All language subtitles for Goodbye.Charlie.1964.720p.WEBRip.x264.AAC-[YTS.MX]

[epic music]

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[upbeat pop music playing]

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♪ ♪

♪ ♪

[girls screaming excitedly]

♪ ♪

♪ ♪

♪ ♪

[gunshots]

[panicked chatter]

- [screams]

[upbeat music]

chorus: ♪ Good-bye, Charlie ♪

♪ Hate to see you go ♪

♪ Good-bye, Charlie ♪

♪ We are feeling low ♪

♪ Someone's wooing you in,
someone's doing you in now ♪

["Goodbye Charlie"]

♪ Good-bye, Charlie ♪

♪ Hate to see you fade ♪

♪ Bye-bye, Charlie ♪

♪ Thought you had it made ♪

♪ But they're dumping you up ♪

♪ And they're
pumping you up now ♪

♪ Don't you know lechery ♪

♪ Leads you to treachery ♪

♪ Things boomerang ♪

♪ Someone you trifle with
pulls out a rifle ♪

♪ Without a pang ♪

♪ Bang, bang, bang! ♪

♪ Good-bye, Charlie ♪

♪ Cashing in your chips ♪

♪ Bye-bye, Charlie ♪

♪ Time you came to grips ♪

♪ There ain't no doubt ♪

♪ Strike three, you're out ♪

♪ Good-bye, Charlie ♪

♪ Good-bye ♪

♪ ♪

♪ Good-bye, Charlie ♪

♪ Cashing in your chips ♪

♪ Bye-bye, Charlie ♪

♪ Time you came to grips ♪

♪ There ain't no doubt ♪

♪ Strike three, you're out ♪

♪ Good-bye, Charlie ♪

♪ Good-bye ♪

♪ ♪

Good-bye!

- Welcome, dear boy, welcome.

- Crafty, how nice of you
to pick me up.

- My dear boy, it was
the very least I can do.

I only wish it could have been
under happier circumstances.

- What an awful thing
to have happened.

- A shocking, terrible thing.
Porter?

- Sorry.

- How was your flight, George?
Tiring?

- Just the first 6,000 miles.

I'll bet you we flew over
both poles, North and South.

- Porter?

- And it wasn't just
the flight out of Paris.

You know, your cable
didn't catch me

until I was in Biarritz.

Then I had to drive all night
long to get back to Paris,

and then there was this
unbelievable series of foul-ups

until I finally arranged
to get on the plane.

Crafty, old boy,
I have really had it.

- I can imagine,
but I want you to know

I think it was
absolutely marvelous of you

to drop everything
and get here.

I really appreciate it, George,

and I know that
if Charlie knew--

- Skip it. I'm here
because I want to be here.

- I'll meet you gentlemen
at the auto exit downstairs.

- My car is parked
just outside--

black Rolls Royce, MC-1.

I knew you were
hard at work, George,

but I just couldn't
conceive of anybody else

speaking a few words
of farewell

at Charlie's memorial service.

- Oh, I know. Now, look,
I'm gonna do my best.

I want you to know that
I'm not very good at this.

- Aw, now, look,
you'll be fine.

- Now, I took some notes
on the plane, but--

- You will be
absolutely wonderful.

[waves lapping on shore]

You go in and
take care of the crowd.

I'll get the bags.

- All right.
- I'll help you, boss.

- Janie, nice to see you.
Isn't Kenneth here yet?

- Oh, Ken was heartbroken
he couldn't be here, darling,

but he's in the semifinals

of the golf tournament
at Hillcrest.

- Franny.
- And George, it's wonderful

to see you.
I only wish it could be--

- Could have been under
happier circumstances, yes.

- Of course, I didn't know
Charlie that well.

He was more a friend
of my husband's than of mine,

but I always admired--
- What happened?

Where is everybody?

- Well, I don't think
anybody else is coming.

Franny and I have been here
over an hour.

- Sir, is it possible
the wrong address

was given for the service?
- Don't be ridiculous.

My office personally
sent out all the telegrams.

- Crafty,

Harry asked me to explain
that he wanted to be here,

but some exhibitors
came in from Ohio--

- Hello, Sue?

Listen, Sue, I'm out here
at the--at the beach house.

There's practically nobody.

Well, I know you sent
everybody wires,

but you should have
followed up by phone.

Oh, you did follow up by phone?

Well, a golf tournament

couldn't keep everybody
from coming.

But this is only Tuesday.

Nobody goes to Palm Springs
before--before the weekend.

Oh, well, what about
the Writers' Guild?

Surely they're gonna
send somebody.

He owes how many years' dues?

All right, Sue.

Seems to be one of those days
when nobody can get away.

- Crafty, can't we begin?

I don't think
anybody else is coming.

- Now?

But, uh,

don't you think we ought to
wait just a few more minutes?

- Dear boy,

turnout-wise,
this isn't what we hoped for,

but I'm very much afraid
this is it.

- Just us?
But people may be on their way,

maybe hung up in traffic
or something.

- George, I'd be the last
to hurry you

in a matter like this,
but the fact is,

I'm giving a little
dinner party at LaRue,

so if we could
just get cracking?

- Yeah, yeah, I understand.

Uh, I want you to know

I'm not very good
at this sort of thing.

- Sir, if it would be
at all helpful,

we've brought along a tape
recording of Handel's "Messiah"

sung by the Vienna Choir.

- Thanks,
but some other time maybe.

- Mister, please.

- Well, here we are,

those of us who were
Charlie Sorel's friends,

gathered in his house
while somewhere out there

in the vast ocean lies Charlie.

First and foremost,

I would like to thank
all of you here for coming out.

- [grumbles]

- I know that poor Charlie
would have been--

well, I don't know
if he'd been gratified

by the size of the gathering,

but he would have been
pleased to know that

those who loved him
most in life

have gathered here
to honor him in death--

Morton Craft,
his trusted and devoted agent,

the lovely Mrs. Saltzmann,
Franny to all of us,

who's here representing her
husband, Mr. Harry Saltzmann,

the head of Charlie's studio,

and Janie,
Mrs. Kenneth Highland,

whose husband directed
several of Charlie's scripts.

Um, I'm terribly sorry
to be so awkward at this,

but it's not an easy task.

The rather
ghastly circumstances

of his actual demise

make it extremely difficult
to think of anything to say

about the poor--about
our poor departed friend.

I'm sure we all remember
his wonderful zest for life

and good living,

his superior knowledge
of wines.

Then too there was his--

his superb backhand,

and there was his, uh,

fearlessness on the ski slopes.

And finally, I would like to,

uh, say a few words
about his value

to the hostesses of this
community as an extra man.

Now, that in itself--
and I'm sure Franny would be

the first one to admit--
is no mean thing.

The number of presentable
and unattached men

who are available at
a relatively short notice

is, uh, rather limited,
to say the least.

Oh, what's the use?

Charlie was Charlie.
What more can I tell you?

Uh, some of us loved him,
and some of us hated him,

and some of us loved
and hated him both.

Anyway, he's gone, and he went,
to paraphrase Mr. Eliot,

not with a whimper
but with a bang...

[clears throat]

Well, that's it.

I mean, I'm sorry
I wasn't more eloquent,

but I told you I wasn't very
good at this sort of thing.

- That was beautiful, George,
just beautiful.

- Just beautiful.
- Extremely tasteful, dear boy,

and if I may say so,
very touching.

- It was so nice
to see you again, George.

I'm sorry I have to
rush off so soon,

but I'm chairman
of the Beverly Hills PTA,

and there's just so much to do
what with the committees and--

- Good-bye, Franny.
My best to Harry.

