All language subtitles for subtitles4

af Afrikaans
sq Albanian
am Amharic
ar Arabic
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bn Bengali
bs Bosnian
bg Bulgarian
ca Catalan
ceb Cebuano
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch Download
en English
eo Esperanto
et Estonian
tl Filipino
fi Finnish
fr French Download
fy Frisian
gl Galician
ka Georgian
de German
el Greek Download
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hmn Hmong
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
km Khmer
ko Korean
ku Kurdish (Kurmanji)
ky Kyrgyz
lo Lao
la Latin
lv Latvian
lt Lithuanian
lb Luxembourgish
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mn Mongolian
my Myanmar (Burmese)
ne Nepali
no Norwegian
ps Pashto
fa Persian
pl Polish
pt Portuguese
pa Punjabi
ro Romanian
ru Russian
sm Samoan
gd Scots Gaelic
sr Serbian
st Sesotho
sn Shona
sd Sindhi
si Sinhala
sk Slovak
sl Slovenian
so Somali
es Spanish Download
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
te Telugu
th Thai
tr Turkish
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
or Odia (Oriya)
rw Kinyarwanda
tk Turkmen
tt Tatar
ug Uyghur
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 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

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.