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1
00:01:50,402 --> 00:01:51,986
[TELEPHONES RINGING]
2
00:01:52,196 --> 00:01:55,156
♪♪ ALL AROUND, THERE'S A SOUND
OF A MIDSUMMER'S NIGHT ♪♪
3
00:01:55,365 --> 00:01:57,575
♪♪ BELLS IN THE AIR ♪♪
4
00:01:57,785 --> 00:02:00,578
Man: LADIES AND GENTLEMEN,
HAS THIS EVER HAPPENED TO YOU?
5
00:02:00,788 --> 00:02:05,249
♪♪ I CAN HEAR VOICES
THAT PASS ON THE STREET ♪♪
6
00:02:05,459 --> 00:02:07,460
♪♪ AND LOVERS ♪♪
7
00:02:07,669 --> 00:02:10,963
♪♪ RUSHING TO MEET ♪♪
8
00:02:11,173 --> 00:02:12,340
♪♪ HERE ALONE ♪♪
[RINGS STOP]
9
00:02:12,549 --> 00:02:14,926
♪♪ I CAN ONLY IMAGINE
THE SIGHT ♪♪
10
00:02:15,135 --> 00:02:16,469
[TELEPHONE RINGING]
11
00:02:16,678 --> 00:02:21,265
♪♪ ME ON THE TOWN
IN SOME BEWITCHING GOWN ♪♪
12
00:02:21,475 --> 00:02:26,020
♪♪ BUT I JUST WAIT
AT THE END OF THE NIGHT ♪♪
13
00:02:26,230 --> 00:02:27,105
[RINGING STOPS]
14
00:02:27,314 --> 00:02:28,606
♪♪ AS BELLS ARE RINGING ♪♪
15
00:02:28,816 --> 00:02:29,690
[TELEPHONE RINGING]
16
00:02:29,900 --> 00:02:31,275
♪♪ THE BELLS KEEP RINGING ♪♪
17
00:02:31,485 --> 00:02:36,197
♪♪ OH, WHY, OH, WHY
CAN'T THE NEXT ONE BE MINE ♪♪
18
00:02:37,908 --> 00:02:39,534
[RINGING STOPS]
19
00:02:42,412 --> 00:02:45,957
Man: THESE GIRLS MISSED
AN IMPORTANT TELEPHONE CALL.
20
00:02:46,166 --> 00:02:49,961
DON'T LET THE SAME THING HAPPEN
TOMORROW NIGHT.
21
00:02:50,170 --> 00:02:51,796
WHAT CAN WE DO?
22
00:02:52,005 --> 00:02:54,382
SUBSCRIBE TO
AN ANSWERING SERVICE.
23
00:02:54,591 --> 00:02:55,883
AN ANSWERING SERVICE?
24
00:02:56,093 --> 00:02:58,386
AN ANSWERING SERVICE
IS A SERVICE
25
00:02:58,595 --> 00:03:00,638
WHICH ANSWERS YOUR TELEPHONE
WHEN YOU ARE OUT,
26
00:03:00,848 --> 00:03:02,140
GIVES AND TAKES YOUR MESSAGES,
27
00:03:02,349 --> 00:03:04,642
AND REACHES YOU
WHEREVER YOU ARE.
28
00:03:04,852 --> 00:03:07,145
ON NEW YORK'S SMART EAST SIDE,
29
00:03:07,354 --> 00:03:11,566
THE SMARTEST EAST-SIDERS
ALL USE SUSANSWERPHONE.
30
00:03:11,775 --> 00:03:12,900
SUSANSWERPHONE?
31
00:03:13,110 --> 00:03:17,321
THIS IS WHAT SUSANSWERPHONE
CAN DO FOR YOU.
32
00:03:17,531 --> 00:03:19,323
Woman: WHILE YOU WERE OUT,
THE AGENCY CALLED.
33
00:03:19,533 --> 00:03:20,825
YOU'VE GOT THE JOB.
34
00:03:21,034 --> 00:03:22,076
OH!
35
00:03:22,286 --> 00:03:24,579
WHILE YOU WERE OUT,
YOUR LAWYER CALLED.
36
00:03:24,788 --> 00:03:26,998
YOUR UNCLE'S LEFT YOU
EVERYTHING IN HIS WILL.
37
00:03:27,207 --> 00:03:28,249
OH!
38
00:03:28,458 --> 00:03:30,835
WHILE YOU WERE OUT,
HE CALLED
39
00:03:31,044 --> 00:03:34,005
AND SAID TO TELL YOU
HE WANTS TO MARRY YOU.
40
00:03:34,214 --> 00:03:36,007
OH!
41
00:03:36,216 --> 00:03:39,010
♪♪ THANK YOU, THANK YOU ♪♪
42
00:03:39,219 --> 00:03:44,348
♪♪ THANK YOU, SUSANSWERPHONE ♪♪
43
00:03:44,558 --> 00:03:48,519
♪♪ AHH, AHH ♪♪
44
00:03:48,729 --> 00:03:51,689
Man: SO JOIN THE CREAM
OF NEW YORK'S ELITE.
45
00:03:51,899 --> 00:03:53,191
USE SUSANSWERPHONE.
46
00:03:53,400 --> 00:03:55,735
OUR LUXURIOUS OFFICES
EXUDE CHARM,
47
00:03:55,944 --> 00:03:57,862
ELEGANCE, CONFIDENCE,
48
00:03:58,071 --> 00:04:00,198
CHIC GOOD TASTE,
AND GLAMOUR.
49
00:04:00,407 --> 00:04:01,866
SUSANSWERPHONE.
50
00:04:02,075 --> 00:04:03,784
[SWITCHBOARD BUZZES]
51
00:04:03,994 --> 00:04:05,870
Woman: MRS. VAN RENSSELAER'S
RESIDENCE.
52
00:04:06,079 --> 00:04:08,539
Man: HELLO. IS
MRS. VAN RENSSELAER AT HOME?
53
00:04:08,749 --> 00:04:11,042
Woman: NO, BUT SHE
MAY BE REACHED
54
00:04:11,251 --> 00:04:13,544
IN CARE OF COUNTESS TORPOLINO
IN PORTOFINO, ITALY.
55
00:04:13,754 --> 00:04:14,879
Man: THANK YOU.
56
00:04:15,088 --> 00:04:16,547
NOT AT ALL.
57
00:04:16,757 --> 00:04:18,382
BOY, IT'S HOT.
58
00:04:18,592 --> 00:04:20,885
[BUZZ]
59
00:04:21,094 --> 00:04:22,386
SUSANSWERPHONE.
60
00:04:22,596 --> 00:04:23,554
THIS IS MRS. MALLET.
61
00:04:23,764 --> 00:04:25,556
IS THIS, UM,
SANTA CLAUS?
62
00:04:25,766 --> 00:04:27,892
YES, MRS. MALLET.
PUT JUNIOR ON.
63
00:04:28,101 --> 00:04:28,935
Boy:
HELLO, SANTA CLAUS!
64
00:04:29,144 --> 00:04:32,563
[DEEP VOICE]
HO HO HO HO HO!
65
00:04:32,773 --> 00:04:33,898
HELLO?
66
00:04:34,107 --> 00:04:37,568
I HEAR YOU'RE NOT EATING
YOUR SPINACH AGAIN.
67
00:04:37,778 --> 00:04:40,238
THAT MAKES SANTA
VERY SAD.
68
00:04:40,447 --> 00:04:41,739
OH OH OH!
69
00:04:41,949 --> 00:04:43,407
ALL RIGHT,
SANTA CLAUS.
70
00:04:43,617 --> 00:04:45,284
I--I WILL. GOOD-BYE!
71
00:04:45,494 --> 00:04:46,410
GOOD-BYE.
72
00:04:46,620 --> 00:04:48,079
[BUZZ]
73
00:04:48,288 --> 00:04:51,499
LA PETITE BERGERE RESTAURANT
FRANCAIS. BONJOUR.
74
00:04:51,708 --> 00:04:53,834
Man: BONJOUR. I'D LIKE
TO MAKE A RESERVATION.
75
00:04:54,044 --> 00:04:55,503
[FRENCH ACCENT] I'M SORRY.
WE ARE CLOSED FOR ALL OF AUGUST.
76
00:04:55,712 --> 00:04:56,504
THANKS.
77
00:04:56,713 --> 00:04:58,339
DE RIEN.
78
00:04:58,548 --> 00:04:59,840
[BUZZ]
79
00:05:00,050 --> 00:05:00,841
YES?
80
00:05:01,051 --> 00:05:02,343
THIS IS MR. CHANDLER.
81
00:05:02,552 --> 00:05:04,345
THE LINES AT GRAND CENTRAL
STATION ARE ALL BUSY.
82
00:05:04,554 --> 00:05:06,347
COULD YOU TELL ME WHEN
THE NIGHT TRAIN LEAVES
83
00:05:06,556 --> 00:05:07,682
FOR CRANBERRY FALLS,
VERMONT?
84
00:05:07,891 --> 00:05:10,601
I'LL LOOK IT RIGHT UP FOR YOU,
MR. CHANDLER.
85
00:05:11,979 --> 00:05:16,190
[BUZZ]
86
00:05:16,400 --> 00:05:19,193
[SLOWLY] THIS IS DR. KITCHELL'S
DENTAL CLINIC.
87
00:05:19,403 --> 00:05:20,653
ONE MOMENT, PLEASE.
88
00:05:20,862 --> 00:05:22,655
[QUICKLY]
MR. CHANDLER,
89
00:05:22,864 --> 00:05:24,365
YOUR TRAIN LEAVES
AT 10:45 P.M.
90
00:05:24,574 --> 00:05:27,702
[SLOWLY]
THIS IS THE DENTAL CLINIC.
91
00:05:27,911 --> 00:05:29,203
MAY I HELP YOU?
92
00:05:29,413 --> 00:05:31,372
Man: THIS IS MR. FERGUSON.
93
00:05:31,581 --> 00:05:34,375
THAT BRIDGE HE PUT IN
YESTERDAY JUST COLLAPSED!
94
00:05:34,584 --> 00:05:36,711
[NORMAL VOICE] OH, MR. FERGUSON,
I'M TERRIBLY SORRY.
95
00:05:36,920 --> 00:05:38,713
YOU CAN REACH DR. KITCHELL
96
00:05:38,922 --> 00:05:40,715
AT THE HARMONY
MUSIC PUBLISHING COMPANY.
97
00:05:40,924 --> 00:05:42,341
WHAT?! SWELL PLACE
FOR A DENT--
98
00:05:42,551 --> 00:05:44,385
GIVE ME THE NUMBER
THERE, WILL YOU?
99
00:05:44,594 --> 00:05:46,762
ONE MOMENT.
I'LL LOOK IT UP FOR YOU.
100
00:05:49,016 --> 00:05:53,853
[BUZZ]
101
00:05:54,062 --> 00:05:54,979
SUSANSWERPHONE.
102
00:05:55,188 --> 00:05:57,231
Man: HI, BABY.
LET ME TALK TO NICK.
103
00:05:57,441 --> 00:05:59,191
I THINK YOU HAVE
THE WRONG NUMBER.
104
00:05:59,401 --> 00:06:00,735
MR. FERGUSON?
105
00:06:00,944 --> 00:06:04,572
YOU CAN REACH THE DOCTOR
AT JASPER 4-5066.
106
00:06:04,781 --> 00:06:05,823
[BUZZ]
107
00:06:06,033 --> 00:06:07,742
JEFFREY MOSS
RESIDENCE.
108
00:06:07,951 --> 00:06:09,243
[SHRILL VOICE]
THIS IS OLGA.
109
00:06:09,453 --> 00:06:11,245
CAN I TALK TO
JEFFREY, PLEASE?
110
00:06:11,455 --> 00:06:14,749
I'M SORRY, MISS OLGA,
BUT MR. MOSS IS, UM,
111
00:06:14,958 --> 00:06:16,751
IN CONFERENCE
ON HIS PLAY.
112
00:06:16,960 --> 00:06:18,252
CONFERENCE?!
HE'S ASLEEP!
113
00:06:18,462 --> 00:06:19,920
NOW, YOU PUT ME
THROUGH.
114
00:06:20,130 --> 00:06:21,589
I'M SORRY. HOLD ON,
MISS OLGA.
115
00:06:21,798 --> 00:06:22,715
SUSANSWERPHONE.
116
00:06:22,924 --> 00:06:23,716
Woman, Italian accent:
HALLO.
117
00:06:23,925 --> 00:06:25,259
THIS IS ROSINA GRIMALDI.
118
00:06:25,469 --> 00:06:27,887
OH, MADAME GRIMALDI,
HOW'S YOUR LARYNGITIS?
119
00:06:28,096 --> 00:06:31,098
[SINGS IN
OPERATIC VOICE]
120
00:06:31,308 --> 00:06:33,267
AND I OWE IT
ALL TO YOU
121
00:06:33,477 --> 00:06:35,770
AND YOUR WONDERFUL
MUSTARD PLASTER.
122
00:06:35,979 --> 00:06:37,021
I'M SO GLAD.
123
00:06:37,230 --> 00:06:38,272
LISTEN, THAT MUSTARD PLASTER'S
SO PURE,
124
00:06:38,482 --> 00:06:39,565
IF THERE'S
ANY LEFT OVER,
125
00:06:39,775 --> 00:06:41,275
YOU CAN PUT IT
ON A HOT DOG.
126
00:06:41,485 --> 00:06:42,777
I'M SO GRATEFUL.
127
00:06:42,986 --> 00:06:44,945
I'M SENDING YOU
BEAUTIFUL BALL GOWN
128
00:06:45,155 --> 00:06:46,280
MADE FOR TRAVIATA.
129
00:06:46,490 --> 00:06:49,283
ARRIVEDERCI,
ARRIVEDERCI, DARLING.
130
00:06:49,493 --> 00:06:52,286
HEY. MADAME GRIMALDI'S
SENDING ME A BALL GOWN
131
00:06:52,496 --> 00:06:53,579
MADE FOR TRAVIATA.
132
00:06:53,789 --> 00:06:55,122
WHERE ARE YOU
GOING TO WEAR IT?
133
00:06:55,332 --> 00:06:58,626
MISS OLGA, I'M SORRY
TO HAVE KEPT YOU WAITING.
134
00:06:58,794 --> 00:07:00,795
CAN I TAKE A MESSAGE
FOR MR. MOSS?
135
00:07:01,004 --> 00:07:02,797
I'VE BEEN WAITING
SINCE 11:00
136
00:07:03,006 --> 00:07:04,965
FOR HIM TO TAKE ME
TO THE RACES!
137
00:07:05,175 --> 00:07:06,967
I CAN'T SPEND
MY WHOLE LIFE
138
00:07:07,177 --> 00:07:08,803
WAITING FOR HIM TO
TAKE ME TO THE RACES,
139
00:07:09,012 --> 00:07:10,137
FOR HEAVEN'S SAKE!
140
00:07:10,347 --> 00:07:11,222
[CLICK]
141
00:07:11,431 --> 00:07:12,640
[IMITATES OLGA]
THE RACES!
142
00:07:12,849 --> 00:07:15,643
THAT'S ALL HE NEEDS
IS TO BE TAKEN TO THE RACES.
143
00:07:15,852 --> 00:07:17,645
AS IF HE HASN'T GOT
ENOUGH TROUBLE NOW.
144
00:07:17,854 --> 00:07:19,397
ELLA...
145
00:07:19,606 --> 00:07:22,066
WHEN ARE YOU GOING TO
STOP WORRYING
146
00:07:22,275 --> 00:07:23,567
ABOUT THAT PLAYBOY?
147
00:07:23,777 --> 00:07:24,652
HE'S NOT A PLAYBOY.
148
00:07:24,861 --> 00:07:26,487
HE'S A VERY TALENTED
PLAYWRIGHT.
149
00:07:26,696 --> 00:07:29,490
ALL HE DOES IS PLAY.
HE NEVER WRITES.
150
00:07:29,699 --> 00:07:30,991
I BEG YOUR PARDON?
151
00:07:31,201 --> 00:07:33,494
HE AND HIS PARTNER
HAVE WRITTEN
152
00:07:33,703 --> 00:07:36,789
MOST OF THE SUCCESSFUL
SUCCESSES ON BROADWAY.
153
00:07:36,998 --> 00:07:39,125
SO, WHAT'S
HIS PROBLEM?
154
00:07:39,334 --> 00:07:41,127
HIS PARTNER
LEFT HIM.
155
00:07:41,336 --> 00:07:42,128
SO?
156
00:07:42,337 --> 00:07:44,338
HE HAS TO WRITE
ALONE.
157
00:07:44,548 --> 00:07:47,758
SO LET HIM WRITE ALONE.
BIG DEAL.
158
00:07:47,968 --> 00:07:50,511
DON'T YOU SEE WHAT THAT
CAN MEAN TO SOMEBODY?
159
00:07:50,720 --> 00:07:52,471
HE'S TERRIFIED THAT
HE MIGHT NOT BE ABLE
160
00:07:52,681 --> 00:07:54,181
TO MAKE IT ALONE.
161
00:07:54,391 --> 00:07:55,683
HE'S SENSITIVE.
HE'S CREATIVE.
162
00:07:55,892 --> 00:07:56,684
HI, GIRLS.
163
00:07:56,893 --> 00:07:58,686
HI.
HE'S ARTISTIC.
164
00:07:58,854 --> 00:08:00,729
[HUMMING]
165
00:08:03,817 --> 00:08:06,527
OH, ELLA!
166
00:08:06,736 --> 00:08:08,696
LOOK AT THIS.
167
00:08:08,864 --> 00:08:12,700
MISS NUMBER 63
IS CANCELING SERVICE
168
00:08:12,909 --> 00:08:15,703
BECAUSE SHE'S MARRYING
MR. NUMBER 78.
169
00:08:15,912 --> 00:08:17,705
OH, HOW WONDERFUL!
170
00:08:17,914 --> 00:08:20,207
I HAD NOTHING
TO DO WITH IT.
171
00:08:20,417 --> 00:08:23,210
I JUST HAPPENED TO KNOW
THAT MISS NUMBER 63
172
00:08:23,420 --> 00:08:25,546
WANTED TO MATE
HER FEMALE SIAMESE CAT,
173
00:08:25,755 --> 00:08:27,715
AND I ALSO KNEW
THAT MR. NUMBER 78
174
00:08:27,924 --> 00:08:29,383
HAD A MALE SIAMESE CAT,
175
00:08:29,593 --> 00:08:31,886
SO I TOLD HER,
AND SHE CALLED HIM,
176
00:08:32,095 --> 00:08:33,721
AND THEY ALL
GOT TOGETHER.
177
00:08:33,889 --> 00:08:35,222
THE FACT REMAINS,
178
00:08:35,432 --> 00:08:36,474
WE NOW HAVE
ONE ACCOUNT
179
00:08:36,683 --> 00:08:38,225
INSTEAD OF TWO.
180
00:08:38,435 --> 00:08:41,228
ELLA, I HAVE TOLD YOU
A THOUSAND TIMES,
181
00:08:41,438 --> 00:08:43,063
JUST GIVE
AND TAKE MESSAGES.
182
00:08:43,273 --> 00:08:44,315
THAT'S ALL.
183
00:08:44,524 --> 00:08:46,901
DON'T BE SO HELPFUL
TO THE SUBSCRIBERS.
184
00:08:47,110 --> 00:08:48,903
IT COULD GET US
INTO TROUBLE.
185
00:08:49,112 --> 00:08:50,738
WHY DON'T YOU
HELP YOURSELF
186
00:08:50,947 --> 00:08:52,740
AND GET YOURSELF
A MAN?
187
00:08:52,949 --> 00:08:54,742
ELLA, WHAT ARE YOU
DOING HERE?
188
00:08:54,951 --> 00:08:56,744
I MADE THAT DATE
FOR YOU AT 5:00.
189
00:08:56,953 --> 00:08:58,579
DO I HAVE TO GO?
190
00:08:58,788 --> 00:09:00,748
DO YOU HAVE--
191
00:09:00,957 --> 00:09:03,751
ELLA...THIS IS
THE SIXTH YOUNG MAN
192
00:09:03,919 --> 00:09:05,753
I'VE DREDGED UP
THIS YEAR.
193
00:09:05,962 --> 00:09:08,255
HE'S A VERY NICE
YOUNG MAN.
194
00:09:08,465 --> 00:09:10,424
HE'S THE NEPHEW
OF MY DEAREST FRIEND,
195
00:09:10,592 --> 00:09:12,426
SO, PLEASE,
MAKE AN EFFORT.
196
00:09:12,636 --> 00:09:13,677
ALL RIGHT.
197
00:09:15,555 --> 00:09:17,598
ELLA!
198
00:09:17,807 --> 00:09:19,350
ALL RIGHT.
199
00:09:26,525 --> 00:09:29,610
DON'T FORGET TO WAKE
JEFFREY MOSS UP
200
00:09:29,819 --> 00:09:31,862
IN TIME FOR HIS...
APPOINTMENT.
201
00:09:36,743 --> 00:09:39,286
ALL THAT YAKETY-YAK
AT THE BOARD,
202
00:09:39,496 --> 00:09:41,455
AND YET EVERY TIME
SHE GOES OUT WITH A REAL FELLOW,
203
00:09:41,665 --> 00:09:43,123
SHE CLAMS UP
LIKE AN OYSTER.
204
00:09:43,333 --> 00:09:44,625
SHE'S A LITTLE SHY.
205
00:09:44,834 --> 00:09:46,460
HER FINGERS
TURN INTO THUMBS.
206
00:09:46,670 --> 00:09:47,962
IT TAKES
A LITTLE WHILE.
207
00:09:48,171 --> 00:09:49,964
SHE KNOCKS THINGS OVER,
SPILLS DRINKS--
208
00:09:50,173 --> 00:09:53,467
THE ONLY THING SHE HASN'T DONE
IS CATCH ON FIRE.
209
00:09:53,677 --> 00:09:55,135
[BUZZ]
210
00:09:55,345 --> 00:09:56,971
MISS PRINGLE'S RESIDENCE.
211
00:09:57,180 --> 00:09:59,306
I'M SORRY.
I COULDN'T POSSIBLY
212
00:09:59,516 --> 00:10:01,767
HOLD A TABLE
FOR THAT LENGTH OF TIME.
213
00:10:01,977 --> 00:10:03,477
I HAVE RESERVATIONS.
LET ME LOOK.
214
00:10:03,687 --> 00:10:04,645
CAPTAIN! CAPTAIN.
215
00:10:04,854 --> 00:10:05,980
JUST A MOMENT, SIR.
216
00:10:06,189 --> 00:10:07,982
WILL WE GET OUR TABLE
PRETTY SOON?
217
00:10:08,191 --> 00:10:09,483
WE'VE BEEN WAITING
20 MINUTES.
218
00:10:09,693 --> 00:10:11,277
I'LL CHECK AS SOON
AS I POSSIBLY CAN.
219
00:10:11,486 --> 00:10:12,319
THE ONLY THING IS,
I'M AFRAID MY DATE
220
00:10:12,529 --> 00:10:14,321
IS GOING TO DIE
OF STARVATION.
221
00:10:14,531 --> 00:10:16,282
I'LL CHECK AS SOON
AS I POSSIBLY CAN.
222
00:10:16,491 --> 00:10:17,575
WOULD YOU, PLEASE?
THANK YOU.
223
00:10:17,784 --> 00:10:20,327
HELLO, MR. CHASE? YES.
10:15, A PARTY OF 4.
224
00:10:20,537 --> 00:10:22,162
I'M SORRY. THAT'S
THE BEST I CAN DO.
225
00:10:22,372 --> 00:10:24,290
I SEEM TO HAVE PICKED OUT
THE WRONG PLACE.
226
00:10:24,499 --> 00:10:25,416
THEY'RE SO BUSY HERE,
227
00:10:25,625 --> 00:10:26,834
WE MAY HAVE TO DO
OUR OWN COOKING.
228
00:10:27,043 --> 00:10:28,419
ANYWAY, WE HAVE THESE.
229
00:10:28,628 --> 00:10:33,007
NOW IF WE COULD JUST
GET OUR TABLE. CAPTAIN !
230
00:10:33,216 --> 00:10:36,176
YOU'RE BEING AN AWFULLY
GOOD SPORT ABOUT ALL THIS.
231
00:10:36,386 --> 00:10:38,178
LET'S HAVE A TOAST
TO FRIENDSHIP.
232
00:10:38,388 --> 00:10:39,847
FRIENDSHIP
IS THE GIFT OF--
233
00:10:40,056 --> 00:10:41,181
OH! I'M SORRY.
234
00:10:41,391 --> 00:10:42,683
OH, I'M SORRY.
235
00:10:42,892 --> 00:10:44,852
JUST WHEN I'M TRYING
TO MAKE A GOOD IMPRESSION.
236
00:10:45,061 --> 00:10:46,020
I'LL GET IT.
237
00:10:46,229 --> 00:10:47,021
OH, NO, I'LL GET--
238
00:10:47,230 --> 00:10:48,022
AAH!
239
00:10:48,231 --> 00:10:49,023
OH, IT'S--
240
00:10:49,232 --> 00:10:50,024
SORRY.
241
00:10:50,233 --> 00:10:51,525
I HOPE I DIDN'T
HURT YOU.
242
00:10:51,735 --> 00:10:52,526
PLEASE
FORGIVE ME.
243
00:10:52,736 --> 00:10:55,029
YOU'LL THINK
I'M AN AWFUL OAF.
244
00:10:55,238 --> 00:10:57,531
I'D BETTER GET THE WAITER
AND GET ANOTHER DRINK.
245
00:10:57,741 --> 00:10:58,532
OH, NO.
TAKE THIS ONE.
246
00:10:58,742 --> 00:10:59,658
NO, NO. YOU KEEP THAT.
247
00:10:59,868 --> 00:11:00,993
NO, NO, NO, NO!
248
00:11:01,202 --> 00:11:02,328
WELL, LET'S
SHARE IT, THEN.
249
00:11:02,537 --> 00:11:03,329
OH, ALL RIGHT.
250
00:11:03,538 --> 00:11:04,788
YOU TAKE
THE FIRST SIP.
251
00:11:04,998 --> 00:11:08,208
IT'S GETTING SO LATE.
I WISH THEY'D--OH, CAPTAIN!
252
00:11:08,418 --> 00:11:10,210
OH, IT IS
GETTING LATE.
253
00:11:10,420 --> 00:11:11,962
OH, I MISSED HIM
AGAIN.
254
00:11:15,008 --> 00:11:16,050
OH...
255
00:11:16,259 --> 00:11:19,053
YOU KNOW, I'M NOT USUALLY
THIS CLUMSY.
256
00:11:19,262 --> 00:11:21,055
IF YOU WANT TO
KNOW THE TRUTH,
257
00:11:21,264 --> 00:11:22,389
I'M A LITTLE NERVOUS.
258
00:11:22,599 --> 00:11:24,558
BLIND DATES DON'T USUALLY
TURN OUT THIS WELL,
259
00:11:24,768 --> 00:11:26,727
AND I APPROACHED THIS DATE
WITH SOME TREPIDATION.
260
00:11:26,936 --> 00:11:28,729
I'VE HAD SOME
TERRIBLE EXPERIENCES.
261
00:11:28,938 --> 00:11:30,022
YOU KNOW, MY AUNT--
262
00:11:30,231 --> 00:11:32,566
BLESS HER, BUT SHE
AND SOME OF HER FRIENDS,
263
00:11:32,776 --> 00:11:35,069
INCLUDING--IF YOU'LL
FORGIVE ME--YOUR COUSIN SUE,
264
00:11:35,278 --> 00:11:38,238
HAVE COME UP WITH SOME
OF THE MOST AWFUL DOG--
265
00:11:38,448 --> 00:11:40,407
EXCUSE ME. SOME OF
THE STRANGEST GIRLS,
266
00:11:40,617 --> 00:11:42,826
SO WHEN YOU
SHOWED UP...
267
00:11:44,621 --> 00:11:46,997
YOU KNOW, YOU'RE
A GOOD LISTENER.
268
00:11:47,207 --> 00:11:48,999
THAT'S AN ART IN ITSELF.
269
00:11:49,209 --> 00:11:52,169
HELPS TO BUILD
THE OTHER PERSON'S EGO.
270
00:11:52,379 --> 00:11:54,254
I GUESS YOU
MUST BE THINKING
271
00:11:54,464 --> 00:11:55,756
THAT I'M
KIND OF GARRULOUS,
272
00:11:55,965 --> 00:11:58,842
THE WAY I'VE MONOPOLIZED
THE CONVERSATION, BUT--
273
00:11:59,052 --> 00:12:00,344
OH, CAPTAIN!
274
00:12:00,553 --> 00:12:03,347
I'M CHECKING ON YOUR TABLE
RIGHT NOW, SIR.
275
00:12:03,556 --> 00:12:04,682
OH, THANK YOU.
276
00:12:04,891 --> 00:12:07,184
OH! OH, I'M SORRY.
277
00:12:07,394 --> 00:12:10,187
YOUR TABLE IS READY NOW.
THIS WAY, PLEASE.
278
00:12:10,397 --> 00:12:11,855
OH, THANK YOU.
WE CAN GO NOW.
279
00:12:12,065 --> 00:12:13,357
OH! OH,
I'M SORRY.
280
00:12:13,566 --> 00:12:14,858
REALLY,
IT'S ALL RIGHT.
281
00:12:15,068 --> 00:12:16,360
OH, I'M SORRY.
282
00:12:16,569 --> 00:12:19,363
I GUESS NOTHING ELSE
CAN HAPPEN TO US.
283
00:12:19,572 --> 00:12:20,781
YOU HAVE
DAYS LIKE THAT
284
00:12:20,990 --> 00:12:22,282
WHERE NOTHING
GOES RIGHT.
285
00:12:22,492 --> 00:12:23,784
THAT HAPPENED TO ME
LAST WEEK.
286
00:12:23,993 --> 00:12:24,952
FROM THE FIRST THING
IN THE--
287
00:12:25,161 --> 00:12:26,078
OH, I'M TERRIBLY SORRY.
288
00:12:26,287 --> 00:12:27,663
MY FAULT, MADAM.
289
00:12:29,708 --> 00:12:31,458
ANYWAY, YOU KNOW,
IT'S POSSIBLE
290
00:12:31,668 --> 00:12:34,044
THAT THE STARS HAVE
SOMETHING TO DO WITH THAT.
291
00:12:34,254 --> 00:12:36,714
I'VE READ ABOUT THAT
IN THE SCIENCE ANNUAL.
292
00:12:45,890 --> 00:12:47,474
[STAIRS CREAK]
293
00:12:47,684 --> 00:12:50,269
WELL! YOU JUST BEAT
YOUR OWN RECORD.
294
00:12:50,478 --> 00:12:51,770
DOOR-TO-DOOR
IN 45 MINUTES.
295
00:12:51,980 --> 00:12:53,272
HOW'D IT GO?
296
00:12:53,481 --> 00:12:54,815
OH, FINE. MY DATE
SUDDENLY REMEMBERED
297
00:12:55,024 --> 00:12:56,608
A PRESSING ENGAGEMENT.
298
00:12:56,818 --> 00:12:58,110
WITH A TAILOR?
299
00:12:58,319 --> 00:12:59,111
YES.
300
00:12:59,320 --> 00:13:00,112
[SWITCHBOARD BUZZING]
301
00:13:00,321 --> 00:13:01,530
WHAT HAPPENED?
302
00:13:05,410 --> 00:13:07,578
DR. STAFFORD'S
OFFICE.
303
00:13:07,787 --> 00:13:09,079
THIS IS MRS. HERMAN.
304
00:13:09,289 --> 00:13:11,248
OH, MRS. HERMAN.
305
00:13:11,458 --> 00:13:12,750
YOUR BASAL
METABOLISM TEST
306
00:13:12,959 --> 00:13:14,752
WILL BE AT 9:00
TOMORROW MORNING,
307
00:13:14,961 --> 00:13:16,336
SO DON'T EAT ANYTHING
WHEN YOU WAKE UP,
308
00:13:16,546 --> 00:13:17,337
NOT EVEN COFFEE.
309
00:13:17,505 --> 00:13:18,839
AND DON'T SMOKE,
PLEASE.
310
00:13:19,048 --> 00:13:19,840
THANK YOU.
311
00:13:20,049 --> 00:13:20,841
GOOD-BYE.
312
00:13:21,050 --> 00:13:22,843
Ella: HEY, GWYNNE,
WHERE'S SUE?
313
00:13:23,052 --> 00:13:25,345
YOU'RE SAFE.
SHE'S OUT WITH OTTO.
314
00:13:25,555 --> 00:13:26,513
WHO?
315
00:13:26,723 --> 00:13:28,849
YOU KNOW--THAT EUROPEAN
RECORDING GUY.
316
00:13:29,058 --> 00:13:29,975
OH. GOOD.
317
00:13:30,185 --> 00:13:31,810
I PUT A FILE
IN THIS LOAF OF BREAD
318
00:13:32,020 --> 00:13:33,687
IN CASE YOU WANT TO
BREAK OUT OF HERE.
319
00:13:33,897 --> 00:13:34,813
HI, CARL.
320
00:13:35,023 --> 00:13:36,774
HI. IF YOU GOT
ANY MONEY ON YOU,
321
00:13:36,983 --> 00:13:38,776
I'D BE DELIGHTED
TO TREAT YOU TO A SODA
322
00:13:38,985 --> 00:13:40,778
AT THE DRUGSTORE.
323
00:13:40,987 --> 00:13:42,279
OH, I'D LOVE IT!
ELLA...
324
00:13:42,489 --> 00:13:44,782
OH, GO AHEAD, GWYNNE.
I'LL BE HERE.
325
00:13:44,991 --> 00:13:46,283
THANKS.
326
00:13:46,493 --> 00:13:49,286
DID YOU REMEMBER
TO WAKE UP JEFFREY MOSS?
327
00:13:49,496 --> 00:13:51,288
I TRIED.
THE SLEEPING PRINCE
328
00:13:51,498 --> 00:13:53,457
SAID TO CALL HIM AGAIN
AT 6:00.
329
00:13:53,666 --> 00:13:55,959
BUT THAT MEANS HE DIDN'T
KEEP HIS APPOINTMENT
330
00:13:56,169 --> 00:13:57,336
WITH HIS PRODUCER!
331
00:13:57,545 --> 00:13:59,463
ELLA, HE'S ONLY
A DISEMBODIED VOICE, REMEMBER?
332
00:13:59,672 --> 00:14:03,801
JEFFREY MOSS IS JUST
PLAZA-OH-DOUBLE-4-DOUBLE-3.
333
00:14:04,010 --> 00:14:07,137
HE DOESN'T MEAN ANY MORE
THAN ANY OTHER SUBSCRIBER TO ME.
334
00:14:07,347 --> 00:14:09,306
[ALARM RINGS]
335
00:14:09,516 --> 00:14:11,892
6:00. I HAVE TO
WAKE HIM!
336
00:14:23,029 --> 00:14:24,822
YEAH.
337
00:14:30,537 --> 00:14:31,829
[WHISTLES]
338
00:14:38,628 --> 00:14:40,754
Man, sleepy:
H'LO. HELLO.
339
00:14:40,964 --> 00:14:44,007
[MUMBLING]
340
00:14:44,217 --> 00:14:47,177
[OLDER VOICE]
HELLO, MR. MOSS?
341
00:14:47,387 --> 00:14:48,679
IS THAT YOU, MOM?
342
00:14:48,888 --> 00:14:51,682
YES. IT'S 6:00.
TIME TO GET UP!
343
00:14:51,891 --> 00:14:52,683
UHH.
344
00:14:52,892 --> 00:14:54,184
ONE MOMENT, PLEASE.
345
00:14:54,394 --> 00:14:56,687
ELLA, AREN'T YOU
EVER GOING TO GIVE UP
346
00:14:56,896 --> 00:14:59,690
THAT OLD LADY'S
VOICE YOU USE ON HIM?
347
00:14:59,899 --> 00:15:01,358
HE NEEDS A MOTHER.
348
00:15:01,568 --> 00:15:03,360
[OLDER VOICE]
HELLO, MR. MOSS?
349
00:15:03,570 --> 00:15:04,862
YOU LEFT YOURSELF
THIS MESSAGE.
350
00:15:05,071 --> 00:15:07,197
"GET UP,
YOU THREE-TOED SLOTH.
351
00:15:07,407 --> 00:15:10,200
"YOU'VE GOT AN APPOINTMENT
WITH LARRY HASTINGS
352
00:15:10,410 --> 00:15:12,703
ABOUT YOUR PLAY,
THE MIDAS TOUCH."
353
00:15:12,912 --> 00:15:15,789
WELL, YOU MISSED
THAT APPOINTMENT, MR. MOSS.
354
00:15:15,999 --> 00:15:17,708
UHH...ALL RIGHT.
355
00:15:17,917 --> 00:15:19,209
TELL
WHAT YOU DO.
356
00:15:19,419 --> 00:15:20,377
[YAWN]
357
00:15:20,587 --> 00:15:22,546
YOU CALL ME BACK
IN A COUPLE HOURS.
358
00:15:22,755 --> 00:15:24,715
OH, NO, MR. MOSS.
359
00:15:24,924 --> 00:15:29,887
[IMITATES TRUMPET
PLAYING REVEILLE]
360
00:15:30,096 --> 00:15:35,559
[HUMMING TAPS]
361
00:15:35,768 --> 00:15:37,394
[CUTS CONNECTION]
362
00:15:37,604 --> 00:15:41,106
[SIGH]
363
00:15:41,316 --> 00:15:44,484
♪♪ I'M IN LOVE ♪♪
364
00:15:44,694 --> 00:15:47,154
♪♪ WITH A MAN ♪♪
365
00:15:47,363 --> 00:15:51,825
♪♪ PLAZA OH DOUBLE 4
DOUBLE 3 ♪♪
366
00:15:52,035 --> 00:15:54,661
♪♪ WHAT A PERFECT RELATIONSHIP ♪♪
367
00:15:54,871 --> 00:15:56,496
♪♪ I CAN'T SEE HIM ♪♪
368
00:15:56,706 --> 00:15:58,165
♪♪ HE CAN'T SEE ME ♪♪
369
00:15:58,374 --> 00:15:59,499
♪♪ I'M IN LOVE ♪♪
370
00:15:59,709 --> 00:16:01,335
♪♪ WITH A VOICE ♪♪
371
00:16:01,544 --> 00:16:05,505
♪♪ PLAZA OH DOUBLE 4
DOUBLE 3 ♪♪
372
00:16:05,715 --> 00:16:08,508
♪♪ WHAT A PERFECT RELATIONSHIP ♪♪
373
00:16:08,718 --> 00:16:10,344
♪♪ I TALK TO HIM ♪♪
374
00:16:10,553 --> 00:16:13,847
♪♪ AND HE JUST TALKS TO ME ♪♪
375
00:16:14,057 --> 00:16:16,183
♪♪ AND YET I CAN'T HELP
WONDERING ♪♪
376
00:16:16,392 --> 00:16:20,604
♪♪ WHAT DOES HE LOOK LIKE? ♪♪
377
00:16:22,482 --> 00:16:27,027
♪♪ I WISH I KNEW ♪♪
378
00:16:27,236 --> 00:16:29,029
[CANARY PEEPS]
379
00:16:29,238 --> 00:16:34,534
♪♪ WHAT DOES HE LOOK LIKE? ♪♪
380
00:16:34,744 --> 00:16:35,786
[PEEP]
381
00:16:35,995 --> 00:16:38,705
♪♪ IS HE 6 FOOT 7
OR 3 FOOT 2? ♪♪
382
00:16:38,915 --> 00:16:42,042
♪♪ HAS HE EYES OF BROWN
OR BABY BLUE? ♪♪
383
00:16:42,251 --> 00:16:45,212
♪♪ BIG AND MIGHTY OR UNDERFED? ♪♪
384
00:16:45,421 --> 00:16:48,048
♪♪ TRIM, BLACK MUSTACHE
OR BEARD OF RED? ♪♪
385
00:16:48,257 --> 00:16:51,051
♪♪ CAN HE DANCE
LIKE FRED ASTAIRE? ♪♪
386
00:16:51,260 --> 00:16:54,221
♪♪ IS HE DARK, OR IS HE FAIR? ♪♪
387
00:16:54,430 --> 00:16:57,057
♪♪ POMPADOUR OR NOT A HAIR? ♪♪
388
00:16:57,266 --> 00:16:59,893
♪♪ WELL, I DON'T CARE ♪♪
389
00:17:00,103 --> 00:17:01,561
♪♪ I'M IN LOVE ♪♪
390
00:17:01,771 --> 00:17:03,230
♪♪ WITH A MAN ♪♪
391
00:17:03,439 --> 00:17:07,234
♪♪ PLAZA OH DOUBLE 4
DOUBLE 3 ♪♪
392
00:17:07,443 --> 00:17:09,903
♪♪ WHAT A PERFECT RELATIONSHIP ♪♪
393
00:17:10,113 --> 00:17:13,407
♪♪ AND THAT'S HOW THINGS
SHOULD ALWAYS BE ♪♪
394
00:17:13,616 --> 00:17:18,662
♪♪ OUR LOVE CAN NEVER
LOSE ITS MYSTERY ♪♪
395
00:17:18,871 --> 00:17:22,833
♪♪ 'CAUSE I'LL NEVER MEET HIM ♪♪
396
00:17:23,042 --> 00:17:26,753
♪♪ AND HE'LL NEVER MEET ME ♪♪
397
00:17:26,963 --> 00:17:31,341
♪♪ NO, HE'LL NEVER MEET ME ♪♪
398
00:17:36,556 --> 00:17:42,936
♪♪ WHAT DOES HE LOOK LIKE? ♪♪
399
00:17:43,146 --> 00:17:47,858
♪♪ MY SLEEPING PRINCE ♪♪
400
00:17:49,902 --> 00:17:56,616
♪♪ WHAT DOES HE LOOK LIKE? ♪♪
401
00:17:56,826 --> 00:17:59,619
♪♪ TOUGH AS NAILS
WITH A BLACK CIGAR? ♪♪
402
00:17:59,829 --> 00:18:02,789
♪♪ AS HANDSOME AS A MOVIE STAR? ♪♪
403
00:18:02,999 --> 00:18:05,792
♪♪ STERN AS AN EAGLE,
SHY AS A DOVE? ♪♪
404
00:18:06,002 --> 00:18:08,628
♪♪ A FACE THAT ONLY
A MOTHER COULD LOVE? ♪♪
405
00:18:08,838 --> 00:18:11,465
♪♪ IT DOESN'T MATTER WHAT HE IS ♪♪
406
00:18:11,674 --> 00:18:14,468
♪♪ I'M HIS, HIS, HIS ♪♪
407
00:18:14,677 --> 00:18:17,971
♪♪ BUT HE'S STILL JUST A VOICE ♪♪
408
00:18:18,181 --> 00:18:21,808
♪♪ PLAZA OH DOUBLE 4
DOUBLE 3 ♪♪
409
00:18:22,018 --> 00:18:24,644
♪♪ WHAT A PERFECT RELATIONSHIP ♪♪
410
00:18:24,854 --> 00:18:26,146
♪♪ I CAN'T SEE HIM ♪♪
411
00:18:26,355 --> 00:18:27,981
♪♪ HE CAN'T SEE ME ♪♪
412
00:18:28,191 --> 00:18:29,983
♪♪ HE CALLS ME "MOM" ♪♪
413
00:18:30,193 --> 00:18:33,153
♪♪ HE THINKS I'M 63 ♪♪
414
00:18:33,362 --> 00:18:37,324
♪♪ AND I'LL NEVER MEET HIM ♪♪
415
00:18:37,533 --> 00:18:40,994
♪♪ AND HE'LL NEVER MEET ME ♪♪
416
00:18:41,162 --> 00:18:46,208
♪♪ NO, HE'LL NEVER MEET ME ♪♪
417
00:19:02,475 --> 00:19:04,476
Ella, older voice:
SUSANSWERPHONE.
418
00:19:04,685 --> 00:19:05,477
HI, MOM?
419
00:19:05,686 --> 00:19:06,853
YES, MR. MOSS?
420
00:19:07,063 --> 00:19:09,022
I'M GOING TO BE IN
ALL NIGHT WORKING.
421
00:19:09,232 --> 00:19:10,190
WORKING?
422
00:19:10,399 --> 00:19:12,526
GOT A LITTLE OLD FIRE
TO PUT OUT HERE.
423
00:19:12,735 --> 00:19:14,861
I DON'T KNOW WHAT TIME
I'LL GET TO BED,
424
00:19:15,071 --> 00:19:16,863
BUT YOU CALL ME
AT, UH...7:00.
425
00:19:17,073 --> 00:19:20,033
7 A.M.? ALL RIGHT, MR. MOSS.
I'LL WAKE YOU.
426
00:19:20,243 --> 00:19:21,368
GOOD NIGHT.
427
00:19:21,577 --> 00:19:23,286
OH, MOM,
YOU STILL THERE?
428
00:19:23,496 --> 00:19:24,538
YES.
429
00:19:24,747 --> 00:19:26,873
IF YOU DON'T MIND,
I JUST SORT OF THOUGHT
430
00:19:27,083 --> 00:19:29,835
MAYBE YOU AND I COULD
SHOOT THE BREEZE, YOU KNOW?
431
00:19:30,044 --> 00:19:31,837
OR CHEW
THE OLD FAT-EROO.
432
00:19:32,046 --> 00:19:33,547
HEE HEE HEE!
433
00:19:33,756 --> 00:19:36,466
MOM, I'M SCARED.
434
00:19:36,676 --> 00:19:38,802
OH, YOU MUSTN'T BE.
435
00:19:39,011 --> 00:19:40,637
I KNOW. YOU'VE TOLD ME THAT
A THOUSAND TIMES,
436
00:19:40,847 --> 00:19:42,139
BUT THIS IS IT.
437
00:19:42,348 --> 00:19:44,057
THIS IS
MY LAST CHANCE.
438
00:19:44,267 --> 00:19:45,559
LAST CHANCE?
439
00:19:45,768 --> 00:19:47,477
YEAH, LARRY JUST
BLEW HIS STACK,
440
00:19:47,687 --> 00:19:50,480
AND HE SAID IF I DON'T
COME IN WITH AN OUTLINE
441
00:19:50,690 --> 00:19:52,816
OF THE LAST TWO ACTS
BY 4 P.M. TOMORROW,
442
00:19:53,025 --> 00:19:54,734
HE'S GOING TO DROP
THE MIDAS TOUCH.
443
00:19:54,944 --> 00:19:57,737
MR. MOSS, I KNOW YOU CAN
WRITE BY YOURSELF
444
00:19:57,947 --> 00:19:59,322
WITHOUT YOUR PARTNER.
445
00:19:59,532 --> 00:20:02,492
NOW YOU SIT DOWN
AND FINISH THAT OUTLINE!
446
00:20:05,621 --> 00:20:09,499
MOM, YOU REALLY CARE
WHAT HAPPENS TO ME, DON'T YOU?
447
00:20:09,709 --> 00:20:11,668
NO AX TO GRIND.
448
00:20:11,878 --> 00:20:14,754
NOT LIKE THE BUNCH OF PHONIES
THAT I PAL AROUND WITH.
449
00:20:14,964 --> 00:20:17,257
YOU KNOW, YOU'RE
THE ONLY PERSON IN THE WORLD
450
00:20:17,466 --> 00:20:19,342
I CAN REALLY TALK TO, MOM.
451
00:20:19,552 --> 00:20:21,344
THANK YOU,
MR. MOSS.
452
00:20:21,554 --> 00:20:23,930
NOW YOU GET TO WORK!
453
00:20:24,140 --> 00:20:27,517
YOU'RE RIGHT, MOM. I WILL.
AND DON'T FORGET--7:00.
454
00:20:44,994 --> 00:20:47,704
♪♪ YOU GOT TO DO IT,
YOU GOT TO DO IT ♪♪
455
00:20:47,914 --> 00:20:50,373
♪♪ GOT TO DO IT ALL ALONE ♪♪
456
00:20:50,583 --> 00:20:54,044
♪♪ NO ONE ELSE
WILL DO IT FOR YOU ♪♪
457
00:20:54,253 --> 00:20:59,132
♪♪ YOU'RE ON YOUR OWN ♪♪
458
00:21:05,431 --> 00:21:06,806
♪♪ DO IT ♪♪
459
00:21:07,016 --> 00:21:09,726
♪♪ IT MAY BE LOVE OR WAR
OR MOPPING UP THE FLOOR ♪♪
460
00:21:09,936 --> 00:21:11,728
♪♪ BUT JUST DO IT ♪♪
461
00:21:11,938 --> 00:21:13,563
♪♪ DON'T SEND
A FRIEND WHO'S TRUE ♪♪
462
00:21:13,773 --> 00:21:16,483
♪♪ TO PITCH A WOO FOR YOU,
OR YOU'LL RUE IT ♪♪
463
00:21:18,861 --> 00:21:21,988
♪♪ DO IT YOURSELF ♪♪
464
00:21:24,200 --> 00:21:26,910
♪♪ DON'T FAKE IT ♪♪
465
00:21:27,119 --> 00:21:30,413
♪♪ IF YOU'RE A FAKE,
YOU WON'T MAKE IT ♪♪
466
00:21:32,041 --> 00:21:36,586
♪♪ WAIT FOR YOUR BREAK
AND THEN TAKE IT ♪♪
467
00:21:36,796 --> 00:21:40,757
♪♪ FOR TIME AND TIDE,
THEY WAIT FOR NO MAN ♪♪
468
00:21:40,967 --> 00:21:43,260
♪♪ GO, GO, GO, MAN ♪♪
469
00:21:43,469 --> 00:21:45,262
♪♪ DO IT ♪♪
470
00:21:45,471 --> 00:21:46,805
♪♪ TO PROVE A POINT AT HAND ♪♪
471
00:21:47,014 --> 00:21:50,100
♪♪ JUST LOOK AT OLD
MILES STANDISH, WHO BLEW IT ♪♪
472
00:21:50,309 --> 00:21:54,604
♪♪ HE SAID, "JOHN ALDEN, WILL YOU
GO ASK PRISCILLA TO DO IT?" ♪♪
473
00:21:56,315 --> 00:21:59,943
♪♪ MILES GOT THE HEAVE-HO ♪♪
474
00:22:00,152 --> 00:22:02,445
♪♪ MAN ♪♪
475
00:22:02,655 --> 00:22:06,950
♪♪ PRISCILLA SAID,
"NOW THAT MILES IS GONE" ♪♪
476
00:22:07,159 --> 00:22:11,454
♪♪ "SPEAK FOR YOURSELF,
DEAR JOHN" ♪♪
477
00:22:11,664 --> 00:22:12,789
♪♪ HE BLEW IT ♪♪
478
00:22:12,999 --> 00:22:19,379
♪♪ SO DO IT, DO IT,
DO IT YOURSELF ♪♪
479
00:22:38,316 --> 00:22:40,317
AH, WHAT'S THE USE?
480
00:22:46,115 --> 00:22:48,158
I'LL NEVER MAKE IT ALONE.
481
00:22:50,703 --> 00:22:51,828
PEEP.
482
00:22:52,038 --> 00:22:53,580
[PEEP]
483
00:22:53,789 --> 00:22:54,581
PEEP.
484
00:22:54,749 --> 00:22:56,041
[PEEP]
485
00:22:56,250 --> 00:22:57,542
[LOWER VOICE]
PEEP.
486
00:22:57,752 --> 00:22:59,127
[CANARIES PEEPING]
487
00:23:05,009 --> 00:23:06,468
[WHISPERS]
Francie.
488
00:23:07,845 --> 00:23:09,637
FRANCIE!
489
00:23:13,517 --> 00:23:15,143
HERE IT IS.
490
00:23:16,687 --> 00:23:18,438
LOOK. THE MINUTE
ONE OF THOSE GIRLS
491
00:23:18,647 --> 00:23:19,564
GETS ON THE PHONE,
492
00:23:19,774 --> 00:23:21,232
TURN ON
THE TAPE RECORDER.
493
00:23:21,442 --> 00:23:24,069
ARE YOU SURE ABOUT THIS,
INSPECTOR BARNES?
494
00:23:24,278 --> 00:23:25,612
MISTER BARNES,
YOU MEATHEAD.
495
00:23:25,821 --> 00:23:27,405
I'M GOING TO
GET A PROMOTION
496
00:23:27,615 --> 00:23:29,074
FOR CLOSING UP
THIS JOINT.
497
00:23:29,283 --> 00:23:32,077
JUST BECAUSE THE LAW
ARRESTED ALL THOSE GIRLS
498
00:23:32,286 --> 00:23:33,536
AT ALL-ALONE-A-PHONE
499
00:23:33,746 --> 00:23:34,746
DOESN'T MEAN
EVERY ANSWERING SERVICE
500
00:23:34,955 --> 00:23:37,582
IS A FRONT FOR A--
LONELY-HEARTS CLUB.
501
00:23:37,792 --> 00:23:39,167
COME ON.
502
00:23:40,503 --> 00:23:42,337
[CANARIES PEEPING]
503
00:23:48,886 --> 00:23:50,428
PEEP.
504
00:23:50,638 --> 00:23:52,764
[PEEP]
505
00:23:52,973 --> 00:23:53,890
PEEP.
506
00:23:54,100 --> 00:23:54,891
[PEEP]
507
00:23:55,101 --> 00:23:56,226
PEEP.
508
00:23:56,435 --> 00:23:57,435
[PEEP]
509
00:23:57,645 --> 00:23:58,436
PEEP.
510
00:23:58,646 --> 00:23:59,437
[PEEP]
511
00:23:59,647 --> 00:24:00,438
PEEP.
512
00:24:00,648 --> 00:24:01,898
HOW DO YOU DO?
513
00:24:02,108 --> 00:24:03,233
PEEP! OH!
514
00:24:03,442 --> 00:24:04,776
MY NAME IS BARNES.
515
00:24:04,985 --> 00:24:07,737
WE'RE DOING A LITTLE ARTICLE
ON THE ANSWERING SERVICES.
516
00:24:07,947 --> 00:24:10,073
WE'RE FROM, UH...
517
00:24:10,282 --> 00:24:11,908
VOGUE MAGAZINE.
518
00:24:12,118 --> 00:24:13,326
OH.
519
00:24:13,536 --> 00:24:14,411
WE'D JUST LIKE TO ASK YOU
A COUPLE OF QUESTIONS.
520
00:24:14,620 --> 00:24:15,745
OH. VOGUE?
521
00:24:15,955 --> 00:24:16,746
YES.
522
00:24:16,956 --> 00:24:19,582
ME? OH, WELL,
THANK YOU.
523
00:24:19,792 --> 00:24:21,251
I'D BE GLAD TO.
524
00:24:21,460 --> 00:24:22,669
WON'T YOU
SIT DOWN?
525
00:24:22,878 --> 00:24:24,504
NO, THANK YOU.
WE'LL STAND JUST NOW.
526
00:24:24,713 --> 00:24:26,089
I'LL BE WITH YOU
IN A MINUTE.
527
00:24:26,298 --> 00:24:28,425
ALL RIGHT.
528
00:24:28,634 --> 00:24:32,429
NOW, TELL ME, DO YOU ENJOY
DOING THIS LINE OF WORK?
529
00:24:32,638 --> 00:24:33,930
OH, I LOVE IT
HERE.
530
00:24:34,140 --> 00:24:35,765
I USED TO BE A PLAIN
SWITCHBOARD OPERATOR
531
00:24:35,975 --> 00:24:36,766
IN A LINGERIE HOUSE.
532
00:24:36,976 --> 00:24:38,268
PRETTY DULL,
533
00:24:38,477 --> 00:24:41,104
EXCEPT FOR A LITTLE MODELING
ON THE SIDE.
534
00:24:41,313 --> 00:24:44,774
MODELING
ON THE SIDE, EH?
535
00:24:44,984 --> 00:24:46,776
BUT THIS IS SO MUCH
MORE PERSONAL.
536
00:24:46,986 --> 00:24:49,279
I COME INTO CONTACT WITH
SO MANY DIFFERENT TYPES,
537
00:24:49,488 --> 00:24:50,780
AND I CAN GIVE EACH ONE
538
00:24:50,990 --> 00:24:52,782
THE PARTICULAR
KIND OF HELP HE NEEDS.
539
00:24:52,992 --> 00:24:55,201
MY COUSIN SUE THINKS
I SPEND TOO MUCH TIME
540
00:24:55,411 --> 00:24:56,703
WITH EACH ONE.
541
00:24:56,912 --> 00:24:58,663
SHE KEEPS SAYING,
"GET IT OVER WITH
542
00:24:58,873 --> 00:25:00,623
AND GET ON
TO THE NEXT ONE."
543
00:25:00,833 --> 00:25:01,624
[BUZZ]
544
00:25:01,834 --> 00:25:02,625
EXCUSE ME.
545
00:25:02,835 --> 00:25:03,710
YES, OF COURSE.
546
00:25:06,922 --> 00:25:08,798
MADAME GRIMALDI'S.
547
00:25:09,008 --> 00:25:11,050
NO. THE MADAME IS OUT.
548
00:25:12,344 --> 00:25:14,304
WELL, THERE ARE
SEVERAL OF US.
549
00:25:15,681 --> 00:25:17,307
OH, THAT'S ME.
550
00:25:21,854 --> 00:25:24,731
CHARGE? FOR ANY FRIEND
OF MADAME GRIMALDI'S,
551
00:25:24,940 --> 00:25:26,232
IT'S FREE.
552
00:25:26,442 --> 00:25:28,067
OK, SISTER,
HANG IT UP.
553
00:25:28,277 --> 00:25:29,569
WHAT DO YOU MEAN,
HANG IT UP?
554
00:25:29,778 --> 00:25:30,904
COME ON, GET YOUR TOOTHBRUSH
AND COME ON ALONG HERE.
555
00:25:31,113 --> 00:25:31,905
MY TOOTHRBUSH?
556
00:25:32,114 --> 00:25:32,906
THAT'S RIGHT.
557
00:25:33,115 --> 00:25:34,240
Gwynne:
OH, IT'S HOT!
558
00:25:34,450 --> 00:25:35,742
WHAT DO YOU DO?
559
00:25:35,951 --> 00:25:37,243
I WORK HERE.
560
00:25:37,453 --> 00:25:39,746
WELL, MAYBE YOU'D BETTER
COME ALONG, TOO.
561
00:25:39,955 --> 00:25:42,248
Sue: PARK THE CAR, OTTO,
AND HURRY BACK.
562
00:25:42,458 --> 00:25:45,251
WHY, GIRLS, WHAT ARE THESE
MEN DOING HERE?
563
00:25:45,461 --> 00:25:47,253
WE'RE GOING TO
CLOSE UP THE JOINT.
564
00:25:47,463 --> 00:25:50,256
YOU'RE ALL COMING ALONG--
WOMEN'S DETENTION HOME.
565
00:25:50,466 --> 00:25:52,759
INSPECTOR BARNES,
VICE SQUAD.
566
00:25:52,968 --> 00:25:54,886
I KNEW IT!
567
00:25:55,095 --> 00:25:56,262
I KNEW YOU'D GET US
INTO TROUBLE.
568
00:25:56,472 --> 00:25:57,764
I WARNED YOU.
569
00:25:57,973 --> 00:25:59,766
BUT, INSPECTOR,
WHAT DID WE DO WRONG?
570
00:25:59,975 --> 00:26:02,852
WELL, I'LL JUST LET YOU
SPEAK FOR YOURSELF.
571
00:26:08,400 --> 00:26:09,943
Ella on tape:
MADAME GRIMALDI'S.
572
00:26:10,152 --> 00:26:12,737
NO. THE MADAME IS OUT.
573
00:26:12,947 --> 00:26:15,240
WELL, THERE ARE
SEVERAL OF US.
574
00:26:15,449 --> 00:26:18,243
OH, THAT'S ME.
575
00:26:18,452 --> 00:26:22,247
CHARGE? FOR ANY FRIEND
OF MADAME GRIMALDI'S,
576
00:26:22,456 --> 00:26:23,957
IT'S FREE.
577
00:26:26,377 --> 00:26:28,336
OK, WHICH ONE
IS THE MADAME?
578
00:26:30,381 --> 00:26:32,757
THAT'S MADAME GRIMALDI,
THE OPERA STAR.
579
00:26:32,967 --> 00:26:34,592
I RECOMMENDED
A MUSTARD PLASTER
580
00:26:34,802 --> 00:26:35,760
FOR HER COLD,
581
00:26:35,970 --> 00:26:39,264
SO THEN HER FR--OH!
582
00:26:39,473 --> 00:26:42,976
HAVE YOU GOT
A DIRTY MIND!
583
00:26:43,185 --> 00:26:45,478
OK, INSPECTOR,
YOU TAKE ME
584
00:26:45,688 --> 00:26:47,981
DOWN TO THE WOMEN'S
DETENTION HOME.
585
00:26:48,190 --> 00:26:50,733
BY THE TIME
I'M THROUGH WITH YOU,
586
00:26:50,943 --> 00:26:53,653
I'LL HAVE YOU DEMOTED
TO A CHICKEN INSPECTOR.
587
00:26:53,862 --> 00:26:57,740
AND HERE'S OUR LIST
OF SUBSCRIBERS, INSPECTOR.
588
00:26:57,950 --> 00:27:00,743
OH. WELL...
WELL, ALL RIGHT.
589
00:27:00,953 --> 00:27:02,745
I--I--I MADE
A MISTAKE.
590
00:27:02,955 --> 00:27:04,247
MAYBE...
NOW, LISTEN.
591
00:27:04,456 --> 00:27:06,249
I'M GOING TO BE
AROUND,
592
00:27:06,458 --> 00:27:08,251
AND I'M GOING TO
BE LISTENING IN.
593
00:27:08,460 --> 00:27:09,794
MONITORING THE PHONE?
594
00:27:10,004 --> 00:27:11,296
ANY PERSONAL
OR FRIENDLY TALK
595
00:27:11,505 --> 00:27:12,797
WITH A SUBSCRIBER,
LITTLE LADY,
596
00:27:13,007 --> 00:27:15,842
OR LET'S SAY MEETING
ANY MALE CLIENTS
597
00:27:16,051 --> 00:27:18,261
ON THE OUTSIDE,
AND YOU AND THE MADAME
598
00:27:18,470 --> 00:27:20,263
ARE GOING TO BE
TAKING CALLS
599
00:27:20,472 --> 00:27:22,181
AT THE WOMEN'S
DETENTION HOME.
600
00:27:24,893 --> 00:27:26,269
[MAN HUMMING LOUDLY]
601
00:27:26,478 --> 00:27:27,687
OTTO!
602
00:27:34,903 --> 00:27:36,279
LIEBCHEN!
603
00:27:36,488 --> 00:27:40,283
AH...I HAVE THE KEYS
TO YOUR CAR.
604
00:27:40,492 --> 00:27:43,202
YOU HAVE THE KEYS
TO MY HEART.
605
00:27:43,412 --> 00:27:45,705
OH, OTTO.
606
00:27:45,914 --> 00:27:49,792
UH, OH, THIS IS MY COUSIN
ELLA PETERSON,
607
00:27:50,002 --> 00:27:52,295
AND THIS IS GWYNNE,
608
00:27:52,504 --> 00:27:54,797
AND THIS IS
A MR. BARNES.
609
00:27:55,007 --> 00:27:56,799
MR. BARNES.
CHARMED.
610
00:27:57,009 --> 00:27:58,801
LET ME PRESENT
MYSELF.
611
00:27:59,011 --> 00:28:00,803
I AM J. OTTO PRANTZ,
612
00:28:01,013 --> 00:28:03,306
PRESIDENT OF THE TITANIC
RECORD COMPANY,
613
00:28:03,515 --> 00:28:05,308
PURVEYORS
OF CLASSICAL MUSIC.
614
00:28:05,517 --> 00:28:09,312
TITANIC RECORDS--
THE HIGHEST FI OF THEM ALL.
615
00:28:09,521 --> 00:28:12,315
AH, THIS LOVELY LADY
HAS PERSUADED ME
616
00:28:12,524 --> 00:28:14,817
TO MOVE ALL MY RECORDING
ENTERPRISES HERE,
617
00:28:15,027 --> 00:28:17,320
WHERE I'LL EMBARK
ON A SALES CAMPAIGN
618
00:28:17,529 --> 00:28:19,822
ON AN OVERALL URBAN
SATURATION BASIS
619
00:28:20,032 --> 00:28:21,824
TO BRING KULTUR
TO THE MASSES.
620
00:28:22,034 --> 00:28:23,826
THAT'S VERY
INTERESTING, PROFESSOR.
621
00:28:24,036 --> 00:28:25,828
WELL, GOOD-BYE,
MR. BARNES.
622
00:28:26,038 --> 00:28:27,830
WELL,
NOW, THIS HAS BEEN
623
00:28:28,040 --> 00:28:29,332
A PLEASURE, LADIES,
624
00:28:29,541 --> 00:28:31,751
BUT YOU JUST REMEMBER
WHAT I TOLD YOU.
625
00:28:31,960 --> 00:28:33,252
COME ON, FRANCIE.
626
00:28:33,462 --> 00:28:34,754
PLEASE TAKE
CARE, MISS.
627
00:28:34,963 --> 00:28:38,049
YOU KNOW IT'S
ILLEGAL TO PASS ON
628
00:28:38,258 --> 00:28:39,175
INFORMATION
YOU RECEIVE
629
00:28:39,385 --> 00:28:40,259
TO A SUBSCRIBER,
630
00:28:40,469 --> 00:28:41,844
EVEN FOR
A MUSTARD PLASTER.
631
00:28:42,054 --> 00:28:43,429
Barnes: FRANCIE!
632
00:28:58,320 --> 00:28:59,862
OH, OTTO!
633
00:29:00,072 --> 00:29:02,865
YOU CAN PUT YOUR THINGS
RIGHT OVER HERE.
634
00:29:03,075 --> 00:29:04,367
AH, SPLENDID.
635
00:29:04,576 --> 00:29:05,952
[HUMMING]
636
00:29:13,001 --> 00:29:15,962
OH, OTTO,
I'LL TAKE THAT.
637
00:29:19,508 --> 00:29:21,300
ELLA, PLEASE,
638
00:29:21,510 --> 00:29:24,303
REMEMBER WHAT
INSPECTOR BARNES SAID.
639
00:29:24,513 --> 00:29:28,391
STAY OUT OF THE LIVES
OF THE SUBSCRIBERS.
640
00:29:28,600 --> 00:29:31,394
OH, I KNOW--
THEY ALL NEED HELP.
641
00:29:31,603 --> 00:29:33,896
DR. KITCHELL WANTS
TO WRITE SONGS.
642
00:29:34,106 --> 00:29:36,816
BLAKE BARTON WANTS
TO BE AN ACTOR.
643
00:29:37,025 --> 00:29:38,401
BUT THEY'LL
GET ALONG.
644
00:29:38,610 --> 00:29:40,236
ALL YOU HAVE TO DO
IS GIVE...
645
00:29:40,446 --> 00:29:43,573
[TOGETHER] AND TAKE
MESSAGES, THAT'S ALL.
646
00:29:43,782 --> 00:29:45,491
I MEAN IT!
647
00:29:45,701 --> 00:29:48,411
WELL, IF THAT'S THE WAY THINGS
ARE GOING TO BE AROUND HERE,
648
00:29:48,620 --> 00:29:49,662
I MIGHT AS WELL BE BACK
649
00:29:49,872 --> 00:29:52,331
AT THE BONJOUR TRISTESSE
BRASSIERE COMPANY.
650
00:29:52,541 --> 00:29:54,667
LIEBCHEN.
651
00:29:54,877 --> 00:29:58,171
OH, OTTO,
IT'S LOVELY!
652
00:29:58,380 --> 00:30:00,173
OH, OH,
I AM DESOLATE,
653
00:30:00,382 --> 00:30:02,675
BUT I MUST GO TO
A VERY IMPORTANT
654
00:30:02,885 --> 00:30:04,177
BOARD OF DIRECTORS
MEETING
655
00:30:04,386 --> 00:30:05,678
AT THE TITANIC
RECORDS
656
00:30:05,888 --> 00:30:07,680
AND TELL THEM
OF OUR NEW
657
00:30:07,890 --> 00:30:10,183
MILLION-DOLLAR
EXPANSION PROGRAM
658
00:30:10,392 --> 00:30:11,684
FOR SUSANSWERPHONE.
659
00:30:11,852 --> 00:30:13,686
AUF WIEDERSEHEN.
660
00:30:13,896 --> 00:30:15,271
OH!
661
00:30:17,399 --> 00:30:21,944
♪♪ LA LA LA
BUM BUM BA BA BUM ♪♪
662
00:30:23,822 --> 00:30:26,699
LET'S GO. COME ON.
STEP LIVELY NOW.
663
00:30:26,867 --> 00:30:28,701
COME ON, FELLA.
COME ON. COME ON.
664
00:30:28,911 --> 00:30:31,704
LET'S GO. COME ON.
INSIDE. INSIDE.
665
00:30:31,872 --> 00:30:34,207
INSIDE. LET'S GO.
COME ON.
666
00:30:34,416 --> 00:30:37,293
COME ON, LADIES,
LET'S GO. STEP IT UP.
667
00:30:48,931 --> 00:30:51,808
GENTLEMEN,
GENTLEMEN,
668
00:30:52,017 --> 00:30:53,559
AND LADIES.
669
00:30:54,478 --> 00:30:55,895
THE FIRST BOARD
OF DIRECTORS MEETING
670
00:30:56,104 --> 00:30:57,688
OF THE TITANIC
RECORD COMPANY
671
00:30:57,898 --> 00:30:59,857
IS HEREBY
CALLED TO ORDER.
672
00:31:00,234 --> 00:31:03,486
IN OTHER WORDS,
GOOD EVENING, FELLOW BOOKIES.
673
00:31:03,695 --> 00:31:05,154
TITANIC
RECORDS--
674
00:31:05,364 --> 00:31:06,739
WHAT IS
TITANIC RECORDS?
675
00:31:06,949 --> 00:31:07,657
THAT'S US.
676
00:31:07,866 --> 00:31:09,325
AT LAST,
A FOOLPROOF SYSTEM
677
00:31:09,535 --> 00:31:10,743
WHICH WILL ALLOW US
TO OPERATE
678
00:31:10,953 --> 00:31:12,245
UNDER THE VERY EYES
AND EARS OF THE LAW
679
00:31:12,454 --> 00:31:15,122
AND YET SEEM TO BE SERVING
THE CAUSE OF KULTUR.
680
00:31:15,541 --> 00:31:18,835
NOW, TO BEGIN WITH,
WE DO NOT MAKE BETS ON HORSES.
681
00:31:19,044 --> 00:31:20,711
WE TAKE ORDERS
FOR RECORDS.
682
00:31:20,921 --> 00:31:23,172
RECORDS? WHAT DOES
HE MEAN--RECORDS?
683
00:31:23,382 --> 00:31:24,590
[BANGS ON PIPE]
684
00:31:24,925 --> 00:31:26,259
AS YOU ALL KNOW,
THERE ARE
685
00:31:26,468 --> 00:31:28,261
MANY DIFFERENT RACETRACKS
IN THE COUNTRY.
686
00:31:28,470 --> 00:31:31,430
THERE IS DEL MAR, PIMLICO,
HOLLYWOOD PARK, ROCKINGHAM,
687
00:31:31,640 --> 00:31:34,725
AND IN FLORIDA,
THE FAMOUS HIALEAH RACETRACK,
688
00:31:34,935 --> 00:31:36,352
TO MENTION BUT A FEW.
689
00:31:36,562 --> 00:31:38,479
NOW, LOUIS, LOUIS,
690
00:31:38,689 --> 00:31:40,773
ASK ME ABOUT PLACING
A TYPICAL BET.
691
00:31:40,983 --> 00:31:42,775
UH, I'LL BET
500 BUCKS
692
00:31:42,985 --> 00:31:44,777
ON THE NOSE
ON NUMBER SIX
693
00:31:44,987 --> 00:31:47,363
IN THE THIRD RACE
AT BELMONT.
694
00:31:47,573 --> 00:31:49,740
SPLENDID. NOW CONSULT YOUR
CHARTS CAREFULLY, GENTLEMEN.
695
00:31:49,950 --> 00:31:52,743
AS ONE OF THE AGENTS
FOR THE TITANIC RECORD COMPANY,
696
00:31:52,953 --> 00:31:54,245
YOU WILL CALL ME UP
697
00:31:54,454 --> 00:31:56,789
AND SAY, "I WOULD LIKE
TO PLACE AN ORDER"--
698
00:31:56,957 --> 00:31:58,291
THAT'S BETS--
699
00:31:58,500 --> 00:32:01,043
"FOR 500 ALBUMS"--
THAT'S BUCKS--
700
00:32:01,253 --> 00:32:03,963
"LONG-PLAYING"--
THAT'S ON THE NOSE--
701
00:32:04,172 --> 00:32:06,883
"OF BEETHOVEN"--
THAT'S BELMONT--
702
00:32:07,092 --> 00:32:09,802
"SIXTH SYMPHONY"--
THAT'S HORSE NUMBER SIX--
703
00:32:10,012 --> 00:32:11,888
"OPUS THREE"--
THIRD RACE.
704
00:32:12,097 --> 00:32:13,389
"I WOULD LIKE
TO PLACE AN ORDER
705
00:32:13,599 --> 00:32:15,683
"FOR 500 ALBUMS,
LONG-PLAYING,
706
00:32:15,893 --> 00:32:18,978
OF BEETHOVEN'S SIXTH SYMPHONY,
OPUS THREE."
707
00:32:19,897 --> 00:32:21,480
♪♪ IT'S A SIMPLE
LITTLE SYSTEM ♪♪
708
00:32:21,690 --> 00:32:23,649
♪♪ ANY CHILD CAN UNDERSTAND ♪♪
709
00:32:23,859 --> 00:32:25,651
♪♪ THE COMPOSER'S NAME,
WE LIST THEM ♪♪
710
00:32:25,861 --> 00:32:27,653
♪♪ WITH THE RACETRACKS
OF THE LAND ♪♪
711
00:32:27,863 --> 00:32:30,323
♪♪ WITH A SIMPLE
LITTLE SYSTEM ♪♪
712
00:32:30,532 --> 00:32:33,492
♪♪ WE'LL BE CLOSE
BY FORTUNE'S DOOR ♪♪
713
00:32:33,660 --> 00:32:37,163
♪♪ AND TO THINK
THAT NO ONE EVER, EVER ♪♪
714
00:32:37,372 --> 00:32:39,790
♪♪ THOUGHT OF IT BEFORE ♪♪
715
00:32:40,834 --> 00:32:43,377
GENTLEMEN, GENTLEMEN,
LOOK AT YOUR CHARTS.
716
00:32:45,130 --> 00:32:47,506
♪♪ WHAT IS BEETHOVEN? ♪♪
717
00:32:47,716 --> 00:32:50,092
♪♪ BELMONT PARK ♪♪
718
00:32:50,302 --> 00:32:52,345
♪♪ WHERE'S PUCCINI? ♪♪
719
00:32:52,554 --> 00:32:55,014
♪♪ PIMLICO ♪♪
720
00:32:55,223 --> 00:32:56,974
♪♪ WHO IS
HUMPERDINCK? ♪♪
721
00:32:57,184 --> 00:33:00,519
♪♪ HOLLYWOOD ♪♪
722
00:33:00,729 --> 00:33:02,521
♪♪ WHAT IS BEETHOVEN? ♪♪
723
00:33:02,731 --> 00:33:04,482
Bookies:
♪♪ BEETHOVEN IS BELMONT PARK ♪♪
724
00:33:04,691 --> 00:33:06,192
Otto:
♪♪ WHERE'S PUCCINI? ♪♪
725
00:33:06,401 --> 00:33:07,818
♪♪ PUCCINI IS PIMLICO ♪♪
726
00:33:08,028 --> 00:33:09,946
♪♪ WHO IS HUMPERDINCK? ♪♪
727
00:33:10,155 --> 00:33:11,530
♪♪ HUMPERDINCK
IS HOLLYWOOD ♪♪
728
00:33:11,740 --> 00:33:13,115
♪♪ AH, THAT IS CORRECT ♪♪
729
00:33:13,325 --> 00:33:15,701
♪♪ TURN THE PAGE ♪♪
730
00:33:15,911 --> 00:33:18,037
♪♪ WHAT'S TCHAIKOVSKY? ♪♪
731
00:33:18,246 --> 00:33:20,706
♪♪ CHURCHILL DOWNS ♪♪
732
00:33:20,916 --> 00:33:22,625
♪♪ WHO'S MUSSORGSKY? ♪♪
733
00:33:22,834 --> 00:33:25,378
♪♪ MONMOUTH PARK ♪♪
734
00:33:25,587 --> 00:33:27,213
♪♪ WHAT'S RACHMANINOFF? ♪♪
735
00:33:27,422 --> 00:33:31,634
♪♪ ROCKINGHAM ♪♪
736
00:33:31,843 --> 00:33:33,302
♪♪ WHAT'S
TCHAIKOVSKY? ♪♪
737
00:33:33,512 --> 00:33:35,054
♪♪ TCHAIKOVSKY
IS CHURCHILL DOWNS ♪♪
738
00:33:35,263 --> 00:33:36,681
♪♪ WHO'S MUSSORGSKY? ♪♪
739
00:33:36,890 --> 00:33:38,683
♪♪ MUSSORGSKY
IS MONMOUTH PARK ♪♪
740
00:33:38,892 --> 00:33:40,059
♪♪ WHAT'S
RACHMANINOFF? ♪♪
741
00:33:40,268 --> 00:33:42,061
♪♪ RACHMANINOFF
IS ROCKINGHAM ♪♪
742
00:33:42,270 --> 00:33:43,562
♪♪ THAT IS CORRECT ♪♪
743
00:33:43,730 --> 00:33:45,648
♪♪ TURN THE PAGE ♪♪
744
00:33:45,857 --> 00:33:49,485
All:
♪♪ IT'S A SIMPLE LITTLE SYSTEM ♪♪
745
00:33:49,695 --> 00:33:51,821
♪♪ WE'RE IMPATIENT TO BEGIN ♪♪
746
00:33:52,030 --> 00:33:54,031
♪♪ OH, YES, OH, YES ♪♪
747
00:33:54,241 --> 00:33:55,241
♪♪ A SIMPLE LITTLE SYSTEM ♪♪
748
00:33:55,450 --> 00:33:57,743
♪♪ WHEN THE LAW
IS LISTENING IN ♪♪
749
00:33:57,953 --> 00:34:00,913
♪♪ WE WILL TAKE
THOSE RECORD ORDERS ♪♪
750
00:34:01,123 --> 00:34:04,834
♪♪ IN A VERY
CULTURED TONE ♪♪
751
00:34:05,043 --> 00:34:07,920
♪♪ WHILE WE'RE REALLY
BOOKING HORSES ♪♪
752
00:34:08,130 --> 00:34:11,340
♪♪ OVER AT
SUSANSWERPHONE ♪♪
753
00:34:11,550 --> 00:34:14,176
♪♪ WE'LL BE RICH,
WE'LL BE RICH ♪♪
754
00:34:14,386 --> 00:34:18,597
♪♪ WE'LL BE RICH ♪♪
755
00:34:18,807 --> 00:34:20,725
♪♪ DEBUSSY IS DEL MAR ♪♪
756
00:34:20,934 --> 00:34:22,268
♪♪ HUMPERDINCK
IS HOLLYWOOD ♪♪
757
00:34:22,477 --> 00:34:23,936
♪♪ CESAR FRANCK
IS FAIRGROUNDS ♪♪
758
00:34:24,146 --> 00:34:25,521
♪♪ SIBELIUS
IS SPORTSMAN'S PARK ♪♪
759
00:34:25,731 --> 00:34:27,189
♪♪ BELAIEV IS BAINBRIDGE ♪♪
760
00:34:27,399 --> 00:34:28,774
♪♪ HINDEMITH IS HAWTHORNE ♪♪
761
00:34:28,984 --> 00:34:30,443
♪♪ OFFENBACH IS OMAHA ♪♪
762
00:34:30,652 --> 00:34:32,903
Otto:
♪♪ EVERYBODY, ALL TOGETHER NOW ♪♪
763
00:34:33,113 --> 00:34:35,781
Male bookies:
♪♪ WHO IS BEETHOVEN? ♪♪
764
00:34:35,991 --> 00:34:37,241
♪♪ BELMONT PARK ♪♪
765
00:34:37,451 --> 00:34:39,118
Female bookies:
♪♪ SIMPLE LITTLE SYSTEM ♪♪
766
00:34:39,327 --> 00:34:40,953
♪♪ WHO'S PUCCINI? ♪♪
767
00:34:41,163 --> 00:34:42,788
♪♪ PIMLICO ♪♪
768
00:34:42,998 --> 00:34:44,790
♪♪ SIMPLE LITTLE SYSTEM ♪♪
769
00:34:45,000 --> 00:34:46,584
♪♪ WHO'S TCHAIKOVSKY? ♪♪
770
00:34:46,793 --> 00:34:48,753
♪♪ CHURCHILL DOWNS ♪♪
771
00:34:48,962 --> 00:34:50,087
♪♪ WE'RE BOOKIES ♪♪
772
00:34:50,297 --> 00:34:55,760
♪♪ AND SHOSTAKOVICH
IS SARATOGA ♪♪
773
00:34:55,969 --> 00:34:57,553
WHAT IS HANDEL?
774
00:34:57,763 --> 00:35:00,139
♪♪ HIALEAH, HIALEAH ♪♪
775
00:35:00,348 --> 00:35:01,974
WHO IS HANDEL?
776
00:35:02,142 --> 00:35:04,226
♪♪ HIALEAH, HIALEAH ♪♪
777
00:35:04,436 --> 00:35:13,903
♪♪ OH, WHAT A SYSTEM ♪♪
778
00:35:24,623 --> 00:35:26,707
[ALARM RINGING]
779
00:35:34,257 --> 00:35:35,633
[TURNS OFF ALARM]
780
00:35:35,842 --> 00:35:39,720
7:00. OK,
SLEEPING PRINCE.
781
00:35:49,272 --> 00:35:50,898
[SIGH]
782
00:36:01,243 --> 00:36:02,868
WHY DOESN'T HE ANSWER?
783
00:36:03,078 --> 00:36:04,370
TITANIC RECORDS?
784
00:36:04,579 --> 00:36:06,247
UH, OVER THERE.
785
00:36:08,291 --> 00:36:10,668
HAS THERE BEEN
A PHONE THERE BEFORE?
786
00:36:10,877 --> 00:36:13,254
YES. THE BOX
IS STILL THERE.
787
00:36:15,298 --> 00:36:16,382
GOOD MORNING.
788
00:36:16,591 --> 00:36:17,675
GOOD MORNING.
789
00:36:17,884 --> 00:36:19,677
I BROUGHT YOU
SOME COFFEE.
790
00:36:19,886 --> 00:36:20,678
THANK YOU.
791
00:36:20,887 --> 00:36:22,721
COME ON.
I'LL TAKE OVER.
792
00:36:22,931 --> 00:36:24,723
YOU'VE BEEN ON
LONG ENOUGH.
793
00:36:24,933 --> 00:36:27,726
I'M JUST GIVING
SOMEONE HIS WAKE-UP.
794
00:36:27,936 --> 00:36:29,228
JEFFREY MOSS--
THAT ONE.
795
00:36:29,437 --> 00:36:31,230
HE TAKES UP MORE TIME
796
00:36:31,439 --> 00:36:34,233
THAN ALL THE OTHER
SUBSCRIBERS PUT TOGETHER.
797
00:36:34,442 --> 00:36:36,235
OK, ELLA.
798
00:36:36,444 --> 00:36:38,237
ALL RIGHT, ELLA,
GET UP!
799
00:36:38,446 --> 00:36:41,240
OH, NO. THIS IS A VERY
IMPORTANT WAKE-UP, SUE!
800
00:36:41,449 --> 00:36:42,741
[BUZZING]
801
00:36:42,951 --> 00:36:45,244
THERE. YOU SEE? SOMEONE
WAS TRYING TO GET HIM.
802
00:36:45,453 --> 00:36:46,745
JEFFREY MOSS RESIDENCE.
803
00:36:46,955 --> 00:36:49,707
Man: IS HE IN?
THIS IS LARRY HASTINGS.
804
00:36:49,916 --> 00:36:52,710
OH, NO, MR. HASTINGS.
WE CANNOT REACH MR. MOSS.
805
00:36:52,919 --> 00:36:54,712
WHAT IS THE MESSAGE,
MR. HASTINGS?
806
00:36:54,921 --> 00:36:57,756
QUOTE--SURE YOU WON'T
SHOW UP AT 4:00 TODAY
807
00:36:57,966 --> 00:36:59,758
WITH OUTLINE
OF THE MIDAS TOUCH.
808
00:36:59,968 --> 00:37:01,760
THE MIDAS TOUCH.
809
00:37:01,970 --> 00:37:04,263
HAVE TAKEN OPTION
ON ANOTHER PLAY.
810
00:37:04,472 --> 00:37:07,516
HOPE YOU ENJOY TRIP
TO SKID ROW--UNQUOTE.
811
00:37:07,726 --> 00:37:08,601
LISTEN, SUE,
812
00:37:08,810 --> 00:37:10,269
THAT'S A VERY
IMPORTANT MESSAGE.
813
00:37:10,478 --> 00:37:12,271
HE'S GOT TO GET
THAT MESSAGE.
814
00:37:12,480 --> 00:37:14,273
THIS IS
HIS LAST CHANCE.
815
00:37:14,482 --> 00:37:17,276
HIS LAST CHANCE?
IT'S YOUR LAST CHANCE.
816
00:37:17,485 --> 00:37:19,278
REMEMBER WHAT
INSPECTOR BARNES SAID.
817
00:37:19,487 --> 00:37:22,281
NOW, IT'S YOUR DAY OFF.
GET OUT OF HERE.
818
00:37:22,490 --> 00:37:25,284
IF JEFF MOSS CAN'T
PICK UP HIS PHONE BY HIMSELF,
819
00:37:25,493 --> 00:37:27,286
HE'S BEYOND HELP.
820
00:37:27,495 --> 00:37:29,788
HE PROBABLY
UNPLUGGED IT ANYWAY.
821
00:37:29,998 --> 00:37:33,375
UNPLUGGED?
UNPLUGGED!
822
00:37:34,920 --> 00:37:36,795
GOOD MORNING,
LIEBCHEN.
823
00:37:37,005 --> 00:37:38,297
OTTO!
824
00:37:38,506 --> 00:37:41,258
AH, I HAVE SOME
WONDERFUL NEWS FOR YOU.
825
00:37:41,468 --> 00:37:42,760
OH. HA HA!
826
00:37:42,969 --> 00:37:46,305
SUE, THE BOARD
OF DIRECTORS LAST NIGHT
827
00:37:46,514 --> 00:37:48,807
VOTED YOU HONORARY
MEMBER BY PROXY
828
00:37:48,975 --> 00:37:50,309
IN ABSENTIA.
829
00:37:50,518 --> 00:37:51,810
OH, OTTO!
830
00:37:52,020 --> 00:37:53,812
[TELEPHONE RINGS]
831
00:37:53,980 --> 00:37:55,814
MY TELEPHONE.
832
00:37:56,024 --> 00:37:57,399
[RING]
833
00:38:00,946 --> 00:38:02,821
TITANIC RECORDS.
834
00:38:03,031 --> 00:38:05,407
OH, YES. YES.
JUST A MOMENT, PLEASE.
835
00:38:10,956 --> 00:38:13,832
YES? 1,500 ALBUMS
836
00:38:14,000 --> 00:38:18,337
OF PUCCINI'S EIGHTH
PICCOLO CONCERTO, OPUS ONE.
837
00:38:18,546 --> 00:38:20,589
I'LL SHIP THEM
RIGHT OUT.
838
00:38:21,967 --> 00:38:23,842
HELLO,
SHIPPING DEPARTMENT.
839
00:38:24,010 --> 00:38:25,844
1,500 ALBUMS
840
00:38:26,054 --> 00:38:29,807
OF PUCCINI'S EIGHTH
PICCOLO CONCERTO, OPUS ONE.
841
00:38:30,016 --> 00:38:32,559
ALL THREE SPEEDS.
842
00:38:34,437 --> 00:38:35,854
YOU SEE? IT'S SIMPLE.
843
00:38:36,064 --> 00:38:38,357
YOU JUST PICK UP THE PHONE,
JOT DOWN THE MESSAGE,
844
00:38:38,566 --> 00:38:40,359
CALL THE SHIPPING
DEPARTMENT ON THIS PHONE--
845
00:38:40,568 --> 00:38:42,861
IT'S A DIRECT WIRE--
AND YOU GIVE THEM THE MESSAGE
846
00:38:43,071 --> 00:38:44,363
JUST AS YOU GET IT.
847
00:38:44,572 --> 00:38:45,531
[RING]
848
00:38:45,740 --> 00:38:47,366
OH. AHEM.
849
00:38:47,575 --> 00:38:48,867
[RING]
850
00:38:49,035 --> 00:38:50,869
TITANIC RECORDS.
851
00:38:51,079 --> 00:38:52,371
Carl:
GOOD MORNING.
852
00:38:52,580 --> 00:38:59,878
YES. 75 ALBUMS...
BRANDENBURG CONCERTO...
853
00:39:00,088 --> 00:39:03,632
...FIVE, LP. THANK YOU.
854
00:39:05,010 --> 00:39:06,885
HELLO,
SHIPPING DEPARTMENT.
855
00:39:07,095 --> 00:39:11,890
75 ALBUMS OF BACH'S
THIRD BRANDENBURG CONCERTO,
856
00:39:12,100 --> 00:39:14,893
OPUS FIVE, LP. RIGHT!
857
00:39:15,103 --> 00:39:16,395
HEY, TITANIC
RECORDS--
858
00:39:16,604 --> 00:39:18,355
IS THAT
A NEW LABEL?
859
00:39:18,565 --> 00:39:20,357
WE HAVE ONLY THE FINEST
EUROPEAN RECORDINGS.
860
00:39:20,567 --> 00:39:21,859
OH, BRANDENBURG
NUMBER THREE--
861
00:39:22,068 --> 00:39:24,153
I HAVE THE LEONARD
BERNSTEIN RECORDING.
862
00:39:24,362 --> 00:39:25,904
WHO'S ON YOUR LABEL?
863
00:39:26,114 --> 00:39:29,241
THE DUSSELDORF ZUIDER ZEE
MOONLIGHT HANSEATIC LEAGUE
864
00:39:29,451 --> 00:39:30,409
SYMPHONY ON THE KARLSRUHE.
865
00:39:30,618 --> 00:39:33,412
NOW, PLEASE.
WE ARE VERY BUSY HERE.
866
00:39:33,621 --> 00:39:35,497
SURE, SURE.
SORRY.
867
00:39:38,543 --> 00:39:39,918
Gwynne:
HI, CARL.
868
00:39:40,128 --> 00:39:41,420
WHERE ARE YOU
GOING?
869
00:39:41,629 --> 00:39:43,005
[BUZZING]
870
00:39:48,553 --> 00:39:50,429
MAX'S DOG AND CAT
BEAUTY SHOP.
871
00:39:50,638 --> 00:39:53,098
SORRY. WE'RE NOT OPEN
TILL 9 A.M. THANK YOU.
872
00:39:53,308 --> 00:39:55,684
ARE YOU
OUT OF YOUR MIND?
873
00:39:55,894 --> 00:39:57,686
WOMEN'S DETENTION HOME!
874
00:39:57,896 --> 00:40:00,606
SHH! LISTEN, HE'LL
NEVER KNOW WHO I AM.
875
00:40:00,815 --> 00:40:02,608
I'LL JUST WAKE HIM
AND LEAVE.
876
00:40:02,817 --> 00:40:04,610
BUT HOW ARE YOU
GOING TO GET IN?
877
00:40:04,819 --> 00:40:06,111
I'LL THINK
OF SOMETHING.
878
00:40:06,321 --> 00:40:07,196
[BUZZING]
879
00:40:07,405 --> 00:40:08,697
Sue: ELLA, TAKE THAT,
PLEASE!
880
00:40:15,747 --> 00:40:17,623
WOMEN'S
DETENTION HOME.
881
00:40:17,832 --> 00:40:19,917
OH! MAX'S CAT
AND DOG HOUSE.
882
00:40:20,126 --> 00:40:22,127
I MEAN,
MAX'S DOG AND CAT--
883
00:40:22,337 --> 00:40:23,712
[GASP]
884
00:41:59,684 --> 00:42:01,393
[LOUD JAZZ PLAYING]
885
00:42:02,937 --> 00:42:04,897
[TURNS OFF RADIO]
886
00:42:30,965 --> 00:42:32,841
AAH!
887
00:42:33,051 --> 00:42:33,842
HELLO.
888
00:42:34,052 --> 00:42:34,843
HELLO.
889
00:42:35,053 --> 00:42:35,844
GOOD-BYE.
890
00:42:36,054 --> 00:42:37,763
OH, NO,
WAIT A MINUTE.
891
00:42:37,972 --> 00:42:40,265
OH, NO. I MUST BE
IN THE WRONG APARTMENT.
892
00:42:40,475 --> 00:42:42,768
I HAD A 7:00 APARTMENT
IN THE WRONG APPOINTMENT.
893
00:42:42,977 --> 00:42:45,354
I MEAN, THIS ISN'T
54 SUTTON PLACE SOUTH.
894
00:42:45,563 --> 00:42:46,855
NO. THIS IS 64.
895
00:42:47,065 --> 00:42:48,357
OH, WELL,
THAT'S WHAT I THOUGHT.
896
00:42:48,566 --> 00:42:50,359
I COULD EITHER GO BACK
TO SLEEP OR CALL A COP.
897
00:42:50,568 --> 00:42:52,361
OH, NO, PLEASE
DON'T DO THAT!
898
00:42:52,570 --> 00:42:54,363
NEVER FEAR. I WON'T
CALL THE POLICE.
899
00:42:54,572 --> 00:42:56,365
I GIVE YOU
YOUR FREEDOM.
900
00:42:56,574 --> 00:42:59,451
NO! I MEAN, DON'T
GO BACK TO SLEEP.
901
00:43:00,828 --> 00:43:03,121
IT'S AFTER 7:00 ALREADY.
902
00:43:08,002 --> 00:43:10,879
7:00? I TOLD MOM
TO CALL ME AT 7:00.
903
00:43:11,089 --> 00:43:12,464
YOUR PHONE'S UNPLUGGED.
904
00:43:14,008 --> 00:43:15,884
OH, YEAH.
905
00:43:16,094 --> 00:43:17,386
I MUST HAVE PULLED
IT OUT LAST NIGHT.
906
00:43:17,595 --> 00:43:18,595
I WAS LOOKING
FOR SOMETHING
907
00:43:18,805 --> 00:43:20,472
TO HANG MYSELF WITH.
908
00:43:24,018 --> 00:43:25,394
[RING]
909
00:43:25,603 --> 00:43:26,812
HELLO. MOM?
910
00:43:27,021 --> 00:43:28,814
Sue: I'VE BEEN RINGING
YOU SINCE--
911
00:43:29,023 --> 00:43:30,816
OH, YOU'RE NOT MOM.
YOU'RE THE OTHER ONE.
912
00:43:31,025 --> 00:43:33,318
THERE'S A MESSAGE FOR YOU
FROM MR. HASTINGS.
913
00:43:33,528 --> 00:43:36,405
"SURE YOU WON'T
SHOW UP AT 4:00 TODAY
914
00:43:36,614 --> 00:43:38,407
"WITH OUTLINE
OF THE MIDAS TOUCH.
915
00:43:38,616 --> 00:43:40,409
HAVE TAKEN OPTION
ON ANOTHER PLAY."
916
00:43:40,618 --> 00:43:41,910
OPTION
ON ANOTHER PLAY?
917
00:43:42,120 --> 00:43:43,912
"HOPE YOU ENJOY
YOUR TRIP TO SKID ROW."
918
00:43:44,122 --> 00:43:45,914
DIDN'T HE SAY
WHO WROTE IT?
919
00:43:46,124 --> 00:43:47,291
SHAKESPEARE?
920
00:43:47,500 --> 00:43:49,418
TENNESSEE WILLIAMS?
TENNESSEE ERNIE?
921
00:43:49,627 --> 00:43:50,919
I BEG YOUR PARDON.
922
00:43:51,129 --> 00:43:52,921
IT'S ALL RIGHT.
GOOD-BYE.
923
00:43:53,131 --> 00:43:54,423
GOOD OLD LARRY--
924
00:43:54,632 --> 00:43:56,425
A PHONY LIKE
THE REST OF THEM.
925
00:43:56,634 --> 00:43:58,427
WELL, MIGHT AS WELL
GO TO SLEEP FOREVER.
926
00:43:58,636 --> 00:43:59,928
GOOD-BYE, LADY.
927
00:44:00,138 --> 00:44:01,346
YOU SHOULDN'T DO THAT.
928
00:44:01,556 --> 00:44:02,848
WHAT DID YOU SAY?
929
00:44:03,057 --> 00:44:04,349
I SAID YOU
SHOULDN'T DO THAT.
930
00:44:04,559 --> 00:44:06,351
YOU WON'T BE ABLE
TO DO YOUR WORK.
931
00:44:06,561 --> 00:44:08,353
LOOK, LADY, I HOPE
YOU WON'T BE OFFENDED
932
00:44:08,563 --> 00:44:10,814
IF I LET YOU KNOW
THAT MY EVIL LITTLE HABITS
933
00:44:11,024 --> 00:44:11,857
ARE NO CONCERN OF YOURS.
934
00:44:12,066 --> 00:44:12,858
NOW, WILL YOU
GET OUT OF HERE?
935
00:44:13,067 --> 00:44:14,359
YOU WON'T DO
YOUR WORK.
936
00:44:14,569 --> 00:44:15,944
THANK YOU VERY MUCH.
937
00:44:18,990 --> 00:44:21,950
OH! MISS! WE--
938
00:44:23,995 --> 00:44:25,370
WHAT WORK?
939
00:44:25,580 --> 00:44:26,538
WELL, IF YOU
WANT A DRINK
940
00:44:26,748 --> 00:44:27,539
AT THIS HOUR
OF THE MORNING,
941
00:44:27,707 --> 00:44:28,540
THERE MUST BE
SOME WORK
942
00:44:28,750 --> 00:44:30,876
YOU'RE TRYING
TO AVOID DOING.
943
00:44:31,085 --> 00:44:32,836
I KNOW FROM
MY OWN EXPERIENCE.
944
00:44:33,046 --> 00:44:34,212
WHEN I WENT
TO HIGH SCHOOL,
945
00:44:34,422 --> 00:44:36,882
I'D DO ANYTHING TO KEEP
FROM DOING MY HOMEWORK.
946
00:44:37,091 --> 00:44:38,884
MOSTLY,
I'D SHARPEN PENCILS.
947
00:44:39,093 --> 00:44:41,970
YOU KNOW, THE YELLOW KIND
THAT SAYS TICONDEROGA ON THEM?
948
00:44:42,180 --> 00:44:43,972
WELL, I'D SHARPEN IT
TO THE TICONDEROG,
949
00:44:44,182 --> 00:44:46,892
AND THEN TO THE TICONDER,
AND THEN TO THE TICOND,
950
00:44:47,101 --> 00:44:49,895
AND THEN TO THE TIC,
AND THEN TO THE TI,
951
00:44:50,104 --> 00:44:51,897
AND THEN TO THE T.
952
00:44:52,106 --> 00:44:54,900
THEN I'D HAVE TO START
ON ANOTHER PENCIL--
953
00:44:55,109 --> 00:44:58,487
ANYTHING BUT FACE
THAT AWFUL BLANK PAGE.
954
00:45:00,531 --> 00:45:01,740
OH, YEAH.
955
00:45:01,949 --> 00:45:03,742
OH, SURE,
GO AHEAD. DRINK.
956
00:45:03,951 --> 00:45:05,410
RUIN YOUR LAST CHANCE.
957
00:45:05,620 --> 00:45:07,913
LAST CHANCE?
LAST CHANCE TO DO WHAT?
958
00:45:08,122 --> 00:45:09,915
WELL, WHATEVER IT'S
YOUR LAST CHANCE TO DO.
959
00:45:10,124 --> 00:45:11,917
YOU LOOK DESPERATE TO ME.
960
00:45:12,126 --> 00:45:13,919
I'M ABOUT TO BE ILL.
961
00:45:14,128 --> 00:45:16,004
YOU WOULDN'T HAPPEN
TO HAVE
962
00:45:16,214 --> 00:45:18,006
A CUP OF COFFEE
ON YOU?
963
00:45:18,216 --> 00:45:20,092
YES, I WOULD.
964
00:45:29,644 --> 00:45:31,603
AND A CHEESE DANISH?
965
00:45:33,147 --> 00:45:35,023
PRUNE.
966
00:45:35,233 --> 00:45:38,026
OH. OH, LISTEN,
MISS, UH...
967
00:45:38,236 --> 00:45:41,029
SCOTT. MELISANDE.
968
00:45:41,239 --> 00:45:44,533
MOSS. JEFFREY.
969
00:45:44,742 --> 00:45:46,535
SIT DOWN,
MISS SCOTT.
970
00:45:46,744 --> 00:45:48,787
OH, I CAN'T
BECAUSE I HAVE TO GO.
971
00:45:54,711 --> 00:45:57,045
OH, WELL, UH,
NOW THAT MY VISION
972
00:45:57,255 --> 00:45:59,047
HAS CLEARED UP A BIT
973
00:45:59,257 --> 00:46:01,550
AND I'M BEGINNING
TO SEE SHAPES AND COLORS
974
00:46:01,759 --> 00:46:03,552
MORE THAN 6 INCHES AWAY,
975
00:46:03,761 --> 00:46:05,595
YOU'RE BEGINNING TO LOOK
PRETTY GOOD TO ME.
976
00:46:05,805 --> 00:46:07,597
SINCE I HAVEN'T
ANYTHING TO DO
977
00:46:07,807 --> 00:46:09,307
FOR THE NEXT
10,000 YEARS...
978
00:46:09,517 --> 00:46:10,809
[BLOWS IN EAR]
979
00:46:11,018 --> 00:46:12,060
OH! THAT'S JUST
ANOTHER WAY
980
00:46:12,270 --> 00:46:13,603
OF AVOIDING
YOUR WORK--GIRLS.
981
00:46:13,813 --> 00:46:15,605
AND YOU DO HAVE
SOMETHING TO DO.
982
00:46:15,815 --> 00:46:17,399
YOU HAVE
AN APPOINTMENT TO KEEP.
983
00:46:17,608 --> 00:46:18,400
WHO SAID SO?
984
00:46:18,609 --> 00:46:19,484
YOUR 7:00 CALL.
985
00:46:19,694 --> 00:46:21,069
NOW STAY UP
AND START WRITING.
986
00:46:21,279 --> 00:46:23,613
YOU CAN WRITE ALONE.
YOU DID IT ONCE BEFORE.
987
00:46:23,823 --> 00:46:25,198
HOW DO YOU KNOW
I DID IT ONCE BEFORE?
988
00:46:25,408 --> 00:46:28,118
WELL, BECAUSE
ANYBODY WHO'S A WRITER
989
00:46:28,327 --> 00:46:30,120
MUST HAVE WRITTEN SOMETHING
BY HIMSELF ONCE.
990
00:46:30,329 --> 00:46:31,955
DID I SAY
I WAS A WRITER?
991
00:46:32,165 --> 00:46:33,957
NO, BUT YOU'RE NOT
A PLUMBER, ARE YOU?
992
00:46:34,167 --> 00:46:34,916
NO.
993
00:46:35,126 --> 00:46:36,376
WELL.
994
00:46:36,836 --> 00:46:38,670
BUT I GUESS YOU
DON'T THINK SO YOURSELF,
995
00:46:38,880 --> 00:46:40,005
OR ELSE YOU'D BE WRITING
996
00:46:40,214 --> 00:46:41,631
INSTEAD OF
RUNNING AROUND ALL NIGHT
997
00:46:41,841 --> 00:46:43,759
AND COMING HOME
AT 7:00 IN THE MORNING
998
00:46:43,968 --> 00:46:45,719
AND SLEEPING ALL DAY.
999
00:46:46,846 --> 00:46:48,138
THAT'S UNCANNY.
1000
00:46:48,514 --> 00:46:50,140
ARE YOU PLUGGED
INTO ME SOMEWHERE?
1001
00:46:50,349 --> 00:46:51,141
NO.
1002
00:46:51,350 --> 00:46:52,350
YOU KNOW ME
FROM SOMEPLACE.
1003
00:46:52,560 --> 00:46:53,226
NO.
1004
00:46:53,436 --> 00:46:54,394
YOU'RE PSYCHIC.
1005
00:46:54,604 --> 00:46:57,647
YES! I'M VERY INTUITIVE.
1006
00:46:58,566 --> 00:47:00,692
I GET FEELINGS
ABOUT PEOPLE.
1007
00:47:00,902 --> 00:47:02,694
I KNOW A LOT ABOUT YOU
1008
00:47:02,862 --> 00:47:04,154
JUST FROM LISTENING
TO YOU TALK.
1009
00:47:04,363 --> 00:47:06,782
AND I SEE VISIONS--OOH!
1010
00:47:08,117 --> 00:47:09,493
WHAT'S THE MATTER?
1011
00:47:09,702 --> 00:47:12,496
I SEE ONE NOW.
IT'S A VISION OF YOU.
1012
00:47:12,705 --> 00:47:14,498
WHAT AM I DOING?
1013
00:47:14,707 --> 00:47:18,084
NOTHING. YOU'RE LYING
FACEDOWN IN THE GUTTER.
1014
00:47:19,420 --> 00:47:20,378
OH, STOP IT!
1015
00:47:20,588 --> 00:47:22,506
YOU'RE SCARING
THE HELL OUT OF ME.
1016
00:47:22,715 --> 00:47:24,007
I'M SORRY.
THAT'S WHAT I SEE.
1017
00:47:24,217 --> 00:47:25,509
MY VISIONS
ARE NEVER WRONG
1018
00:47:25,718 --> 00:47:27,010
UNLESS YOU DO
SOMETHING ABOUT IT.
1019
00:47:27,220 --> 00:47:28,512
ALL RIGHT, ALL RIGHT.
1020
00:47:28,721 --> 00:47:30,514
I TRIED ANALYSIS.
I MIGHT AS WELL TRY WITCHCRAFT.
1021
00:47:30,723 --> 00:47:32,015
WE'LL GO THE OLD
WITCHCRAFT ROUTINE.
1022
00:47:32,225 --> 00:47:34,017
WE'LL GET THE DOLL,
WE'LL GET THE PINS,
1023
00:47:34,227 --> 00:47:35,477
AND WE'LL GET
THE BOILING WATER
1024
00:47:35,686 --> 00:47:36,978
AND THE DRUMS--
BOM BOM BOM.
1025
00:47:37,188 --> 00:47:38,980
ANYTHING YOU WANT ME
TO DO, I'LL DO IT.
1026
00:47:39,190 --> 00:47:40,982
ALL RIGHT.
DO AS I SAY.
1027
00:47:41,192 --> 00:47:41,983
YEAH?
1028
00:47:42,193 --> 00:47:43,693
GO TO YOUR TYPEWRITER.
1029
00:47:43,903 --> 00:47:45,111
YEAH?
1030
00:47:50,159 --> 00:47:51,535
SIT DOWN.
1031
00:47:51,744 --> 00:47:52,619
YEAH?
1032
00:47:55,706 --> 00:47:57,249
AND NOW...
1033
00:47:57,458 --> 00:47:58,416
YEAH?
1034
00:47:58,626 --> 00:47:59,793
WRITE IT.
1035
00:48:02,713 --> 00:48:05,257
OH, I KNEW THERE
WAS A CATCH TO IT.
1036
00:48:05,466 --> 00:48:07,259
OH. OH,
THAT'S ENOUGH!
1037
00:48:07,468 --> 00:48:09,177
YOU'RE NOT
SO BADLY OFF.
1038
00:48:09,387 --> 00:48:12,264
I KNOW A GUY WHOSE FATHER
IS FORCING HIM TO BE A DENTIST,
1039
00:48:12,473 --> 00:48:14,266
AND HE WANTS TO BE
A COMPOSER.
1040
00:48:14,475 --> 00:48:17,269
THE POOR FELLOW SITS UP
IN AN OFFICE ALL DAY LONG
1041
00:48:17,478 --> 00:48:19,229
COMPOSING SONGS
ON AN AIR HOSE.
1042
00:48:19,438 --> 00:48:22,774
NOBODY'S KEEPING YOU
FROM DOING WHAT YOU WANT--
1043
00:48:22,942 --> 00:48:25,110
NOBODY EXCEPT YOURSELF.
1044
00:48:25,319 --> 00:48:27,737
YOU'RE AFRAID
EVERYBODY'S GOING TO SAY,
1045
00:48:27,947 --> 00:48:29,739
"OH, IT'S THE PARTNER
THAT'S THE TALENTED ONE."
1046
00:48:29,949 --> 00:48:31,283
WELL, SO WHAT?
1047
00:48:31,492 --> 00:48:33,743
YOU CALL OTHER PEOPLE PHONIES
BECAUSE YOU HATE YOURSELF.
1048
00:48:33,953 --> 00:48:34,953
YOU'RE AFRAID WHAT YOU WRITE
1049
00:48:35,162 --> 00:48:36,788
ISN'T GOING TO BE
IMPORTANT ENOUGH,
1050
00:48:36,998 --> 00:48:39,040
SO YOU DON'T WRITE
ANYTHING AT ALL!
1051
00:48:39,250 --> 00:48:41,877
BOY, DO YOU KNOW ME.
1052
00:48:43,421 --> 00:48:46,798
MR. MOSS, YOU HAVE TO
HAVE CONFIDENCE IN YOURSELF.
1053
00:48:47,008 --> 00:48:49,968
I DON'T EVEN KNOW YOU,
BUT I HAVE CONFIDENCE IN YOU.
1054
00:48:50,177 --> 00:48:51,761
YOU DO?
1055
00:48:51,971 --> 00:48:53,638
YES, I DO.
1056
00:48:53,848 --> 00:48:55,140
YOU'RE CRAZY.
1057
00:48:55,349 --> 00:48:57,058
YES, I KNOW.
1058
00:49:03,107 --> 00:49:04,566
I'LL TRY.
1059
00:49:19,123 --> 00:49:20,665
HEY, WAIT A MINUTE.
1060
00:49:20,875 --> 00:49:22,918
I DON'T THINK
I CAN DO THIS
1061
00:49:23,127 --> 00:49:24,878
UNLESS YOU'RE HERE.
1062
00:50:16,263 --> 00:50:21,476
♪♪ SO THAT'S
WHAT YOU LOOK LIKE ♪♪
1063
00:50:23,145 --> 00:50:27,315
♪♪ AT LAST I KNOW ♪♪
1064
00:50:27,525 --> 00:50:32,070
♪♪ YOU'RE BETTER,
BETTER THAN A DREAM ♪♪
1065
00:50:32,279 --> 00:50:36,574
♪♪ WHAT YOU ARE
IS BETTER FAR THAN A DREAM ♪♪
1066
00:50:36,784 --> 00:50:41,246
♪♪ I TRIED
TO PICTURE YOUR FACE ♪♪
1067
00:50:41,414 --> 00:50:43,581
♪♪ BUT NOW I SEE YOU ♪♪
1068
00:50:43,791 --> 00:50:44,749
♪♪ YOU'RE OUT
OF THIS WORLD ♪♪
1069
00:50:44,959 --> 00:50:46,084
♪♪ YOU'RE OUT
OF THIS SPHERE ♪♪
1070
00:50:46,293 --> 00:50:48,586
♪♪ YOU'RE OUT
OF THAT OUTER SPACE ♪♪
1071
00:50:48,796 --> 00:50:53,258
♪♪ BETTER,
BETTER THAN A DREAM ♪♪
1072
00:50:53,467 --> 00:50:57,595
♪♪ WHAT IS REAL IS MORE IDEAL
THAN A DREAM ♪♪
1073
00:50:57,805 --> 00:51:02,058
♪♪ TO SEE AND HEAR YOU,
TO BE SO NEAR YOU ♪♪
1074
00:51:02,268 --> 00:51:06,521
♪♪ IS BETTER,
BETTER THAN A DREAM ♪♪
1075
00:51:08,315 --> 00:51:10,108
♪♪ CAN THIS BE A DREAM? ♪♪
1076
00:51:10,317 --> 00:51:12,944
♪♪ CAN I STILL BE ASLEEP
ON THE COUCH THERE? ♪♪
1077
00:51:13,112 --> 00:51:17,198
♪♪ CAN THIS GIRL
BE REALLY HERE? ♪♪
1078
00:51:17,408 --> 00:51:19,951
♪♪ SHE SEEMS TO KNOW
BY SHEER INTUITION ♪♪
1079
00:51:20,161 --> 00:51:22,120
♪♪ HOW I LANDED
IN THIS CONDITION ♪♪
1080
00:51:22,329 --> 00:51:24,122
♪♪ BOY,
DOES SHE KNOW ME ♪♪
1081
00:51:24,331 --> 00:51:25,415
♪♪ AND THE WAY
THAT I THINK ♪♪
1082
00:51:25,624 --> 00:51:26,750
♪♪ AND THE WAY
THAT I DRINK ♪♪
1083
00:51:26,959 --> 00:51:28,960
♪♪ THAT FACT THAT I
SLEPT ALL YEAR ♪♪
1084
00:51:29,170 --> 00:51:31,796
♪♪ BUT IT'S NOT A DREAM,
'CAUSE LOOK ♪♪
1085
00:51:32,006 --> 00:51:33,715
♪♪ I'VE GOT SOME WORDS
ON THE PAPER ♪♪
1086
00:51:33,924 --> 00:51:34,758
♪♪ STEADY, BOY ♪♪
1087
00:51:34,967 --> 00:51:37,969
♪♪ DON'T FAINT
OR SCREAM ♪♪
1088
00:51:38,179 --> 00:51:40,305
♪♪ DON'T ASK
WHO SENT YOU ♪♪
1089
00:51:40,514 --> 00:51:42,807
♪♪ THIS ANGEL ♪♪
1090
00:51:43,017 --> 00:51:46,728
♪♪ IT'S BETTER,
BETTER THAN A DREAM ♪♪
1091
00:51:52,109 --> 00:51:53,985
- ♪♪ IT'S BETTER, BETTER ♪♪
- ♪♪ CAN THIS BE A DREAM? ♪♪
1092
00:51:54,195 --> 00:51:56,738
- ♪♪ THAN A DREAM ♪♪
- ♪♪ CAN I STILL BE ASLEEP
ON THE COUCH THERE? ♪♪
1093
00:51:56,947 --> 00:51:58,531
- ♪♪ WHAT YOU ARE ♪♪
- ♪♪ CAN THIS GIRL BE ♪♪
1094
00:51:58,741 --> 00:52:01,117
- ♪♪ IS BETTER FAR THAN A DREAM ♪♪
- ♪♪ REALLY HERE? ♪♪
1095
00:52:01,327 --> 00:52:03,661
- ♪♪ I TRIED TO PICTURE ♪♪
- ♪♪ SHE SEEMS TO KNOW
BY SHEER INTUITION ♪♪
1096
00:52:03,871 --> 00:52:05,789
- ♪♪ YOUR FACE ♪♪
- ♪♪ HOW I LANDED
IN THIS CONDITION ♪♪
1097
00:52:05,998 --> 00:52:08,083
- ♪♪ BUT NOW I SEE YOU ♪♪
- ♪♪ BOY, DOES SHE KNOW ME ♪♪
1098
00:52:08,292 --> 00:52:09,209
- ♪♪ YOU'RE OUT OF THIS WORLD, ♪♪
- ♪♪ AND THE WAY THAT I THINK ♪♪
1099
00:52:09,460 --> 00:52:10,668
- ♪♪ YOU'RE OUT OF THIS SPHERE ♪♪
- ♪♪ AND THE WAY THAT I DRINK ♪♪
1100
00:52:10,878 --> 00:52:12,837
- ♪♪ YOU'RE OUT OF THAT OUTER SPACE ♪♪
- ♪♪ THAT FACT THAT I SLEPT ALL YEAR ♪♪
1101
00:52:13,047 --> 00:52:14,756
- ♪♪ BUT IT'S NOT A DREAM, ♪♪
- ♪♪ IT'S BETTER, BETTER ♪♪
1102
00:52:14,965 --> 00:52:17,675
- ♪♪ 'CAUSE LOOK I'VE GOT SOME
WORDS ON THE PAPER ♪♪
- ♪♪ THAN A DREAM ♪♪
1103
00:52:17,885 --> 00:52:19,260
- ♪♪ STEADY, BOY, DON'T FAINT ♪♪
- ♪♪ WHAT IS REAL IS ♪♪
1104
00:52:19,470 --> 00:52:21,513
- ♪♪ OR SCREAM ♪♪
- ♪♪ MORE IDEAL THAN A DREAM ♪♪
1105
00:52:21,722 --> 00:52:24,015
- ♪♪ DON'T ASK WHO SENT YOU ♪♪
- ♪♪ TO SEE AND HEAR YOU, ♪♪
1106
00:52:24,225 --> 00:52:26,476
- ♪♪ THIS ANGEL ♪♪
- ♪♪ TO BE SO NEAR YOU ♪♪
1107
00:52:26,685 --> 00:52:34,025
[TOGETHER] ♪♪ IT'S BETTER,
BETTER THAN A DREAM ♪♪
1108
00:53:12,857 --> 00:53:15,400
WHAT'S THE MATTER?
YOU'RE SHAKING.
1109
00:53:15,609 --> 00:53:18,570
HE LIKED IT.
LARRY LIKED IT.
1110
00:53:18,779 --> 00:53:21,823
WELL, OF COURSE
HE LIKED IT.
1111
00:53:22,032 --> 00:53:23,908
HE SAID IT'S NOT
QUITE WRITTEN YET,
1112
00:53:24,118 --> 00:53:25,410
AND HE
MADE ME PROMISE
1113
00:53:25,619 --> 00:53:27,579
TO GO TO THE COUNTRY
AND WHIP IT,
1114
00:53:27,788 --> 00:53:29,080
BUT BY AND LARGE,
1115
00:53:29,290 --> 00:53:30,582
IT'S SOMETHING
OF A MIRACLE.
1116
00:53:30,791 --> 00:53:32,417
IT'S NOT A MIRACLE.
YOU DID IT.
1117
00:53:32,626 --> 00:53:33,918
AND YOU KNOW WHAT?
1118
00:53:34,128 --> 00:53:34,919
WHAT?
1119
00:53:35,129 --> 00:53:36,337
YOU'RE THE MIRACLE.
1120
00:53:36,547 --> 00:53:37,338
[HORN HONKS]
1121
00:53:37,548 --> 00:53:38,423
WHAT'S THE MATTER?
1122
00:53:38,632 --> 00:53:39,507
YOU BLIND
OR SOMETHING?
1123
00:53:39,717 --> 00:53:41,092
WHERE DO YOU THINK
YOU'RE GOING?
1124
00:53:41,302 --> 00:53:42,927
AH, DON'T GIVE ME
NONE OF THAT.
1125
00:53:43,137 --> 00:53:44,596
DRIVING AROUND HERE,
NOBODY TAKES ANY CARE.
1126
00:53:44,805 --> 00:53:46,181
THE LIGHT WAS
STILL GREEN, HE SAYS.
1127
00:53:46,390 --> 00:53:47,724
IT WAS RED.
1128
00:53:47,933 --> 00:53:49,225
OOH, PEOPLE. WOW.
1129
00:53:49,435 --> 00:53:51,936
WHAT DID YOU EXPECT?
HERRINGS?
1130
00:53:52,146 --> 00:53:53,438
LOOK AT THEM--
1131
00:53:53,647 --> 00:53:55,273
A BAND
OF CUTTHROATS.
1132
00:53:57,026 --> 00:53:58,276
YOU EVER SEE
SUCH HATRED? HUH?
1133
00:53:58,485 --> 00:54:00,278
YOU KNOW, IF I
SO MUCH AS ASKED
1134
00:54:00,487 --> 00:54:02,113
ONE OF THESE PEOPLE
FOR THE TIME OF DAY,
1135
00:54:02,323 --> 00:54:03,781
THEY'D TURN
INTO A LYNCH MOB.
1136
00:54:03,991 --> 00:54:05,366
OH, EVERYBODY WANTS
TO BE FRIENDLY,
1137
00:54:05,576 --> 00:54:08,077
ONLY NOBODY'S WILLING
TO MAKE THE FIRST MOVE.
1138
00:54:08,287 --> 00:54:09,579
WHY DON'T YOU
SAY HELLO
1139
00:54:09,788 --> 00:54:11,372
TO THIS NICE MAN
OVER HERE?
1140
00:54:11,582 --> 00:54:12,999
HE'D APPRECIATE IT.
1141
00:54:15,586 --> 00:54:16,628
HIM?
1142
00:54:16,837 --> 00:54:18,463
THAT'S DRACULA'S
UNCLE, THE WOLF MAN.
1143
00:54:18,672 --> 00:54:19,964
THE ONLY THING
HE'D APPRECIATE
1144
00:54:20,174 --> 00:54:21,799
WOULD BE A NICE,
FRESH CUP OF BLOOD.
1145
00:54:22,009 --> 00:54:23,384
OH, IT'S SO EASY.
1146
00:54:23,594 --> 00:54:26,304
ALL YOU HAVE TO DO
IS SAY HELLO.
1147
00:54:26,513 --> 00:54:27,722
WATCH.
1148
00:54:29,433 --> 00:54:30,308
AHEM.
1149
00:54:30,517 --> 00:54:31,309
HELLO.
1150
00:54:31,518 --> 00:54:32,644
WHAT
DID YOU SAY?
1151
00:54:32,853 --> 00:54:34,145
ALL RIGHT.
EASY.
1152
00:54:34,355 --> 00:54:35,647
I JUST SAID HELLO.
1153
00:54:35,856 --> 00:54:37,148
HELLO? HELLO?
1154
00:54:37,358 --> 00:54:39,984
DID YOU JUST
SAY HELLO?
1155
00:54:40,194 --> 00:54:42,445
THIS IS THE FIRST
TIME IN 30 YEARS
1156
00:54:42,655 --> 00:54:43,988
THAT A STRANGER'S
EVER SAID HELLO
1157
00:54:44,198 --> 00:54:45,823
TO ME ON THE STREET.
1158
00:54:46,033 --> 00:54:50,286
HELLO! MY NAME'S
LUDWIG SMILEY.
1159
00:54:50,496 --> 00:54:52,163
HOW DO YOU DO?
MEET MR. MOSS.
1160
00:54:52,373 --> 00:54:53,164
HELLO!
1161
00:54:53,332 --> 00:54:54,999
HELLO, LUDWIG.
1162
00:54:55,209 --> 00:54:56,501
MY NAME'S
SMILEY.
1163
00:54:56,669 --> 00:54:57,835
HELLO.
1164
00:54:58,045 --> 00:55:00,505
OH, HELLO. MY NAME
IS CHARLIE BESSEMER.
1165
00:55:00,714 --> 00:55:02,507
MEET MY FRIEND
MR. ROSS.
1166
00:55:02,716 --> 00:55:03,508
MOSS.
1167
00:55:03,717 --> 00:55:04,801
HELLO, MR. ROSS.
1168
00:55:05,010 --> 00:55:06,302
HELLO, MR. BESSEMER.
THIS IS MISS SCOTT.
1169
00:55:06,512 --> 00:55:07,303
MISS SCOTT.
1170
00:55:07,513 --> 00:55:08,429
HOW DO YOU DO?
1171
00:55:08,639 --> 00:55:09,847
HELLO! MY NAME
IS CHARLIE BESSEMER.
1172
00:55:10,015 --> 00:55:11,349
I'M MISS KUZNESNIV.
1173
00:55:11,558 --> 00:55:12,850
THIS IS
MISS SCOTT.
1174
00:55:13,060 --> 00:55:13,851
HOW DO YOU DO?
1175
00:55:14,061 --> 00:55:14,852
HELLO, MISS SCOTT.
1176
00:55:15,062 --> 00:55:17,313
MEET MR. MOSS.
MISS KUZNESNIV.
1177
00:55:17,523 --> 00:55:18,314
MR. ROSS.
1178
00:55:18,524 --> 00:55:19,315
KUZNESNIV?
HELLO.
1179
00:55:19,525 --> 00:55:21,859
HELLO. MY NAME'S
LATTERA.
1180
00:55:22,069 --> 00:55:24,529
[WHISTLE BLOWS]
1181
00:55:24,738 --> 00:55:26,948
[WHISTLE BLOWS]
1182
00:55:30,995 --> 00:55:33,454
HUH. WELL, WHY DON'T
YOU TRY IT THIS TIME?
1183
00:55:33,664 --> 00:55:34,956
OH, NO.
1184
00:55:35,165 --> 00:55:36,958
OH, COME ON.
GO ON.
1185
00:55:43,257 --> 00:55:44,132
HELLO.
1186
00:55:44,341 --> 00:55:46,050
NO HANDOUTS.
1187
00:55:46,260 --> 00:55:47,552
OH, I DON'T
WANT ANYTHING.
1188
00:55:47,761 --> 00:55:49,387
I JUST WANT
TO SAY HELLO.
1189
00:55:49,596 --> 00:55:51,639
THE NAME'S
JEFFREY MOSS.
1190
00:55:51,849 --> 00:55:53,141
OH, HELLO
THERE.
1191
00:55:53,350 --> 00:55:54,642
I'M BARNEY
LAMPWICK.
1192
00:55:54,852 --> 00:55:55,643
SAY, HELLO!
1193
00:55:55,853 --> 00:55:57,145
I'M BARNEY
LAMPWICK.
1194
00:55:57,354 --> 00:55:58,146
HELLO!
1195
00:55:58,355 --> 00:55:59,188
OH,
HELLO!
1196
00:55:59,398 --> 00:56:00,690
MOSS IS THE NAME.
1197
00:56:00,899 --> 00:56:02,900
I'M BERNIE
DENSTER.
1198
00:56:03,110 --> 00:56:04,068
HERE. HAVE
SOME PEANUTS.
1199
00:56:04,278 --> 00:56:05,194
THIS IS
MISS SCOTT.
1200
00:56:05,404 --> 00:56:06,904
HOW ARE YOU,
MISS SCOTT?
1201
00:56:07,114 --> 00:56:08,489
HERE. HAVE
SOME PEANUTS.
1202
00:56:08,699 --> 00:56:09,490
THANK YOU.
1203
00:56:09,700 --> 00:56:10,491
YOU CALL THESE
PEANUTS?
1204
00:56:10,701 --> 00:56:11,701
YEAH. YEAH.
PEANUTS.
1205
00:56:11,910 --> 00:56:12,702
HELLO!
1206
00:56:12,911 --> 00:56:14,579
[WHISTLE BLOWS]
1207
00:56:21,211 --> 00:56:22,920
LOOK AT ME.
I'M WALKING.
1208
00:56:23,130 --> 00:56:25,089
I HAVEN'T WALKED
AROUND THIS CITY IN YEARS.
1209
00:56:25,299 --> 00:56:27,091
YOU KNOW, MOM WOULD
NEVER BELIEVE THIS.
1210
00:56:27,301 --> 00:56:28,092
LET'S CALL HER.
1211
00:56:28,302 --> 00:56:29,761
WHO?
1212
00:56:29,970 --> 00:56:31,262
MOM. THE LITTLE OLD LADY THAT
WORKS AT MY ANSWERING SERVICE.
1213
00:56:31,472 --> 00:56:32,930
COME ON.
1214
00:56:33,140 --> 00:56:36,100
WHERE ARE WE?
OH, 45th STREET.
1215
00:56:36,310 --> 00:56:39,187
UH, I HAVE TO GO
TO BROOKLYN HEIGHTS.
1216
00:56:39,396 --> 00:56:40,188
BROOKLYN HEIGHTS?
1217
00:56:40,397 --> 00:56:41,731
YEAH. GOOD-BYE.
1218
00:56:41,940 --> 00:56:43,691
GOOD-BYE? MEL!
1219
00:56:46,236 --> 00:56:48,112
MEL!
1220
00:56:48,322 --> 00:56:50,281
MEL!
1221
00:56:50,491 --> 00:56:51,783
I HAVE TO GO!
1222
00:56:51,992 --> 00:56:53,451
PLEASE DON'T ASK ME
ANY QUESTIONS.
1223
00:56:53,660 --> 00:56:55,286
JUST...BELIEVE ME.
1224
00:56:55,496 --> 00:56:56,454
OF COURSE
I BELIEVE YOU.
1225
00:56:56,663 --> 00:56:58,456
I GOT A BUILT-IN
GEIGER COUNTER.
1226
00:56:58,665 --> 00:57:00,124
I CAN SPOT A PHONY
A MILE OFF.
1227
00:57:00,334 --> 00:57:02,126
YOU'RE THE ONLY
HONEST PERSON
1228
00:57:02,336 --> 00:57:03,961
I EVER MET IN
MY WHOLE LIFE.
1229
00:57:04,171 --> 00:57:05,129
HONEST PERSON?
1230
00:57:05,339 --> 00:57:06,464
LOOK. IF I COULDN'T
BELIEVE IN YOU
1231
00:57:06,673 --> 00:57:08,257
AFTER EVERYTHING THAT'S
HAPPENED TO ME TODAY,
1232
00:57:08,467 --> 00:57:09,467
I'D JUST CRUMBLE AWAY
1233
00:57:09,676 --> 00:57:11,969
LIKE AN OLD, STALE
PIECE OF SPONGE CAKE.
1234
00:57:12,179 --> 00:57:14,472
WELL, THEN BELIEVE ME.
I HAVE TO GO.
1235
00:57:14,681 --> 00:57:15,473
BUT WAIT A SECOND.
1236
00:57:15,682 --> 00:57:17,141
I'LL BE GONE
FOR TWO WEEKS.
1237
00:57:17,351 --> 00:57:18,142
WHEN WILL I SEE YOU?
1238
00:57:18,352 --> 00:57:19,227
I DON'T KNOW.
1239
00:57:19,436 --> 00:57:20,645
I'LL CALL YOU
FROM THE COUNTRY.
1240
00:57:20,854 --> 00:57:22,313
NO PHONE.
NO PHONE?
1241
00:57:22,523 --> 00:57:23,731
WAIT A MINUTE, NOW.
1242
00:57:23,941 --> 00:57:25,483
YOU PROMISE
THAT YOU'LL SEE ME
1243
00:57:25,692 --> 00:57:27,652
TWO WEEKS FROM TODAY,
OR I DON'T GO AT ALL.
1244
00:57:27,861 --> 00:57:31,322
IN FACT, I'LL TAIL YOU
TO BROOKLYN HEIGHTS RIGHT NOW.
1245
00:57:31,532 --> 00:57:32,407
WELL, ALL RIGHT.
1246
00:57:32,616 --> 00:57:33,408
ALL RIGHT.
1247
00:57:33,617 --> 00:57:35,159
NO. IT'S ALL RIGHT.
1248
00:57:35,369 --> 00:57:40,081
A WEEK FROM WEDNESDAY,
YOUR PLACE, 8:00.
1249
00:57:40,290 --> 00:57:41,749
PROMISE?
PROMISE.
1250
00:57:51,927 --> 00:57:53,010
GOOD-BYE.
1251
00:57:53,220 --> 00:57:54,095
GOOD-BYE.
1252
00:57:56,473 --> 00:57:59,016
WEDNESDAY. 8:00.
1253
00:57:59,226 --> 00:58:02,019
AND DON'T FORGET
THE CHEESE DANISH.
1254
00:58:13,157 --> 00:58:14,615
YAHOO!
1255
00:58:14,825 --> 00:58:16,367
♪♪ I MET A GIRL ♪♪
1256
00:58:16,577 --> 00:58:17,827
♪♪ A WONDERFUL GIRL ♪♪
1257
00:58:18,036 --> 00:58:19,871
♪♪ SHE'S REALLY GOT A LOT
TO RECOMMEND HER ♪♪
1258
00:58:20,080 --> 00:58:21,205
♪♪ FOR A GIRL ♪♪
1259
00:58:21,415 --> 00:58:23,958
♪♪ FABULOUS CREATURE,
WITHOUT ANY DOUBT ♪♪
1260
00:58:24,168 --> 00:58:26,961
♪♪ HEY, WHAT AM I GETTING
SO EXCITED ABOUT? ♪♪
1261
00:58:27,171 --> 00:58:28,713
♪♪ SHE'S JUST A GIRL ♪♪
1262
00:58:28,922 --> 00:58:30,465
♪♪ AN EVERYDAY GIRL ♪♪
1263
00:58:30,674 --> 00:58:33,509
♪♪ AND YET I GUESS SHE'S REALLY
RATHER SPECIAL FOR A GIRL ♪♪
1264
00:58:33,719 --> 00:58:36,387
♪♪ FOR ONCE YOU'VE SEEN HER,
THE OTHERS ARE OUT ♪♪
1265
00:58:36,597 --> 00:58:39,807
♪♪ HEY, WHAT AM I GETTING
SO EXCITED ABOUT? ♪♪
1266
00:58:40,017 --> 00:58:42,310
♪♪ BUT SO WHAT? ♪♪
1267
00:58:42,519 --> 00:58:45,563
♪♪ WHAT HAS SHE GOT
OTHERS HAVE NOT? ♪♪
1268
00:58:45,772 --> 00:58:49,358
♪♪ TWO EYES, TWO LIPS,
A NOSE ♪♪
1269
00:58:49,568 --> 00:58:52,653
♪♪ ALL GIRLS
HAVE SOME OF THOSE ♪♪
1270
00:58:52,863 --> 00:58:56,741
♪♪ BUT WHEN SHE
LOOKS UP AT ME ♪♪
1271
00:58:56,909 --> 00:58:58,826
♪♪ WHAT DO I SEE? ♪♪
1272
00:58:59,036 --> 00:59:01,913
♪♪ THE MOST ENCHANTING FACE ♪♪
1273
00:59:02,122 --> 00:59:04,665
♪♪ MY PULSE BEGINS TO RACE ♪♪
1274
00:59:04,875 --> 00:59:06,918
♪♪ HEY, I MET A GIRL ♪♪
1275
00:59:07,127 --> 00:59:08,586
♪♪ A MARVELOUS GIRL ♪♪
1276
00:59:08,795 --> 00:59:12,006
♪♪ SHE'S RARER THAN URANIUM
AND FAIRER THAN A PEARL ♪♪
1277
00:59:12,216 --> 00:59:14,926
♪♪ FOUND ME A TREASURE,
AND I WANT TO SHOUT ♪♪
1278
00:59:15,135 --> 00:59:18,179
♪♪ THIS IS WHAT I'M GETTING
SO EXCITED ABOUT ♪♪
1279
00:59:18,388 --> 00:59:21,349
♪♪ I MET A GIRL,
AND I FELL IN LOVE ♪♪
1280
00:59:21,558 --> 00:59:25,102
♪♪ TODAY ♪♪
1281
00:59:40,035 --> 00:59:41,494
[SWITCHBOARD BUZZING]
1282
00:59:46,917 --> 00:59:47,959
KRAMER MUSIC.
1283
00:59:48,168 --> 00:59:49,460
Man:
MESSAGE FOR KRAMER.
1284
00:59:49,670 --> 00:59:51,963
THIS IS MORTY HOPPER
AT THE PYRAMID CLUB.
1285
00:59:52,172 --> 00:59:53,464
WE NEED
SOME SONGS FAST,
1286
00:59:53,632 --> 00:59:54,924
SO TUESDAY, 10 A.M.,
1287
00:59:55,133 --> 00:59:56,467
WE'RE GOING TO HAVE
A LOT OF SONGWRITERS IN
1288
00:59:56,677 --> 00:59:58,469
TO PEDDLE THEIR FISH.
GOT THAT?
1289
00:59:58,679 --> 00:59:59,887
RIGHT. THANK YOU.
1290
01:00:00,097 --> 01:00:02,557
HEY! WHAT AN OPPORTUNITY
FOR DR. KITCHELL.
1291
01:00:02,766 --> 01:00:04,308
I COULD CALL HIM UP
AND TELL HIM.
1292
01:00:04,518 --> 01:00:06,727
ELLA!
1293
01:00:06,937 --> 01:00:09,647
BUT IF HE COULD
ONLY SELL ONE SONG,
1294
01:00:09,856 --> 01:00:11,899
IT MIGHT CHANGE
HIS ENTIRE LIFE.
1295
01:00:12,109 --> 01:00:15,570
REMEMBER
INSPECTOR BARNES.
1296
01:00:33,630 --> 01:00:35,089
[HONKING]
1297
01:00:41,638 --> 01:00:45,349
♪♪ I LOVE
YOUR SUNNY TEETH ♪♪
1298
01:00:45,559 --> 01:00:48,603
♪♪ YOUR FUNNY,
SUNNY TEETH ♪♪
1299
01:00:48,812 --> 01:00:51,856
♪♪ THEY'RE LIKE
A PEARLY WREATH ♪♪
1300
01:00:52,065 --> 01:00:53,983
♪♪ THAT HANGS-- ♪♪
HELLO.
1301
01:00:54,192 --> 01:00:55,693
HELLO?
1302
01:00:55,902 --> 01:00:59,196
SO YOU'RE DR. KITCHELL
THE DENTIST.
1303
01:00:59,406 --> 01:01:00,698
YEAH. ISN'T IT
WONDERFUL?
1304
01:01:00,907 --> 01:01:03,200
I'M SORRY. I FORGOT
WE HAD AN APPOINTMENT.
1305
01:01:03,410 --> 01:01:04,577
WON'T YOU SIT DOWN?
1306
01:01:06,913 --> 01:01:08,039
EXCUSE ME.
1307
01:01:16,798 --> 01:01:20,843
AHEM. NOW, WHAT DID
YOU SAY YOU NAME IS?
1308
01:01:21,053 --> 01:01:22,637
WELL, IT STARTED
HURTING
1309
01:01:22,846 --> 01:01:24,555
AS I CAME
DOWN THE HALL.
1310
01:01:24,765 --> 01:01:25,890
OH.
1311
01:01:27,768 --> 01:01:29,810
[HUMMING]
1312
01:01:30,020 --> 01:01:33,731
ALL...RIGHT.
1313
01:01:33,940 --> 01:01:35,232
EXCUSE ME.
1314
01:01:36,777 --> 01:01:37,735
TEETH.
1315
01:01:40,197 --> 01:01:41,155
[DING]
1316
01:01:41,365 --> 01:01:43,741
[HUMMING]
1317
01:01:43,950 --> 01:01:44,992
NOT BAD.
1318
01:01:45,202 --> 01:01:47,578
♪♪ LEAN BACK, PLEASE,
OPEN WIDE ♪♪
1319
01:01:47,788 --> 01:01:49,580
UH-HUH.
1320
01:01:49,790 --> 01:01:50,873
UH--
1321
01:01:51,083 --> 01:01:52,083
I DON'T SEE ANYTHING.
1322
01:01:52,292 --> 01:01:53,459
BUT IT HURTS.
1323
01:01:54,544 --> 01:01:59,256
♪♪ YOU DON'T SEE ANYTHING,
BUT IT HURTS ♪♪
1324
01:01:59,466 --> 01:02:01,759
♪♪ THOUGH YOU CAN'T
SEE THE PAIN IN MY HEART ♪♪
1325
01:02:01,968 --> 01:02:06,013
♪♪ OH, OH,
HOW IT HURTS ♪♪
1326
01:02:06,223 --> 01:02:07,765
NOT BAD.
1327
01:02:07,974 --> 01:02:11,268
TELL ME, IS IT SENSITIVE
TO HOT AND COLD?
1328
01:02:11,478 --> 01:02:13,771
UH-HUH.
1329
01:02:13,980 --> 01:02:15,731
♪♪ FIRST YOU'RE HOT,
AND THEN YOU'RE COLD ♪♪
1330
01:02:15,941 --> 01:02:18,526
♪♪ THEN YOU'RE SHY,
AND THEN YOU'RE BOLD ♪♪
1331
01:02:18,735 --> 01:02:24,365
♪♪ BUT I'M ALWAYS
SENSITIVE TO YOU ♪♪
1332
01:02:24,574 --> 01:02:27,118
GEE. THOSE SONGS
ARE PRETTY.
1333
01:02:27,327 --> 01:02:28,786
DID YOU LIKE THEM?
1334
01:02:28,995 --> 01:02:30,246
OH, YES.
1335
01:02:30,455 --> 01:02:31,789
YOU'RE THE FIRST ONE.
1336
01:02:31,998 --> 01:02:34,417
I LOSE MORE PATIENTS
THIS WAY.
1337
01:02:34,626 --> 01:02:35,626
I'M A TERRIBLE DENTIST.
1338
01:02:35,836 --> 01:02:37,294
I MAKE UP SONGS
ALL THE TIME,
1339
01:02:37,504 --> 01:02:38,921
AND I CAN MAKE UP
SONGS ABOUT ANYTHING--
1340
01:02:39,131 --> 01:02:40,214
ANYTHING AT ALL.
1341
01:02:40,424 --> 01:02:42,299
JUST GIVE ME A SUBJECT,
A TITLE, ANYTHING.
1342
01:02:42,509 --> 01:02:43,634
WHAT ARE YOU THINKING OF
RIGHT NOW?
1343
01:02:43,802 --> 01:02:44,969
RIGHT OFF THE TOP
OF YOUR HEAD?
1344
01:02:45,178 --> 01:02:46,637
THE MIDAS TOUCH.
1345
01:02:46,847 --> 01:02:48,305
THE MIDAS TOUCH.
1346
01:02:48,515 --> 01:02:51,642
IT'S ABOUT A KING
AND GOLD AND...
1347
01:02:51,852 --> 01:02:52,893
THAT'S SIMPLE.
1348
01:02:53,103 --> 01:02:55,312
♪♪ THE MIDAS TOUCH ♪♪
1349
01:02:55,522 --> 01:02:57,398
♪♪ THAT MIGHTY, MIGHTY,
MIGHTY MIDAS TOUCH ♪♪
1350
01:02:57,607 --> 01:02:59,150
♪♪ MIDAS WANTED
GOLD SO MUCH-- ♪♪
1351
01:02:59,359 --> 01:03:00,776
OH, THAT'S
BRILLIANT.
1352
01:03:00,986 --> 01:03:01,819
IT'S NOTHING.
1353
01:03:02,028 --> 01:03:04,155
WELL, I GUESS
YOU'LL BE THERE.
1354
01:03:04,364 --> 01:03:05,322
WHERE?
1355
01:03:05,532 --> 01:03:07,491
THE PYRAMID CLUB,
TUESDAY AT 10 A.M.
1356
01:03:07,701 --> 01:03:09,201
THEY'RE
AUDITIONING SONGS.
1357
01:03:10,912 --> 01:03:13,247
I'LL BE THERE
AT 9:30.
1358
01:03:13,457 --> 01:03:14,957
YOU WRITE THAT DOWN
NOW.
1359
01:03:15,167 --> 01:03:16,751
YES.
YES, I WILL.
1360
01:03:19,796 --> 01:03:21,797
"PYRAMID CLUB.
1361
01:03:22,007 --> 01:03:23,966
"MADISON AVENUE.
1362
01:03:24,176 --> 01:03:27,845
MORT HOPPER."
1363
01:03:28,054 --> 01:03:29,013
OH, GOLLY.
1364
01:03:29,222 --> 01:03:30,014
I DON'T KNOW
HOW TO...
1365
01:03:30,223 --> 01:03:32,183
I, UH...
1366
01:03:32,392 --> 01:03:34,185
OH, MISS?
1367
01:03:34,394 --> 01:03:36,353
OH, MISS?
1368
01:03:36,563 --> 01:03:41,484
♪♪ OH, MISSISSIPPI STEAMBOAT
ROUNDING THE BEND ♪♪
1369
01:03:41,693 --> 01:03:42,526
♪♪ WHOO-WHOO ♪♪
1370
01:03:42,736 --> 01:03:48,282
♪♪ I'M COMING HOME TO YOU ♪♪
1371
01:03:48,492 --> 01:03:54,288
♪♪ MEAN AND FAIR, UP YOUR RIVER,
YOU LAZY BOAT, YOU ♪♪
1372
01:04:05,008 --> 01:04:05,966
[SWITCHBOARD BUZZES]
1373
01:04:09,846 --> 01:04:11,055
SUSANSWERPHONE.
1374
01:04:11,264 --> 01:04:13,224
THIS IS LARRY HASTINGS
CALLING. ANY MESSAGES?
1375
01:04:13,433 --> 01:04:15,142
JUST A MOMENT.
1376
01:04:15,352 --> 01:04:17,561
BLAKE BARTON,
THE ACTOR, CALLED.
1377
01:04:17,771 --> 01:04:19,021
HE WANTS TO KNOW
IF THERE'S A PART FOR HIM
1378
01:04:19,231 --> 01:04:22,066
IN YOUR NEW PRODUCTION,
THE MIDAS TOUCH.
1379
01:04:22,234 --> 01:04:23,734
BLAKE BARTON?
NEVER!
1380
01:04:23,944 --> 01:04:25,694
I'M SICK OF ACTORS
WHO WON'T WEAR SUITS
1381
01:04:25,904 --> 01:04:28,697
AND WHO SOUND AS IF THEY'VE GOT
A MOUTHFUL OF MARBLES.
1382
01:04:28,907 --> 01:04:31,575
WELL, THANKS.
I MEAN, GOOD-BYE.
1383
01:04:31,785 --> 01:04:33,035
HA HA HA!
1384
01:04:33,245 --> 01:04:34,745
[DIALING TELEPHONE]
1385
01:04:34,955 --> 01:04:37,665
ELLA, WHAT
ARE YOU DOING?
1386
01:04:37,874 --> 01:04:39,750
I'M JUST CALLING
BLAKE BARTON.
1387
01:04:39,960 --> 01:04:41,585
ELLA...
1388
01:04:41,795 --> 01:04:43,254
HELLO.
BLAKE BARTON HERE.
1389
01:04:43,463 --> 01:04:44,421
SUSANSWERPHONE.
1390
01:04:44,631 --> 01:04:45,548
OH, HIYA, DOLL.
1391
01:04:45,757 --> 01:04:47,049
HEY, THANKS A LOT
1392
01:04:47,259 --> 01:04:48,843
FOR THAT TIP YOU GAVE ME
THE OTHER DAY,
1393
01:04:49,052 --> 01:04:52,012
BUT, WELL, THEY DIDN'T
DIG MY ACTION.
1394
01:04:52,222 --> 01:04:56,433
THEY SAID THEY'RE LOOKING
FOR A REX HARRISON TYPE--
1395
01:04:56,643 --> 01:04:57,601
ENGLISH.
1396
01:04:57,811 --> 01:04:58,936
SO I SAID, "WHAT'S
THE MATTER WITH ME?
1397
01:04:59,145 --> 01:05:01,605
I SPEAK ENGLISH."
1398
01:05:01,815 --> 01:05:03,232
NO MESSAGES.
1399
01:05:03,441 --> 01:05:04,441
YEAH. WELL,
THAT'S CRAZY, GIRL.
1400
01:05:04,651 --> 01:05:06,777
LOOK, I'LL BE
AT MIKE'S, HUH?
1401
01:05:06,987 --> 01:05:07,862
CRAZY.
1402
01:05:49,779 --> 01:05:52,156
GOOD AFTERNOON,
MR. SWENSON.
1403
01:05:52,324 --> 01:05:54,116
OH, GOOD AFTERNOON,
MISS ELLA.
1404
01:05:54,326 --> 01:05:56,076
WHAT AN INTERESTING HAT.
1405
01:05:58,413 --> 01:06:00,998
MIKE, LET ME HAVE
ANOTHER CUP, UH...
1406
01:06:01,207 --> 01:06:03,250
UH...
1407
01:06:17,474 --> 01:06:18,432
Barton:
THEY WANTED THINGS
1408
01:06:18,642 --> 01:06:20,351
LIKE LOVE, HATE,
AND ANGER,
1409
01:06:20,560 --> 01:06:23,437
SO FOR MY
ACTING EXERCISE,
1410
01:06:23,647 --> 01:06:25,022
I PICKED
THIS PART, SEE,
1411
01:06:25,231 --> 01:06:28,192
AND IN IT,
I'M SUPPOSED TO BE
1412
01:06:28,401 --> 01:06:32,029
THIS, UH, YOU KNOW,
UH, FRUSTRATED GUY.
1413
01:06:32,238 --> 01:06:35,616
NOW, I GOT TO FIND
THE RIGHT IMAGE
1414
01:06:35,825 --> 01:06:40,496
TO SHOW FRUS...UH,
TATION,
1415
01:06:40,705 --> 01:06:43,207
SO I GET
THIS IMAGE, SEE,
1416
01:06:43,416 --> 01:06:45,042
OF A OSTRICH--
1417
01:06:45,251 --> 01:06:47,211
A OSTRICH TRYING
TO BURY HIS HEAD
1418
01:06:47,379 --> 01:06:49,380
IN A CEMENT PAVEMENT.
1419
01:06:49,589 --> 01:06:50,547
DIG IT.
1420
01:06:53,510 --> 01:06:55,010
UH, YOU SEE THAT?
1421
01:06:55,220 --> 01:06:56,387
GET THE IMAGE?
GET THE IMAGE?
1422
01:06:56,596 --> 01:06:58,013
CUCKOO.
1423
01:06:58,223 --> 01:06:59,556
CUCKOO.
1424
01:06:59,766 --> 01:07:01,141
UH...
1425
01:07:04,145 --> 01:07:05,062
AHEM.
1426
01:07:05,271 --> 01:07:06,897
UH...
1427
01:07:09,150 --> 01:07:10,150
I SAID "UH."
1428
01:07:15,448 --> 01:07:17,825
IS THAT YOUR
MOTORCYCLE OUTSIDE?
1429
01:07:25,333 --> 01:07:26,667
YEAH.
1430
01:07:26,876 --> 01:07:28,919
IT'S CRAZY,
HUH?
1431
01:07:29,129 --> 01:07:30,504
CUCKOO.
1432
01:07:30,714 --> 01:07:32,881
CUCKOO.
1433
01:07:33,091 --> 01:07:35,759
HEY, GET THE PART
IN THE MIDAS TOUCH?
1434
01:07:35,969 --> 01:07:36,927
AH.
1435
01:07:37,137 --> 01:07:38,095
HUH?
1436
01:07:38,304 --> 01:07:39,096
AH!
1437
01:07:39,305 --> 01:07:40,597
AH.
1438
01:07:40,765 --> 01:07:44,393
HEY, MAN, YOU DIDN'T
GO IN THERE
1439
01:07:44,602 --> 01:07:46,395
WITH THAT ON,
DID YOU?
1440
01:07:46,604 --> 01:07:47,396
WHAT DO YOU
WANT ME TO DO?
1441
01:07:47,605 --> 01:07:48,397
GO IN
WITHOUT IT ON,
1442
01:07:48,606 --> 01:07:50,566
IN THE EVER-LOVING
NUDE?
1443
01:07:50,775 --> 01:07:55,279
DID YOU EVER TRY
WEARING A SUIT?
1444
01:07:55,488 --> 01:07:56,864
SUIT?
1445
01:07:57,073 --> 01:07:59,783
A SUIT. S-U-T.
1446
01:07:59,993 --> 01:08:02,953
WHAT DO YOU
THINK I AM?
1447
01:08:03,163 --> 01:08:04,955
A FAKE? A SUIT.
1448
01:08:05,165 --> 01:08:06,081
WE GOT A NAME
FOR ACTORS
1449
01:08:06,291 --> 01:08:08,417
WHO WEAR SUITS.
1450
01:08:08,626 --> 01:08:09,918
BE A PUNK IMITATION
1451
01:08:10,128 --> 01:08:11,045
THE REST
OF YOUR LIFE.
1452
01:08:11,254 --> 01:08:12,921
I'M TELLING YOU,
YOU WANT THE JOB,
1453
01:08:13,131 --> 01:08:15,090
YOU GOT TO CUT
THE BLUE-JEANS ACTION.
1454
01:08:15,300 --> 01:08:18,469
YOU KNOW WHAT
I MEAN? HA HA HA.
1455
01:08:18,678 --> 01:08:19,928
LOOK AROUND YOU.
1456
01:08:20,138 --> 01:08:21,305
YOU'RE A GLUT
ON THE MARKET.
1457
01:08:21,514 --> 01:08:24,933
LIKE, MAN, LIKE, DIG,
LIKE, LIKE, LIKE,
1458
01:08:25,143 --> 01:08:27,269
LIKE,
YOU'RE NOTHING.
1459
01:08:27,479 --> 01:08:28,937
YEAH, BUT A SUIT?
1460
01:08:29,147 --> 01:08:32,066
[JAZZ MUSIC ON JUKEBOX
DROWNS OUT CONVERSATION]
1461
01:09:12,649 --> 01:09:14,274
Otto:
YES. 1,500 COPIES
1462
01:09:14,484 --> 01:09:17,027
OF BEETHOVEN'S
10th SYMPHONY, OPUS 6.
1463
01:09:17,237 --> 01:09:19,196
OPUS 6. YES. IT'S
A BIG SELLER TODAY.
1464
01:09:19,405 --> 01:09:21,698
[HUMMING]
1465
01:09:21,908 --> 01:09:23,367
HELLO. SHIPPING DEPARTMENT.
1466
01:09:23,576 --> 01:09:27,996
1,500 COPIES OF BEETHOVEN'S
10th SYMPHONY, OPUS 6.
1467
01:09:28,206 --> 01:09:31,875
ELLA, WILL YOU PLEASE TELL SUE
I WILL MEET HER AT 8:00
1468
01:09:32,085 --> 01:09:34,211
AT THE CRYING
GYPSY CAFE?
1469
01:09:34,420 --> 01:09:35,379
JUST HAVE TO
WATCH 'EM RUN OFF
1470
01:09:35,588 --> 01:09:36,380
THE BEETHOVEN PRESSING
1471
01:09:36,589 --> 01:09:38,465
AT THE LONG ISLAND
PLANT.
1472
01:09:38,675 --> 01:09:39,550
AUF WIEDERSEHEN.
1473
01:09:39,759 --> 01:09:41,051
♪♪ LA DA DEE
LA DA DA ♪♪
1474
01:09:41,261 --> 01:09:42,052
[TELEPHONE RINGS]
1475
01:09:42,262 --> 01:09:43,637
♪♪ LA DA DEE ♪♪
1476
01:09:45,181 --> 01:09:47,057
TITANIC RECORDS.
1477
01:09:47,267 --> 01:09:48,183
Carl: HI, ELLA.
1478
01:09:48,393 --> 01:09:49,685
Ella: HI.
1479
01:09:49,894 --> 01:09:52,146
AN ORDER OF 300 ALBUMS
1480
01:09:52,355 --> 01:09:56,567
OF BEETHOVEN'S 10th SYMPHONY,
OPUS 6, LP.
1481
01:09:56,776 --> 01:09:58,527
THANK YOU.
1482
01:09:58,736 --> 01:10:00,154
GEE, THAT'S
A POPULAR PIECE.
1483
01:10:00,363 --> 01:10:01,697
HEY, THERE MUST
BE A MISTAKE
1484
01:10:01,906 --> 01:10:02,865
IN THAT ORDER.
1485
01:10:03,074 --> 01:10:05,659
BEETHOVEN ONLY WROTE
NINE SYMPHONIES.
1486
01:10:05,869 --> 01:10:07,161
REALLY?
1487
01:10:07,370 --> 01:10:08,662
BUT WE'VE HAD
OVER 5,000 ORDERS
1488
01:10:08,872 --> 01:10:10,247
FOR BEETHOVEN'S 10th.
1489
01:10:10,456 --> 01:10:13,208
WELL, THEY GOT
TO MEAN THE NINTH.
1490
01:10:13,418 --> 01:10:14,751
TCHAIKOVSKY SIX,
BRAHMS FOUR,
1491
01:10:14,961 --> 01:10:16,086
BEETHOVEN NINE.
1492
01:10:16,296 --> 01:10:18,755
WELL, YOU SURE
KNOW YOUR MUSIC.
1493
01:10:18,965 --> 01:10:20,924
I BETTER TELL
THE SHIPPING DEPARTMENT, HUH?
1494
01:10:21,134 --> 01:10:22,926
YEAH.
1495
01:10:23,136 --> 01:10:24,887
HELLO, SHIPPING.
1496
01:10:25,096 --> 01:10:27,890
I HAVE AN ORDER HERE
FOR 300 ALBUMS
1497
01:10:28,099 --> 01:10:31,768
OF BEETHOVEN'S
NINTH SYMPHONY, OPUS SIX, LP.
1498
01:10:31,978 --> 01:10:33,270
YEAH. AND LISTEN,
1499
01:10:33,479 --> 01:10:35,272
CHANGE ALL THOSE
OTHER ORDERS
1500
01:10:35,481 --> 01:10:37,608
FROM BEETHOVEN'S 10th
TO BEETHOVEN'S 9th.
1501
01:10:39,068 --> 01:10:41,278
WELL, SURE, I'M SURE.
1502
01:10:41,487 --> 01:10:44,198
ABSOLUTELY SURE.
1503
01:10:44,407 --> 01:10:45,407
THANKS, CARL.
1504
01:10:45,617 --> 01:10:47,701
ANYTIME.
1505
01:10:54,918 --> 01:10:55,792
HI.
1506
01:10:55,960 --> 01:10:57,544
HI.
1507
01:10:57,754 --> 01:10:59,546
WHAT ARE YOU SO
DRESSED UP FOR?
1508
01:10:59,756 --> 01:11:02,758
OH, JUST TRIED IT ON
TO SEE IF IT FITS.
1509
01:11:02,967 --> 01:11:06,470
OH, I GET IT.
IT'S WEDNESDAY.
1510
01:11:06,679 --> 01:11:07,971
ELLA, YOU'RE NOT
GOING TO MEET
1511
01:11:08,181 --> 01:11:09,473
THE SLEEPING
PRINCE?
1512
01:11:09,682 --> 01:11:10,474
NO.
1513
01:11:10,683 --> 01:11:11,975
THAT'S GOOD,
1514
01:11:12,185 --> 01:11:14,978
BECAUSE IF THAT
INSPECTOR CATCHES YOU...
1515
01:11:17,607 --> 01:11:19,566
WHAT DO YOU MEAN
NO?
1516
01:11:19,776 --> 01:11:22,319
I MEAN I'M NOT GOING.
1517
01:11:22,528 --> 01:11:24,488
I'M REALLY NOT.
1518
01:11:24,697 --> 01:11:26,156
GOOD.
1519
01:11:45,802 --> 01:11:48,679
HOW COME
YOU'RE NOT GOING?
1520
01:11:48,888 --> 01:11:50,180
I CAN'T.
1521
01:11:50,390 --> 01:11:51,682
WHY NOT?
1522
01:11:51,891 --> 01:11:53,517
I CAN'T
SEE HIM AGAIN.
1523
01:11:53,726 --> 01:11:55,018
WHY NOT?
1524
01:11:55,228 --> 01:11:58,021
BECAUSE I'D HAVE TO TELL
HIM WHO I REALLY AM.
1525
01:11:58,231 --> 01:11:59,273
SO TELL HIM.
1526
01:11:59,482 --> 01:12:00,274
IT'S IMPOSSIBLE.
1527
01:12:00,483 --> 01:12:01,775
WHAT'S IMPOSSIBLE?
1528
01:12:01,985 --> 01:12:03,860
YOU'RE MAKING YOURSELF
MISERABLE OVER NOTHING.
1529
01:12:04,988 --> 01:12:06,196
NOTHING.
1530
01:12:06,406 --> 01:12:07,781
SURE. NOTHING.
1531
01:12:07,991 --> 01:12:10,200
WHAT DID YOU DO
THAT WAS SO IMPOSSIBLE?
1532
01:12:10,410 --> 01:12:11,702
YOU LIED A LITTLE.
1533
01:12:11,911 --> 01:12:13,203
LIED A LITTLE?
1534
01:12:13,413 --> 01:12:15,205
ALL RIGHT.
SO YOU LIED A LOT.
1535
01:12:15,415 --> 01:12:16,999
HE FORCED YOU
INTO IT.
1536
01:12:17,208 --> 01:12:20,752
[SWITCHBOARD BUZZES]
1537
01:12:22,797 --> 01:12:23,880
SUSANSWERPHONE.
1538
01:12:24,090 --> 01:12:24,881
Moss: MOM?
1539
01:12:25,091 --> 01:12:26,383
YES, MR. MOSS?
1540
01:12:26,592 --> 01:12:28,051
LISTEN, MOM,
I JUST GOT BACK,
1541
01:12:28,261 --> 01:12:29,970
BUT I WANTED TO CALL YOU
AND THANK YOU
1542
01:12:30,179 --> 01:12:32,055
FOR THE INSANE FAITH
YOU HAD IN ME.
1543
01:12:32,265 --> 01:12:33,557
GOT A LOT OF WORK DONE.
1544
01:12:33,766 --> 01:12:35,559
DON'T KNOW IF IT'S ANY GOOD,
BUT IT'S THERE.
1545
01:12:35,768 --> 01:12:37,394
OH, THAT'S GOOD,
MR. MOSS.
1546
01:12:37,603 --> 01:12:38,895
SAY, MOM,
1547
01:12:39,105 --> 01:12:43,400
HAVE THERE BEEN ANY MESSAGES
FROM A MELISANDE SCOTT?
1548
01:12:43,609 --> 01:12:45,694
NO.
ABSOLUTELY NONE.
1549
01:12:45,903 --> 01:12:47,738
WELL, I HAVE A DATE
WITH HER FOR THIS EVENING.
1550
01:12:47,947 --> 01:12:49,239
Olga: HELLO, JEFFREY.
1551
01:12:49,407 --> 01:12:52,242
OLGA, HOW DID YOU
GET IN HERE?
1552
01:12:52,452 --> 01:12:54,369
OH, DARLING, I'VE BEEN
LONESOME FOR YOU.
1553
01:12:54,579 --> 01:12:57,539
OH, SWEETHEART.
OH, JEFFREY.
1554
01:12:57,749 --> 01:12:59,499
I'LL CALL YOU BACK,
MOM.
1555
01:12:59,709 --> 01:13:01,668
AAH!
1556
01:13:11,721 --> 01:13:13,096
WHAT'S THE MATTER?
1557
01:13:13,306 --> 01:13:14,765
NOTHING.
1558
01:13:14,974 --> 01:13:16,350
AAH!
1559
01:13:21,731 --> 01:13:22,773
I TELL YOU,
1560
01:13:22,982 --> 01:13:25,442
IT'S ABSOLUTELY
OUT OF THE QUESTION.
1561
01:13:25,651 --> 01:13:28,737
I CAN'T TAKE YOU
TO THE RACES TODAY.
1562
01:13:28,946 --> 01:13:30,197
IT'S IMPOSSIBLE.
1563
01:13:30,406 --> 01:13:33,450
OH, JEFFREY,
DON'T BE SUCH A PILL.
1564
01:13:33,659 --> 01:13:35,535
I'VE GOT WORK TO DO.
1565
01:13:40,208 --> 01:13:42,626
YOU CAN WORK
SOME OTHER TIME.
1566
01:13:44,420 --> 01:13:48,131
BESIDES, THEY'RE WAITING
FOR US DOWNSTAIRS.
1567
01:13:48,341 --> 01:13:50,467
YEAH, BUT I HAVE
A BUSINESS APPOINTMENT.
1568
01:13:55,681 --> 01:13:59,184
LOOK, YOU'RE NOT GONNA
GET RID OF ME THAT EASILY.
1569
01:14:00,436 --> 01:14:01,395
[CLINK]
1570
01:14:07,110 --> 01:14:08,318
MEL!
1571
01:14:08,528 --> 01:14:10,153
GOOD AFTERNOON,
MR. MOSS.
1572
01:14:10,363 --> 01:14:12,989
BUSINESS APPOINTMENT?
HUH!
1573
01:14:13,199 --> 01:14:14,491
I'M MR. MOSS'
SECRETARY.
1574
01:14:14,700 --> 01:14:16,326
MR. MOSS HAS A LOT
OF WORK TO DO.
1575
01:14:16,536 --> 01:14:17,911
I DON'T WANT YOU
TO WASTE HIS TIME
1576
01:14:18,121 --> 01:14:19,454
DRAGGING HIM
TO THE RACES!
1577
01:14:19,664 --> 01:14:22,582
GET SOMEBODY ELSE
TO TAKE YOU TO THE RACES!
1578
01:14:22,792 --> 01:14:24,084
WELL, NOW,
WHERE WERE WE?
1579
01:14:24,293 --> 01:14:25,127
ACT 12, SCENE 9,
WASN'T IT?
1580
01:14:25,336 --> 01:14:26,628
OH, OF COURSE!
1581
01:14:26,838 --> 01:14:28,130
ACT 12, SCENE 9,
1582
01:14:28,339 --> 01:14:30,132
AND MAKE THAT
FOUR CARBONS
1583
01:14:30,341 --> 01:14:32,676
IN TRIPLICATE
IN BLUE COVERS.
1584
01:14:32,844 --> 01:14:34,177
YES. RIGHT DOWN
THE MIDDLE.
1585
01:14:34,387 --> 01:14:36,263
I TOLD YOU
I HAD WORK TO DO.
1586
01:14:36,472 --> 01:14:37,681
YOU DIDN'T
BELIEVE ME.
1587
01:14:37,890 --> 01:14:39,474
I DO HAVE
A LOT OF WORK TO DO,
1588
01:14:39,684 --> 01:14:41,476
AND I'LL
CALL YOU SOMETIME.
1589
01:14:41,686 --> 01:14:42,978
GOOD-BYE.
GOOD-BYE.
1590
01:14:43,187 --> 01:14:44,604
HERE YOU ARE.
GOOD-BYE.
1591
01:14:46,149 --> 01:14:48,108
HOW DID YOU KNOW
ABOUT HER AND THE RACES?
1592
01:14:48,317 --> 01:14:49,609
IT'S WRITTEN
ALL OVER HER FACE.
1593
01:14:49,819 --> 01:14:51,778
SHE EVEN LOOKS
A LITTLE LIKE A HORSE.
1594
01:14:55,324 --> 01:14:57,284
I CAN'T BELIEVE
YOU'RE REALLY HERE.
1595
01:15:02,665 --> 01:15:04,624
I CAN'T BELIEVE IT
EITHER.
1596
01:15:10,673 --> 01:15:12,048
HOW ARE YOU,
MEL?
1597
01:15:12,258 --> 01:15:14,384
I'M FINE, THANKS.
1598
01:15:14,552 --> 01:15:16,094
HOW ARE YOU?
1599
01:15:19,515 --> 01:15:21,308
FINE.
1600
01:15:21,517 --> 01:15:22,809
HOW'S YOUR WORK?
1601
01:15:23,019 --> 01:15:23,810
OH, WONDERFUL.
1602
01:15:24,020 --> 01:15:25,312
WAIT TILL YOU
SEE THIS.
1603
01:15:25,521 --> 01:15:27,022
I REWROTE
THE WHOLE FIRST ACT,
1604
01:15:27,231 --> 01:15:29,524
AND I MORE OR LESS
HAVE A ROUGH DRAFT
1605
01:15:29,734 --> 01:15:31,026
FOR THE REST OF IT.
1606
01:15:31,235 --> 01:15:33,028
AND I HOPE
YOU DON'T SUE ME,
1607
01:15:33,237 --> 01:15:34,529
BUT YOU KNOW
THAT YOUNG DENTIST
1608
01:15:34,739 --> 01:15:36,031
YOU WERE
TELLING ME ABOUT?
1609
01:15:36,240 --> 01:15:37,532
WELL, I WROTE HIM
INTO THE PLAY.
1610
01:15:37,742 --> 01:15:39,159
THAT'S WONDERFUL.
1611
01:15:43,039 --> 01:15:44,372
WELL,
WHAT'S THE MATTER?
1612
01:15:44,582 --> 01:15:45,916
NOTHING.
1613
01:15:46,125 --> 01:15:47,417
OH, MEL.
1614
01:15:47,627 --> 01:15:48,919
OH, DON'T.
1615
01:15:49,128 --> 01:15:50,378
WHAT IS THIS?
1616
01:15:50,588 --> 01:15:51,755
WHAT DID YOU
COME HERE FOR?
1617
01:15:51,964 --> 01:15:53,089
I THOUGHT YOU
NEEDED A SECRETARY.
1618
01:15:53,299 --> 01:15:54,508
SECRETARY!
1619
01:15:54,717 --> 01:15:55,926
WELL, I MEAN, YOU'RE
PRETTY WELL FIXED FOR GIRLS.
1620
01:15:56,135 --> 01:15:57,385
WELL, IF YOU'RE HERE
AS A SECRETARY,
1621
01:15:57,595 --> 01:15:58,845
THEN GET TO
THE TYPEWRITER.
1622
01:15:59,055 --> 01:15:59,846
WHAT DO YOU CHARGE?
1623
01:16:00,056 --> 01:16:00,847
OH, NOTHING!
1624
01:16:01,057 --> 01:16:02,349
OH, COME ON!
1625
01:16:02,558 --> 01:16:03,850
$1,000 AN HOUR.
1626
01:16:04,060 --> 01:16:05,352
THAT'S REASONABLE
ENOUGH.
1627
01:16:05,561 --> 01:16:07,729
NOW SIT DOWN.
SIT DOWN!
1628
01:16:07,939 --> 01:16:10,899
I PROMISE I'LL KEEP MY
GRIMY PAWS OFF OF YOU.
1629
01:16:11,108 --> 01:16:14,778
NOW, WHERE WERE WE?
ACT 12, SCENE 9?
1630
01:16:14,987 --> 01:16:17,572
SEÑOR MENDOZA'S
HACIENDA IN ICELAND?
1631
01:16:17,782 --> 01:16:20,534
RODRIGUEZ IS KNEELING
BY THE BEDSIDE?
1632
01:16:23,538 --> 01:16:24,913
MEL...
1633
01:16:25,122 --> 01:16:28,750
I DON'T KNOW WHAT YOU THINK
YOU WALKED IN ON.
1634
01:16:28,960 --> 01:16:30,752
IT WASN'T
ANYTHING AT ALL,
1635
01:16:30,962 --> 01:16:32,254
AND YOU PROBABLY
DON'T CARE
1636
01:16:32,463 --> 01:16:33,755
WHETHER IT WAS OR NOT,
1637
01:16:33,965 --> 01:16:35,465
AND YOU OBVIOUSLY THINK
I'M STILL WITH GIRLS, GIRLS,
1638
01:16:35,675 --> 01:16:37,467
BUT I'M TRYING
TO TELL YOU
1639
01:16:37,677 --> 01:16:38,969
THAT I'VE CHANGED.
1640
01:16:39,178 --> 01:16:41,721
I THINK I'VE FINALLY
FOUND THE ONE,
1641
01:16:41,931 --> 01:16:43,974
THE FIRST ONE WHO'S--
MEL--
1642
01:16:44,183 --> 01:16:46,142
I HAVE TO GO.
1643
01:16:46,310 --> 01:16:48,395
MEL, YOU CAN'T.
1644
01:16:48,604 --> 01:16:51,314
YOU DROP INTO MY LIFE
LIKE A MIRACLE.
1645
01:16:51,524 --> 01:16:53,316
YOU SAVE ME
FROM DROWNING.
1646
01:16:53,526 --> 01:16:56,486
YOU JUST CAN'T TOSS ME
BACK TO THE SHARKS.
1647
01:16:56,696 --> 01:16:58,196
MEL, I LOVE YOU.
1648
01:16:59,574 --> 01:17:01,032
OH...
1649
01:17:14,046 --> 01:17:15,547
[ELLA'S FOOTSTEPS APPROACHING]
1650
01:17:55,087 --> 01:17:56,046
ALL RIGHT?
1651
01:17:56,255 --> 01:17:57,172
DO YOU THINK
1652
01:17:57,381 --> 01:17:59,466
WE SHOULD HAVE
LEFT THIS ON?
1653
01:18:04,096 --> 01:18:04,971
TOO MUCH?
1654
01:18:05,181 --> 01:18:06,848
YEAH.
1655
01:18:07,058 --> 01:18:08,350
WHERE IS HE?
1656
01:18:08,559 --> 01:18:09,851
WHERE IS WHO?
1657
01:18:10,061 --> 01:18:11,353
J. OTTO PRANTZ.
1658
01:18:11,562 --> 01:18:14,856
HE'S AT THE CRYING
GYPSY CAFE.
1659
01:18:15,066 --> 01:18:16,650
NICK, LET'S GO.
1660
01:18:25,701 --> 01:18:28,828
HEY, DID YOU SEE
THOSE T--
1661
01:18:29,038 --> 01:18:30,747
[WOLF WHISTLE]
1662
01:18:30,956 --> 01:18:32,374
THANK YOU.
1663
01:18:32,583 --> 01:18:33,875
YOU LIKE IT?
1664
01:18:34,085 --> 01:18:35,377
YEAH.
1665
01:18:35,586 --> 01:18:36,878
IT LOOKS
LIKE SOMETHING
1666
01:18:37,088 --> 01:18:38,380
OUT OF TRAVIATA.
1667
01:18:38,589 --> 01:18:40,674
Gwynne:
ELLA.
1668
01:18:43,010 --> 01:18:43,885
LOOK.
1669
01:18:44,095 --> 01:18:45,387
OH, IT'S BEAUTIFUL.
1670
01:18:45,596 --> 01:18:46,888
HERE. DON'T LOSE IT.
1671
01:18:47,098 --> 01:18:49,891
IT'S A COPY
OF A VERY GOOD COPY.
1672
01:18:50,101 --> 01:18:51,393
WHERE'S HE TAKING YOU?
1673
01:18:51,602 --> 01:18:53,103
TO A FANCY
SOCIETY PARTY?
1674
01:18:53,312 --> 01:18:54,604
NO. WE'RE JUST
GOING DANCING--
1675
01:18:54,772 --> 01:18:56,106
JUST THE TWO OF US.
1676
01:18:56,315 --> 01:18:58,775
OH, THAT DRESS
WILL BE SO BEAUTIFUL
1677
01:18:58,984 --> 01:19:00,694
ON THE FLOOR,
WON'T IT, CARL?
1678
01:19:00,903 --> 01:19:01,695
YEAH.
1679
01:19:01,904 --> 01:19:03,613
LET'S TRY
WITH SOME MUSIC.
1680
01:19:03,823 --> 01:19:05,115
[HUMMING]
1681
01:19:05,324 --> 01:19:07,534
[MUSIC PLAYING]
1682
01:19:11,247 --> 01:19:14,124
HEY, COULDN'T I HAVE
A LITTLE MORE
1683
01:19:14,333 --> 01:19:15,625
SLOW, FOX-TROT TYPE?
1684
01:19:15,835 --> 01:19:17,127
OH, IT'S
A CHA-CHA-CHA.
1685
01:19:17,336 --> 01:19:18,628
I KNOW.
I CAN'T DO IT.
1686
01:19:18,838 --> 01:19:20,130
OH, THERE'S
NOTHING TO IT.
1687
01:19:20,339 --> 01:19:21,589
WE'LL TEACH YOU
IN TWO MINUTES.
1688
01:19:21,799 --> 01:19:23,091
COME IN THE MIDDLE.
1689
01:19:23,300 --> 01:19:24,592
WATCH MY HANDS.
1690
01:19:24,802 --> 01:19:25,635
1, 2,
CHA-CHA-CHA.
1691
01:19:25,845 --> 01:19:27,887
1, 2,
CHA-CHA-CHA.
1692
01:19:28,097 --> 01:19:29,389
1, 2,
CHA-CHA-CHA.
1693
01:19:29,598 --> 01:19:30,390
WHAT ABOUT MY FEET?
1694
01:19:30,599 --> 01:19:31,558
LIKE THIS.
1695
01:19:31,767 --> 01:19:33,143
1, 2,
CHA-CHA-CHA.
1696
01:19:33,352 --> 01:19:35,228
1, 2,
CHA-CHA-CHA.
1697
01:19:35,438 --> 01:19:37,147
1, 2,
CHA-CHA-CHA.
1698
01:19:37,356 --> 01:19:39,149
Together:
1, 2, CHA-CHA-CHA.
1699
01:19:39,358 --> 01:19:40,775
A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1700
01:19:40,985 --> 01:19:42,610
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1701
01:19:42,820 --> 01:19:44,320
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1702
01:19:44,530 --> 01:19:46,156
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1703
01:19:46,365 --> 01:19:48,324
AND A-ONE--
1704
01:19:48,534 --> 01:19:49,826
SNEAKS.
1705
01:19:50,035 --> 01:19:51,327
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1706
01:19:51,495 --> 01:19:53,079
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1707
01:19:53,289 --> 01:19:54,831
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA.
1708
01:19:55,040 --> 01:19:56,332
I GOT IT!
1709
01:19:56,542 --> 01:19:58,001
WHOA. LET'S GO.
1710
01:19:58,169 --> 01:19:59,002
A-ONE, TWO.
1711
01:19:59,211 --> 01:20:00,003
CHA-CHA-CHA!
1712
01:20:00,212 --> 01:20:01,004
A-ONE, TWO.
1713
01:20:01,213 --> 01:20:02,005
CHA-CHA-CHA.
1714
01:20:02,214 --> 01:20:03,006
ACROSS.
1715
01:20:03,215 --> 01:20:04,007
CHA-CHA-CHA.
1716
01:20:04,216 --> 01:20:05,008
ACROSS.
1717
01:20:05,217 --> 01:20:06,593
CHA-CHA-CHA.
1718
01:20:07,970 --> 01:20:09,846
SKIP AND A-SKIP
TO THE BARBERSHOP.
1719
01:20:10,055 --> 01:20:12,932
YES-HOT-CHA,
HOT-CHA-CHA, CHA-CHA.
1720
01:20:14,477 --> 01:20:15,852
CHA-CHA-CHA.
1721
01:20:16,061 --> 01:20:17,353
CHA-CHA-CHA.
1722
01:20:17,563 --> 01:20:19,355
CHA-CHA-CHA?
1723
01:20:19,565 --> 01:20:20,857
CHA-CHA-CHA.
1724
01:20:21,066 --> 01:20:22,942
FOLLOW ME.
1725
01:20:24,487 --> 01:20:26,446
HERE I COME.
1726
01:20:27,990 --> 01:20:29,866
COME A LITTLE
CLOSER,
1727
01:20:30,075 --> 01:20:32,452
THEN
A LITTLE CLOSER.
1728
01:20:33,996 --> 01:20:35,288
[SMACK]
1729
01:20:46,342 --> 01:20:47,550
A-ONE AND A-TWO
AND A-CHA-CHA-CHA,
1730
01:20:47,760 --> 01:20:49,052
AND A-ONE AND A-TWO
AND A-CHA-CHA-CHA,
1731
01:20:49,261 --> 01:20:50,720
AND A-ONE AND A-TWO
AND CHA-CHA-CHA,
1732
01:20:50,930 --> 01:20:52,388
AND A-ONE AND A-TWO
AND A-MMM-MMM-MMM.
1733
01:20:52,598 --> 01:20:55,058
I JUST LEARNED THIS.
I DON'T WANT TO LOSE IT.
1734
01:20:55,267 --> 01:20:56,392
HELLO.
1735
01:20:56,560 --> 01:20:57,977
HELLO.
1736
01:20:59,355 --> 01:21:00,897
DON'T YOU WANT TO HEAR
THE GOOD NEWS?
1737
01:21:01,106 --> 01:21:02,232
YEAH.
1738
01:21:02,441 --> 01:21:05,235
LARRY LOVED ALL THE STUFF
I THREW AT HIM.
1739
01:21:05,444 --> 01:21:06,903
GOOD, GOOD,
GOOD, GOOD, GOOD!
1740
01:21:07,112 --> 01:21:08,988
YEAH, YEAH,
DUM, DUM, DUM!
1741
01:21:11,534 --> 01:21:13,993
COME HERE. I WANT
TO SHOW YOU SOMETHING.
1742
01:21:16,038 --> 01:21:17,413
IT'S A LITTLE
OLD BRIDGE
1743
01:21:17,623 --> 01:21:19,916
THAT I WHIPPED UP FOR
YOU ON MY ERECTOR SET.
1744
01:21:20,125 --> 01:21:21,417
OH, YOU SHOULDN'T
HAVE DONE IT.
1745
01:21:21,585 --> 01:21:22,919
OH, IT WAS NOTHING.
1746
01:21:23,128 --> 01:21:24,420
YOU KNOW,
LARRY THINKS
1747
01:21:24,630 --> 01:21:26,589
THAT WE CAN SET UP
A REHEARSAL DATE,
1748
01:21:26,799 --> 01:21:28,424
AND YOU KNOW
OUR HOLLYWOOD STAR
1749
01:21:28,634 --> 01:21:29,509
KATHERINE ARNOLD?
1750
01:21:29,718 --> 01:21:30,426
SHE'S REALLY
DIGGING IN TO STAY.
1751
01:21:30,636 --> 01:21:31,928
OH, WONDERFUL.
1752
01:21:32,137 --> 01:21:33,763
AND LARRY'S HAVING
A FEW PEOPLE OVER
1753
01:21:33,973 --> 01:21:36,432
FOR A PARTY, AND I
SAID WE'D DROP IN.
1754
01:21:36,600 --> 01:21:37,600
OH, NO!
1755
01:21:37,810 --> 01:21:39,936
WELL, IT'S FOR
LARRY. I HAVE TO.
1756
01:21:40,145 --> 01:21:41,437
HE LIVES
RIGHT OVER HERE.
1757
01:21:41,605 --> 01:21:43,606
WE'LL JUST DROP IN,
AND WE'LL LEAVE.
1758
01:21:43,816 --> 01:21:44,941
OVER WHERE?
1759
01:21:45,150 --> 01:21:46,943
OVER HERE. COME ON.
I'LL SHOW YOU.
1760
01:21:47,152 --> 01:21:48,528
COME ON. ATTA GIRL.
1761
01:21:50,030 --> 01:21:51,364
HERE YOU ARE.
COME ON,
1762
01:21:51,574 --> 01:21:52,866
UP, RIGHT UP HERE.
1763
01:21:55,244 --> 01:21:56,119
YOU CAN'T GET
THROUGH HERE.
1764
01:21:56,328 --> 01:21:58,413
THIS IS
A PRIVATE PARK.
1765
01:21:58,622 --> 01:22:00,123
ONLY THE PEOPLE
THAT LIVE HERE HAVE KEYS.
1766
01:22:00,332 --> 01:22:02,292
WE'VE GOT TO GO ALL THE WAY
AROUND TO THE FRONT ENTRANCE.
1767
01:22:02,501 --> 01:22:03,793
OH, NO.
1768
01:22:04,003 --> 01:22:05,795
WHAT'S THE MATTER?
1769
01:22:06,005 --> 01:22:08,798
I DON'T KNOW ANY
OF THOSE FAMOUS PEOPLE.
1770
01:22:09,008 --> 01:22:10,633
SO YOU'LL MEET THEM.
1771
01:22:10,843 --> 01:22:12,218
I DON'T WANT TO.
1772
01:22:14,555 --> 01:22:17,932
WELL, I MET ALL YOUR FRIENDS
OUT IN THE STREET.
1773
01:22:18,142 --> 01:22:19,934
DON'T BE SUCH A SNOB.
1774
01:22:20,144 --> 01:22:22,437
UH, IS THIS
ALL RIGHT? HA HA!
1775
01:22:22,646 --> 01:22:23,897
IT'S MAGNIFICENT...
1776
01:22:24,106 --> 01:22:25,899
NO, IT'S NOT.
1777
01:22:26,108 --> 01:22:28,401
LIKE SOMETHING
OUT OF LA TRAVIATA.
1778
01:22:28,611 --> 01:22:30,904
OH, YOU'RE
BEAUTIFUL.
1779
01:22:31,113 --> 01:22:32,405
ANYWAY,
IT'S YOUR FAULT
1780
01:22:32,615 --> 01:22:34,908
WE HAVE TO GO
TO A PARTY.
1781
01:22:35,117 --> 01:22:37,410
YOU KNOW, IF
I HADN'T FOUND YOU
1782
01:22:37,620 --> 01:22:38,912
CRAWLING AROUND
ON MY FLOOR,
1783
01:22:39,121 --> 01:22:40,914
I WOULDN'T BE
INVITED ANYPLACE.
1784
01:22:41,123 --> 01:22:42,415
I'D JUST BE RESTING
COMFORTABLY
1785
01:22:42,625 --> 01:22:43,917
FACEDOWN
IN THE GUTTER.
1786
01:22:44,126 --> 01:22:45,251
REMEMBER?
1787
01:22:45,461 --> 01:22:47,587
BUT I THOUGHT WE WERE
GOING TO GO DANCING,
1788
01:22:47,796 --> 01:22:49,088
JUST THE TWO OF US.
1789
01:22:49,298 --> 01:22:50,590
ALL RIGHT,
LET'S DANCE.
1790
01:22:50,799 --> 01:22:51,925
WHERE?
1791
01:22:52,134 --> 01:22:53,092
RIGHT HERE.
1792
01:22:53,302 --> 01:22:54,427
IN THE PARK?
1793
01:22:54,637 --> 01:22:56,429
NO GUTS?
OH, COME ON.
1794
01:22:56,639 --> 01:22:57,847
AAH! STOP IT.
1795
01:22:58,057 --> 01:22:59,349
AHH...
1796
01:22:59,558 --> 01:23:01,351
DON'T YOU LIKE
DANCING?
1797
01:23:01,560 --> 01:23:03,436
I LOVE IT.
1798
01:23:11,487 --> 01:23:14,197
♪♪ JUST IN TIME ♪♪
1799
01:23:14,406 --> 01:23:18,201
♪♪ I FOUND YOU
JUST IN TIME ♪♪
1800
01:23:18,410 --> 01:23:22,038
♪♪ BEFORE YOU CAME,
MY TIME ♪♪
1801
01:23:22,247 --> 01:23:25,959
♪♪ WAS RUNNIN' LOW ♪♪
1802
01:23:27,670 --> 01:23:30,046
♪♪ I WAS LOST ♪♪
1803
01:23:30,255 --> 01:23:34,050
♪♪ THE LOSIN' DICE
WERE TOSSED ♪♪
1804
01:23:34,259 --> 01:23:38,221
♪♪ MY BRIDGES
ALL WERE CROSSED ♪♪
1805
01:23:38,389 --> 01:23:42,308
♪♪ NOWHERE TO GO ♪♪
1806
01:23:43,686 --> 01:23:46,229
♪♪ NOW YOU'RE HERE ♪♪
1807
01:23:46,438 --> 01:23:50,733
♪♪ AND NOW I KNOW
JUST WHERE I'M GOIN' ♪♪
1808
01:23:50,943 --> 01:23:54,070
♪♪ NO MORE DOUBT
OR FEAR ♪♪
1809
01:23:54,279 --> 01:23:57,907
♪♪ I'VE FOUND
MY WAY ♪♪
1810
01:23:58,117 --> 01:24:02,245
♪♪ FOR LOVE CAME
JUST IN TIME ♪♪
1811
01:24:02,454 --> 01:24:06,249
♪♪ YOU FOUND ME
JUST IN TIME ♪♪
1812
01:24:06,458 --> 01:24:09,252
♪♪ AND CHANGED
MY LONELY LIFE ♪♪
1813
01:24:09,461 --> 01:24:13,923
♪♪ THAT LOVELY DAY ♪♪
1814
01:24:14,133 --> 01:24:15,508
[APPLAUSE]
1815
01:24:20,556 --> 01:24:21,931
HEY, YOU KIDS
1816
01:24:22,141 --> 01:24:23,433
MUST BE
PROFESSIONALS!
1817
01:24:23,642 --> 01:24:25,685
AH, YOU BEEN PEEKING,
YOU LITTLE RASCAL.
1818
01:24:25,894 --> 01:24:27,186
OH, SHALL WE
SHOW THEM
1819
01:24:27,396 --> 01:24:29,689
THAT LITTLE ACT
WE USED TO DO IN CHICAGO?
1820
01:24:29,898 --> 01:24:30,857
WHERE?
1821
01:24:31,066 --> 01:24:32,859
AT THE STOCKYARDS.
ARE YOU READY?
1822
01:24:33,068 --> 01:24:34,444
LET'S
SLAUGHTER THEM.
1823
01:24:37,406 --> 01:24:39,866
MY PARTNER,
MELISANDE SCOTT.
1824
01:24:41,410 --> 01:24:43,286
NOTHING AT ALL.
1825
01:24:43,495 --> 01:24:46,789
WATCH THE ARM.
IT ONLY BENDS ONE WAY.
1826
01:24:46,999 --> 01:24:49,792
TEA FOR TWO
AND TWO FOR TEA.
1827
01:24:50,002 --> 01:24:51,294
2, 4--
1828
01:24:51,503 --> 01:24:52,795
WHERE YOU GOING?
1829
01:24:53,005 --> 01:24:54,797
OVER HERE
ON THE OTHER FOOT.
1830
01:24:55,007 --> 01:24:56,549
WAIT FOR ME.
1831
01:25:33,962 --> 01:25:37,298
OOH, LET'S NOT GIVE THEM
EVERYTHING, OK?
1832
01:25:37,508 --> 01:25:38,341
ALL RIGHT.
ALL RIGHT.
1833
01:25:38,550 --> 01:25:39,342
ALL RIGHT.
ALL RIGHT.
1834
01:25:39,551 --> 01:25:41,010
OK.
OK.
1835
01:25:42,137 --> 01:25:43,638
♪♪ JUST IN TIME ♪♪
1836
01:25:43,847 --> 01:25:45,348
♪♪ A DOO, DEE DOO,
DEE DOO, DEE DOO DOO ♪♪
1837
01:25:45,557 --> 01:25:47,517
♪♪ YOU FOUND ME
JUST IN TIME ♪♪
1838
01:25:47,726 --> 01:25:49,685
♪♪ A DOO, DEE DOO,
DEE DOO, DEE DOO DOO ♪♪
1839
01:25:49,895 --> 01:25:51,687
♪♪ BEFORE YOU CAME,
MY TIME ♪♪
1840
01:25:51,855 --> 01:25:52,939
♪♪ A DOO DOO ♪♪
1841
01:25:53,148 --> 01:25:54,273
♪♪ WAS RUNNIN'-- ♪♪
1842
01:25:54,483 --> 01:25:56,150
♪♪ THIS ACT COULD
PLAY THE PALLADIUM ♪♪
1843
01:25:56,360 --> 01:25:58,486
♪♪ OR EVEN
THE YANKEE STADIUM ♪♪
1844
01:25:58,695 --> 01:25:59,821
♪♪ I WAS LOST ♪♪
1845
01:26:00,030 --> 01:26:01,155
♪♪ HE WAS LOST ♪♪
1846
01:26:01,365 --> 01:26:03,991
♪♪ THE LOSIN' DICE
WERE TOSSED ♪♪
1847
01:26:04,201 --> 01:26:05,201
♪♪ THEY WERE TOSSED ♪♪
1848
01:26:05,410 --> 01:26:07,995
♪♪ MY BRIDGES
ALL WERE CROSSED ♪♪
1849
01:26:08,205 --> 01:26:09,497
♪♪ THEY WERE CROSSED ♪♪
1850
01:26:09,706 --> 01:26:12,291
♪♪ NOWHERE TO GO ♪♪
1851
01:26:12,501 --> 01:26:15,002
Audience:
♪♪ OH, MY DARLING ♪♪
1852
01:26:15,212 --> 01:26:17,630
♪♪ NOW YOU'RE HERE ♪♪
1853
01:26:17,840 --> 01:26:22,301
♪♪ AND NOW I KNOW
JUST WHERE I'M GOING ♪♪
1854
01:26:22,511 --> 01:26:25,805
♪♪ NEVER A DOUBT
OR FEAR ♪♪
1855
01:26:26,014 --> 01:26:37,817
♪♪ NOW I'M ON MY WAY ♪♪
1856
01:26:38,026 --> 01:26:44,157
♪♪ FOR LOVE CAME
JUST IN TIME ♪♪
1857
01:26:44,366 --> 01:26:45,658
♪♪ IN TIME ♪♪
1858
01:26:45,868 --> 01:26:47,160
♪♪ YOU FOUND ME ♪♪
1859
01:26:47,369 --> 01:26:50,246
♪♪ JUST IN TIME ♪♪
1860
01:26:50,455 --> 01:26:57,086
♪♪ AND CHANGED MY LONELY LIFE
THAT LOVELY DAY ♪♪
1861
01:26:57,296 --> 01:26:59,589
Audience: ♪♪ DOO DOO,
DOO DOO, DOO DOO, DOO DOO ♪♪
1862
01:26:59,798 --> 01:27:00,923
♪♪ JUST IN TIME ♪♪
1863
01:27:01,133 --> 01:27:03,426
♪♪ DOO DOO, DOO DOO,
DOO DOO, DOO DOO ♪♪
1864
01:27:03,635 --> 01:27:04,760
♪♪ JUST IN TIME ♪♪
1865
01:27:04,970 --> 01:27:09,182
♪♪ JUST IN TIME ♪♪
1866
01:27:17,649 --> 01:27:18,900
[RINGS DOORBELL]
1867
01:27:19,109 --> 01:27:22,278
OH, NO. PLEASE, I CAN'T.
CAN'T WE WAIT AWHILE?
1868
01:27:22,487 --> 01:27:24,113
NO. WE'LL JUST GO IN
FOR FIVE MINUTES--
1869
01:27:24,323 --> 01:27:25,615
JUST SO I SHOW
MY FACE.
1870
01:27:25,824 --> 01:27:26,949
BUT I FEEL SICK.
1871
01:27:27,159 --> 01:27:28,451
LOOK, WE'LL HAVE
A NICE FRIED GLASS
1872
01:27:28,619 --> 01:27:29,785
OF MUSKRAT JUICE.
1873
01:27:29,995 --> 01:27:31,787
WE'LL DASH OUR GLASSES
INTO THE FIREPLACE.
1874
01:27:31,955 --> 01:27:33,789
NO ONE WILL EVEN KNOW
WE'VE BEEN THERE.
1875
01:27:33,999 --> 01:27:35,124
I DON'T BELONG
IN THERE.
1876
01:27:35,292 --> 01:27:36,792
HONEY,
YOU'RE WORTH MORE TO ME
1877
01:27:36,960 --> 01:27:38,794
THAN ALL THESE PEOPLE
IN THE WHOLE CITY
1878
01:27:39,004 --> 01:27:40,129
PUT TOGETHER,
ALL RIGHT?
1879
01:27:40,297 --> 01:27:41,297
[RING]
1880
01:27:41,506 --> 01:27:42,298
[GROAN]
1881
01:27:42,507 --> 01:27:43,633
IT'S JUST
A LITTLE PARTY.
1882
01:27:43,842 --> 01:27:45,968
I WANT YOU TO MEET A FEW
PEOPLE, THAT'S ALL.
1883
01:27:48,263 --> 01:27:49,722
GOOD EVENING,
MR. MOSS.
1884
01:27:49,932 --> 01:27:51,349
GOOD EVENING, DENNIS.
1885
01:27:55,270 --> 01:27:57,313
IT'S QUIET IN HERE.
1886
01:27:57,522 --> 01:27:59,482
I THINK THAT--
WHERE IS EVERYBODY?
1887
01:27:59,691 --> 01:28:01,651
THIS PLACE WAS JUMPING
A FEW MINUTES AGO.
1888
01:28:01,860 --> 01:28:02,985
I'LL TELL MR. HASTINGS
YOU'RE HERE.
1889
01:28:03,195 --> 01:28:04,612
THANK YOU.
JEFF--
1890
01:28:04,821 --> 01:28:06,489
I'VE GOT TO
TELL YOU SOMETHING.
1891
01:28:06,698 --> 01:28:09,992
I'VE GOT TO TELL YOU
SOMETHING.
1892
01:28:10,202 --> 01:28:11,911
OH, IT'S SO HARD.
1893
01:28:13,622 --> 01:28:16,666
I'M--I'M NOT
AN OLD LADY.
1894
01:28:16,875 --> 01:28:18,000
THAT'S FUNNY.
I THOUGHT YOU WERE
1895
01:28:18,210 --> 01:28:19,752
WHISTLER'S MOTHER.
1896
01:28:19,962 --> 01:28:21,254
NO. YOU DON'T--
1897
01:28:21,463 --> 01:28:22,296
HI, JEFF.
1898
01:28:22,506 --> 01:28:24,006
OH, HI, LARR!
COME HERE.
1899
01:28:24,216 --> 01:28:26,175
MEET THE
MELISANDE SCOTT.
1900
01:28:26,385 --> 01:28:27,510
LARRY HASTINGS.
1901
01:28:27,719 --> 01:28:30,263
OH, SO YOU'RE HIS LITTLE
MIRACLE WORKER, EH?
1902
01:28:30,472 --> 01:28:31,264
HOW DO YOU DO?
1903
01:28:31,473 --> 01:28:32,640
AFTER THE CHANGE
IN HIM,
1904
01:28:32,849 --> 01:28:34,016
I FIGURED YOU MUST BE
SOME SORT OF A MAGICIAN.
1905
01:28:34,226 --> 01:28:38,271
OH. HA HA! THIS IS
A BEAUTIFUL HOUSE.
1906
01:28:38,480 --> 01:28:39,689
THANK YOU.
1907
01:28:39,898 --> 01:28:41,357
YOU KNOW, THIS IS
THE FIRST TIME WE'VE MET,
1908
01:28:41,566 --> 01:28:43,025
BUT THERE'S SOMETHING
VERY FAMILIAR ABOUT YOU--
1909
01:28:43,235 --> 01:28:44,193
SOMETHING FAMILIAR
IN THE TONE
1910
01:28:44,403 --> 01:28:45,528
OF YOUR VOICE, MAYBE.
1911
01:28:45,737 --> 01:28:47,113
NO, OF COURSE NOT.
1912
01:28:47,322 --> 01:28:49,699
I GUESS IT'S JUST THAT JEFF'S
TALKED ABOUT YOU SO MUCH.
1913
01:28:49,908 --> 01:28:51,033
[THINKING]
YOU'VE GOT TO TELL HIM.
1914
01:28:51,243 --> 01:28:52,118
YOU'VE GOT TO TELL HIM!
1915
01:28:52,327 --> 01:28:53,619
WHERE ARE
THE PEOPLE, LARRY?
1916
01:28:53,829 --> 01:28:55,037
WHAT PEOPLE?
1917
01:28:55,247 --> 01:28:56,038
YEAH, PEOPLE.
1918
01:28:56,248 --> 01:28:57,540
AH...PEOPLE!
1919
01:28:57,749 --> 01:28:59,041
SURPRISE!
1920
01:28:59,251 --> 01:29:01,127
[ALL SHOUTING AT ONCE]
1921
01:29:03,005 --> 01:29:04,630
SURPRISE!
1922
01:29:05,799 --> 01:29:07,675
QUIET, QUIET, QUIET,
EVERYBODY!
1923
01:29:07,884 --> 01:29:09,677
JEFF, THIS PARTY'S
FOR YOU!
1924
01:29:09,886 --> 01:29:11,178
LADIES AND GENTLEMEN,
1925
01:29:11,388 --> 01:29:13,180
I GIVE YOU
SIR JEFFREY MOSS--
1926
01:29:13,390 --> 01:29:14,473
SOLDIER, STATESMAN,
1927
01:29:14,683 --> 01:29:16,017
AND THE AUTHOR
OF THE MIDAS TOUCH!
1928
01:29:16,226 --> 01:29:19,061
THEY SAID IT COULDN'T BE DONE,
BUT HE DID IT!
1929
01:29:19,271 --> 01:29:20,187
HIP, HIP, HOORAY!
1930
01:29:20,397 --> 01:29:21,522
MEL, I'M SORRY.
1931
01:29:21,732 --> 01:29:22,565
WE HAVE TO STAY HERE
A LITTLE WHILE.
1932
01:29:22,774 --> 01:29:24,191
WE'RE STUCK.
1933
01:29:24,401 --> 01:29:25,568
I KNOW.
IT'S ALL RIGHT.
1934
01:29:25,777 --> 01:29:27,570
LARRY, THIS IS BEAUTIFUL.
I'M JUST--
1935
01:29:27,779 --> 01:29:29,071
JEFFREY, DARLING!
1936
01:29:29,281 --> 01:29:31,073
I'M SO HAPPY FOR YOU!
1937
01:29:31,283 --> 01:29:33,075
OH, I WISH YOU ALL--
1938
01:29:33,285 --> 01:29:35,578
MEL, MRS. BRUBACHER.
MELISANDE SCOTT.
1939
01:29:35,787 --> 01:29:38,664
JEFF, DARLING,
I KNEW YOU COULD DO IT!
1940
01:29:40,167 --> 01:29:42,668
UH, MELISANDE SCOTT,
MRS. HOFFENSTEIN.
1941
01:29:42,878 --> 01:29:46,172
JEFF, DARLING,
DARLING, DARLING!
1942
01:29:46,381 --> 01:29:49,175
IT JUST COULDN'T BE
MORE WONDERFUL.
1943
01:29:49,384 --> 01:29:51,510
MAY I PRESENT
1944
01:29:51,720 --> 01:29:54,180
MRS. FORTESCU.
MELISANDE SCOTT.
1945
01:29:54,389 --> 01:29:56,682
HE'S SUCH
A PRECIOUS LAMB.
1946
01:29:56,892 --> 01:30:00,686
HE FINISHED THE PLAY
LIKE A BIG BOY,
1947
01:30:00,896 --> 01:30:04,690
AND HE DID IT
ALL BY HIMSELF.
1948
01:30:04,900 --> 01:30:06,692
[LAUGHTER]
1949
01:30:06,902 --> 01:30:11,113
OH, MRS. HAMHOCKER,
MELISANDE SCOTT.
1950
01:30:11,323 --> 01:30:12,615
Woman:
AH, CONGRATULATIONS.
1951
01:30:12,824 --> 01:30:14,200
[ALL TALKING AT ONCE]
1952
01:30:17,329 --> 01:30:19,205
GUESS WHO.
1953
01:30:19,414 --> 01:30:22,708
HOW COULD I EVER FORGET
THAT PERFUME?
1954
01:30:22,918 --> 01:30:24,210
UH, PRESIDENT...
1955
01:30:24,419 --> 01:30:26,212
UM, MILLARD FILLMORE!
1956
01:30:26,421 --> 01:30:27,630
DARLING!
1957
01:30:27,839 --> 01:30:29,131
KATIE!
1958
01:30:29,341 --> 01:30:30,132
DARLING,
DARLING.
1959
01:30:30,342 --> 01:30:31,634
OH, MELISANDE SCOTT,
1960
01:30:31,843 --> 01:30:33,719
MEET OUR STAR
KATHERINE ARNOLD.
1961
01:30:33,929 --> 01:30:35,054
HOW DO YOU DO?
1962
01:30:35,263 --> 01:30:36,972
HOW DO YOU DO?
JEFF, I CAME IN
1963
01:30:37,182 --> 01:30:38,474
ON THE PLANE
WITH CARY,
1964
01:30:38,683 --> 01:30:39,558
AND EVERYONE
SENDS LOVE.
1965
01:30:39,768 --> 01:30:40,726
CARY GRANT.
1966
01:30:40,936 --> 01:30:42,728
TONY AND JANET
AND FRANKIE--
1967
01:30:42,938 --> 01:30:44,146
TONY CURTIS,
JANET LEIGH...
1968
01:30:44,356 --> 01:30:45,648
AND DAVID
AND JENNIFER--
1969
01:30:45,857 --> 01:30:47,733
DAVID SELZNICK
AND JENNIFER JONES.
1970
01:30:50,946 --> 01:30:53,322
LARRY, DARLING,
WHAT A TURNOUT.
1971
01:30:53,532 --> 01:30:54,573
IT'S AMAZING.
1972
01:30:54,783 --> 01:30:57,243
WHY, EVERYBODY IN TOWN'S
HERE TONIGHT!
1973
01:30:57,452 --> 01:30:58,828
I SUPPOSE
MARY AND ETHEL
1974
01:30:59,037 --> 01:31:01,455
WILL BE STOPPING BY
AFTER THE SHOW.
1975
01:31:01,665 --> 01:31:03,332
MARY AND ETHEL WHO?
1976
01:31:03,542 --> 01:31:05,751
WHY, MARY MARTIN
AND ETHEL MERMAN.
1977
01:31:05,961 --> 01:31:08,671
I JUST LEFT HEDY
AND CHARLIE AND DOTTY.
1978
01:31:08,880 --> 01:31:10,673
THEY'LL BE HERE LATER.
1979
01:31:10,882 --> 01:31:12,007
YEAH, YEAH.
1980
01:31:12,217 --> 01:31:14,343
OH, OH, THAT'S
HEDY LAMARR,
1981
01:31:14,553 --> 01:31:16,011
CHARLIE LeMAIRE,
DOTTY LAMOUR.
1982
01:31:16,221 --> 01:31:17,346
THANK YOU.
1983
01:31:17,556 --> 01:31:20,349
LARRY, MOSS HAS
A BEAUTIFUL IDEA FOR DIRECTOR.
1984
01:31:20,517 --> 01:31:22,852
EXCUSE US, DARLING.
COME AND TALK TO HIM.
1985
01:31:23,061 --> 01:31:24,019
I'M SORRY.
I'LL BE RIGHT BACK.
1986
01:31:26,314 --> 01:31:28,107
[GLASSES SHATTER]
1987
01:31:30,068 --> 01:31:31,527
[PEOPLE CHATTERING]
1988
01:31:53,133 --> 01:31:54,508
Woman:
I HAVEN'T SEEN
1989
01:31:54,718 --> 01:31:56,010
ANYTHING
SO SHATTERING
1990
01:31:56,219 --> 01:31:59,221
SINCE THE ARMORY SHOW
OF 1913.
1991
01:31:59,431 --> 01:32:00,723
HIS NAME IS
KAYOPA DOCHANEY,
1992
01:32:00,932 --> 01:32:03,726
AND EVERY CANVAS
IS AT LEAST 20 x 20,
1993
01:32:03,894 --> 01:32:06,729
AND I SAY IF YOU DON'T HAVE
THE WALL SPACE FOR IT,
1994
01:32:06,938 --> 01:32:08,898
THEN JUST MOVE
AND GET YOURSELF A PLACE
1995
01:32:09,107 --> 01:32:10,232
WITH THE WALL SPACE.
1996
01:32:10,442 --> 01:32:12,234
YOU'LL NEVER REGRET IT,
MY DEAR.
1997
01:32:12,444 --> 01:32:14,904
THEY'RE THE MOST ABSOLUTE
RIOT OF COLOR, MY DEAR,
1998
01:32:15,113 --> 01:32:17,740
AND THEY'RE ALL TANS
AND PLUMS AND OLIVES,
1999
01:32:17,949 --> 01:32:20,242
AND THEY'RE ALL
PICTURES OF EYES--
2000
01:32:20,452 --> 01:32:23,245
OPEN EYES, CLOSED EYES,
BLINKING EYES,
2001
01:32:23,455 --> 01:32:24,747
CROSSED EYES,
EYES CRYING--
2002
01:32:24,956 --> 01:32:26,248
JUST EYES,
EYES, EYES!
2003
01:32:26,458 --> 01:32:27,708
MARVELOUS!
2004
01:32:27,918 --> 01:32:29,084
HE'S THE FIRST ABSOLUTE
GENIUS I'VE SEEN SINCE...
2005
01:32:29,294 --> 01:32:30,753
[ELLA TEARS FABRIC]
2006
01:32:30,962 --> 01:32:33,214
...IN THE SOUTH
OF FRANCE.
2007
01:32:33,423 --> 01:32:34,715
I DON'T KNOW WHAT YOUR
SPECIFICATIONS ARE.
2008
01:32:34,925 --> 01:32:36,050
WAIT A MINUTE, JEFF!
2009
01:32:36,259 --> 01:32:37,718
THIS IS IMPORTANT.
IT'S A LONDON CALL.
2010
01:32:37,928 --> 01:32:39,261
WE'VE GOT TO GET THIS
STRAIGHTENED OUT.
2011
01:32:39,471 --> 01:32:40,763
HE'S A HACK.
LET'S FACE IT.
2012
01:32:40,972 --> 01:32:42,264
WITHOUT JEFF,
NONE OF THOSE PLAYS
2013
01:32:42,474 --> 01:32:44,099
WOULD HAVE EVER
GOTTEN OFF THE GROUND.
2014
01:32:44,309 --> 01:32:46,101
JEFF HAS THE BRILLIANCE,
THE FLAIR, THE WIT--
2015
01:32:46,311 --> 01:32:47,436
A WONDERFUL EAR!
2016
01:32:47,646 --> 01:32:48,938
AH, THAT'S IT.
THAT'S THE DIFFERENCE.
2017
01:32:49,147 --> 01:32:50,105
A WONDERFUL EAR.
EITHER YOU HAVE IT,
2018
01:32:50,315 --> 01:32:51,941
OR YOU DON'T.
YOU NEVER ACQUIRE IT.
2019
01:32:52,150 --> 01:32:53,275
YOU'VE GOT TO BE
BORN WITH IT.
2020
01:32:53,485 --> 01:32:54,610
AH, WHAT
A BEAUTIFUL TALENT.
2021
01:32:54,819 --> 01:32:56,237
AND WHAT A GREAT
HUMAN BEING.
2022
01:32:56,446 --> 01:32:57,738
I AGREE WITH YOU.
2023
01:32:57,948 --> 01:32:59,240
TAKE IT DOWNSTAIRS!
2024
01:32:59,449 --> 01:33:00,574
IT'S SIMPLY
FANTASTIC!
2025
01:33:00,784 --> 01:33:02,368
HANG UP
WHEN WE GET DOWNSTAIRS!
2026
01:33:02,577 --> 01:33:05,329
NOW, LOOK, WE'VE GOT TO
GET THIS STRAIGHTENED OUT!
2027
01:33:09,084 --> 01:33:13,003
TIME ME, AND I'LL BE BACK
IN 30 SECONDS FLAT!
2028
01:33:15,882 --> 01:33:18,342
WHAT IS THAT?
2029
01:33:19,886 --> 01:33:21,845
WHAT IS WHAT?
2030
01:33:23,390 --> 01:33:25,266
I STILL DON'T THINK
IT'S A PLAY
2031
01:33:25,475 --> 01:33:26,642
FOR A BRITISH
DIRECTOR.
2032
01:33:26,851 --> 01:33:28,561
WELL, IT WAS THE BIG
NIGHT OF MY LIFE.
2033
01:33:28,770 --> 01:33:29,562
MARY AND ETHEL
JUST REMINISCED
2034
01:33:29,771 --> 01:33:31,480
FOR HOURS AND HOURS.
2035
01:33:31,690 --> 01:33:32,982
MARY MARTIN
AND ETHEL MERMAN?
2036
01:33:33,191 --> 01:33:35,484
NO, MARY ASTOR
AND ETHEL WATERS.
2037
01:33:35,694 --> 01:33:36,986
OH.
2038
01:33:37,195 --> 01:33:38,487
HAVING FUN?
2039
01:33:38,697 --> 01:33:39,947
WHAT A WONDERFUL
EVENING.
2040
01:33:40,156 --> 01:33:40,948
I REMEMBER IT
AS IF
2041
01:33:41,157 --> 01:33:42,116
IT WERE
YESTERDAY.
2042
01:33:42,325 --> 01:33:43,993
EVERYONE IN THE ROOM
HAD BEEN A STAR
2043
01:33:44,202 --> 01:33:45,995
FOR AT LEAST
50 YEARS OR MORE.
2044
01:33:46,204 --> 01:33:48,998
MARY AND ETHEL NEVER
LOOKED MORE RADIANT.
2045
01:33:49,207 --> 01:33:51,000
MARY ASTOR
AND ETHEL WATERS?
2046
01:33:51,209 --> 01:33:53,002
NO, MARY PICKFORD
AND ETHEL BARRYMORE.
2047
01:33:53,211 --> 01:33:54,587
IT'S A LITTLE CONFUSING,
ISN'T IT?
2048
01:33:54,796 --> 01:33:56,505
NOW, DON'T YOU
LET IT THROW YOU.
2049
01:33:56,715 --> 01:33:58,507
YOU JUST DO WHAT
EVERYBODY ELSE DOES--
2050
01:33:58,717 --> 01:34:00,009
DROP A NAME,
RIGHT, KATIE?
2051
01:34:00,218 --> 01:34:01,010
RIGHT! FRANK!
2052
01:34:01,219 --> 01:34:02,177
SINATRA!
2053
01:34:02,387 --> 01:34:03,178
ALBERT!
SCHWEITZER!
2054
01:34:03,388 --> 01:34:04,179
INGRID!
BERGMAN!
2055
01:34:04,389 --> 01:34:05,180
NOEL!
COWARD!
2056
01:34:05,390 --> 01:34:06,348
GENE!
KELLY!
2057
01:34:06,558 --> 01:34:07,349
OSCAR!
LEVANT!
2058
01:34:07,559 --> 01:34:09,184
♪♪ LA LA, LA LA,
LA LA ♪♪
2059
01:34:09,394 --> 01:34:11,520
♪♪ BRIGITTE BARDOT
AND JEAN COCTEAU ♪♪
2060
01:34:11,730 --> 01:34:13,522
♪♪ MARILYN MONROE,
VINCENTE MINNELLI ♪♪
2061
01:34:13,732 --> 01:34:15,524
♪♪ FRED ASTAIRE
AND RENE CLAIR ♪♪
2062
01:34:15,734 --> 01:34:17,693
♪♪ JOSE FERRER,
THE FORMER GRACE KELLY ♪♪
2063
01:34:17,902 --> 01:34:19,528
♪♪ LYNN FONTANNE
AND DANNY MANN ♪♪
2064
01:34:19,738 --> 01:34:21,196
♪♪ AND DEBORAH KERR ♪♪
2065
01:34:21,406 --> 01:34:22,698
♪♪ IRVING BERLIN... ♪♪
2066
01:34:22,907 --> 01:34:25,075
♪♪ AND RIN-TIN-TIN ♪♪
2067
01:34:26,119 --> 01:34:29,872
♪♪ DANNY KAYE AND DORIS DAY
AND PASTERNAK ♪♪
2068
01:34:30,081 --> 01:34:34,043
♪♪ HEMINGWAY AND PRINCE RAINIER,
MORAN & MACK ♪♪
2069
01:34:34,252 --> 01:34:37,713
♪♪ IRWIN SHAW AND EVELYN WAUGH
AND CARY GRANT ♪♪
2070
01:34:37,922 --> 01:34:39,214
♪♪ RORY CALHOUN... ♪♪
2071
01:34:39,424 --> 01:34:42,134
♪♪ AND RIN-TIN-TOON ♪♪
2072
01:34:42,344 --> 01:34:44,219
♪♪ BERNIE BARUCH
AND KING FAROUK ♪♪
2073
01:34:44,429 --> 01:34:46,388
♪♪ ALISTAIR COOKE,
LIZZIE AND EDDIE ♪♪
2074
01:34:46,598 --> 01:34:48,223
♪♪ LUCILLE BALL
AND LAUREN BACALL ♪♪
2075
01:34:48,433 --> 01:34:50,392
♪♪ VIVIEN LEIGH,
ROZ RUSSELL AND FREDDIE ♪♪
2076
01:34:50,602 --> 01:34:52,227
♪♪ ARTHUR FREED
AND SAMMY SNEAD ♪♪
2077
01:34:52,437 --> 01:34:53,896
♪♪ AND IRVING LAZAR ♪♪
2078
01:34:54,105 --> 01:34:55,564
♪♪ ANNA MAY WONG... ♪♪
2079
01:34:55,774 --> 01:34:58,400
♪♪ AND RONG-TONG-TONG ♪♪
2080
01:34:58,610 --> 01:35:01,070
♪♪ HA HA HA HA HA HA
HA HA HA HA HA HA HA ♪♪
2081
01:35:01,279 --> 01:35:02,738
♪♪ HA HA ♪♪
2082
01:35:02,947 --> 01:35:04,406
♪♪ HA HA HA HA HA HA
HA HA HA HA HA HA HA ♪♪
2083
01:35:04,616 --> 01:35:06,575
♪♪ HA HA ♪♪
2084
01:35:06,785 --> 01:35:08,577
♪♪ FLEW DOWN TO CANNES
TO GET A TAN ♪♪
2085
01:35:08,787 --> 01:35:10,704
♪♪ THEN SIMPLY RAN
TO DEAR PORTOFINO ♪♪
2086
01:35:10,914 --> 01:35:12,539
♪♪ SAINT-TROPEZ
JUST TURNED ME GRAY ♪♪
2087
01:35:12,749 --> 01:35:14,541
♪♪ 'CAUSE NIGHT AND DAY
I LIVED ON JUST VINO ♪♪
2088
01:35:14,751 --> 01:35:16,377
♪♪ STAYED WITH FRITZ
AT BIARRITZ ♪♪
2089
01:35:16,586 --> 01:35:18,379
♪♪ THE PLAYGROUND
OF KINGS ♪♪
2090
01:35:18,588 --> 01:35:19,880
♪♪ GLAMOROUS SIGHTS ♪♪
2091
01:35:20,090 --> 01:35:22,883
♪♪ LIKE
BROOKLYN HEIGHTS ♪♪
2092
01:35:23,093 --> 01:35:25,052
♪♪ MY CHRISTIAN DIOR
I WORE, THEN TORE ♪♪
2093
01:35:25,261 --> 01:35:26,887
♪♪ GOT FITTED
FOR A NEW BALENCIAGA ♪♪
2094
01:35:27,097 --> 01:35:29,223
♪♪ I LIKE CHANEL,
SHE WEARS SO WELL ♪♪
2095
01:35:29,432 --> 01:35:31,225
♪♪ AS TIME WILL TELL,
HER CLOTHES ARE A SAGA ♪♪
2096
01:35:31,434 --> 01:35:33,060
♪♪ VALENTINA'S
WHERE I'VE BEEN ♪♪
2097
01:35:33,269 --> 01:35:34,728
♪♪ I LOVE
ALL HER THINGS ♪♪
2098
01:35:34,938 --> 01:35:36,605
♪♪ THINGS
WITH GOOD LINES ♪♪
2099
01:35:36,815 --> 01:35:38,941
♪♪ LIKE THINGS
FROM KLEIN'S ♪♪
2100
01:35:39,109 --> 01:35:42,277
I DO ALL MY SHOPPING THERE
WITH MARY AND ETHEL.
2101
01:35:42,445 --> 01:35:43,737
MARY AND ETHEL
WHO?
2102
01:35:43,947 --> 01:35:46,073
MARY SCHWARTZ
AND ETHEL HOTCHKISS.
2103
01:35:46,282 --> 01:35:48,075
♪♪ KEENAN WYNN ♪♪
2104
01:35:48,284 --> 01:35:49,243
♪♪ RIN-TIN-TIN ♪♪
2105
01:35:49,452 --> 01:35:50,577
♪♪ SOPHIA LOREN ♪♪
2106
01:35:50,787 --> 01:35:52,246
♪♪ REN-TEN-TEN ♪♪
2107
01:35:52,455 --> 01:35:53,747
♪♪ ALI KHAN ♪♪
2108
01:35:53,957 --> 01:35:55,249
♪♪ RAWN-TAWN-TAWN ♪♪
2109
01:35:55,458 --> 01:35:57,084
♪♪ RAYMOND MASSEY ♪♪
2110
01:35:57,293 --> 01:35:58,377
♪♪ LASSIE ♪♪
2111
01:35:58,586 --> 01:36:01,255
♪♪ THAT'S THE WAY
YOU PLAY THE GAME ♪♪
2112
01:36:01,464 --> 01:36:08,095
♪♪ DROP THAT NAME ♪♪
2113
01:36:08,304 --> 01:36:10,806
♪♪ HA HA ♪♪
2114
01:36:11,015 --> 01:36:12,474
MEL!
2115
01:36:12,684 --> 01:36:14,977
MEL FERRER!
2116
01:36:15,186 --> 01:36:16,645
COME ON UP!
2117
01:36:24,946 --> 01:36:27,322
IT'S NOT A PLAY
FOR A BRITISH DIRECTOR!
2118
01:36:27,532 --> 01:36:29,867
LARRY, AT LEAST
TALK TO HIM!
2119
01:36:39,377 --> 01:36:41,253
WELL, WELL, WELL.
2120
01:36:41,463 --> 01:36:45,257
IF IT ISN'T JEFFREY'S
LITTLE SECRETARY.
2121
01:36:45,467 --> 01:36:47,259
OOH, WHAT A MEAN BOSS.
2122
01:36:47,469 --> 01:36:50,012
MAKES YOU WORK
ALL NIGHT, HUH?
2123
01:36:50,221 --> 01:36:52,181
[THINKING]
OH, GO STICK YOUR HEAD
2124
01:36:52,390 --> 01:36:53,682
IN A BAG OF OATS.
2125
01:36:53,892 --> 01:36:56,685
WHAT'S THE MATTER?
CAT GOT YOUR TONGUE?
2126
01:36:56,895 --> 01:36:58,353
OH, YOU'RE PLAYING
DUMB, HUH?
2127
01:36:58,563 --> 01:37:01,148
WELL, IF THAT'S WHAT
YOU'RE DOING WITH JEFF,
2128
01:37:01,357 --> 01:37:02,608
KEEP IT UP.
2129
01:37:02,817 --> 01:37:04,109
IT'S WORKING.
2130
01:37:04,319 --> 01:37:06,695
BOY, YOU'RE A REAL
KOOKY DAME, AREN'T YOU?
2131
01:37:06,905 --> 01:37:08,697
BUT MELISANDE SCOTT--
2132
01:37:08,907 --> 01:37:11,200
WHERE DID YOU
FIND THAT NAME,
2133
01:37:11,409 --> 01:37:13,285
IN A CHINESE
FORTUNE COOKIE?
2134
01:37:15,997 --> 01:37:18,165
I DON'T GET IT.
2135
01:37:18,374 --> 01:37:20,542
WE'VE GOT THE SHOW READY
TO GO INTO PRODUCTION.
2136
01:37:27,842 --> 01:37:29,301
MISS SCOTT.
2137
01:37:43,775 --> 01:37:45,567
HAVE YOU GOT A PEN?
2138
01:38:17,851 --> 01:38:22,938
♪♪ HE'S IN LOVE
WITH MELISANDE SCOTT ♪♪
2139
01:38:23,147 --> 01:38:27,109
♪♪ A GIRL
WHO DOESN'T EXIST ♪♪
2140
01:38:27,318 --> 01:38:31,738
♪♪ HE'S IN LOVE
WITH SOMEONE YOU'RE NOT ♪♪
2141
01:38:31,948 --> 01:38:41,290
♪♪ AND SO REMEMBER,
IT WAS NEVER YOU HE KISSED ♪♪
2142
01:38:43,501 --> 01:38:47,129
♪♪ THE PARTY'S OVER ♪♪
2143
01:38:48,673 --> 01:38:53,302
♪♪ IT'S TIME
TO CALL IT A DAY ♪♪
2144
01:38:53,511 --> 01:38:57,472
♪♪ NO MATTER
HOW YOU PRETEND ♪♪
2145
01:38:57,682 --> 01:39:01,184
♪♪ YOU KNEW IT WOULD END
THIS WAY ♪♪
2146
01:39:02,562 --> 01:39:05,814
♪♪ IT'S TIME
TO WIND UP ♪♪
2147
01:39:07,358 --> 01:39:11,236
♪♪ THE MASQUERADE ♪♪
2148
01:39:11,446 --> 01:39:14,323
♪♪ JUST MAKE
YOUR MIND UP ♪♪
2149
01:39:15,700 --> 01:39:21,079
♪♪ THE PIPER
MUST BE PAID ♪♪
2150
01:39:21,289 --> 01:39:24,750
♪♪ THE PARTY'S OVER ♪♪
2151
01:39:26,294 --> 01:39:30,505
♪♪ THE CANDLES
FLICKER AND DIM ♪♪
2152
01:39:30,715 --> 01:39:34,176
♪♪ YOU'VE DANCED AND DREAMED
THROUGH THE NIGHT ♪♪
2153
01:39:34,385 --> 01:39:36,345
♪♪ IT SEEMED
TO BE RIGHT ♪♪
2154
01:39:36,554 --> 01:39:39,806
♪♪ JUST BEING WITH HIM ♪♪
2155
01:39:40,016 --> 01:39:43,977
♪♪ NOW YOU MUST WAKE UP ♪♪
2156
01:39:44,187 --> 01:39:48,482
♪♪ ALL DREAMS MUST END ♪♪
2157
01:39:48,691 --> 01:39:51,610
♪♪ TAKE OFF YOUR MAKEUP ♪♪
2158
01:39:53,321 --> 01:39:56,949
♪♪ THE PARTY'S OVER ♪♪
2159
01:39:58,326 --> 01:40:01,453
♪♪ IT'S ALL OVER ♪♪
2160
01:40:02,997 --> 01:40:06,291
♪♪ MY FRIEND ♪♪
2161
01:40:09,796 --> 01:40:14,216
♪♪ LA DA DA DA,
DA DA ♪♪
2162
01:40:14,425 --> 01:40:17,552
♪♪ LA DA DA DA DA ♪♪
2163
01:40:17,762 --> 01:40:21,390
♪♪ YOU DANCED AND DREAMED
THROUGH THE NIGHT ♪♪
2164
01:40:21,599 --> 01:40:23,725
♪♪ IT SEEMED
TO BE RIGHT ♪♪
2165
01:40:23,935 --> 01:40:26,895
♪♪ JUST BEING WITH HIM ♪♪
2166
01:40:27,105 --> 01:40:31,233
♪♪ NOW YOU MUST WAKE UP ♪♪
2167
01:40:31,442 --> 01:40:35,737
♪♪ ALL DREAMS MUST END ♪♪
2168
01:40:35,947 --> 01:40:39,157
♪♪ TAKE OFF YOUR MAKEUP ♪♪
2169
01:40:41,160 --> 01:40:45,247
♪♪ THE PARTY'S OVER ♪♪
2170
01:41:03,558 --> 01:41:05,017
[PLAYING]
2171
01:41:10,023 --> 01:41:11,231
YOU SWITCHED
THE ORDERS,
2172
01:41:11,441 --> 01:41:13,066
AND WE GOT STUCK WITH
THE WRONG SHIPMENT.
2173
01:41:13,276 --> 01:41:15,402
MAESTRO CORVELLO SAYS
YOU HAVE TO COVER THE COST
2174
01:41:15,611 --> 01:41:17,362
TO THE TUNE
OF 5,000 ALBUMS.
2175
01:41:17,572 --> 01:41:19,031
BUT I DID NOT
SWITCH THEM.
2176
01:41:19,240 --> 01:41:20,449
OTTO, WHO ARE
THESE GENTLEMEN?
2177
01:41:20,658 --> 01:41:22,701
TWO MUSICIANS FROM
THE CHICAGO CONCERT ORCHESTRA.
2178
01:41:22,910 --> 01:41:25,203
GENTLEMEN, I AM INNOCENT,
AND I REFUSE TO PAY.
2179
01:41:25,413 --> 01:41:27,706
IN THAT CASE, OTTO,
WE MAY FIND IT NECESSARY
2180
01:41:27,915 --> 01:41:30,375
TO TAKE YOU ACROSS THE RIVER
FOR A RECORDING SESSION.
2181
01:41:30,585 --> 01:41:31,918
A RECORDING
SESSION?
2182
01:41:32,128 --> 01:41:34,421
YES. MAESTRO CORVELLO
IS WAITING TO RECORD
2183
01:41:34,630 --> 01:41:36,381
SIEGFRIED'S RHINE JOURNEY
AND FUNERAL MARCH.
2184
01:41:36,591 --> 01:41:37,883
YOU GOT TWO HOURS.
2185
01:41:38,092 --> 01:41:40,385
WE'LL MEET YOU AT THE WAREHOUSE.
LET'S GO, NICK.
2186
01:41:40,595 --> 01:41:41,887
OH, BYE-BYE!
2187
01:41:42,096 --> 01:41:43,388
OTTO, YOU MUSTN'T LET
2188
01:41:43,598 --> 01:41:45,390
LITTLE BUSINESS WORRIES
UPSET YOU.
2189
01:41:45,600 --> 01:41:48,810
YOU KNOW, YOU NEED SOMEONE
TO LOOK AFTER YOU--
2190
01:41:49,020 --> 01:41:51,813
YOU KNOW, A WOMAN,
SOMEONE YOU CAN CONFIDE IN.
2191
01:41:52,023 --> 01:41:53,815
SUE, I WILL CONFIDE
IN YOU.
2192
01:41:54,025 --> 01:41:55,484
UNTIL NOW,
I WANT ONLY
2193
01:41:55,693 --> 01:41:56,985
TO BRING KULTUR
TO THE MASSES,
2194
01:41:57,195 --> 01:41:58,153
BUT NOW I HAVE
ANOTHER GOAL--
2195
01:41:58,362 --> 01:41:59,613
FOR US TO GROW RICH
TOGETHER,
2196
01:41:59,822 --> 01:42:00,822
BUT TO DO THIS,
WE MUST INVEST
2197
01:42:01,032 --> 01:42:02,324
CAPITAL, CAPITAL,
CAPITAL!
2198
01:42:02,533 --> 01:42:03,992
SUE, HOW MUCH MONEY
HAVE YOU GOT?
2199
01:42:04,202 --> 01:42:05,660
YOU MUST TRUST ME.
I'M TALKING TO YOU
2200
01:42:05,870 --> 01:42:07,329
LIKE SOMEONE WHO
MAY LOVE YOU.
2201
01:42:07,538 --> 01:42:08,663
OH, I HAVE $6,500!
2202
01:42:08,873 --> 01:42:09,831
WHERE IS IT?
2203
01:42:10,041 --> 01:42:12,334
WHY, IT'S
IN A LITTLE BLUE SOCK!
2204
01:42:12,543 --> 01:42:13,835
I KEEP IT, IF YOU'LL
PARDON THE EXPRESSION,
2205
01:42:14,045 --> 01:42:15,837
UPON MY PERSON.
2206
01:42:16,047 --> 01:42:17,923
SUE, I LOVE YOU.
2207
01:42:22,303 --> 01:42:26,723
[PLAYING JUST IN TIME]
2208
01:42:54,001 --> 01:42:57,295
♪♪ NOWHERE TO GO ♪♪
2209
01:42:57,505 --> 01:42:58,713
IT'S NO USE, JEFF.
2210
01:42:58,923 --> 01:43:00,382
WE'VE COVERED
EVERY BAR IN TOWN.
2211
01:43:00,591 --> 01:43:02,050
COME ON BACK
TO THE PARTY.
2212
01:43:02,260 --> 01:43:03,552
I DON'T KNOW
ANYTHING ABOUT HER--
2213
01:43:03,761 --> 01:43:04,636
WHERE SHE LIVES,
2214
01:43:04,846 --> 01:43:06,388
HOW TO GET IN TOUCH
WITH HER--
2215
01:43:06,597 --> 01:43:08,056
JUST A NOTE
SAYING GOOD-BYE.
2216
01:43:08,266 --> 01:43:09,391
COME ON, JEFF.
2217
01:43:09,600 --> 01:43:10,684
NOW, DON'T WORRY,
LARRY.
2218
01:43:10,893 --> 01:43:11,726
DON'T WORRY
ABOUT THE PLAY.
2219
01:43:11,936 --> 01:43:12,811
I'LL KEEP WORKING.
2220
01:43:13,020 --> 01:43:14,396
I KNOW THAT. I...
2221
01:43:15,940 --> 01:43:17,399
OK.
2222
01:43:37,879 --> 01:43:39,337
[SNAP]
2223
01:43:40,882 --> 01:43:42,757
I WOULD LIKE TO ORDER
A MARTINI, PLEASE.
2224
01:43:42,925 --> 01:43:44,259
OK.
2225
01:43:44,468 --> 01:43:45,844
DRY--VERY DRY.
2226
01:43:55,021 --> 01:43:56,897
GOOD EVENING,
MR. MOSS.
2227
01:43:57,106 --> 01:43:58,398
GOOD EVENING.
2228
01:43:58,608 --> 01:43:59,900
YOU DON'T--
2229
01:44:00,109 --> 01:44:01,443
YOU DON'T KNOW ME,
DO YOU, MR. MOSS?
2230
01:44:01,652 --> 01:44:02,944
I'M BLAKE BARTON !
2231
01:44:03,154 --> 01:44:04,946
HA HA! IT MUST BE
THE SUIT.
2232
01:44:05,156 --> 01:44:07,449
I'VE GOT TO TELL YOU,
I LOVE THE PART
2233
01:44:07,658 --> 01:44:09,951
MR. HASTINGS SET ME FOR
IN YOUR PLAY TODAY--
2234
01:44:10,161 --> 01:44:11,912
THE DENTIST WHO WANTS
TO BE A COMPOSER.
2235
01:44:12,121 --> 01:44:13,413
WHERE DO YOU WRITERS
2236
01:44:13,623 --> 01:44:15,957
GET AN IDEA
LIKE THAT FROM, ANYWAY?
2237
01:44:16,167 --> 01:44:17,959
I MEAN,
AN IDEA LIKE THAT...
2238
01:44:18,169 --> 01:44:19,920
WHERE DO YOU
GET THEM FROM?
2239
01:44:20,129 --> 01:44:21,922
OH, LET ME ALONE,
WILL YOU?
2240
01:44:22,131 --> 01:44:23,423
EXCUSE ME, MR. MOSS.
2241
01:44:23,633 --> 01:44:25,967
I'M SORRY, BARTON.
I FEEL ROTTEN.
2242
01:44:26,177 --> 01:44:27,469
LET'S PUT IT
THIS WAY.
2243
01:44:27,678 --> 01:44:28,970
I WISH I WERE DEAD.
2244
01:44:29,180 --> 01:44:30,472
OH, GEE, MR. MOSS,
2245
01:44:30,681 --> 01:44:31,973
I KNOW
WHAT YOU MEAN.
2246
01:44:32,183 --> 01:44:33,475
A COUPLE
OF WEEKS AGO,
2247
01:44:33,684 --> 01:44:35,477
MAN, I WAS
THE LOWEST.
2248
01:44:35,686 --> 01:44:37,479
I HADN'T WORKED
FOR MONTHS,
2249
01:44:37,688 --> 01:44:38,980
AND THEN, A MIRACLE!
2250
01:44:39,190 --> 01:44:40,482
OH, PLEASE,
NO MIRACLES.
2251
01:44:40,691 --> 01:44:42,984
YOU'RE A NICE GUY,
BARTON. DRINK UP.
2252
01:44:43,194 --> 01:44:44,486
THANKS.
I'VE GOT ONE COMING.
2253
01:44:44,695 --> 01:44:46,780
AND NOW, LADIES AND GENTLEMEN,
IT'S SHOWTIME,
2254
01:44:46,989 --> 01:44:49,241
AND FOR OUR OPENING
PRODUCTION NUMBER,
2255
01:44:49,450 --> 01:44:53,578
THE PYRAMID PIPS PRESENT
A BRAND-NEW SONG--
2256
01:44:53,788 --> 01:44:56,623
THE MIDAS TOUCH!
2257
01:44:56,832 --> 01:44:58,083
[ORCHESTRA PLAYING]
2258
01:45:01,045 --> 01:45:02,754
♪♪ GOLD
AND ALL ITS GLORY ♪♪
2259
01:45:02,964 --> 01:45:06,508
♪♪ AND HERE'S THE STORY
OF THE MIDAS TOUCH ♪♪
2260
01:45:06,717 --> 01:45:07,676
DID THEY SAY
THE MIDAS TOUCH?
2261
01:45:07,885 --> 01:45:08,927
SHH!
2262
01:45:11,472 --> 01:45:15,684
♪♪ THE BEGGAR RESTS
HIS WEARY HEAD ♪♪
2263
01:45:15,893 --> 01:45:20,272
♪♪ AND DREAMS
OF JUST ONE CRUST OF BREAD ♪♪
2264
01:45:20,481 --> 01:45:26,111
♪♪ BUT WHEN THE BEGGAR'S DREAMS
GROW BOLD ♪♪
2265
01:45:26,320 --> 01:45:32,033
♪♪ HE DREAMS
AS OTHERS DO ♪♪
2266
01:45:32,243 --> 01:45:36,871
♪♪ OF GOLD ♪♪
2267
01:45:38,499 --> 01:45:42,627
♪♪ THE MIDAS TOUCH,
THE MIGHTY MIDAS TOUCH ♪♪
2268
01:45:42,837 --> 01:45:46,798
♪♪ THE MIDAS TOUCH,
THE MIGHTY MIDAS TOUCH ♪♪
2269
01:45:47,008 --> 01:45:48,675
♪♪ THE MIDAS TOUCH ♪♪
2270
01:45:48,884 --> 01:45:50,802
♪♪ THE MIGHTY, MIGHTY
MIDAS TOUCH ♪♪
2271
01:45:54,849 --> 01:45:56,349
♪♪ THE MIDAS TOUCH ♪♪
2272
01:45:56,559 --> 01:45:58,059
♪♪ THE MIDAS TOUCH ♪♪
2273
01:45:58,269 --> 01:46:01,396
♪♪ THE MIDAS TOUCH ♪♪
2274
01:46:01,605 --> 01:46:03,023
♪♪ THE MIDAS TOUCH ♪♪
2275
01:46:03,232 --> 01:46:04,733
♪♪ THE MIGHTY, MIGHTY
MIDAS TOUCH ♪♪
2276
01:46:04,942 --> 01:46:06,568
GOLD!
♪♪ IN THE MORNING ♪♪
2277
01:46:06,777 --> 01:46:08,236
GOLD!
♪♪ IN THE EVENING ♪♪
2278
01:46:08,446 --> 01:46:09,904
GOLD!
♪♪ IN THE SUMMER ♪♪
2279
01:46:10,114 --> 01:46:11,573
GOLD!
♪♪ IN THE WINTER ♪♪
2280
01:46:11,782 --> 01:46:13,241
♪♪ DR. MIDAS
SAID TO ME ♪♪
2281
01:46:13,451 --> 01:46:16,369
♪♪ "BE SURE TO TAKE
YOUR VITAMIN G-O-L-D" ♪♪
2282
01:46:16,579 --> 01:46:19,748
♪♪ AND THAT'S
WHAT HE SAID TO ME ♪♪
2283
01:46:19,957 --> 01:46:22,250
♪♪ AAH ♪♪
2284
01:46:22,460 --> 01:46:23,251
OH, LIKE THE NUMBER?
2285
01:46:23,461 --> 01:46:24,336
YEAH, ESPECIALLY
2286
01:46:24,545 --> 01:46:25,420
THE FOURTH ONE
FROM THE RIGHT.
2287
01:46:25,629 --> 01:46:27,422
NO, NO, THE SONG.
2288
01:46:27,631 --> 01:46:29,466
I WROTE IT.
ISN'T IT WONDERFUL?
2289
01:46:32,386 --> 01:46:33,345
EXCUSE ME.
2290
01:46:33,554 --> 01:46:35,764
DID YOU SAY
YOU WROTE THAT?
2291
01:46:35,973 --> 01:46:37,057
THE MIDAS TOUCH?
2292
01:46:37,266 --> 01:46:38,725
SURE. GREAT TITLE,
ISN'T IT?
2293
01:46:38,934 --> 01:46:40,185
I ALWAYS THOUGHT SO.
2294
01:46:43,230 --> 01:46:44,939
WOULD YOU JOIN US?
2295
01:46:45,149 --> 01:46:46,441
OH, I'D BE GLAD TO.
2296
01:46:46,650 --> 01:46:48,610
I'M JEFFREY MOSS.
THIS IS BLAKE BARTON.
2297
01:46:48,819 --> 01:46:49,611
HOW DO YOU DO?
2298
01:46:49,779 --> 01:46:50,945
MY NAME
IS JOE KITCHELL.
2299
01:46:51,155 --> 01:46:52,030
SIT DOWN.
2300
01:46:56,911 --> 01:46:57,952
JACKPOT, FRANCIE.
2301
01:46:58,120 --> 01:46:59,037
THE THREE OF THEM
ARE TOGETHER.
2302
01:46:59,246 --> 01:47:00,205
WE'RE GOING TO CLOSE
IN TONIGHT.
2303
01:47:00,414 --> 01:47:01,289
ARE YOU SURE?
2304
01:47:01,457 --> 01:47:02,582
POSITIVE.
2305
01:47:02,792 --> 01:47:04,125
I DON'T KNOW WHETHER
THEY'RE PUSHING DOPE,
2306
01:47:04,335 --> 01:47:06,252
SELLING BABIES,
OR IF IT'S A SPY RING,
2307
01:47:06,462 --> 01:47:09,297
BUT IT'S SOMETHING BIG,
AND SHE'S MISS BIG.
2308
01:47:09,507 --> 01:47:10,715
GO ALERT THE SQUAD.
2309
01:47:12,259 --> 01:47:13,468
MR. KITCHELL--
2310
01:47:13,677 --> 01:47:15,470
UH-UH-UH.
IT'S DR. KITCHELL.
2311
01:47:15,679 --> 01:47:17,472
ACTUALLY,
I'M A DENTIST.
2312
01:47:17,681 --> 01:47:18,973
DENTIST?
2313
01:47:19,183 --> 01:47:20,475
DENTIST?
2314
01:47:20,684 --> 01:47:22,477
THAT'S FUNNY.
I'M A DENTIST.
2315
01:47:22,686 --> 01:47:23,978
YOU'RE A DENTIST?
2316
01:47:24,188 --> 01:47:26,981
WELL, I PLAY
A DENTIST IN A PLAY.
2317
01:47:27,191 --> 01:47:28,483
THAT'S FUNNY.
2318
01:47:28,692 --> 01:47:30,485
WELL, I'M NOT
A DENTIST ANYMORE.
2319
01:47:30,694 --> 01:47:31,986
I'M A COMPOSER NOW.
2320
01:47:32,196 --> 01:47:34,489
MY FATHER DIDN'T WANT ME
TO BE A COMPOSER.
2321
01:47:34,698 --> 01:47:36,991
MY FATHER DOESN'T WANT
ME TO BE A COMPOSER.
2322
01:47:37,201 --> 01:47:38,493
HE DOESN'T?
2323
01:47:38,702 --> 01:47:40,495
MY FATHER
IN THE PLAY.
2324
01:47:40,704 --> 01:47:42,497
THAT'S FUNNY.
2325
01:47:42,706 --> 01:47:43,998
IT'S REAL FUNNY
AND SAD.
2326
01:47:44,208 --> 01:47:46,000
IT'S A VERY
INTERESTING PART.
2327
01:47:46,210 --> 01:47:48,503
I MAKE UP THESE TUNES
ON THE AIR HOSE,
2328
01:47:48,712 --> 01:47:50,171
AND MY FATHER
DOESN'T WANT ME TO--
2329
01:47:50,381 --> 01:47:51,673
YOU...
2330
01:47:51,882 --> 01:47:54,008
I WROTE THE MIDAS TOUCH
ON THE AIR HOSE.
2331
01:47:54,218 --> 01:47:56,511
THAT'S WHAT'S
HOLDING UP THE PLAY.
2332
01:47:56,720 --> 01:47:58,012
I'VE BEEN USING PAPER.
2333
01:47:58,180 --> 01:47:59,514
WHAT PLAY?
2334
01:47:59,723 --> 01:48:00,849
THE PLAY WE'RE
TALKING ABOUT--
2335
01:48:01,058 --> 01:48:02,016
HE WROTE IT.
2336
01:48:02,226 --> 01:48:03,518
YOU WROTE THE PLAY?
2337
01:48:03,727 --> 01:48:05,019
THE MIDAS TOUCH.
2338
01:48:05,229 --> 01:48:07,522
THAT'S THE NAME
OF MY SONG.
2339
01:48:07,731 --> 01:48:09,023
I KNOW. I KNOW.
2340
01:48:09,233 --> 01:48:11,526
All three:
THAT'S FUNNY.
2341
01:48:11,735 --> 01:48:13,027
[GASP]
2342
01:48:13,195 --> 01:48:14,863
I REMEMBER.
2343
01:48:15,072 --> 01:48:16,030
I GOT THE TITLE
FROM THAT GIRL.
2344
01:48:16,240 --> 01:48:17,157
WHAT GIRL?
2345
01:48:17,366 --> 01:48:19,033
THE GIRL THAT SAID
SHE WAS THINKING
2346
01:48:19,243 --> 01:48:20,702
OF THE MIDAS TOUCH
THAT DAY.
2347
01:48:20,911 --> 01:48:22,162
WHAT DAY?
2348
01:48:22,371 --> 01:48:24,038
OH, THAT WAS THE DAY
THAT CHANGED MY WHOLE LIFE.
2349
01:48:24,248 --> 01:48:26,040
I WAS FEELING
LOWER THAN LOW, HOPELESS,
2350
01:48:26,250 --> 01:48:28,042
AND SUDDENLY,
A MIRACLE HAPPENED.
2351
01:48:28,210 --> 01:48:29,043
MIRACLE?
2352
01:48:29,253 --> 01:48:30,545
HE'S GOT
A MIRACLE, TOO.
2353
01:48:30,754 --> 01:48:31,963
THIS GIRL--
SHE WASN'T IN THE OFFICE
2354
01:48:32,173 --> 01:48:33,298
MORE THAN
A COUPLE OF MINUTES,
2355
01:48:33,507 --> 01:48:35,383
TIPPED ME OFF ABOUT
THIS JOB, AND I GOT IT.
2356
01:48:35,593 --> 01:48:39,554
SHE WAS BLOND, PRETTY,
5' 6", BIG BROWN EYES--
2357
01:48:39,763 --> 01:48:41,055
WAIT A MINUTE.
WAIT A SECOND HERE!
2358
01:48:41,265 --> 01:48:42,056
LISTEN,
MR. MOSS.
2359
01:48:42,266 --> 01:48:43,558
THAT'S HOW I GOT
THE CHANCE
2360
01:48:43,767 --> 01:48:45,059
TO DO THE PART
IN YOUR PLAY.
2361
01:48:45,269 --> 01:48:46,478
THIS GIRL COMES UP
TO ME IN MIKE'S
2362
01:48:46,687 --> 01:48:47,645
AND TELLS ME
ABOUT MYSELF--
2363
01:48:47,855 --> 01:48:48,563
YOU KNOW,
ABOUT THE CLOTHES
2364
01:48:48,772 --> 01:48:50,064
AND THE WHOLE BIT.
2365
01:48:50,274 --> 01:48:52,066
SHE CHANGES MY LIFE.
I GET THE PART.
2366
01:48:52,276 --> 01:48:53,067
WHAT I'M LEADING
UP TO IS:
2367
01:48:53,235 --> 01:48:55,069
SHE WAS
BLOND, 5' 6"--
2368
01:48:55,279 --> 01:48:56,571
MELISANDE!
2369
01:48:56,780 --> 01:48:57,572
WHO?
2370
01:48:57,781 --> 01:48:59,073
MELISANDE SCOTT.
WHERE IS SHE?
2371
01:48:59,283 --> 01:49:01,075
I'VE GOT TO FIND HER.
2372
01:49:01,285 --> 01:49:03,077
WAIT A SECOND.
THAT GIRL YOU'RE TALKING ABOUT
2373
01:49:03,245 --> 01:49:05,079
IS THE SAME GIRL
THAT DROPPED INTO MY LIFE.
2374
01:49:05,289 --> 01:49:06,539
THE SAME GIRL?
2375
01:49:06,749 --> 01:49:07,832
WHERE DID YOU
SEE HER LAST? WHERE?
2376
01:49:08,042 --> 01:49:09,250
SHE WAS IN THE OFFICE
A COUPLE OF MINUTES
2377
01:49:09,460 --> 01:49:11,586
AND DISAPPEARED.
I NEVER SAW HER AGAIN.
2378
01:49:11,795 --> 01:49:12,754
THE SAME WITH ME.
2379
01:49:12,963 --> 01:49:14,589
I'VE GOT TO GET
TO THE BOTTOM OF THIS.
2380
01:49:14,798 --> 01:49:16,591
I'VE GOT TO FIND HER.
I'M IN LOVE WITH HER.
2381
01:49:16,800 --> 01:49:18,092
WHERE CAN
I CALL YOU LATER?
2382
01:49:18,260 --> 01:49:19,594
I DON'T KNOW
WHERE I'LL BE.
2383
01:49:19,803 --> 01:49:21,596
I DON'T KNOW
WHERE I AM.
2384
01:49:21,805 --> 01:49:23,097
I'LL GIVE YOU MY
PHONE NUMBER. HERE.
2385
01:49:23,265 --> 01:49:24,599
I'LL GIVE YOU
MY PHONE NUMBER, TOO.
2386
01:49:24,808 --> 01:49:25,600
THANKS.
2387
01:49:25,809 --> 01:49:26,768
WHERE ARE YOU
GOING?
2388
01:49:26,977 --> 01:49:28,102
BROOKLYN
HEIGHTS.
2389
01:49:28,270 --> 01:49:29,604
WELL, GOOD LUCK.
2390
01:49:29,813 --> 01:49:31,105
BROOKLYN HEIGHTS.
2391
01:49:31,315 --> 01:49:33,358
SEEMS LIKE
A LOGICAL MOVE.
2392
01:49:35,236 --> 01:49:36,945
ALL RIGHT, YOU THREE,
COME ON ALONG.
2393
01:49:37,154 --> 01:49:38,446
WAIT A MINUTE.
WHAT IS THIS?
2394
01:49:38,656 --> 01:49:39,948
HEY, THERE'S ONLY
TWO OF THEM.
2395
01:49:40,157 --> 01:49:41,950
YOU COVER THE EXIT.
YOU COVER THE MEN'S ROOM.
2396
01:49:42,159 --> 01:49:43,618
WHAT'S GOING ON
HERE?
2397
01:49:43,827 --> 01:49:45,286
WE'RE TAKING YOU TO THE STATION
FOR A LITTLE QUESTIONING.
2398
01:49:45,496 --> 01:49:46,287
WOULD THIS HAVE
ANYTHING TO DO
2399
01:49:46,497 --> 01:49:47,956
WITH THE BLOND GIRL?
2400
01:49:48,165 --> 01:49:49,249
YOU SAID IT.
2401
01:49:49,458 --> 01:49:50,750
THAT'S FUNNY.
THAT'S FUNNY.
2402
01:49:50,960 --> 01:49:51,751
COME ON.
2403
01:49:51,961 --> 01:49:53,253
WAIT!
2404
01:49:53,462 --> 01:49:55,964
♪♪ THAT'S FUNNY THAT YOU
LOVE ME, DARLING ♪♪
2405
01:49:56,173 --> 01:49:56,965
COME ON.
2406
01:49:57,174 --> 01:49:58,550
[DANCERS SQUEAL]
2407
01:50:03,222 --> 01:50:06,057
[SHIP'S HORN BLOWS]
2408
01:50:10,104 --> 01:50:12,063
MELISANDE!
2409
01:50:17,611 --> 01:50:19,571
MELISANDE!
2410
01:50:34,628 --> 01:50:36,504
Sue: DR. KITCHELL'S
DENTAL CLINIC.
2411
01:50:36,714 --> 01:50:37,839
WHERE CAN I REACH
THE DOCTOR?
2412
01:50:38,048 --> 01:50:40,174
DR. KITCHELL
LEFT NO MESSAGE.
2413
01:50:40,384 --> 01:50:42,677
OH, THANKS.
OH, WAIT!
2414
01:50:42,886 --> 01:50:45,013
IS THIS
SUSANSWERPHONE?
2415
01:50:45,222 --> 01:50:46,806
THAT'S CORRECT.
WHO'S CALLING?
2416
01:50:47,016 --> 01:50:48,099
NEVER MIND.
2417
01:50:55,649 --> 01:50:57,108
SUSANSWERPHONE.
2418
01:51:17,671 --> 01:51:19,547
Sue: BLAKE BARTON'S
RESIDENCE.
2419
01:51:19,757 --> 01:51:21,299
SUSANSWERPHONE?
2420
01:51:21,508 --> 01:51:23,635
YES. WHO'S CALLING?
2421
01:51:26,680 --> 01:51:28,556
THAT'S FUNNY.
2422
01:51:28,766 --> 01:51:31,559
DR. KITCHELL,
BARTON, AND ME--
2423
01:51:31,769 --> 01:51:33,811
ALL SUSANSWERPHONE.
2424
01:51:35,356 --> 01:51:38,566
THAT WAS THE OTHER ONE
I WAS TALKING TO.
2425
01:51:38,776 --> 01:51:40,234
MOM...
2426
01:51:40,444 --> 01:51:44,906
MELISANDE...MOM...
2427
01:51:45,115 --> 01:51:46,991
MOM?
2428
01:51:48,327 --> 01:51:51,412
MOM!
2429
01:51:51,622 --> 01:51:54,248
BUT, ELLA,
I'M NOT ANGRY WITH YOU.
2430
01:51:54,458 --> 01:51:57,919
I JUST WISH YOU'D
CONFIDED IN ME SOONER.
2431
01:51:58,128 --> 01:51:59,087
WELL, YOU MUSTN'T LEAVE.
2432
01:51:59,296 --> 01:52:00,588
I HAVE TO, SUE.
2433
01:52:00,798 --> 01:52:02,715
I JUST CAN'T
STAY HERE ANYMORE.
2434
01:52:02,925 --> 01:52:03,758
BUT, ELLA--
2435
01:52:03,967 --> 01:52:04,842
[SWITCHBOARD BUZZES]
2436
01:52:08,222 --> 01:52:09,180
[BUZZING STOPS]
2437
01:52:12,184 --> 01:52:15,269
ELLA,
I NEED YOU HERE.
2438
01:52:18,565 --> 01:52:21,025
THE SUBSCRIBERS
WON'T EVEN KNOW I'VE GONE.
2439
01:52:21,235 --> 01:52:22,735
THAT'S NOT TRUE.
2440
01:52:22,945 --> 01:52:25,279
WHY, ONLY TODAY,
MRS. MALLET CALLED TWICE
2441
01:52:25,489 --> 01:52:26,948
ABOUT HER
LITTLE BOY, JUNIOR.
2442
01:52:27,157 --> 01:52:28,616
HE WANTED TO TALK
TO SANTA CLAUS.
2443
01:52:28,826 --> 01:52:30,827
THEY ALL ASK
FOR YOU.
2444
01:52:32,579 --> 01:52:34,789
THEY CALL ME
"THE OTHER ONE."
2445
01:52:36,583 --> 01:52:38,126
PLEASE STAY, ELLA.
2446
01:52:40,087 --> 01:52:41,546
I CAN'T, SUE.
2447
01:52:43,090 --> 01:52:44,966
I'VE SPENT
MY WHOLE LIFE
2448
01:52:45,134 --> 01:52:46,968
TUNING IN ON
OTHER PEOPLE'S LIVES,
2449
01:52:47,177 --> 01:52:48,970
PLAYING ALL SORTS
OF IMAGINARY CHARACTERS.
2450
01:52:49,179 --> 01:52:52,223
THEY BECAME EVEN MORE REAL
TO ME THAN I WAS.
2451
01:52:54,101 --> 01:52:56,978
JEFF...FELL IN LOVE
WITH ONE OF THEM,
2452
01:52:57,187 --> 01:52:58,563
NOT WITH ME.
2453
01:53:00,107 --> 01:53:01,274
WHO IS ME?
2454
01:53:01,483 --> 01:53:03,735
I DON'T KNOW MYSELF
WHO I AM.
2455
01:53:14,788 --> 01:53:16,998
♪♪ I KNOW YOU ♪♪
2456
01:53:17,207 --> 01:53:19,459
♪♪ YOUR NAME IS SUE ♪♪
2457
01:53:19,668 --> 01:53:23,629
♪♪ BUT WHO AM I? ♪♪
2458
01:53:23,839 --> 01:53:27,341
♪♪ I'VE GOT TO FIND OUT ♪♪
2459
01:53:27,551 --> 01:53:31,846
♪♪ AT LEAST,
I'M GONNA TRY ♪♪
2460
01:53:32,055 --> 01:53:34,599
♪♪ I'M GOING BACK ♪♪
2461
01:53:36,268 --> 01:53:40,062
♪♪ WHERE I CAN BE ME ♪♪
2462
01:53:41,148 --> 01:53:47,361
♪♪ AT THE BONJOUR TRISTESSE
BRASSIERE COMPANY ♪♪
2463
01:53:48,489 --> 01:53:53,701
♪♪ THEY'VE GOT A GREAT BIG
SWITCHBOARD THERE ♪♪
2464
01:53:53,911 --> 01:53:57,872
♪♪ WHERE IT'S JUST
HELLO, GOOD-BYE ♪♪
2465
01:53:58,081 --> 01:54:00,208
♪♪ IT MAY BE DULL ♪♪
2466
01:54:00,417 --> 01:54:05,046
♪♪ BUT THERE I CAN BE
JUST ME, MYSELF, AND I ♪♪
2467
01:54:05,255 --> 01:54:09,509
♪♪ A LITTLE MODELING
ON THE SIDE ♪♪
2468
01:54:09,718 --> 01:54:13,346
♪♪ YES, THAT'S WHERE I'LL BE ♪♪
2469
01:54:14,598 --> 01:54:20,645
♪♪ AT THE BONJOUR TRISTESSE
BRASSIERE COMPANY ♪♪
2470
01:54:23,148 --> 01:54:27,985
♪♪ AND IF ANYBODY ASKS
FOR ELLA, MELLA, OR MOM ♪♪
2471
01:54:28,195 --> 01:54:31,405
♪♪ TELL THEM THAT I'M GOING BACK
WHERE I CAME FROM ♪♪
2472
01:54:31,615 --> 01:54:37,829
♪♪ TO THE B.T.
BRASSIERE COMPANY ♪♪
2473
01:54:40,541 --> 01:54:42,917
♪♪ GOOD-BYE, EVERYBODY ♪♪
2474
01:54:43,126 --> 01:54:45,670
♪♪ GOOD-BYE,
MADAME GRIMALDI ♪♪
2475
01:54:45,879 --> 01:54:49,090
♪♪ GOOD-BYE, JUNIOR MALLET ♪♪
2476
01:54:49,299 --> 01:54:54,929
♪♪ SANTA CLAUS
IS A-HITTIN' THE ROAD ♪♪
2477
01:54:55,138 --> 01:54:58,099
♪♪ LISTEN TO YOUR MAMA,
MAMA, MAMA ♪♪
2478
01:54:58,308 --> 01:55:01,269
♪♪ EAT YOUR SPINACH, BABY ♪♪
2479
01:55:01,478 --> 01:55:08,359
♪♪ EAT YOUR SPINACH, BABY,
BY THE LOAD ♪♪
2480
01:55:10,696 --> 01:55:14,282
LA PETITE BERGERE RESTAURANT,
ADIEU.
2481
01:55:14,491 --> 01:55:19,287
JE NE REVIENDRAI
JAMAIS, JAMAIS, JAMAIS.
2482
01:55:19,496 --> 01:55:24,292
C'EST TOUT FINI.
ADIEU TO YOU.
2483
01:55:24,501 --> 01:55:28,629
♪♪ SO GOOD-BYE, MAX,
TO YOUR DOGS AND YOUR CATS ♪♪
2484
01:55:28,839 --> 01:55:31,966
♪♪ TO THE DUKE OF WINDSOR
AND HIS DUCHESS ♪♪
2485
01:55:32,175 --> 01:55:35,469
♪♪ BYE-BYE, BARTON
AND KITCHELL AND HASTINGS ♪♪
2486
01:55:35,679 --> 01:55:38,306
♪♪ AT LAST,
YOU'RE OUT OF MY CLUTCHES ♪♪
2487
01:55:38,515 --> 01:55:42,476
♪♪ I'LL MISS YOU,
BUT YOU'LL CARRY ON ♪♪
2488
01:55:42,686 --> 01:55:46,063
♪♪ YOU'LL NEVER KNOW
THAT I'VE GONE ♪♪
2489
01:55:46,273 --> 01:55:49,233
♪♪ I'M A-GOIN' BACK ♪♪
2490
01:55:50,777 --> 01:55:53,863
♪♪ WHERE I CAN BE ME ♪♪
2491
01:55:55,908 --> 01:56:01,662
♪♪ AT THE BONJOUR TRISTESSE
BRASSIERE COMPANY ♪♪
2492
01:56:03,957 --> 01:56:05,333
♪♪ AND WHILE
I'M SITTING THERE ♪♪
2493
01:56:05,542 --> 01:56:07,668
♪♪ I HOPE THAT I FIND OUT ♪♪
2494
01:56:07,878 --> 01:56:11,505
♪♪ JUST WHAT ELLA PETERSON
IS ALL ABOUT ♪♪
2495
01:56:11,715 --> 01:56:17,595
♪♪ IN THAT SHANGRI-LA
OF LACY LINGERIE ♪♪
2496
01:56:17,804 --> 01:56:20,848
♪♪ A LITTLE MODELING
ON THE SIDE ♪♪
2497
01:56:21,058 --> 01:56:27,855
♪♪ AT THE BONJOUR TRISTESSE
BRASSIERE COMPANY ♪♪
2498
01:56:28,065 --> 01:56:29,857
SEND ME MY MAIL THERE!
2499
01:56:30,067 --> 01:56:39,617
♪♪ TO THE BONJOUR TRISTESSE
COMPANY ♪♪
2500
01:56:43,163 --> 01:56:44,705
[SEVERAL PEOPLE TALKING]
2501
01:56:44,915 --> 01:56:46,207
Otto:
I'LL EXPLAIN IT.
2502
01:56:46,416 --> 01:56:48,209
Ella:
I'VE GOT TO GET OUT.
2503
01:56:48,418 --> 01:56:49,710
JUST A MINUTE,
PLEASE.
2504
01:56:49,920 --> 01:56:51,712
Man: GO ON ! GET IN !
2505
01:56:51,922 --> 01:56:53,714
GET IN HERE,
YOU FINK, YOU.
2506
01:56:53,924 --> 01:56:55,716
ALL RIGHT, NOW HAND OVER
THAT MONEY!
2507
01:56:55,926 --> 01:56:57,218
I WILL. I WILL.
2508
01:56:57,427 --> 01:56:59,220
GIVE ME A CHANCE
TO CHECK THE BOOKS.
2509
01:56:59,429 --> 01:57:00,721
Sue: ELLA, LET
ME HELP YOU.
2510
01:57:00,931 --> 01:57:01,722
WHY, OTTO,
2511
01:57:01,932 --> 01:57:03,140
WHAT'S THE MATTER?
2512
01:57:05,519 --> 01:57:07,728
THIS IS IMPOSSIBLE.
WHO COULD HAVE DONE THIS?
2513
01:57:07,938 --> 01:57:09,730
WHO COULD HAVE SWITCHED
THESE ORDERS
2514
01:57:09,940 --> 01:57:11,732
FROM BEETHOVEN'S 10th
TO BEETHOVEN'S 9th?
2515
01:57:11,942 --> 01:57:12,900
Ella:
I DID.
2516
01:57:13,110 --> 01:57:15,361
BEETHOVEN ONLY WROTE
NINE SYMPHONIES.
2517
01:57:15,570 --> 01:57:16,737
YOU IDIOT!
2518
01:57:16,947 --> 01:57:19,240
YOU PUT ALL THE MONEY
ON THE WRONG HORSE.
2519
01:57:19,449 --> 01:57:22,243
I WAS ALMOST BUMPED OFF FOR THIS
BY THE CORVELLO MOB.
2520
01:57:22,452 --> 01:57:23,494
SHUT UP!
2521
01:57:23,704 --> 01:57:25,746
TO THINK, MY SIMPLE
LITTLE BOOKIE SYSTEM
2522
01:57:25,956 --> 01:57:27,665
CAN BE LOUSED UP
BY THIS DUMB BROAD.
2523
01:57:27,874 --> 01:57:29,000
HORSES?
2524
01:57:29,209 --> 01:57:30,501
BOOKIES!
2525
01:57:30,711 --> 01:57:32,712
OTTO, IS THAT
WHAT I GAVE YOU
2526
01:57:32,921 --> 01:57:33,921
ALL THAT MONEY FOR?
2527
01:57:34,131 --> 01:57:35,006
OH, SUE, YOU DIDN'T.
2528
01:57:35,215 --> 01:57:36,257
THAT'S SWELL,
LOUDMOUTH.
2529
01:57:36,466 --> 01:57:38,259
NOW THESE DAMES
KNOW ALL ABOUT IT.
2530
01:57:38,468 --> 01:57:39,927
WHAT'S THE DIFFERENCE?
THEY CAN'T TALK.
2531
01:57:40,137 --> 01:57:40,928
THEY'RE IN THIS
AS MUCH AS WE ARE.
2532
01:57:41,138 --> 01:57:42,054
ONE PEEP OUT OF THEM,
2533
01:57:42,264 --> 01:57:43,055
AND THE COPS WILL
PUT THEM IN JAIL
2534
01:57:43,265 --> 01:57:44,265
AND CLOSE UP
SUSANSWERPHONE.
2535
01:57:44,474 --> 01:57:45,266
OH, NO!
2536
01:57:45,475 --> 01:57:46,767
THE MONEY.
LET'S GO! THE MONEY!
2537
01:57:46,977 --> 01:57:48,769
MY LIFE SAVINGS!
ELLA, PLEASE--
2538
01:57:48,979 --> 01:57:50,271
SHUT UP!
2539
01:57:50,439 --> 01:57:51,564
AAH!
2540
01:57:51,773 --> 01:57:52,940
HA HA HA...
2541
01:57:55,152 --> 01:57:56,694
THEY DON'T GET IT.
2542
01:57:56,903 --> 01:57:57,862
GET WHAT?
SHUT UP!
2543
01:58:00,323 --> 01:58:02,199
OK, OTTO,
YOUR NUMBER'S UP.
2544
01:58:02,409 --> 01:58:03,701
RIDICULOUS.
2545
01:58:03,910 --> 01:58:06,620
OH, NO.
REMEMBER MR. BARNES
2546
01:58:06,830 --> 01:58:08,706
OF VOGUE MAGAZINE?
2547
01:58:08,915 --> 01:58:10,207
WELL, HE'S NOT
MR. BARNES.
2548
01:58:10,417 --> 01:58:11,709
HE'S INSPECTOR
BARNES,
2549
01:58:11,918 --> 01:58:13,544
AND THE COPS
KNOW ABOUT THIS
2550
01:58:13,754 --> 01:58:15,713
WHOLE LAYOUT.
IT'S A TRAP!
2551
01:58:15,922 --> 01:58:17,214
OH! OH!
2552
01:58:17,424 --> 01:58:19,216
YOU'RE COMING WITH US
TO CORVELLO'S.
2553
01:58:19,426 --> 01:58:22,219
NO, IT WON'T BE NECESSARY
TO RUB US OUT, BOYS,
2554
01:58:22,429 --> 01:58:24,221
BECAUSE...BECAUSE...
BECAUSE YOU'VE ALL BEEN
2555
01:58:24,431 --> 01:58:26,807
SPILLING YOUR GUTS
INTO A TAPE RECORDER.
2556
01:58:34,357 --> 01:58:35,733
WHERE IS IT?
2557
01:58:35,942 --> 01:58:37,234
WHERE IS IT?
2558
01:58:37,444 --> 01:58:39,236
YOU THINK YOU'RE
PLAYING WITH KIDS?
2559
01:58:39,446 --> 01:58:42,073
HA! WHERE IS IT?
WHERE IS IT?
2560
01:58:42,282 --> 01:58:45,242
OH! IT'S RIGGED UP
TO THE POLICE STATION,
2561
01:58:45,452 --> 01:58:46,243
THAT'S WHERE,
2562
01:58:46,453 --> 01:58:47,995
AND YOU BETTER
GET GOING
2563
01:58:48,205 --> 01:58:49,747
BECAUSE AS
A MATTER OF FACT,
2564
01:58:49,956 --> 01:58:51,999
INSPECTOR BARNES
SHOULD BE HERE ANY MINUTE.
2565
01:58:52,167 --> 01:58:53,417
Barnes: AHA!
2566
01:58:53,627 --> 01:58:55,002
OH! INSPECTOR BARNES.
2567
01:58:55,212 --> 01:58:56,170
OH, AM I GLAD
TO SEE YOU.
2568
01:58:56,379 --> 01:58:57,797
AND I'M GLAD TO SEE YOU,
MISS PETERSON.
2569
01:58:58,006 --> 01:58:59,173
NOW YOU JUST GET YOUR TOOTHBRUSH
AND COME ON ALONG.
2570
01:58:59,382 --> 01:59:00,341
THAT'S RIGHT.
MY TOOTHBRUSH?
2571
01:59:00,509 --> 01:59:01,467
OH, NO,
INSPECTOR BARNES.
2572
01:59:01,676 --> 01:59:03,260
WE CAN JUST DROP
THAT ACT RIGHT NOW
2573
01:59:03,470 --> 01:59:05,763
BECAUSE I'VE GOT THE WHOLE
BOOKIE MOB RIGHT HERE.
2574
01:59:05,972 --> 01:59:08,265
ALL YOU HAVE TO DO
IS TAKE THEM AWAY.
2575
01:59:08,475 --> 01:59:10,267
INSPECTOR BARNES,
I SURRENDER HAPPILY.
2576
01:59:10,477 --> 01:59:12,269
THESE ARE TWO
OF CORVELLO'S HENCHMEN.
2577
01:59:12,479 --> 01:59:15,773
I WANT TO CONGRATULATE YOU
FOR HAVING SUCH A BRILLIANT ALLY
2578
01:59:15,982 --> 01:59:18,275
WORKING WITH YOU
TO UNCOVER THE CORVELLO GANG.
2579
01:59:18,485 --> 01:59:20,277
ME? I'M NOTHING.
SMALL POTATOES.
2580
01:59:20,487 --> 01:59:21,278
CORVELLO--
2581
01:59:21,488 --> 01:59:22,279
HE'S THE HEAD
OF EVERYTHING.
2582
01:59:22,489 --> 01:59:24,281
WE ONLY WORK
FOR HIM.
2583
01:59:24,491 --> 01:59:25,449
WHAT?
2584
01:59:25,659 --> 01:59:27,451
INSPECTOR, DON'T YOU
GET THE PICTURE?
2585
01:59:27,661 --> 01:59:29,537
TITANIC RECORDS IS
A BOOKIE OPERATION.
2586
01:59:32,082 --> 01:59:33,958
TAKE THEM AWAY.
2587
01:59:34,167 --> 01:59:35,543
TAKE THEM AWAY!
2588
01:59:39,089 --> 01:59:40,965
FAREWELL,
MY LIEBCHEN.
2589
01:59:41,174 --> 01:59:43,968
OH, OTTO, HOW
YOU DECEIVED ME.
2590
01:59:44,177 --> 01:59:46,470
AH, BUT HOW YOU
DECEIVED ME,
2591
01:59:46,680 --> 01:59:48,556
YOU LITTLE MATA HARI.
2592
01:59:57,691 --> 01:59:59,316
AUF WIEDERSEHEN.
2593
02:00:02,696 --> 02:00:04,697
INSPECTOR BARNES,
2594
02:00:04,906 --> 02:00:07,074
YOU'LL GET A PROMOTION
FOR THIS.
2595
02:00:07,242 --> 02:00:09,410
I DIDN'T DO ANYTHING.
2596
02:00:09,619 --> 02:00:12,663
I TOLD YOU
SHE WAS A NICE GIRL.
2597
02:00:16,543 --> 02:00:19,420
WELL, IS IT A CRIME
TO HAVE MADE A HUMAN MISTAKE?
2598
02:00:19,629 --> 02:00:21,005
I MISJUDGED YOU.
2599
02:00:23,049 --> 02:00:24,925
Barnes: OH, MISS SUE,
I WONDER IF YOU'D MIND
2600
02:00:25,135 --> 02:00:26,594
COMING DOWN
TO THE STATION WITH ME.
2601
02:00:26,803 --> 02:00:28,095
I MAY NEED YOUR HELP.
2602
02:00:28,305 --> 02:00:31,098
OH, I'LL BE GLAD TO.
2603
02:00:31,308 --> 02:00:33,100
NOW, ELLA,
2604
02:00:33,310 --> 02:00:36,103
PROMISE ME
YOU WON'T LEAVE.
2605
02:00:36,313 --> 02:00:39,607
NO. I'LL WATCH THE BOARD
TILL YOU GET BACK.
2606
02:00:39,816 --> 02:00:43,194
OH, I FORGOT TO TURN IT
BACK ON AGAIN.
2607
02:00:45,238 --> 02:00:46,697
[SWITCHBOARD BUZZES]
2608
02:00:48,074 --> 02:00:49,283
SUSANSWERPHONE.
2609
02:00:49,492 --> 02:00:50,618
Moss: I WANT TO TALK
TO MISS MELISANDE SCOTT.
2610
02:00:50,827 --> 02:00:51,785
WHAT?
2611
02:00:51,995 --> 02:00:53,120
I SAID I WANT
TO TALK TO MISS SCOTT.
2612
02:00:53,330 --> 02:00:54,622
OH, SPEAK SLOWER.
2613
02:00:54,831 --> 02:00:56,624
MELISANDE SCOTT.
I KNOW SHE WORKS THERE.
2614
02:00:56,833 --> 02:00:58,626
THERE'S NOBODY HERE
BY THAT NAME.
2615
02:00:58,835 --> 02:01:00,628
I KNOW SHE MUST BE THERE.
I'M COMING OVER.
2616
02:01:00,837 --> 02:01:02,129
IT WON'T DO YOU
ANY GOOD.
2617
02:01:02,339 --> 02:01:03,631
THERE'S NOBODY HERE
BY THAT NAME.
2618
02:01:03,840 --> 02:01:04,632
CRACKPOT!
2619
02:01:04,841 --> 02:01:06,133
SUE,
WHAT WAS THAT?
2620
02:01:06,343 --> 02:01:08,135
OH, SOMEBODY
LOOKING FOR SOMEBODY.
2621
02:01:08,345 --> 02:01:10,137
I SAID THERE WAS
NOBODY HERE BY THAT NAME.
2622
02:01:10,347 --> 02:01:11,639
BY WHAT NAME?
2623
02:01:11,848 --> 02:01:13,140
MELANIE OR MELISANDE.
2624
02:01:13,350 --> 02:01:15,142
HE SAID HE WAS
COMING DOWN HERE.
2625
02:01:15,352 --> 02:01:17,144
NO, SUE,
I CAN'T STAY!
2626
02:01:17,354 --> 02:01:18,646
WATCH THE BOARD.
2627
02:01:18,855 --> 02:01:19,730
NO!
2628
02:01:25,278 --> 02:01:27,238
[SWITCHBOARD BUZZING]
2629
02:01:33,787 --> 02:01:36,163
MAX'S DOG AND CAT BEAUTY SHOP.
NOBODY HOME.
2630
02:01:36,373 --> 02:01:37,665
[CAR DRIVES UP]
2631
02:01:37,874 --> 02:01:40,167
Moss: ARE YOU SURE
THIS IS THE RIGHT ADDRESS?
2632
02:01:40,377 --> 02:01:41,669
Man: THAT'S IT.
2633
02:01:41,878 --> 02:01:43,671
DOESN'T LOOK LIKE
AN OFFICE BUILDING TO ME.
2634
02:01:43,880 --> 02:01:45,256
THAT'S IT, BUDDY.
2635
02:02:08,321 --> 02:02:10,197
WHAT KIND OF
A PLACE IS THIS?
2636
02:02:10,407 --> 02:02:13,200
IT LOOKS LIKE SOMETHING
OUT OF OLIVER TWIST.
2637
02:02:13,410 --> 02:02:15,202
WHAT?
2638
02:02:15,412 --> 02:02:17,204
[OLDER VOICE]
KEEP AWAY, YOUNG MAN.
2639
02:02:17,414 --> 02:02:20,207
WE GIRLS ARE NOT
ALLOWED TO BE FAMILIAR
2640
02:02:20,417 --> 02:02:22,209
WITH THE CUSTOMERS.
2641
02:02:22,419 --> 02:02:25,212
MOM...MOM.
2642
02:02:25,422 --> 02:02:27,214
DON'T YOU KNOW ME?
2643
02:02:27,424 --> 02:02:30,718
DON'T YOU KNOW YOUR
LITTLE TELEPHONIC SONNY BOY?
2644
02:02:30,927 --> 02:02:33,012
OH, YES. MR. MOSS.
2645
02:02:33,221 --> 02:02:34,805
GET OUT!
2646
02:02:39,352 --> 02:02:42,229
OH! OH, ALL RIGHT!
2647
02:02:42,439 --> 02:02:44,732
GET THE PICTURE?
IT'S ME.
2648
02:02:44,941 --> 02:02:46,233
OH! OH...
2649
02:02:46,443 --> 02:02:48,235
MELISANDE.
2650
02:02:48,445 --> 02:02:50,738
NO, NO MELISANDE.
IT'S ELLA PETERSON.
2651
02:02:50,947 --> 02:02:53,240
THERE'S NO MELISANDE.
I MADE IT UP.
2652
02:02:53,450 --> 02:02:55,743
ALL RIGHT,
ELLA, MELLA, MOM,
2653
02:02:55,952 --> 02:02:58,746
WHATEVER YOUR NAME IS,
I LOVE YOU.
2654
02:02:58,955 --> 02:03:00,748
YOU CAN'T!
I TRICKED YOU.
2655
02:03:00,957 --> 02:03:04,251
PRETTY SHABBY TRICK,
SAVING A MAN'S LIFE.
2656
02:03:04,461 --> 02:03:06,253
BUT ALL THAT STUFF--
2657
02:03:06,463 --> 02:03:09,256
I WAS JUST TELLING YOU
WHAT YOU TOLD MOM.
2658
02:03:09,466 --> 02:03:10,758
I'M NOTHING.
2659
02:03:10,967 --> 02:03:12,760
DON'T YOU
CALL MOM NOTHING.
2660
02:03:12,969 --> 02:03:15,763
HUH? I LOVED
TALKING TO MOM.
2661
02:03:15,972 --> 02:03:18,265
SHE WAS WARM,
SYMPATHETIC,
2662
02:03:18,475 --> 02:03:21,226
WISE,
UNDERSTANDING.
2663
02:03:21,436 --> 02:03:23,270
I THOUGHT SHE WAS
A LITTLE OLD LADY.
2664
02:03:23,480 --> 02:03:25,272
AND ISN'T IT
A NICE SURPRISE
2665
02:03:25,482 --> 02:03:27,274
TO FIND OUT THAT
SHE'S A BEAUTIFUL BLONDE
2666
02:03:27,484 --> 02:03:29,276
WHO KNOWS HOW
TO CHA-CHA?
2667
02:03:29,486 --> 02:03:30,736
YOU HAVE TO
LET ME EXPLAIN
2668
02:03:30,945 --> 02:03:32,112
WHAT I DID TO YOU.
2669
02:03:32,322 --> 02:03:34,281
NEVER MIND. I GOT YOU
PRETTY WELL FIGURED OUT.
2670
02:03:34,491 --> 02:03:36,283
I HAD A LONG TRIP ALL THE WAY
FROM BROOKLYN HEIGHTS
2671
02:03:36,493 --> 02:03:37,785
TO WORK ON IT.
2672
02:03:37,994 --> 02:03:38,786
OH...
2673
02:03:38,995 --> 02:03:40,287
DR. KITCHELL...
2674
02:03:40,497 --> 02:03:41,288
OH!
2675
02:03:41,498 --> 02:03:42,289
BARTON...
2676
02:03:42,457 --> 02:03:43,290
OH!
2677
02:03:43,500 --> 02:03:45,292
ELLA, YOU DO
THINGS LIKE THAT
2678
02:03:45,502 --> 02:03:46,710
JUST THE SAME WAY
YOU SAY HELLO
2679
02:03:46,920 --> 02:03:48,796
TO PEOPLE
ON THE STREET.
2680
02:03:49,005 --> 02:03:49,797
ELLA, YOU'RE A GIRL
2681
02:03:50,006 --> 02:03:52,299
WITH A LOT OF LOVE
TO GIVE.
2682
02:03:52,467 --> 02:03:55,302
DON'T SCATTER IT
ALL OVER THE PLACE.
2683
02:03:55,512 --> 02:03:56,804
GIVE IT TO ME.
2684
02:03:57,013 --> 02:03:58,889
I NEED IT.
I WANT IT.
2685
02:04:01,935 --> 02:04:03,894
[SWITCHBOARD BUZZING]
2686
02:04:07,440 --> 02:04:09,316
[TURNS OFF SWITCHBOARD]
2687
02:04:09,526 --> 02:04:10,818
OH, ELLA!
2688
02:04:11,027 --> 02:04:14,988
OH, THIS IS PLAZA-OH,
DOUBLE-4, DOUBLE-3.
2689
02:04:15,198 --> 02:04:16,615
HOW DO YOU DO?
2690
02:04:16,825 --> 02:04:18,617
YOU MUST BE
THE OTHER ONE.
2691
02:04:18,827 --> 02:04:20,619
Barnes: HERE'S SOME
OTHERS TO SEE YOU--
2692
02:04:20,829 --> 02:04:22,121
BUTTERFIELD 8-9970!
2693
02:04:22,330 --> 02:04:23,622
DR. KITCHELL!
2694
02:04:23,832 --> 02:04:25,624
HOW CAN I EVER
THANK YOU?
2695
02:04:25,834 --> 02:04:27,626
OH, DON'T THANK ME.
2696
02:04:27,836 --> 02:04:31,130
♪♪ DON'T THANK ME,
BUT LET ME THANK-- ♪♪
2697
02:04:31,339 --> 02:04:33,132
Barnes:
MURRAY HILL 3-9970!
2698
02:04:33,341 --> 02:04:34,675
BLAKE BARTON!
2699
02:04:34,884 --> 02:04:37,636
LISTEN, GIRL, YOU GAVE MY
LIFE THAT CRAZY SWITCHEROO.
2700
02:04:37,846 --> 02:04:39,138
CUCKOO!
2701
02:04:39,347 --> 02:04:41,140
Barnes:
PLAZA 8-9653!
2702
02:04:41,349 --> 02:04:43,142
OH, MR. HASTINGS,
HOW ARE YOU?
2703
02:04:43,351 --> 02:04:45,644
REESE 6-4590.
2704
02:04:45,854 --> 02:04:47,646
Madame Grimaldi:
♪♪ AAAAHH ♪♪
2705
02:04:47,856 --> 02:04:49,731
[ALL TALKING AT ONCE]
2706
02:04:56,281 --> 02:04:58,657
Man:
AND SO, LADIES AND GENTLEMEN,
2707
02:04:58,867 --> 02:05:02,161
YOU, TOO,
LIKE THIS SATISFIED CUSTOMER,
2708
02:05:02,370 --> 02:05:04,663
CAN SOLVE
ALL YOUR PROBLEMS
2709
02:05:04,873 --> 02:05:08,417
BY SUBSCRIBING
TO AN ANSWERING SERVICE.
2710
02:05:10,295 --> 02:05:15,674
Chorus: ♪♪ HERE ALONE, I CAN ONLY
IMAGINE THE SIGHT ♪♪
2711
02:05:15,884 --> 02:05:21,180
♪♪ ME ON THE TOWN
IN SOME BEWITCHING GOWN ♪♪
2712
02:05:21,389 --> 02:05:26,685
♪♪ BUT I JUST WAIT
AT THE END OF THE LINE ♪♪
2713
02:05:26,895 --> 02:05:29,229
♪♪ AS BELLS ARE RINGING ♪♪
2714
02:05:29,439 --> 02:05:32,191
♪♪ THE BELLS KEEP RINGING ♪♪
2715
02:05:32,400 --> 02:05:39,573
♪♪ OH, WHY, OH, WHY CAN'T
THE NEXT CALL BE MINE? ♪♪
2716
02:05:39,782 --> 02:05:42,576
CAPTIONING MADE POSSIBLE BY
WARNER BROS.
2717
02:05:42,785 --> 02:05:46,079
CAPTIONED BY THE NATIONAL
CAPTIONING INSTITUTE
--www.ncicap.org--
174802
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