I actually didn't think
I'd get through with it.

I've got a great longing
for about eight days

of uninterrupted sleep.

- Precisely what you need,
dear boy.

I think you'll find
everything here

in the house that you require.

When you get a moment,

you might just
glance through these,

Charlie's estate.

The will named you as executor.

- Me, executor?

Why would he do
a stupid thing like that?

- Don't worry, dear boy.

If you'll just glance through
this financial statement,

you'll see what I mean.

The assets are principally
this house,

his car, and his clothing.

The house is heavily mortgaged.

There's a big loan on the car,

and most of the clothing
isn't paid for.

- All this for back taxes?
Didn't he ever pay them?

- Seldom, if ever.

Well, dear boy,
as you've so aptly put it,

Charlie was Charlie.

Good-bye, dear boy.
Make yourself comfortable.

I'll be in touch with you.

Good-bye, Janie.
- Bye, Crafty.

George, darling,
I really must rush too.

It's been so nice
seeing you again,

and what you said
really touched--

don't get up--
really touched me.

You know,
I feel a better person somehow,

a little finer, more noble.

George, uh,

somewhere around this house
is a dinner dress of mine.

I left it here one night.

Well, I couldn't
very well wear it home

in broad daylight, could I?

- I understand. You want me
to go look for it now?

- Oh, no, no, darling,
but if you find it, uh,

would you just mail it to me?

It's an original,
cost 850 bucks.

- Sure, Janie, sure.

- Thanks, George.
Buh-bye.

- I'll put your bags
in the bedroom, sir.

- Thank you.
- Excuse me, sir.

- Yes?

- Our after-grief service will
remove the chairs tomorrow.

- Thank you.

- Will there be anything else
this evening, sir?

- I sincerely hope not.

- Good night, sir.
- Good night.

[fantastical music]

♪ ♪

chorus: ♪ Good-bye ♪

♪ Charlie ♪

- Charlie, you poor old goat.

I'm gonna miss you, kid.

Chorus: ♪ Good-bye ♪

♪ Charlie ♪

♪ ♪

[mellow music]

[knocking]

[knocking continues]

♪ ♪

[tense music]

♪ ♪

[wind whooshing]

[short dramatic sting]

- I beg your pardon, sir.

- I'm sorry,
but the services are over.

Everybody's been and gone.
- Excuse me, sir, but I--

I encountered this young lady
on the highway.

- My friend,
you and your friend--

- She's not my friend,
but she was--

look, that is to say she--

well, she was undressed,
and I gave her my coat.

- Uh, you want
the Malibu Motel--

- No, it's nothing like that.

I'm on my way to Santa Barbara,
a rather important dinner,

my mother's birthday,
and I'm late already,

but she asked me
to bring her here.

- Here?
Well, why on Earth here?

I never saw her before
in my life.

- She didn't exactly ask,
but when she saw the hou--

your house, well, she made
me stop and bring her in,

so if you don't mind,
I'll be on my way,

and you can take over.
- Now, now, just a minute.

For one thing,
it's not my house.

You don't know me, do you?

Do you?
Don't she talk?

- I'm afraid she's ill.
Her memory is--like amnesia?

- Oh, come on.
- No, I was planning

to take her
to a doctor or a hospital.

- Well, take her, take her.
- No, here, please.

- You want Charlie Sorel,
don't you?

You're one of Charlie
Sorel's friends, aren't you?

Charlie Sorel?

- Charlie Sorel?

- Look, sir,
she knows this place.

She must belong here,
and I've got--good grief!

Excuse my language, but my
mother will be so disappointed

if I'm not there when they
bring the cake, you understand.

- You're not leaving here
without her.

- I'll call you tomorrow.
- You found her.

She's yours.
Come--come back!

- I'm deeply indebted
to you, sir,

and don't worry about my coat.
I hope that the young lady

makes a swift
and complete recovery.

Good-bye.
- Come back here!

She's sick!

[dramatic music]

♪ ♪

[grunts]

You can't leave her
here like this!

Come back!

[mellow music]

♪ ♪

[groans]

Uh, uh,

hey, you.

Uh, Madame X?

Wake up.

Speak to me.

All right, don't speak to me.

I'll speak to me.

Well, what kind of a day
did you have, George?

Smashing.

[dramatic flourish]

[mellow music]

♪ ♪

Oh, well,
I didn't exactly have to, uh,

force that down your throat,
did I?

- It's good.

What is it?
- It's brandy.

Where have you been
all your life?

- I don't know.

I can't remember
anything about anything.

- I know, amnesia.

- Amnesia?
- Yeah, well, it's a--

it's a television disease,
but never mind about that.

What do you remember?

- Only being on the highway,

a man giving me his coat.

I was shivering in the car.

Suddenly, I saw this house,

and felt if I could
just be inside,

I'd be safe.
- [chuckles]

Safe?
In Charlie Sorel's house?

- Charlie Sorel?

- Mm-hmm.
You must have known him.

That's why
the house struck a chord.

Come on, now, why don't you get
up and take a good look around?

Come on.

Go on.

[curious music]

♪ ♪

Nothing, huh?
[chuckles softly]

Well, I'll tell you what.

There's a terrific
little hospital

down the road in Malibu.

I'm gonna phone for a cab.
- Please, no.

- Please, yes.
- Please, let me stay.

I'm sure I'll remember
something here--

just till the morning, please.

- Till the morning?
Are you kidding?

You may not know it,
but you're a very pretty girl,

and furthermore, you're not
dressed for houseguesting,

and in addition, how do I know
but you may have a husband

the size of a house that's out
looking for you right now?

[sweeping music]

♪ ♪

Oh, what the hell.

I'm too tired.
Come on.

Come on.

Come on.

[mellow music]

♪ ♪

There.
It's all yours.

Come on, come on.

The bathroom's here.

Now, the first thing
in the morning,

in sickness or in health,

we make other arrangements,

right?

- Thank you.
What's your name?

- My name?

My name, uh--
now you got me doing it.

My name's George Tracy.

- George Tracy.

- My name won't mean a thing.

Charlie Sorel, that's
the one to concentrate on.

This is his house.
You remember Charlie Sorel?

Big guy with broad--skip it.

Well, I think
you got everything.

Good night.
- No.

Don't leave me, please?

- Tell you what I'll do.

I'll leave the door open,
but that's the best I can do.

Good night.

- Night.

[items thunk]

[fantastical music]

♪ ♪

- [shrieking]

[garbled shrieking]
- Shh, shh!

Stop it! There's nothing
to scream about!

Everything's fine!
It's all right!

Everything's all right.
You're safe.

Be calm.
Just...

- [panting]

- Oh.

For a little girl,

you have the lungs
of a deep sea diver.

- Oh.
- What was it, a nightmare?

Huh?

- George, don't you know me?

- Yeah, I know you.

You don't know you.
That's your problem.

- George, look at me.

- Will you please go to sleep?

- George, it's Charlie.

It's Charlie Sorel.
- Now--

- I'm Charlie Sorel.

- Okay, miss.
Okay.

Any--anything you say,
anything at all,

but will you please go to sleep

before I hit you over the head
with this lamp?

Oh.

- George...
- [grumbling]

- I don't understand
this any more than you.

- All right.
- But I'm Charlie Sorel.

It suddenly came to me
in my sleep.

- Sleep, thanks.
- George.

Wake up, George, please.

George, I'm your best friend,
Charlie Sorel.

- We'll discuss this
first thing in the morning.

Good night.
- George, it's true.

Leo Sartori caught me making
a pass at Rusty on the yacht,

and he shot me.
- That's nice.

- Now, George,

George, you listen to me.

Your name is George W. Tracy.
The W stands for Wellington.

You live at
231 Avenue Kléber in Paris.

Your telephone number
is Balzac-4889.

You have a mole on
your left shoulder blade.

- Look, sister,
I don't know what the gag is,

but I've had a very rough day.
I--

- In 1950,
we wrote a picture together

based on an original story
you sold the studio.

We had a secretary
named Shirley something,

lived on Fountain Avenue,
and neither of us knew

the other was
making out with her

until we bumped into each other
on the stairs

one rainy
Sunday afternoon, right?

- Who put you up to this?

Was it Crafty?

- Your bank in Paris is the
First National City branch

on the Place Vendôme.

Two years ago, you cashed
a check from me for $1,000.

It bounced, but I made it good
when I got lucky

at the Cannes Film Festival.

I gave you the money
in chips, right?

And that same weekend,
you nearly drowned

when my surfboard
hit you in the head, right?

Now, doesn't that prove
I'm Charlie?

- All it proves is that
you knew Charlie,

and he told you
all these things.

- Oh, I am Charlie,

you stubborn bonehead!

[exhales]

What about the time you took
that producer's girlfriend,

the redhead,
to Tijuana for the bullfights,

but you got stuck there
'cause it turned out

she wasn't an American citizen

and didn't have
a reentry permit?

- I get it.
I get it.

You're, uh--

you're one of Charlie's girls,
and he--

he promised to marry you
or borrowed money from you.

Well, you're wasting
your time because

he's not gonna marry you
or pay back the dough

because he's dead.

D-E-A-D.

Now, you can stay the night,
have a hot breakfast,

and out.

- Okay, George,

I didn't want to hurt you,

but you're asking for it.

Last Christmas,
just three months ago,

you were in St. Moritz
with a model from Harper's,

Elsa Underwood.
You were crazy about her.

You even talked
of getting married,

but she got a telegram
from Dick Avedon

and had to rush back
to Paris for retakes.

- Dick Avedon, my foot.
That telegram was a phony.

She came back to meet some guy,

and they were
shacked up in some hotel--

- The Ritz, George,

in a suite overlooking
the Place Vendôme.

It was me, George.
I'm sorry.

- You dirty rat.

I should have known!
- She was no good, George!

- And my good friend
Charlie Sorel's

gonna be the one
to prove it to me, right?

- Yeah, you were getting
serious about her.

- You double-crossing--

- I couldn't let you--
I did it for you, George!

- Me?
- My word of honor.

- Ha, Charlie Sorel's
word of honor.

- You could have been
badly hurt, George,

and I didn't want--
- That's enough, Charlie!

Drop it!

[panting]

[dramatic music]

[gasps softly]

- You know who I am now,

don't you, George?

Now you know why
I was screaming.

What kind of a weird setup
is this?

What's going on?

George,

what am I gonna do?

George? George?

George!
George?

And then this cat
in a big black Ferrari--

he came screaming to a stop.

He bundled me up in his coat,
and he stuck me in a car--

- Now, look--now, look,
I know all about that,

but what about the actual,
uh, transition?

I mean, don't you have
any clue to that?

This isn't easy to assimilate,
you know.

- You're telling me!

Yeah.

Once and for all,

will you stop worrying
about petty details

and just take a good look

at the whole ghastly

overall picture?

What do they want from me?
How long is this gonna last?

Am I gonna be hung up like this
for the rest of my life?

- Now, Charlie, come on, now.

Let's--let's be calm.
Let's not lose our heads.

Now...
[sighs]

There's probably some
perfectly simple explanation

for the whole thing.

- [loudly]
Like what?

- I don't know,

and stop yelling at me,
or I'll walk right out of here.

I'm not in trouble, you know.
You're in trouble.

I'm not a girl.
You're a girl.

- George, George,
you can't leave me.

I'm trapped.

- Well,

I'm only trying to do
my best to help you,

but apparently,
my best isn't good enough.

- George, you got to stick
by me--for a while, anyway.

George, if you walk--

George, if you walk out on me,

I swear I'm gonna walk
right back into that ocean

and drown myself!

Oh,

with the way
they got this thing rigged,

I'll probably
bounce right back

like a yo-yo.

- Well, all right, Charlie,

but no more flare-ups, okay?
Get calm.

- Yeah, okay, yeah.

- That a boy.
- I'm calm.

- Steady, steady.
- Mm-hmm.

Okay, I'm steady,
and I'm calm.

Now what?

- Now...

The thing is to look at this

as calmly and as
realistically as possible.

You, Charlie Sorel, for reasons
that we don't understand

and probably wouldn't even
care to discuss,

are no longer a man.
You're a girl.

- If only
it'd been anything else.

If only I'd been washed up
on that beach as anything--

animal, vegetable, mineral,
but not a girl!

Not a girl!

- Aw, come on, Charlie.

It's not fair
to indict the entire sex.

I thought you liked girls.

In fact, that was one of
your big problems in life.

- Now, let me tell you
a thing or two

about those
gorgeous girls, George--

nuts, dangerous,

psychotic,
truly demented cuckoos,

as cute and cuddly as
a flight of tracer bullets!

They can have lovers the way
other people eat cherries,

but if you take another girl,
even to lunch in a drive-in,

whammo!

They lie to me and to you,
to their husbands,

to their lovers,
to their analysts,

and the cashier
in the supermarket!

Oh, I know I've been accused
of treating girls badly,

George, and I have,

but only in self defense.

- Charlie, suddenly--

suddenly, the whole thing
is blindingly clear.

- What whole thing?

- This thing
that's happened to you.

There is an all-wise,
all-seeing providence,

and you are its special baby.

- What are you talking about?

- It's the
Old Testament speaking,

the master plan,

an eye for an eye,
a tooth for a tooth.

- Cut it out, George. You're
scaring the hell out of me.

- But there's a grandeur
about it that's staggering.

All your life, you've
taken advantage of women.

You've been the wolf let loose
on the Assyrian fold,

and now the punishment
has been created,

custom tailored, in fact,
to fit the crime.

The tables have been turned,
Charlie.

Instead of pitching,
you are the catcher.

- What a horrible thought.

It's as though I'd been
a gourmet all my life,

and now suddenly,
I'm a lamb chop.

George, do you realize
I hit you with my left?

- Huh? You did?
Oh, that's okay, Charlie.

- No, no, no, George, it was
my left, my famous left hook.

You always said it was lethal.

You should have gone down
like a sack of oatmeal.

- Yeah.

- Nothing!
No, this is too much!

[chair clatters]
I won't stand for it!

- Charlie--
- Maybe I haven't been

the west coast Dr. Schweizer.
- Now, Charlie--

- Maybe I do deserve some kind
of a payoff, but not this!

- We're gonna work this out
together, Charlie.

- Not this!
- Now, relax. Stay calm.

- Okay.
- I'll get you a drink.

Now, just be calm.
- Yeah, yeah.

- I'll get you a drink.
- Right, right.

Think of something,
George, please.

- We will.
There are any number

of possibilities,
and we're gonna try them all.

Uh, Charlie,
you're out of vodka.

- Well, try the bookcase.

I used to hide stuff there
from the maid.

- The bookcase?
- What possibilities, George?

Name something.
- Well, in the first place,

there's a chance this
whole thing might blow over.

Of course,
then we're in the clear.

Where in the bookcase, Charlie?

- Behind "War and Peace."

Where else would you hide
vodka in a bookcase?

- "War and Peace."
"War and Peace."

- But what if it doesn't
blow over, George?

- "War and Peace."
- Then what?

- Then in that case,

we've got the whole medical
profession to go back on.

You know,
it could be glandular.

Maybe it's your metabolism.

Maybe a good psychiatrist
might even help.

- Honest, George,
you think that might help?

- I don't know, but it's worth
a shot, isn't it?

- Yeah.

Yeah, sure.

I might as well.

The shape I'm in,
I'll try anything.

- That's the spirit.

Now, there's this doctor in
Beverly Hills. What's his name?

Uh, Kessler, Kiessler, Kessler,
something like that,

but he's treated practically
all of Crafty's clients,

and they swear by him,
say he's a wizard.

I'm gonna make an appointment
for you this afternoon.

A, B, C, D, E, F, G.

- Oh, George, I don't know
what I would have done

if I had to face this
without you.

- Oh, forget it.

- You're the only
friend I've got.

- I wouldn't say that.

- George, what are
those things?

Were you running
a floating bingo game?

- No, we had a, uh, memorial
service for you here yesterday.

- A memorial?
- Mm-hmm.

- Good crowd, huh?

- Well, actually, uh--

uh, we did our best
to keep it down, you know?

Just the real chums.

I delivered a sort of a--
well, a eulogy,

I guess you'd call it.

You should have seen
how affected they were.

There wasn't a dry eye
in the house.

- Thanks, kid.

A memorial service--

eh, why not?

Charlie Sorel is finished,
left hook and all.

All that's left of me is this.

- Now, Charlie,

you've got
to make an effort

to look at the
bright side of things.

So, you're a girl.
So what?

It's not the end of the world.
- Yeah.

- Did it hurt Garbo,
being a girl?

What about Madame Curie,
Florence Nightingale,

Harriet Beecher Stowe--
girls, all girls.

- Yeah, sure.
I'll bear it in mind.

- And while you're looking
at the bright side,

what about that 75 grand
you owe the government

in back income taxes, hmm?

They're gonna have
a pretty tough time

trying to collect,
aren't they?

- I must say,
I like that aspect.

- Mm-hmm.
Now, first things first.

You've got to have,
uh, something to wear.

I'll zip down to that
little boutique in Malibu

and buy you something,
a housedress or something.

- Huh.

- Okay, a pants and shirt
for a starter,

something that'll be easier
for you to handle.

And, uh,

I'm gonna have to get you
something for underneath here

and, uh, and here.
- Yes, just my luck.

Only last week I bought two
dozen pairs of jockey shorts.

- And I'd say you're about
a size, oh, seven.

- Okay, George, get cracking.

While you're gone,
I'll shower and shave.

[shower shuts off]

- Here's something, Charlie.

"A basic concept of religious
life in ancient Egypt

was the principle
of reincarnation."

That's you, Charlie,
reincarnation.

"In general,
the transmigration of the soul

"was reserved for those
who had, on Earth,

"led worthy
and wholesome lives,

and these fortunate souls
returned in the form of..."

[chuckles]
"Birds."

You want to try flapping
your wings, Charlie?

"Similar beliefs--"

- Hey, George, come here.

- Huh?

- George, look at this.

- "Similar beliefs
existed among

"certain prehistoric
Inca and Mayan peoples.

"However, the priests thought
that soul survived on Earth

as a living shrub, tree,
or other foliage, and s--"

[grand musical flourish]

- How about that?

My, my.

Good old mother nature.

Imagine.

I don't have to go see
Brigitte Bardot movies anymore.

All I have to do is come home
and pull down the shades.

- What a nutty way to talk.

And will you
button your blouse?

- Okay.

It's wild, isn't it?

I feel so darn,

well, feminine.

In the bathroom
I had a sudden desire--

came out of nowhere--
to paint my toenails.

- Paint your toenails?

What are you,
some kind of a--

now, look, right now,

we have an awful lot
of business to discuss.

Your affairs are
in a terrible mess.

- My mind is the mind
of Charlie Sorel.

I don't have to tell you
what that's like.

But it's all mixed up
with something kind of

soft and tender

and clinging.

- Uh, now, Charlie,

don't let, uh,
this thing get you all, uh,

twisted and, uh, turned inside.

I mean, remember,
steady and calm.

- I'm fine.
What's wrong with you?

- Me?
Nothing, nothing at all.

- Hey, George,
do you think I'm attractive?

Man to man, George,
tell me the truth, huh?

- Uh, Charlie, you are, uh,

undoubtedly, uh,

a very attractive girl.

Now, do you mind?

Let's get down
to business, huh?

- Business, business, business.

Is that all you can talk about?

Hmm.

No wonder American women
are so frustrated.

- Charlie, you're broke!
Did you know that?

I mean, this is your estate,

of which you so kindly
made me your executor.

You're not only broke,
you're bankrupt,

and I can't help you

because I spent practically
the last of my dough

getting here
for your lousy funeral.

- You know, George,

it hurts me to see you
worrying about money.

You're an artist, George,

a fine and sensitive person.

- Mm-hmm, well, climb down
off that daydream, Charlie.

You're in hock up to your ears.

- Charlie Sorel was.

Poor Charlie.

- Just what's going on
in that twisted

little mind of yours, chickie?

- I'm not sure, George,

but I'm full of confidence.

I felt it the minute
I got into this outfit,

even more just before
I got into it.

This is a town
full of suckers, George.

We both know that--

male, female, or what have you.

And I'm fully equipped
to handle anything.

- Don't tell me that
you think of this

as just a springboard
to some new racket.

- And I didn't ask for this.

I'm stuck with it.

Just tell me one thing.

How do I live?

- You're a writer, aren't you?

And you're experiencing
something that must be,

to put it mildly, unique.

Just think what
Tennessee Williams would give

to be in your shoes,

or Arthur Miller,

or Henry Miller.

- Yes, it has
literary possibilities,

definitely.

Thanks, George,
for straightening me out.

- Oh, that's okay, uh, Charlie.

Well, I, uh--I, uh, think we
better give these papers a shot

and see what we can salvage.
[doorbell rings]

Company, for Pete's sakes.

I'll tell you what, Charlie.
You go duck in the bedroom,

and whoever it is,
I'll get rid of them.

Go ahead.

- Hello.

- Oh, how were things
in Santa Barbara?

- Oh, very nice.
Thank you, sir.

- Good, good.

- Uh, I was driving
into the city,

and I thought
I'd just stop and--

- Oh, of course, you--
you want your coat.

I'll get it for you.
Just a minute. Your coat.

- Oh, no, sir.

No, I didn't come for my...
[grunts]

Oh, sorry, sir.
I didn't come for my coat.

I thought I would just
stop and, uh,

inquire about the health
of the, uh, the young lady.

- Well, the health of
the young lady is fine.

Nice of you to inquire.
- She seemed so ill last night.

Are you sure she's really,
uh, herself again?

- Well, that's a moot point,
but, uh,

she had a marvelous night's
sleep last night,

and I'm--

- Hello.

[romantic music]

- Oh, hello.

- Won't you come in?

- Yes, with pleasure.

Gee, you really are better,
aren't you?

I-I--I'm glad.

- Oh, it's so good of you
to be concerned about me.

Thank you.

- Oh, thank you.
Permit me to introduce myself.

I'm Bruce Minton III.

- Uh, George Tracy, the...

[stammers]
And this is m--

- Mrs. Charles Sorel.

- Mrs. Charles Sorel.

- Delighted to meet you, M--

Mrs. Sorel?

- Yes.
I'm a widow.

- Oh, I'm sorry.

- It was tragic, really.

I lost my husband--

one of the finest men
I've ever known--

taken from me,

cut down in the
sunshine of his youth,

talent, and beauty.

But life belongs to the living.

We must go on.

- And we have
a thousand things to do.

- I want to thank you for
your kindness last night.

- Well, I was only too glad
to be able to help.

- Oh, I mean, there I was,

wandering around in that

awful state.

I might have been picked up
by just anybody,

some awful person
instead of by a--

a gentleman.

Thank you.

Oh, I know a poor widow's
gratitude isn't much, but--

- Oh, it is, it is.
It means a great deal to me.

I mean--
- Excuse me.

- To know you're well and--

and recovered
makes me very happy.

- Oh, that's very kind

to worry about
a total stranger.

Of course, now that I'm well,

we don't have to be strangers.

- Hello, Dr. Ke--
Dr. Kessel's office?

Yes, I would like to make
an appointment, please.

It's an emergency,
Mrs. Charles--

no, no,
not next Thursday at 4:00.

That's out of the question.

Well, couldn't you shift
one of your patients?

This emergency
might explode any minute.

Oh, thank you.

- Are you driving that
sweet new Ferrari today?

- Yes.
- It's marvelous in black,

my favorite color.
- Yes, mine too.

That's the new
four-carburetor model

with a special sports body
by LeFranco.

Mother ordered it for me,
uh, last birthday.

I hope you'll accept a ride in
it when you're fully recovered.

- Oh, with pleasure,
Bruce, with pleasure.

[gasps] Oh, my goodness,
look at the time.

Oh, I'm awfully sorry.
I have to run.

I must get into town
and do something about my hair.

It's a mess.
George?

Oh, uh, George, dear,
I'll need the keys to the car.

- Oh, I don't know if that's--
- And George, uh,

you still have
that charge account

at Saks Fifth Avenue,
don't you?

- Now, wait a minute--
- I just need a few things.

[smooches]
Thank you, George.

Isn't he marvy?

I don't know what
I would have done

without George through
this whole thing.

Bye, Bruce.
Excuse me, George.

- Uh, excuse me.
Just a minute.

- George,
I'm in a terrible rush.

- Now, slow down.

Now, what was that disgusting
little two-shot in there?

- I was only trying out
the new equipment,

and George, it really works.

It's dynamite.
I really had his motor racing,

and I haven't
done anything yet.

- Saks is out.

I got you an appointment
with this Dr. Kessel at 3:00.

Here's the address.
- Who?

- The psychiatrist!

- Me? Oh, I don't need
that now, George. I'm fine.

- But you don't know
how tough it is to get

an appointment with this cat.
I had to--

- Why don't you
keep it, George?

- Me?

- Yes, you're
in terrible shape.

You could crack up any minute.
I'm really worried about you.

See you later, George.

- Excuse me, sir?

Mr. Tracy,
may I ask you a question?

[car revvs]

Have you any personal,
uh, that is to say,

uh, emotional interest
in Mrs. Sorel?

I admit to you, frankly,
I'd like to see her again,

b-but not
if I'm trespassing on--

- I happen to be
his best friend,

that is, her husband's,
and in his will,

he made me executor, that is,

his executor to her estate.

Now, that's quite clear,
isn't it?

- Yes,
then it's all right with you

if I call on Mrs. Sorel again?

Uh, quite honorably, of course,
I assure you.

Thank you, sir.
Thank you very much.

And may I add, sir,

you've made me very happy,
very happy indeed.

- See you then.
- May I help you?

- Yes, I'd like the works.
- Everything?

- Uh, yeah, everything.

- You're new here, aren't you?

- Honey, I'm new everywhere.

- May I have your name, please?
- Mrs. Charles Sorel.

[indistinct chatter]

[chuckles]

Oh, I see Franny Saltzmann
is having herself done today.

- You know Mrs. Saltzmann?
- I know her.

She doesn't know me, but you
might tell her I'm here.

- She's not in yet,
but I'll be glad to tell her.

Will you follow me, please?

- Yes, love to.

[gentle music]

♪ ♪

- Gabriel, have you finished
with Mrs. Carbine?

- Oh, no, she hasn't.

- Thank you.

Connie, what booths do we
have vacant for Mrs. Sorel?

- This one's 12.

- Oh, that's too small.
She wants to have everything.

- I can give you number five.
- That's fine.

Thank you.

This way, Mrs. Sorel.

Mrs. Sorel?
- Oh.

Sidney?
Sidney?

Sidney!

Well, look what those fools
have done to me!

Look at the color of that.
- It's fine.

It's exactly what I wanted.
- I didn't--

- Don't worry about a thing.
You'll love it.

Oh, brother, those pros.

- Now, if you'll just
slip into this smock.

- Crazy.

- And I'll send an operator
right away.

- Thanks a mil.
You've been true blue.

♪ ♪

That's funny--

not the same thing at all.

- Now, I don't want it
too curly.

I told you that
from the beginning.

- Mrs. Saltzmann, it won't be
too curly when I tease it up.

- Excuse me, Mrs. Saltzmann?
- Please.

- Do you know
a Mrs. Charles Sorel?

- Mrs. Charles Sorel?
There's no such person.

- Well, the lady
in booth five

insists she's
Mrs. Charles Sorel,

and she says she knows you.

- Are you sure?

Why, that's impossible.

Janie, you'll never believe it.
It's the most fantastic thing.

- You'll have to talk louder.

- Did you know that
Charlie Sorel had a wife?

- One of his own?
I don't believe it.

- She's here now!
- What?

- In booth five.

- Come in, girls.

Come in.
Ah.

Let me guess.

Which one of you
is Franny Saltzmann?

- Oh, I'm Franny,
and this is Janie Highland.

- Ah, oh, yes.

My husband often
talked about you.

- You were, uh,
married to Charlie?

- You seem surprised.
- Oh, no, no, it's just that,

uh, he never mentioned
having a wife.

- Well, he wanted
to keep it a secret.

He was afraid
it might hurt his career.

- I know what career
he meant, too.

- I hate to speak ill
of the departed,

but I'm afraid Charlie

was just a teeny bit naughty.

You know how men are.

And I'll say one thing
for Charlie.

He was all man.

Oh, he always told me
what he had been up to,

and I cried a little,

but I forgave him.

- He, uh, told you?
- Uh, always?

- Oh, he was like
a little boy--

so winning, so dear to me.

You don't know how I miss him.

- I can imagine.

- I'll bet you can.

Uh, look, we have so much
to talk about. Why don't we--

- O-oh, well,
I'd love to, but I--

- Yes, and I have
a board meeting.

It's for mental health.

- Oh, it's not healthy
to skip lunch,

not this lunch.

Uh, the Bistro, 1:00?

- Fine.
- Yeah, I can make it.

- Oh, that's lovely.

See you after
dainty time, girls.

- How do you want
your nails, Mrs. Sorel?

- Uh, long and sharp.

- Now, for the latest
developments in the case

of the internationally-famous
motion picture producer,

Sir Leopold Sartori.

Sir Leopold, who was freed
yesterday on $50,000 bail,

appeared in court
with his attorneys--

- Yes, yes,
I'm aware that Mr. Sorel

left a great many
unpaid debts, yeah.

- Charles Sorrel,
a well-known screen writer

who was a guest
on the Sartori yacht

when the fatal incident
took place.

[indistinct chatter]

- Janie, will you sit
over here, and Franny, right?

- Mm-hmm.

- Thank you.

Now...

- I notice you're not
wearing a wedding ring.

- No, now that I'm a widow,

there's no use
cramping my style.

I know it may sound heartless
with poor Charlie moldering

at the bottom of the ocean,
nothing but fish bait, really,

but after all, we're not
living in the dark ages

when a wife used to
throw herself into the plains.

I mean, it's not
as if Charlie had been

faithful to me
or anything like that.

- [clears throat]
Should we order now?

Captain?

- You know,
I had a very special reason

for wanting to talk
to you girls.

- Really?
- Yes.

I'm not gonna bore you
with any figures,

but the fact is Charlie left me
practically penniless.

Now, I could stay here
and try modeling

or maybe even the movies.

I'm sure you girls
would want to help me,

or your husbands,

but what I'd really like
to do is to get far away

from Hollywood,
maybe back to Europe.

Unfortunately, I'm penniless.

- Well, that is too bad,
sweetie.

You must let me help you.

- Oh, me too.
I'd love to help you get away

from all these
unpleasant memories.

- Oh, I knew Charlie's friends
would be my friends too.

Oh, waiter?
Waiter?

A couple of blank checks
and a pen, please.

- Yes, ma'am.
- After all, you would only

need a one-way ticket,
wouldn't you?

And everybody goes
economy class these days.

- Yes, and for a while,
you'd want to live quietly.

- Well, for Charlie's sake

I'd have to keep up
some appearances,

but I could get by nicely on

$10,000.

That's only 5 and 5.

- Well, frankly, dear,
I'm dying to help you get away,

but not quite that far.

- That is true, sweetie.

- All right, girls,
if you can't help me with cash,

maybe you could
give me some advice.

- Oh, all you want.
- Like a shot, sweetie, like--

- Oh, please, that word.
- Oh, sorry.

- Ah.

I'll have to fall back
on my one other asset,

Charlie's diary.

It would make
the most marvelous series

of newspaper
or magazine articles,

"Hollywood Bachelor,
by His Wife,"

or, "Midnight at Malibu."

- Charlie kept a diary?

- Writers.
- Day by day.

Sometimes when he was rushed,
hour by hour, but you know,

with all this publicity
going on right now,

I think it would bring
a terrific price.

Thank you.

Now, who do you think

would be the best agent
for that kind of a deal?

Or perhaps you could
ask your husbands?

There's one entry
that would make a play

or a movie all by itself.

It's about a weekend
in San Francisco,

a wild night
in a tattoo parlor,

of all places,

and about the time
he and a certain young lady

were locked up overnight
in Disneyland.

Apparently, to Charlie,
nothing was sacred.

Think of it--Disneyland.

- Are you trying to tell me
that you sold a story?

- Mm-hmm.

- To whom?

- Oh, uh,
a couple of independents,

nobody you would know.

You've been away so long.

- Well, that's great, Charlie.

- The down payment
was 10 grand.

There'll be a lot more,
oh, a lot more.

I'm doing it as a posthumous
memoir of Charlie Sorel.

- Well,
that's terrific, Charlie.

You ought to do it
in the form of a diary.

- George, that's genius,
a diary.

Why can't I ever think
of things like that?

- Well...
[phone rings]

- Oh.

Hello?

This is the seaside home of
the late, great Charles Sorel.

Who?
Oh, yeah, he's right here.

Here, George.
- Hello?

Who?
Uh, yes.

Put him on.

You will not believe who
is calling me on the phone.

Sir Leopold.

Hello, Leo?
Mm-hmm, yes, that's right.

Yes, yes, uh, I--
I heard it on television.

Congratulations.

Yes, it's a very good
picture of you.

No, it doesn't make you
look a bit old.

What?
Tonight?

You're not serious.

Are you ready for this?
- Yeah.

- He's giving himself
a coming-out party,

and he's got the nerve
to invite me.

- A party?
That's wonderful!

- No, I'm sorry, Leo.
I couldn't possibly make it.

- Oh, yeah, you could.
- You know, it's--uh,

I just got off a plane.
It's been a very long flight,

you know, the change
of hours and everything.

Uh, well, listen,
I'd better take a rain check.

Hold on for a second, please.
What are you doing?

- I want to go!

- You will go to his party,
the man who killed you?

- Oh, live and let live.
Please, George.

- No!

Leo, can we keep it open?

If I can possibly make it, but
don't count on it. [chuckles]

Good-bye, Leo.
Right.

You and Sartori at his party

to celebrate his release
for murdering you?

That's not only indecent.
It's insane.

- Welcome home, Sir Leopold.

[overlapping chatter
and applause]

- Oh, my friend,

my very dear friend.

Oh, my humble home.

Truly, were it a palace,
it could not be more dear to me

than these four walls,
this handful of belongings.

See that the air conditioning

is turned on downstairs
in the bowling alley.

- Yes, sir.

- I do not wish
to discuss the tragedy

in which I was involved.

In fact, it would be
most indiscreet

since the case is,
as we say in Latin,

sub judice.

However, my experiences
have already inspired me

to embark on a new film
based on the imprisonment

of Galileo starring
Richard Burton.

- Bravo!
Bravo!

- Bring me
a cable blank immediately.

I will wire Dickie an outline
of the story straight away.

- Yes, Sir Leopold.
- How can I describe to you

how I felt when the great
prison bars clanged open

and I was a free man,

with the green Earth
under my feet

and the clear blue sky
up above.

- Sir Leopold,
how long were you locked up?

- About 45 minutes.

- Rusty, dear.
- Pardon me, Sir Leopold.

The champagne
is ready to serve.

- Champagne?
Oh, forgive me.

[indistinct chatter]

Too cold.

You must allow the wine
to breathe for a few minutes

after it is poured
before you serve it.

- Welcome home, Mr. Leopold.
- Welcome home.

- Thank you, thank you,
thank you.

[overlapping chatter]
It's so wonderful, all of you.

Dinner will soon be served.

There will be dancing,
of course.

Also, the
Hollywood String Quartet

will play in the small library,

and in my private
projection room

there will be a screening
of the new art film,

"Hoki Charusi,"

a Japanese version
of "Little Women."

I could not on short notice

arrange anything elaborate
for this evening.

I ask you to forgive me,
and I want to thank you

one and all
for coming here tonight.

[guests applaud]

This is extraordinary.

Quelle surprise.

You are the girl
I so much admired

in "The Ups and Downs
of the Aztec Empire."

- You did?

But I was just
one of the human sacrifices.

There were 18 of us.

- You were much more human.

Still are.

[elegant piano music playing]

♪ ♪

- Good evening, Mr. Tracy.

How nice to have you
back again.

- Thank you, Livingston.
- Good evening.

- Where's Sir Leopold?
- Sir Leopold?

He's in the salon, sir.

- Where's the
little girl's room?

- Oh, the powder room is at
the top of the stairs, madam.

- Thank you.

- Hurry, and don't talk
to anybody.

I'll be back in just a teeny,
little second, George.

- Hello, Franny.

- Oh, George, how are you?
I'm so glad to see you.

Excuse me, dear.

- Janie, nice to see you.

- Oh, uh, George,
how good you look.

♪ ♪

- My darling,
the Sartori Foundation,

which I created to help
young and unusual talents,

has one remaining scholarship.

We will discuss it in
the greenhouse behind the pool.

I want you to see my office...
[speaking French]

- Well,
if it isn't Fat Sartori,

the fastest gun
in Beverly Hills.

- George!

Welcome!
Did you come alone, George?

- Uh, no, my date is, uh--
it's in the powder room.

- Anyone I know?

- No, it's a--it's a new face.

Could I have a double of scotch
over the ice? Make it a triple.

- George, I want to thank you
for coming tonight.

I thought--well, after all,
you were Charlie's best friend.

- I was, I am,
and I guess I always will be,

but that was a private thing,

and that doesn't
make you my enemy.

I hope you beat the rap.
For that matter,

I hope they take
that trigger finger of yours

and put it in wet cement
outside the Grauman's Chinese.

- [chuckles] Well, that is
very handsome of you, George.

You know,
all this has amazed even me.

Since 30 years,
I have been producing pictures.

I am successful,
talented, not unattractive,

and then I shoot one writer,
one little writer,

and suddenly
I have become glamorous.

Girls who would never respond
at all are now calling me

and begging for rendezvous
in the San Fernando Valley.

- I remember when
crime didn't pay.

♪ ♪

- Oh, there you are, George.

- Um, may I present our host?

- My house and I
are yours to command.

Leopold Sartori.

- Oh, Sir Leopold Sartori.

- They insisted.

The queen is such
a lovely woman.

George, you're not
going to introduce us properly?

- Uh, of course.

I'd like to present, uh,
Mrs. Charles Sorel.

- Mrs. Charles Sorel?

You are the wife of Charlie?

- Widow.

- If I were not
Hungarian by birth,

I would be speechless.

What a scene--

the best friend,
the widow, the killer.

George, why don't you
go somewhere and write it?

My dear, if I could undo
the wrong I have done you,

if I could bring
Charlie back now,

tonight,

I wouldn't.

That is the greatest compliment
I have ever paid a woman.

George, I cannot allow you

to pass up the dramatic
opportunity of a lifetime.

Go into my private library.

There you will find
paper, typewriter,

everything you need.
Lock yourself in.

Go, write.

My dear, you are exquisite,

like the fragile beauty
of an early Mozart quartet

like the fire and depth
of an El Draco,

like the cool perfection
of a Cellini.

You're still here?

- Like a mountain
carved by guts in Borglum.

- Are you seriously
making a play for me?

- In a word, yes,
but don't let me rush you.

We will discuss it later,
after dinner.

- But it's your fault
that I am a widow.

- That's Sir Leopold--
too big a man to hold a grudge.

- Right.

Besides, my dear child,
someday you'll thank me.

- Do you feel no remorse?

Not even a twinge?

You put an end
to the promising career

of a brilliant young writer.

- My darling, it is my painful
duty to disillusion you.

Poor Charlie's talent was gone.
He had become a hack writer.

I will have my valet

make a tracing of the marks
of your fingers upon my face.

[speaking French]

- Now can we go home?

- Now I'm hungry.

And George,

look who's coming
to join us for supper?

- Who?

I don't know what I'm doing
in a place like this.

I get sick even at bullfights.

- Dad would never
let me associate

with show business before.

Bankers--you know
how prejudiced they are,

but I happened to be in Europe
alone last summer,

and there I was
in the reading room

of the British Museum
in London.

- You met Charlie in a museum?

- We were both looking up
fertility symbols

among the
Australian primitives.

Well, anyway,
there I was up on this ladder

doing nothing
but pure research.

- Janie Highland said you met
Charlie on the beach at Cannes.

You told Franny Saltzmann
the same thing.

- Oh, that was later.
They misunderstood.

Well, there I was
on this ladder,

and suddenly I looked down,

and there was Charlie
looking up.

- You didn't tell me
you met Franny and Janie.

- We, uh--we had lunch
at the Bistro together.

Such lovely girls.
Where was I?

- Lunching with
Franny and Janie.

Tell us about that.

- Oh, that.

Oh, it was just girl talk,
you know?

Come on, George.
Dance with me.

- I don't Twist.
- But I'll teach you. It's fun.

- I'll bet you and the Twist
were made for each other,

you cheap little hustler.

- Just a minute.

- No wonder Charlie never
told anyone he was married.

He was probably ashamed of you.

Lord knows when it came
to character,

Charlie wasn't very much,
but compared to you,

he was St. Francis of Assisi!

Well, you got your money,
so get out of town fast.

- What money?
What are you talking about?

- Just jealousy.
She couldn't get anywhere

with Charlie, so now
she's taking it out on me.

- She blackmailed Franny
and Janie out of $10,000

this afternoon by threatening
to publish Charlie's diary.

Get rid of her, George.
She's poison!

♪ ♪

- My friend Charlie,
the writer.

- George, you don't understand.
I had to have money.

You said so yourself.
- Yeah, but I didn't know

what you were willing
to do to get it.

- What am I doing
that's so bad?

A couple of rich,
spoiled broads,

and I'm relieving them
of a few bucks

they'll never even miss,

and don't forget--
women owe me something.

After all, didn't I get shot
in the line of duty?

And the way that Rusty
laid into me.

I thought she was my friend.

- You don't have a friend,
Charlie.

You never had,
just victims and suckers,

and I ought to know
'cause I was on the list.

Well, I'm through.

I'm quitting the mob.
I'm going straight.

- Okay, quit.
You're such a boy scout.

What do you think
this is out here,

a Sunday school with swimming
pools and palm trees?

Well, it's not.

It's a dog-eat-dog
civilization,

and if you want to get
the first prize,

you've got to get
the first bite.

- All right, Charlie,
you're right, and I'm wrong.

But there's one thing
I think you ought to know.

You know that memorial service
we had for you?

Well, there weren't
50 or 60 people.

There were four--

your agent and three friends,

the two girls
you hijacked today and me.

And next time, they'll be able
to hold your memorial service

in an airmail envelope.

Well, good-bye, Charlie.

♪ ♪

- Are you waiting
for Mr. Tracy?

- Yes, ma'am.
I drove him out,

and I'm waiting
to take him to the airport.

- Oh.

[door slams]

Hi.

Nightcap, George?

- No thanks.

- [sighs]
Hollywood parties.

You were right about
one thing, George.

We should have stayed at home.

- Oh, I don't know.

Some of it was interesting.

- Touché.

You're really going?
- Mm-hmm.

I'm taking the midnight flight
to New York City

and then a noon flight
tomorrow for Paris.

- Got a match, George?

Look, George,

the 10 grand I got
from the girls,

up in smoke.

George, please.

How sorry can I get?

- You don't need me, Charlie.
- I do!

Ah, George,
will you give me a chance?

I was a fink and a hustler
for 36 years,

and now suddenly
I'm an ingénue,

but this is only my first day.

I don't know how to handle it,
so I reverted to type,

and I did something lousy.

I know it.
I admit it.

- Okay, Charlie,
I guess it was only natural.

- George,

if you go, I'll panic.

- Not you, Charlie, not you.

- I'm not Charlie!

I'm--I'm whatever this is,

a throwback, a werewolf,

something from the deep lagoon,

and I'm scared.

I'm scared, George,

but at least this way, with--

with us, I--

I can talk to you.

But--but alone, I'll--

I'll fly apart...
[sobs]

- Oh, no.

Oh, no, not that.

There, there.

- I'm sorry.
- That's all right. Okay.

There.
- Oh, look at me!

I hate girls that cry!

- It's all right,
now, you cry it out.

You'll feel better.
There, there.

- I'll be a good girl.
- Of course.

- I promise.
- I know.

- I won't do anything bad.
- Yes, yes, yes, I know.

- I'll get a job
as a waitress

or a maid!

[sobs]

- Now, don't worry, huh?

I'm here.
I'll take care of you.

- Oh, George.

Oh, oh, thank you.

- There, there.
Don't cry.

Shh, shh.

There, feel better, huh?

- [grunts]
- Yeah.

- I'd like to blow my nose...
[sobs, sniffs]

- No, I'll do it.
I'll do it.

There.
You see?

Now, everything's
going to be all right.

[dramatic musical sting]

- What's the matter?
- Matter?

We were practically necking.

- It was nice.
- You and me, that's nice?

- I felt so secure, wanted.

- Wanted?

- Well, I can't help it
if I'm feminine, can I?

I need affection.

I don't know what's
gotten into you, George.

You're always getting hung up
on small, helpless girls.

Well, here I am.
No, George, you promised!

- I promised that
I'll stay, but not here.

- Oh, true.

- I'm gonna get a room down
at the motel down the road,

and we'll talk about it
in the morning.

Don't bother seeing me out.
I got a cab waiting for me.

Good-bye, Charlie.

[fantastical music]

♪ ♪

- George, I've got it--
the perfect way out.

We'll get married.

Well, it's great.
Then I'll be Mrs. George Tracy.

- Oh, that's brilliant,
just brilliant.

- It's perfect. We're pals.
We've lived together.

How many couples do you know
ever started married life

with so much
going for them, huh?

- That's, uh, good
creative thinking, Charlie.

I've been a bachelor
for 36 years,

and I am not embarking
on the sea of matrimony

with a wife named Charlie!

And put that thing back on!

You mean to tell me that
you were on the beach

with those two bits of nothing?

- You talk like
a husband already.

- Well, great.

We--we play and drink
together for years.

We chased girls together.

We even used
the same rowing machine.

Now what do we do?
We get married.

Charming.

Who do you want
for your bridesmaids,

the Los Angeles Dodgers?

- George.

George, it's what
you said about identity.

I mean, I've got to be
Mrs. somebody,

even if it's only
for long enough

to get a passport
and a driver's license.

I need a husband.

- Charlie, what
you're contemplating

is unnatural, illegal,

and probably fattening!
[doorbell rings]

And whoever that is,
I'll be delighted to see them.

[grumbles]

- Good morning.

II hope I'm not intruding.
I've--

- Bruce, how nice.

- I brought you these.

They're from mother's garden
in Santa Barbara.

- Oh, Bruce, they're lovely.

- Uh, I've got the car,
the Ferrari, outside,

and I--I thought you might
like to join me for

a little spin up the coast
or to my place.

- Oh, that's perfect.

Oh, I'll just
skip in and change.

George, put these in water
like an angel, will you, dear?

I'll just be a teeny
little second, boys.

- You're a writer,
aren't you, Mr. Tracy?

- I was when I left Paris.
I don't know anymore.

- Tell me,
do you make up what you write,

or does it come from real life?

- It just seems to happen.
- I envy you.

I could never be a writer.

Anyway,
nothing worth writing about

ever seems to happen to me.

- Bruce, you never know.

[car whirring]

- Oh, beautiful.

Where's the house?

- Oh, it's five or six miles
up that way.

- Light?
- Oh, yes.

[lighter clicks]
- Mm.

Thanks.
Oh, what a pretty lighter.

- Thank you.
I don't smoke, but mother does.

- Five or six miles?
- Yes.

See, at the house,

there's just
a few hundred acres,

and I never seem to be able
to get off by myself,

so mother bought me
this piece of beach.

- This whole stretch?
- Yes, it's nice.

I can come down here
and just sit and think.

- What do you think
about, Bruce?

- Oh, mother, mostly,
and my cars.

I've got this little Maserati,
the sweetest little racer

you ever saw, 4-liter job,

4,200 CCs, milled heads,

augmented camshaft.

I don't know what's gotten
into her right now.

She seems to be
a pretty sick little car,

just won't accelerate.

- What about her air holes?

Are they plugged?

- I--I thought of that
first thing,

but they were as clean
as a whistle.

- What's her bore and stroke?

- 3 1/2 by 2 1/2.

- Magnetos or...

distributor?

- Magneto.

- Tooth velocity,
that's your problem, Bruce.

Have you stripped her?

- Not yet.

- Oh, do it.

Never mind your feelings
about her, Bruce.

Strip her.

She'll thank you for it
in the long run.

- You really think so?

I will.
I will.

- And then put
an overdrive unit

between her
differential housings.

- And a little alcohol
in her mixture?

- That always helps.

- Please, Mrs. Sorel,

let's do it together.

- Of course, Bruce.

- Oh, this--
- Anytime.

- This is so exciting.
I can't wait to tell mother.

- Me too.

- Mrs. Sorel, darling.

- You are seriously
picturing yourself as a bride?

- Yes.
I'm beautiful.

Every eye in the church
is on me

as I walk down the aisle,
the organ pealing.

- You're discussing marriage
as if you were

a sweet girl graduate at Vassar,
leader of the daisy chain!

You're a tennis bum,
and a beach bum,

and a ski bum, and now,

God help us all,
you want to be a marriage bum,

and you ask me
why I'm so steamed.

- Oh, uh, for a minute there,
while you were carrying on,

you sounded as though
you were jealous.

- Jealous?

Now, that's really
from bird land.

- Look, George,
as we both know,

I have a problem.

I've come up with a solution.

You may not like it,
but at least it's something.

Meanwhile,
I don't hear any big ideas

emanating from your corner.

- Charlie,

I have got a plan.
Sit down.

- George, you sound serious.

- I am serious.

Now, what I'm about
to propose is dangerous.

Sit down.

And while you don't seem
to realize it,

your situation is dangerous.

Now, suppose I get you
across the border to Canada

or--or, better yet, Mexico.

Now, we hole up there
until I locate someone

who can get you
a phony passport,

and using that, I get you
to Europe, Switzerland,

to one of those
fabulous private clinics

where they don't ask
any questions

and they juggle your hormones
like Indian clubs

in a vaudeville act.

Now, all I have to do is find
someone who knows the ropes

in this kind of an operation,
and I--

- [chuckles]

- What's the matter?

What's so funny?

- [laughs]
I'm sorry, George.

You, George,
in that kind of action?

Oh, sweetie,

you couldn't smuggle
a $2 watch

past a blind customs inspector.

Now, I used to be
pretty devious,

but even I couldn't attack
that problem.

Hey, this is for
sharpshooters, George,

not squares.
[doorbell rings]

Battle stations.

Nighty-night dear, and,
uh, don't wait up for me.

I'll be late.
[smooches]

And don't worry, Georgie.
Love will find a way.

Surprise, I'm ready.

- I can't believe it.
It's a miracle.

[indistinct chatter]

- So sweet.
[laughter]

- That's right.

- Oh, my favorite.

My favorite,
and I love the car.

Thank you.

- Catch you in the dark,
Dr. Fairbanks.

[laughter]

- Whoo!
[engine revvs]

[doorbell dings]

- Yes?
- Evening, Mr. Tracy?

- Yeah, that's right.
What is it?

Um, Inspector,
I mean--

what can I do for you?

- I've been assigned
to the Sorel case.

- Oh, I should have known
who you were by your raincoat.

[laughs]
Uh, can I take it for you?

- No.
- Uh, the Sorel case, huh?

Well, there's not much to that,
is there?

I mean,
it's an open-and-shut case.

Sir Leopold, jealous rage,

a crime of passion,
and there you are.

- I like the way you put that.

- W-well, that's the way it is.

I mean, according to
the newspapers, it is.

- