- Newer and bigger opportunities.

Pour me one Danny.

- Poured it when we saw you walk by.

- I see.

(chuckles) Thanks.

To Chicago

and to you Smitty my love, may
you be the best city editor

that Stony Talbot ever hired.

- Stony Talbot?

- You, city editor of the Chicago Record?

- Yeah, I just got
Talbot's wire this morning.

- [Nelson] Then I want my five bucks back.

- Huh?

- That what I spent on the
flowers I sent Stony Talbot

last month when he died.

- Well how do you like that?

And I only got the wire this morning.

(Nelson scoffs)

You know Nelson I always
suspected that you

were the victim of a split personality

but there's one thing I can't figure out.

- [Nelson] One thing?

- Yeah, if you've got two personalities

why do you always use that ugly one?

- Listen you--

- All the best in the world to you Smitty.

When do you leave?

- Well since my statement
has been doubted.

(phone ringing)

Here's a ticket on the
midnight plane, behold.

- Then you won't be needing that drink.

- [Man] Oh yeah Vicks.

It's for you Smitty Sargent
Vicks at the Receiving Hospital.

- Oh tell him I'm busy.

Come on quit playing nursemaid,
let me have that drink.

- He can't talk, same old reason,

he's got a cork stuck in his throat.

- [Walker] Hold that phone.

- Wait a minute.

- Well I sure enjoyed that drink.

Pour me another one Danny.

- Walker's right Mr. Cobb.

If you take that drink
you'd never make the plane.

You know that Mr. Cobb.

- They want you to
identify an accident case.

Some dame stepped in front of a car

and they found your name in her purse.

- So what?

Pour it Daniel.

- He'll be along in a few minutes.

- I said pour me a drink.

- What about the lady in the hospital?

- Oh it's raining again
and I'm comfortable here

so what about her?

- I knew the stuff killed your stomach

I didn't know it killed your conscience.

- Well you know now.

- You really oughta go,
you oughta you know.

It ain't nice to refuse.

Besides if you take first drink

you know you ain't gonna stop there.

Identifying corpses is
much better than spending

the whole three hours here.

- A whole three hours?

That's strange talk
coming from you my friend.

What about Peter Ibbetson?

I thought you didn't believe in

the limitations of time and space?

Pour one for Peter Ibbetson.

- You know I've been coming
here for five months now

and I've been hearing
about Peter Ibbetson,

Peter Ibbetson, Peter Ibbetson

and I never admitted it before

but who is this guy Peter Ibbetson

and what's his racket?

- He was a guy in a play.

- And in a novel too.

He was in jail but he knew how to think

so he escaped from the
ugly reality of his life

on the wings of his imagination.

In his mind he was able to
go anyplace he so desired.

All over the world even
back into the past,

all in his mind you see.

In a manner of speaking,

that's how he got out of his prison cell.

- No bail?

- No bail just (pops).

Now do I get a drink?

- Mr. Cobb I'm going to
refuse to sell you one.

I wouldn't want it on my conscience

that you missed your plane.

- Here's to Peter Ibbetson.

Though I go to face reality
I remain here in spirit.

Well I guess I won't see you boys again.

If any of you ever needs a
job look me up in Chicago,

we'll hunt for one together.

(door thuds)

- What odds do you give me
he never makes that plane?

- I never bet against friends.

- A wonderful fella,

but he drinks.

(rain splattering)

- Evening Vicks.

- Hiya Smitty.

- Hello Smitty.

- [Smitty] Hi.

- Raining again huh?

- [Smitty] Mm-hmm.

- Well how's it feel to have a girl

try to commit suicide over you?

Even when you're just one of five

and the last one on the list?

(men chuckling)

- I don't get it.

- [Vicks] As soon as I saw your name

I figured I wouldn't need
to bother anybody else.

- Yeah.

Where is she?

- On four.

Know her?

- [Smitty] How can I know
her when I haven't seen her?

- Some babe who's heart you've busted.

- Those dames don't jump
in front of cars my friend,

they wind up marrying
broken down guys like you.

(men chuckling)

- I miss that guy.

It used to be nice when
he was covering this beat.

- Not much of a beat for Smithfield Cobb.

- Oh I guess he figured it
was better than nothing.

- You know I don't know why the dames

go for that guy but they do.

Even after he hit the booze
they still came around.

- I wonder what he did to this one.

- What does a guy do to a dame?

- Hello Smitty.

Sargent Vicks says you're identifying--

- Yeah, where is she?

- She's still up in x-ray,
you'll have to wait.

How've you been?

- Okay.

- She should be down any minute.

- Smitty, oh I'm glad you're here.

I think I've got something

- Ah go away Junior.

- But I've got a woman.

- Congratulations.

- Huh?

Oh no, I mean I think I've
found a sensational story

for tomorrow's front page.

- Some other time.

- But it's that woman
you're supposed to identify.

I've got a hunch it's a feature story.

My first day on this beat

and I find a beautiful
woman, absolutely anonymous

and with this in her purse.

- The Congressional Medal of Honor.

There aren't many of those around,

they're kinda hard to get Junior.

- See you're interested.

It is a story isn't it Smitty?

- Yeah it's a story.

- She must be some hero's wife
or sweetheart or something.

And if she is where is he?

- Where most heroes are probably.

- Oh.

- Did you see her?

- When they brought her in yeah.

- Would that be the girl?

- Yeah, yeah that's the girl.

Then you do know her.

- I know who she is.

- Well who is she?

Well come on tell me
Smitty, give me a break.

- You're not gonna write this yarn Junior.

- I'm not gonna write--

- That's what I said.

What's taking 'em so long up there?

I need a drink.

- Well you're not gonna
try and steal this story

from me are you Smitty?

- Look Junior this is
an old story with me,

I'm just writing the
finish of it so lay off.

- But Smitty--

- Look leave me alone will ya?

Oh, hey Smitty there she is.

That's her.

Come on let's interview her.

- I said lay off.

- Three and a half, two and all.

- Rats leaving a sinking ship.

- Mrs. Ames this is an emergency hospital,

this is also a holiday night,

we've very busy and we--

- Hello doc, what do you know?

- Well Smitty there are some people

who think I don't know anything.

- Well after all, the stupid statement's

you've made tonight--

- Mrs. Ames, that is the
most typical reaction

of a neurotic that--

- I am not a neurotic.

- Don't you see that you're very anger

at my diagnosis proves--

- Will you listen to
me for a moment please?

- Sure.

- I was knocked down by an automobile.

I was knocked unconscious

and when I woke up my,
my legs wouldn't work.

I can't walk.

I tried to but I fell down
and I couldn't get up again.

And he said I was hysterical.

- I did not.

I said it was a type
of hysteria paralysis.

- [Ames] Alright, what's the difference?

- There's a great deal
of difference Mrs. Ames.

I've tried to explain to the
lady that there's no physical

injury to cause such a condition.

- Do you see what I mean?

He practically says that
I don't want to walk.

- Alright, that's what I believe.

I believe the paralysis is
due to some neurotic, some--

- If simply repeating that
word is part of your plan--

- Some mental or emotional disturbance--

- Is part of your plan
to give me a neurosis

to prove your point--

- Rather than anything physical.

The examination and x-ray
showed no injury whatsoever--

- I have never heard such
absolute drivel in all my life.

If I could walk why should I choose

to crouch here in this thing?

- I'm sure I don't know Mrs. Ames

but that's a very interesting question.

- They just left me here.

- Looks like it doesn't it?

- What do I do now?

- What do you wanna do?

- Well, get out of here I suppose.

- And go where?

- I don't know, I frankly don't know.

- Where were you going when
um, when you were hurt?

- That's another thing, that
doctor as he calls himself

he said that.

Only he said where were you going

that you didn't want to go.

- Did you answer him?

- Well of course I answered him.

I was on my way to see a man,

I was very anxious to see him.

Of course now I can't.

- Why not?

- Well I can't walk that's why not.

- That's what the doc said.

- I never heard such nonsense in my life.

I tell you I was anxious to see him.

- What about?

- Well I, just wanted to look at him.

- [Smitty] Why?

- I just wanted to know
what he looked like.

- You're older than I thought you were.

- I beg your pardon?

- I said I thought you were younger.

- Younger than what?

- Younger than you are.

- I am.

- I know you are that's what confused me.

Mary, can I take Mrs. Ames
into one of the treatment rooms

just till she gets hold of herself?

- Of course, four is open for a minute.

- Thanks.

- What is it Smitty?

- Some books to balance, bookkeeping.

- Excuse me, I know I
shouldn't ask you any questions

but I--

- Well then don't Junior.

- Plagiarist.

- Where are you taking me?

- Out of this fishbowl.

- Oh, thank you.

It is difficult everyone staring at you.

- On the contrary nobodies
even looked in your direction.

- By the way who are you?

Why should you--

- Smitty, how do you do?

- How do you do?

- I'm a friend of your husband.

(dramatic chord)

- You knew David?

- I know him very well.

- You say you are a friend of my husband.

Didn't you know that he was killed

(door clicking)

in the war, two years ago it was.

Two years ago this Christmas,
on the 22nd of December,

at the Battle of the Bulge.

It was six o'clock in the evening.

It was a hand grenade you see.

He threw himself on it
deliberately to save...

They buried him there, right there.

But I want them to bring him home

so that he can have a
funeral, a proper one.

Just as the sun goes down at
six o'clock in the evening

because that's when he died you see.

(window clatters)

- Do you know the hour he was born?

- What?

- Do you know the hour he was born?

- Why no, no I don't, why?

- If I were a doctor
I'd have a chart headed

why is the beautiful young Mrs. Ames

turning into a middle aged neurotic

and right now I'd put down
doesn't know the hour her husband

was born but treasures every
precious detail of how he died.

- Oh you would?

- And I'd be pretty close
to getting the answer.

- You're like all the
rest of them around here.

You think I've lost my mind too.

Sometimes I think I have myself.

Things make me cry, I'm not
a crying woman ordinarily.

(door clicking)

- Here you are Mrs. Ames, take this.

Come on, upsy-daisy.

- What is it?

- Just something to relax you.

You had a pretty bad shock you know.

- I'm amazed anyone
around here will admit it.

- There you are.

You'll be hunky-dory in a few minutes.

- What'll you do with her after
she gets to be hunky-dory?

- Send her home of course,

that is if there's nothing
the matter with her.

- Well if there is something
the matter with her?

- But there isn't.

I'll look in pretty soon.

- Now don't yourself in an uproar.

I know Joe Burton.

- Who?

- Joe Burton.

He's the man you were on
your way to see isn't he?

- How did you know?

- There was a list of names in your purse,

his was the first name on the list.

There was also a medal of honor.

You should be very proud of that.

The President once said he'd
rather have one of those

than be president.

- Really?

I'd rather have my husband.

- [Smitty] That's a personal view.

- What other view is
there, if you're a woman?

- Oh, well I didn't realize
that women were a separate

race of people.

- David was absolutely all I had.

I have no family, no friends.

David was always enough.

- That's a mistake people make.

- There were six of them.

Why couldn't it have happened
to one of the others?

- Which one?

- I keep resenting it.

You see, he needn't have died.

That's why they gave
him the medal of honor.

He sacrificed his life so
that five of his companions...

The man you know was one
of the five men who...

- Who was selfish enough to have lived.

- Yes.

I was going to see him, see them.

I wanted to see them all.

- Why?

- Because I wanted to know
if it was the awful waste

I think it was.

I thought if I could find
one, just one out of the five,

who was worth my husband's little finger.

- So that's why you can't walk.

- I don't know what you mean.

- You'd be in an awful
mess if you found out

they were worthwhile wouldn't you?

- I don't know what you mean at all.

- You'd have to unwrap
yourself from that blanket

of self-pity and start
living again wouldn't you?

- Self-pity?

- That this war should
have happened to you,

that's what you're thinking isn't it?

Well it happened to a
whole lot of other people.

Do you think you were in this alone?

- I didn't say I was.

- Then why don't you give David a break?

- David a, what are you talking about.

- Why don't you give him credit

for knowing what he was doing?

How dare you say that he
died stupidly for no reason.

- I never in all my life heard such a--

- You don't hear anything except
the sound of your own fists

beating against your own
private wailing wall.

- Does it seem like that?

- I'm sorry, you've got a right to.

- It must be that lovely pill.

I feel all floaty.

I'd like to meet him.

I really would like to meet him.

- Meet who?

- [Ames] Joe Burton, all of them.

When I can get around again

you'll have to introduce me to him.

- I know all of them.

- Really?

Well for heaven's sake what a--

- Don't call it a coincidence.

- Oh I wasn't going to.

Well when I can get around again.

- I can't wait for that.

I have to go some place
in a couple of hours.

At 12 o'clock.

- Well then you can't very well
trundle me down main street

in a wheel chair in the rain can you?

What are you staring at?

- Hmm?

- Staring, you were staring at your watch.

- It reminded me of something,
of a friend of mine.

Look, if, if destiny sort
of walks up and says hello

you shouldn't throw it over
your should do you think?

- [Ames] What should you do with it?

- I mean it, it could be that you met me

just so you could meet Joe and the others.

- Really?

What an interesting theory.

- Let me tell you about
this friend of mine.

He's a wonderful old man.

He says that time and distance
are a couple of things that

people just made up to make
it tough for themselves,

to fence themselves in, they're not true

and he can prove it to you.

- He can?

- In other words you could be here

and down on east fifth where
Joe works all at the same time.

Do you understand?

- Well, not exactly.

- Why not?

What did Peter Ibbetson
have that we haven't got?

- [Ames] Peter, oh you
mean the man who was--

- Who refused to let a prison
cell make him stay put.

- But he just imagined--

- At first he did yes, until
finally it became reality.

Look I'm a pretty good writer,

yeah a critic once
called an article of mine

a vivid word picture.

- Word picture?

- That's right.

If I could give you a
vivid word picture of Joe

would you try to see it?

Would you try to see
while you're listening?

It's very important you've no idea.

- Important to you?

- Very.

- Let's call it a matter of bookkeeping.

- Bookkeeping?

- If I could make you
feel better about David,

if I could make you see the men
that he traded his life for,

perhaps you'd be more
understanding about it than,

than what you are.

- How am I?

- Ill, aren't you?

- Yes I am, I really am.

- Now listen carefully and try
to see what I'm telling you.

- I'll try.

- To see Joe you have to
walk along main street.

Then you make a right turn
and go down fifth street see?

Then you cut across the
street catty cornered

to get to Barney's place,
that's where Joe works.

Can you see it?

- [Ames] I saw it.

I saw it this evening before my accident.

I almost went in but then I couldn't.

- [Smitty] Barney's place
is the modern version

of the old time saloon but
the people are the same.

This is the bottom of the heap.

This is skid row.

Here's where you find the
leftovers and the forgotten ones.

- [Ames] I can't see them.

- [Smitty] That's alright, that's

because you've never
seen people like this.

- [Ames] Where's Joe Burton?

- [Smitty] First I'm going
to show you Joe's girl Katie.

♪ Without imagination there's no reality ♪

Not much of a voice but it's a living.

♪ Without imagination ♪

Katie's around 18, she
doesn't belong in this joint

but Joe works here so here she stays.

That's Joe over there.

He's not more than 21, he's a husky kid.

He doesn't look like the
wrecks who frequent this place

he just works here, he's the bouncer.

It's a pleasure to be thrown out by Joe,

he does it so graciously, with style.

Joe's moving in because
one of the customers

is getting out of hand.

He thinks he can fly.

- I don't claim I can make a long flight

but I can take off from here and fly,

well I'll fly over to that table there

and fly back, without touching the floor.

And you think I can't make it don't you?

I can tell by your expression.

- I don't say you can't make it.

I simply say if you don't make it

I'll have to throw you out.

- That's the silliest
thing I ever heard of.

A man can't fly from a bar stool.

- How do you know he can't?

He hasn't tried.

- But he--

- Now you've made me lose
confidence in myself.

I could have done it, I
know I could have done it.

- Shame on ya.

That's the worst thing you can do,

is make a man lose confidence in himself.

- [Ames] Did you hear what he said?

- [Smitty] He's right, that's
the worst thing you can do,

shame on you.

- Shame on ya.

- [Ames] Well, I never.

- Hello.

- Hello.

- I'm glad to meet you.

- I didn't know about you,
I only knew about Joe.

- You can't know about Joe
unless you know about me too

we go together.

- [Ames] It's not fair.

- It isn't?

- It's not fair that I should lose...

- [Katie] Did you lose something?

- Yes, yes I did.

I can't remember just now what it was.

It was an earring, I lost an earring.

I was on my way here, I had an accident.

I can't walk.

- That's funny, Joe can walk
and he only has one leg.

That's why he's a bouncer.

- [Ames] It is?

- Yes, you see he has to prove

that he's as good as any man who walks.

- Well I don't know anything about that.

I only know that I can't walk.

He made me come here anyway.

- You didn't really want to did you?

You really were afraid to weren't you.

- Oh I was very anxious to see him,

I saved his life, I mean my husband did.

Could we sit down somewhere?

I'm getting sleepy, it's
the little pill I suppose.

- We would be glad to.

Joe's over there at the
table building our house.

- He is?

Where's your lot?

- What?

- Your lot, haven't you bought a lot?

- No.

- Well now you can't build
a house until you have a lot

to build it on, you
have to have that first.

- You do?

I thought first you had
to have the wish to live

in it with someone.

- You get me all mixed up and I resent it.

- You don't have to apologize,

lots of people don't have any imagination.

Joe, Joe this lady would really like

to see what you look like.

She hasn't any imagination.

- I know, she doesn't
even think a man could fly

if he wanted to.

- Everything has to be imagined first

or it couldn't happen.

- I do have an imagination, I do.

I couldn't be here if it didn't.

- Joe, Joe don't let her see our house,

she doesn't believe in it.

- You haven't even got a lot.

- If you don't believe in it,
it can never happen.

I won't let you tear down our house.

- I don't want to tear your house down.

- You don't give other people a chance.

- You don't even know when
your husband was born.

- I'll tell you when he
was born, when he died.

(dramatic chord)

- You aren't even grateful.

David died for you.

- David died so we could build our house

and you wanna tear it down.

- No, no I don't.

But you haven't even got a lot yet.

You can't build a house.

- You can build a house on a cloud.

- You haven't even got a lot.

I don't know what there is about that

that makes you so angry.

That isn't a real house.

There you see, one breath and...

- [Both] We didn't know it wasn't real.

Shame on you.

- [All] Shame on you.

- Don't cry, please don't cry.

I'm not ordinarily a crying woman.

- [Nurse] Mrs. Ames.

- [Smitty] I think she's fallen asleep.

- Mrs. Ames.

Mrs. Ames I'm speaking to you.

- No, I didn't fall asleep,
you said I did but I didn't.

I was there I saw Katie and Joe.

- You were sound asleep.

- No, no I wasn't, don't
listen to her, I was there.

I heard every word you said,
I was at Barney's place.

I saw Joe and Katie so
clearly I'm sure I'd know them

if I saw them again.

- I was afraid you'd fallen
asleep and spoiled it all.

- Oh no, no I didn't.

I saw that little man
that thought he could fly

off the bar stool.

I heard Katie sing

and I saw the house Joe
was building on a cloud.

- It's not unusual for a
sedative to make you have

funny dreams sometimes.

Now don't worry about it.

- She wasn't dreaming.

- Now don't frighten her.

Of course she was dreaming.

You were talking your head off.

When I came in you were crying

but you thought it was
someone else crying.

- It was.

- You were saying please don't cry.

- It was Katie, she was crying because,

why should they make me feel guilty?

It's Joe who ought to feel--

- Joe who ought to feel what?

Where are you taking her?

- Dr. Morton's.

Dr. Morton will be here in a few minutes.

He's conferring now with
the doctor who examined you

when you came in.

- Lori who is Dr. Morton?

- He's a psychiatrist.

- A psychiatrist?

I don't want a psychiatrist.

- You'll find him very helpful.

He'll get to the bottom
of those bad dreams

you've been having.

- I haven't had any dreams

and if I had I don't want anybody

to get to the bottom of them.

(door thuds)

- Why don't you?

- Why don't I what?

- Want anyone to get to the bottom of your

dream as she calls it.

Are you afraid you might have
to admit that you were wrong?

- Wrong?

About what?

- You were absolutely starry
eyed when you came back

from Barney's place.

You must have seen something there.

- If I was starry eyed as you
call it which I don't believe,

it was simply because I
was interested in the fact

that the experiment worked as it were

that I was actually able to
be some place that I wasn't.

- Is that what made you cry?

- Cry?

- Cry, you were crying.

- Why should they make me feel guilty.

- Why did you feel guilty?

- I blew their house over.

- Why?

- Well I had to show them,

it wasn't really a house.

- What was it?

- Just paste board, playing cards.

One breath would destroy it.

I showed them.

- Did you and David plan a house?

- Oh no, no David was much
to sensible to start planning

before we were ready.

Of course, now we'll never have a house.

- Joe Burton was too young to
be sensible David knew that.

David also knew that it's
not the sensible people

who'll build a new world, it's the Joe's,

the youngsters who think a man
could fly if he really tried.

- Is that the reason for all of them

because they were young?

- No, no there were various reasons.

Let's consider Eddie Pearson for example.

- Edgar Pearson, somewhere in Pasadena.

- He's left Pasadena.

He's working in a bleak and
desolate part of the desert.

Will you try to see it?

- Yes.

- It's a long way.

Do you think you can make it?

- [Ames] Yes I can make it.

- [Smitty] Just sand and sky that's all

and a thirsty tree or two, wasteland.

But Eddie's a scientist,

it doesn't look like a wasteland to him.

He has plans for it.

(dramatic music)

- I'm looking for Edgar Pearson.

- I'm his wife.

- What are you doing here?

- We live here, Eddie and I.

- You live where?

- Over there.

- [Smitty] How do you like it?

- [Ames] Why it's nothing
but a broken down shack.

- [Smitty] You talk just
like Susie's father.

- [Ames] Susie's father?

I don't know him.

- [Smitty] There he is.
(dramatic music)

- Father, she thinks I'm a fool.

- You're a moonstruck idiot

and Eddie's a bigger idiot
for dragging you into this.

I want you to come home at once.

- I love Eddie.

- Is that any reason he
can't be executive director

of all my corporations?

- They were your corporations
father not Eddies.

- Oh, she has a 40 room home in Pasadena.

- This is my home father.

- This harebrained idea of
Eddie's may take him two,

three years.

- Well if it takes him forever what of it?

Why don't you give him a break father?

Why don't you give him credit
for knowing what he's doing?

How dare you say he's stupid?

- He is stupid.

What'll he get out of this?

- The satisfaction that
he saw his own opportunity

and made it.

Perhaps the joy of playing his own hunch

but above all the pleasure

of working at something he likes.

- Do you like it?

- I like what Eddie likes.

For if he didn't have
this chance to break out

of the rut he was in, he'd be
unhappy the rest of his life.

You see, you can't have a happy marriage

with an unhappy husband.

- But you are sacrificing yourself

and your comfort and your social position

and your looks for a gamble.

It is a gamble you know Susie.

- You bet it is.

Do you know that all
financial statistics prove

absolutely and without a doubt
that most new ventures fail.

- That's what David always said.

- Ah, David was a sensible man.

- My husband had a chance
to take a gamble too

about seven years ago it was.

He could have left his good,
steady rut, I mean job,

at the major chemical company

and gone off to some
horrible sweaty jungle,

something about research in rubber,

he turned it down.

- Good man.

- Maybe he made a mistake.

- He didn't he was right.

Why should you give up
everything for this whim of his?

David would never, never have asked me

to do a thing like this.

- Perhaps he wouldn't,
perhaps he didn't care

one way or the other.

Perhaps he'd stopped caring.

(Susie laughing)

- You have no right to say that to me.

You're trying to upset me.

There's nothing funny about that.

You're just laughing to
make me feel ashamed.

Please stop laughing.

Eddie doesn't love you or
he couldn't do this to you.

Stop that, please stop laughing.

David's gone.

This is what he died for?

So your Eddie could do this it isn't fair.

(Susie laughing)
(dramatic music)

Stop that, stop it.

Stop laughing at me.

(Susie laughing)

Stop it, stop it please, stop it!

Stop it!

Stop it.

Stop it, stop it.

(dramatic music)

(window bangs)

(dramatic music)

(thunder cracking)

What was that?

- It must be the storm.

- I never did see Eddie Pearson.

- You didn't have to.

- No I guess not.

I know pretty well what he is.

I think I know what he's like.

- That's good we're getting on.

- Are we?

- What about the third one?

Who was third on your list?

- Francis Marino in Glendale.

- Yeah.

There's a garden back of the
little cottage in Glendale.

It's really just a backyard

but Frank has built a
high wall all around it

forming a quiet little world all his own.

Frank likes gardening.

He's planted things all along the wall.

- [Ames] Yes I see.

Trumpet vines and holly hocks.

- [Smitty] And the usual rambler roses.

- [Ames] But I don't see Frank Marino.

- [Smitty] You will.

- [Ames] What makes him better than David?

That's what I want to learn.

- [Smitty] You will.

(bell ringing)

- [Ames] What an adorable child.

- [Smitty] Cute as a button.

(bell rings)

- Oh sorry.

Oh little girl.

Perhaps you could tell me--

- He's my father.

- Oh?

I'd like to see him.

- So would I.

Isn't he wonderful?

- He's the third man.

- His name is Francis
Marino, I'm Emmy Marino.

- How do you do.

You're pretty.

- Thank you, you're pretty too.

And you look very intelligent.

- Oh thank you, so do you.

- You're trying to make
me like you aren't you?

- Yes I am.

I haven't any little, I
was looking for something,

for someone.

- I know, I'll show you where.

(gentle music)

This way.

Would you like a cup of tea?

My father says that when
company comes in the afternoon

you should give them tea.

But if they come in the morning
you should give them coffee.

- Well I don't care for anything

but thank you very much.

(gentle music)

- I help my father, that's
because my mother isn't here.

She's dead.

- Oh I see.

I'm sorry I didn't know.

You must be lonely too.

- I don't have time to be lonely.

That's because I take care of Barbara

and Tony

and Eric

and Amy.

(dog whimpering)

And Booby.

- Oh.

- And daddy takes care of me.

Who do you take care of?

- Well no one I don't have a little girl.

- Little boys need taking care of too.

- I don't have any little boys either.

- But there isn't anything else,

it has to be either boys or girls.

You mean you don't take care of anybody?

- I'm sorry.

- You must be selfish.

- We were going to have
children really we were.

I love children but David
thought we should wait

until we could afford it.

Until it was sensible.

David thought that children
would be a hindrance.

They complicate things, they
use up 10 years of your life.

- Didn't 10 years get used up anyway?

- Now you're being impertinent.

- I am not, I'm a good girl.

Daddy!

Daddy! Daddy!

- What is it button?

What's the matter?

- She says I'm trouble,
she doesn't want me.

- Must you make everybody unhappy?

- I make, I?

Hey you're the one who made me unhappy.

David died for you when
you weren't worth it.

- I was worth it because I
had something to live for.

What did David have?

- Are you telling me
he didn't want to live?

How dare you.

- I'm not telling you a thing.

- You're, you're trying to upset me.

- Maybe so.

- You have no right to
when I'm mourning David.

- Mourning David, a lot
of good that does him now.

- Of all the cruel--

- But mourning him makes you feel better

and that's something isn't it?

Now let's be sensible about this.

If you're such a sensible girl.

David's been gone two years now,

why are you mourning him so?

After two years, what
are you trying to prove?

- I don't know what you mean.

I won't listen to you anymore.

I won't listen.

(dramatic music)

- [Emmy] Where's she going daddy?

- [Frank] She's trying to get away.

- [Emmy] From what daddy?

- [Frank] From herself.

- [Emmy] Can she do that?

- [Frank] No she can't.

(dramatic music)

- Let me out of here.

Please, please, please.

Please let me out.

(dramatic music)
(fists banging)

- Now then, the next man, Sammy Weaver.

You'll like him he's...

What's the matter?

- I'm not going to listen to you anymore.

- Why not?

Afraid?

- I've had enough.

- We still have another man to see.

- We have two more.

- Oh that's right, two.

- Well I'm not going to have
anything to do with them.

I've seen Joe Burton and Susie Pearson

and Frank Marino and here I am,

I can't imagine just what your
reason is for doing all this

and I don't care.

Just because you're able
by some sort of hypnosis

to induce me to try your experiment.

You needn't think I'm complete fool.

You were going to show me five worthy men

instead of that you've, you...

- What have I done?

- You've turned this gradually
into an attack on me.

I don't enjoy being accused of, of...

- Accused of what?

- You were going to show me five men

and all you've done is hint

that I'm guilty of all sorts of...

How dare you set yourself up as my judge.

I'm not going to listen
to one more word from you.

(thunder cracking)

- What do you want to do?

- I wanna get out of here.

- You leave here in that wheelchair

and you'll spend the
rest of your life in it.

I'm not going to let that happen.

- Oh you're not.

Of all the officious, objectionable...

Just what is your concern with my life?

Just what makes you think
you can step in here and--

- I've told you once my own
private bookkeeping that's all.

- I'm not interested in the
slightest in your own private

bookkeeping whatever that is.

All I want from you or
anybody else in this world

is to be left alone (crying).

- Alright Mrs. Ames I'll leave you alone.

I'm taking a plane out
of here at midnight.

Sit there and enjoy yourself, whimper.

Turn yourself into an invalid,
a permanent cowardly invalid.

- How dare you speak to me
like that, how dare you!

- You don't want to get well.

You want to stay sick.

Alright shrivel into a
whining, bitter old woman

in a wheel chair alone
and without a friend.

If that's what you want
you're welcome to it

I'm walking out of here.

Which is more than you'll
ever do, you'll never walk!

- I will.

I will walk.

I will.

(thudding)

(sobbing)

- Jan.

Janet

- I tried.

I tried.

- I know you did, I know you did.

Take it easy now, take it easy.

It's alright, take it easy.

- You were going to go away.

Please don't go, please don't leave me.

- No I'm here.

I was too rough on you I
shouldn't have done it

I'm sorry.

(thunder cracking)

- That's my.

- It's alright.

It's only the storm,
the wires must be down.

This is Los Angeles you
know, it happens regularly.

Well smile can't you?

That's better.

- Smitty I'm afraid, I
don't want to be an invalid.

- You won't be.

- I don't wanna go back
in this wheel chair.

- It's going to be
alright now, you'll see.

- Promise me you won't leave me.

- I promise.

- Give me your hand please.

Please hold my hand.

- Alright.

(gentle music)

- I'll do anything you ask Smitty

only don't leave me alone.

I don't want you to dislike me.

- Oh I don't, you know that.

- I'm not a bad sort really I'm not

all my life I've tried
to do what was right,

I have truly Smitty.

I never wanted to hurt anyone.

I always wanted to do
what was good for people.

- That doesn't sound like much fun.

You are a solemn type aren't you?

(Smitty laughs)

You've lost an earring.

- Oh I guess it was--

- Don't take it off.

- During the accident.

- No leave it on, it
gives you an engagingly

lopsided look sort of
(speaking foreign language)

- Sort of what?

- (speaking foreign language)
meaning free, unconcerned,

unfettered.

- You get all that out
of a missing earring?

- Let's go get us a bucket of champagne.

- What?

- I mean it, we can go
anywhere we want to now

that we've mastered the
Peter Ibbetson technique.

So let's choose a very
difficult place to get into

just to prove we can.

- Well I--

- I know just the spot.

It's out on the Sunset Strip,
a very shishi nightclub,

one of those places where a
ham sandwich sets you back $10

providing they'll serve
you a ham sandwich.

Can you see it?

- Yes, it glitters.

(gentle music)

- [Smitty] Perhaps they'll
have a good orchestra,

we might wanna dance.

Still I'm used to going
out and having fun.

Now let me see you smile again.

- [Janet] How's this?

- [Smitty] Very nice.

(speaking foreign language)

(Smitty chuckles)

(speaking foreign language)

- [Janet] But I can't go
to a night club alone.

I don't want you leave me Smitty.

Hold my hand.

- [Smitty] I'm with you
and holding your hand.

- I didn't realize how attractive you are.

- You're blinded with those diamonds

I'm a bit dazzled myself.

- Oh my goodness look at me.

- I hope you like what I choose for you.

What a time I had with
the color until I realized

that diamonds are your color,

you should wear them more often.

- Well thank you.

What time is midnight?

- What difference does it make?

- Well something's going to,

someone's leaving at mid...

I don't know, I'm sure I have
a wristwatch here somewhere.

Don't you think maybe
they're a little bit too much?

- Hmm, I don't know.

- Perhaps just a little?

- Hmm, perhaps.

What shall I do with it?

- Oh toss it in the river.

(Janet laughs)

I tossed my school
books in the river once.

- No kidding, I always wanted
to but I never had the nerve.

What river?

- Now there's only one river,

anything else is just a stream.

- You lived on the Mississippi?

- Of course.

Now here's the river.

See that bend there?

I lived right there,
Littleville, population 840.

- I lived right across the river from you.

Right there Small Town population 840.

- No.

Mud, nice, slimy, oozy mud.

- Yeah right between your toes.

- The sycamore trees with
their branches in the river.

- And those little flowers
with the centers you could eat.

- And when you throw a bottle in the river

it goes all the way to the gulf of Mexico.

- Just think if I hadn't take
the train to Kansas city.

- And if I hadn't taken
the boat to St. Louis.

- We might never have met

and been able to reach across the river.

- I almost missed the boat.

- I know you did.

But I'm glad you didn't.

We should drink on that.

- I can't think of anything better.

(light hearted music)

- To us.

- Us.

(light hearted music)

- Mum's '26 I hope it's
dry enough for you.

- I don't know Mum's dry
champagne from Pop's root beer.

- Well what's the difference?

Mum, pop, they're both fine people.

- Oh.

- Garcon!

(speaking foreign language)

- Shall I translate for you creeps?

- No, no, no, no need.

- No not at all, no need.

(light hearted music)

(speaking foreign language)

(light hearted music)

- With hollandaise.

- I'll take the same on rye.

(speaking foreign language)

(claps)

(light hearted music)

(speaking foreign language)

- Oh lovely.

And they're such big ones too.

(speaking foreign language)

- We grow them on the premises.

Fresh from the oyster to you.

(dramatic music)

- That's my cue.

If you'll excuse me.

Ladies and gentlemen, and Mrs. Ames.

Tonight we have the pleasure
of presenting a young man

you've never seen before.

It's the policy of this
establishment to give auditions

to promising young performers.

Only by your applause Mrs. Ames

can we tell if you find him worthy.

Here he is the fourth man Sammy Weaver.

- Relax, relax.

I'm Dr. Morton, psychiatrist from Vienna.

Psychiatrist that means
when your mind goes

(wacky whirring) I make it go (bloops).

At present I am working in Hollywood

as an advisor on psychological pictures.

That means I tell producers and directors

how different minds should
react under different conditions

in these psychological pictures.

It used to be you went to a theater

and you sat down and you watched
a picture and you relaxed

and when you walked out you
said wasn't that wonderful?

The boy married the girl
you enjoyed yourself.

That's no good.

My job is to make you sit
on the edge of your chair

and worry and suffer and
think and figure out why

this should happen and when you walk out

you should be saying no he was crazy,

no don't tell me she
was the cra, no she was,

he was the cra, no she was
the cra, no she was the crazy

and I know because I was watching her

because she, that is good for you.

Oh my psychological
picture is so different.

In my picture I show that
the mind is everything

and the body means nothing.

I don't care who's body it is
Lana Turner, Rita Hayworth.

Rita Hayworth, well.

No, anyway it's the body I
mean it's the mind, the mind.

That is what my picture is concern.

And I open up so different in my picture,

I open up with a blur

and then it gets clear

and then it gets blur,

clear, blur, clear,
blur, clear, blur, clear.

What is it?

Who does a young boy
with a magnificent body

and he is walking down the street

and he watches the beautiful
girls as they pass him by

and he looks at them and all
he does is he tips his hat,

that's all but you know
what goes on in his mind?

(crying out)

(Janet laughing)

That is the introduction of the character.

Then we show a flash back,
a flash back of Rudolph

as he went to his first psychiatrist

and he walked up to the office
and he knocked on the door.

(taps)

Doctor, doctor I haven't
enough time in the day,

I have to have more time, I'm
getting rushed, I have to.

Relax, relax, nurse hypo.

4,000 cc's, slice of lemon
and a dash of bitters

and leave out the cherry.

Now this hypo is not as big as it looks,

don't worry about that, shh,
it's not going to hurt at all.

Now shh, it's not going
in just say to yourself

that it is not going in.

(grunting)

Didn't I tell you to leave out the cherry.

(grunting)

Now just a few more
gallons, it'll be all over.

There we are now it comes
out now it's all over,

it's all over.

There we are, see?

Now just relax, relax,
tell me everything you do

from the morning till the night.

Everything you do from
the morning till the night.

Relax, sleep.

(snoring)

(dinging)

Eight o'clock, it's eight o'clock.

Gotta get up and go to work,
brush my teeth (whirring).

Take a shave, take a shave.

We go get dressed, get dressed.

Down the stairs, down the stairs.

On the subway.

Here's my station gotta get off.

Punch the clock.

Alright number 47, 45 (whirring).

Lunch.

Back to work (whirring).

Punch the clock.

On the subway, on the subway.

Up the stairs, up the stairs.

Go to sleep (snoring).

(dinging)

Sunday my day off, get
a brush wash your teeth,

take a shave, take a shave.

Get dressed, down the stairs, play golf.

And now, we go way back to his childhood

and we find out what is causing all this,

he is crazy.

(Janet laughing)

And so now that I gave you
a few hints of my picture

and if anyone finds out
what the plot is all about

you write me.

You remember my name,
my name is, my name is,

my name um, I usually know it, I just,

my name, well you excuse me
I go ask my psychiatrist.

(audience applauding)

- Do you like him?

Well I guess that means
Sammy gets the job.

- I wanna thank you Mrs. Ames.

I wanna thank you for giving me my chance.

- I didn't give you your
chance, it was David.

You know Smitty don't you?

- Oh sure I know Smitty.

- His name is Smithfield Cobb,
he thinks I don't know that

but I guessed.

He's the fifth man.

Tell me about Mr. Cobb.

- Oh he's the editor
of the evening journal

with a big office on the top floor.

One of those crusading newspaper men,

a ball of fire.

- A crusading journalist, a ball of fire.

- Know the guy long?

- Long enough to know the guy.

- Do you think it's a nice evening?

- I do.

- [Sammy] And do you
think it's going to rain?

- I do.

- I now pronounce you two in love.

- You heard what the man said.

Shall we dance on it?

(gentle orchestral music)

- [Smitty] Well Jan you've
met them now, all five men.

- [Janet] Yes, and thank
you for showing them to me.

- [Smitty] Tell me were they worth saving?

- [Janet] Yes Smitty they were.

- [Smitty] Then you should
be able to walk now.

Come here, walk to me.

- I can't.

I can't walk.

Smitty where are you?

I can't walk.

- [Smitty] Then there
must be something more.

Tell the truth Jan.

- Smitty, don't go.

Smitty.

- [Smitty] It's time
to tell the truth Jan.

Tell it, tell the truth.

Confess.

- Smitty, Smitty!

- [Smitty] It's now or never Jan.

I've waited as long as I can.

- Don't go Smitty, I'll
try to tell the truth.

I'll tell it.

I never really knew it before.

I haven't been lying I just didn't know.

- [Smitty] What?

What didn't you know?

- That I've been blaming
five men for David's death,

I should have blamed myself.

I felt guilty and I, I was
trying to blame somebody,

anybody but myself.

I was mourning David so terribly

because I felt that
somehow that was a way of

paying him back for what I did to him.

I let him die with all
his dreams unfinished.

It was I who refused to plan a house,

though that could have been fun.

It was I who made him stay
in that dull job he hated

because I was selfish and
afraid to risk my security.

David did want a child,
he wanted it very much.

But my greatest shame
is that I married him

and never loved him at all.

I married him for all sorts of reasons

but not because I loved him
the way I should have loved him

and he knew this.

It's too late to tell him I'm sorry.

Oh but I am, I really am.

I've said it David.

I've told it Smitty, I've told it

now will you come back?

Please come back Smitty please.

Smitty.

- [Smitty] Yes I'm here Jan, come to me.

- But I can't, I can't walk Smitty.

- Of course you can walk.

There's nothing stopping you now Jan.

You can do it.

(dramatic music)

You can do it.

(dramatic music)

That's right, good girl.

(dramatic music)

You can do it.

(dramatic music)

- I'm so ashamed.

- [Smitty] That's over now.

- I was such a dreadful--

- [Smitty] No, no you weren't.

- I ruined his life, I
made him want to die.

How can you ever feel toward
me now what I want you to?

- Jan many a woman learned
something during the war

after she'd lost a man that
she hadn't quite appreciated.

They learned when it was too
late, you were a little better

than most, you tortured yourself with it

until finally you became ill.

Look there's a time to
remember and a time to forget.

Life can't stand still.

There's an old Hindu saying that,

that we never bathe in
the same river twice,

the river flows on, circumstances change.

It's time to forget Jan
promise me you will forget.

(gentle music)

Now then let's see you walk.

Walk, you know, right foot, left foot.

- Well I'm still a little
wobbly but I'm walking.

- You're practically dancing.

- Thank you Mr. Cobb.

- When'd you guess I was Smithfield Cobb?

- It suddenly all added up and I knew.

Why didn't you start with
the crusading journalist?

Then you might not have had
to go through all the others.

Oh I do want to thank you.

Nobody else could have done
it, you knew that didn't you?

That's why you persisted so.

I am grateful.

- Why don't mention it madam.

Our best advertisement's
a satisfied customer.

- Smitty what is it?

What's the matter?

Oh, you do mind, you can help
it, you do mind about me.

- No, no Jan it's nothing like that.

- But then there is something Smitty.

You just admitted it.

You just said it's nothing like that.

What is it Smitty.

(door clicks)

- Good evening I'm Dr. Morton.

- I'll wait outside.

(door bangs)

- I'm sorry to have kept you waiting.

The storm has thrown
everyone off schedule a bit

and we have no emergency generator,

it's a serious situation for the hospital.

Now let's see.

But this card says that you're--

- Yes, yes, I know but I'm alright now.

May I go please?

- Well I must make out
some sort of report.

- Just say that Janet Ames was
ill but that she's cured now.

We'll talk about it some
other time if you wish.

Thank you very much doctor.

- Oh but Mrs. Ames--

- Thank you doctor you've been very kind.

I appreciate everything
you've done for me.

Goodnight doctor.

(door bangs)

(dramatic music)

- Mrs. Ames, are you Mrs. Ames?

- Yes I am.

- I have your things here.

Mr. Cobb said you were leaving.

- Oh thank you.

Where is Mr. Cobb?

- He's gone.

Your purse is downstairs at
the police Sargent's desk.

You can get it from
him when you check out.

- Did I hear, did you say he was gone?

- Yes he's left.

He asked me to tell you.

- Why, where did he go?

- I don't know Mrs. Ames he didn't say.

(dramatic music)

- Oh the elevator isn't running.

The power's off, the
stairs are over there.

- Oh thank you.

(dramatic music)

Did Mr. Cobb go out this way?

- Yeah.

- Where was he going?

- I don't know lady.

- Well, have you my bag?

I'm Janet Ames I was in an accident.

- Ames.

- She's the one Smitty identified.

- Oh.

- Do you know Smitty?

- Well yeah, he left a
couple of minutes ago.

- Did he say where he was going?

Did he go to his office?

- Office?

- Yes, yes at the newspaper.

Will I find him there?

- What newspaper?

- The evening journal.

Doesn't he work there?

- The gentleman is at
the moment unemployed

and likely to remain so.

- [Vicks] Well here you
are, here's your bag.

Will you check the contents
and sign this release please.

- Thank you.

- Oh here's your medal.

I was only looking at it.

- I don't understand
isn't he Smithfield Cobb

you know the journalist?

- Not since the booze hit him.

He's just a sauce.

Smart enough when he's sober

but when he starts oh brother.

- I see.

- The guy's been dishing out a few lies.

- Not lies, word pictures.

- Sign that slip please.

(dramatic music)

- Doesn't one of you know
where I could find him?

- [Vicks] Why don't you try Danny's?

- What's that?

- Danny's bar, an elegant
rendezvous for a select clientele

down on main near first.

- Thank you.

- I still think there was a story there.

- I hate counting on my fingers

uh uh uh uh.

- I'm closing up now
Mr. Cobb, it's after 12.

Besides you said just one drink.

(paper tearing)

- That's the smallest
lie I've told tonight.

As a liar I'm a five star expert.

In fact I have any number
of small accomplishments.

Daniel, have you ever killed a man?

- No.

- Well I have.

There were six of us in a shell hole,

then there were five.

- You killed him Smitty?

- There was a grenade, there
wasn't time to toss it back.

Two of us saw it, this
other fella and myself

one of us jumped it.

- The other fella jumped it.

- Sure he jumped what else could he do?

I was his commanding officer,
I told him to jump and he did.

Didn't even stop to think.

Didn't turn to me and say
why don't you do it yourself.

He just did it.

But answer me one thing Danny, if you can.

What right had I to order a man to die?

Why didn't I jump myself?

I was as close to the thing as he was,

why didn't I do it?

- I don't know.

- You needn't spare my feelings Danny.

I know the answer too.

(door clicking)

- Sorry lady we're closing.

(door thuds)

Lady I said we're closing.

We open tomorrow at 11.

(dramatic music)

Well I guess I'll go
warm up a cup of coffee.

Nothing like coffee to finish the day off.

Excuse me.

(dramatic music)

- Look you're a nice girl,
you got possibilities,

get outta here, go home.

I said go home.

Alright, so I lied to
you about Smithfield Cobb

and all the others too,
they were all lies.

Joe Burton, he's just a
tough guy in a saloon,

a wooden leg doesn't make a man a saint

and you should see his girl
Katie, the real Katie I mean,

the hottest little number on skid row.

Eddie Pearson, he's not in the desert,

he lives off his wife's folks
in Pasadena and he loves it.

Frank Marino and his
kid, he's got her parked

in her grandmother's house.

And as for Sammy Weaver and
his big chance (scoffs),

his idea of a big chance is a
two dollar bet on the races.

Finally the crusading
journalist, the ball of fire,

that's me, one step above a stumble bum.

A pack of lies.

(dramatic music)

- They weren't lies Smitty.

- Take a look at me, what do you see?

- A crusading journalist.

And I still see all the others
just as you showed them to me

because that's what they really are,

if you look at them
with your understanding

and not just with your eyes.

But there is one thing I'm not sure about,

when you kissed me Smitty was that a lie?

- That depends on how you look at it,

you're an attractive woman.

- Is that all?

- That's all.

- That and your, your bookkeeping.

- That's right.

(dramatic music)

- I don't believe you.

- Well believe this then it's no good.

If you'd gone out and hunted
all over the world for

the one wrong man you couldn't
have made a neater choice.

It's no good Jan.

- There's something you're
keeping from me Smitty

and I want to know what it is

because, because I'm in love with you.

- Jan for heaven's sake
give yourself a break,

get out of here, go away.

(dramatic music)

- What sort of books are you
trying to balance Smitty?

- Jan you're just making
it tough for yourself.

We're through, what more
do you want me to tell ya?

- All of it.

(dramatic music)

(dramatic chord)

- Alright, I killed your husband.

(dramatic music)

I was his commanding officer,

I ordered him to throw
himself on the grenade.

(dramatic music)

- So that's the reason for, this.

And it explains your
bookkeeping to doesn't it?

You were paying a debt.

Oh Smitty there were 300,000
American's killed in the war.

Were they all murdered by commands?

Do all officers feel this way?

- All officers didn't do what I did.

No officer has the right to.

- You didn't do anything.

David made his own decision,
he knew what he was doing.

Shall I tell you something Smitty?

I don't think David even heard
what you were saying to him.

He was already on his way to that grenade

and he was thinking here goes
for Joe because he's young

and here goes for Frank
because, because he has a child

and for Eddie because he has
that dream about the desert

and for Sammy Weaver because
he has a heart full of joy

and can make people laugh

and here goes for Smithfield
Cobb, he's the best of the lot

because he can see the
hidden good in all the rest.

He never heard your command Smitty

and if he had it wouldn't have mattered

he chose to die because,

because he himself had
too little to live for.

(dramatic music)

So we're both guilty, you and I

and we'd better work it out together.

We can help each other.

(dramatic music)

There's a time to remember
and a time to forget Smitty

you can't bathe twice in the same river.

It's time to forget the past

and start living for the future.

I can tell you what it's
going to be like, the future.

May I tell you?

Will you listen darling?

Will you listen and try to believe in it?

I'll show it to you.

After all what did Peter Ibbetson
have that we haven't got?

Close your eyes and try to see it.

Smithfield Cobb is a crusading journalist

with a wife who adores him.

He used to be so mixed up
but that's all over now.

The Cobb's have a little house...

(dramatic music)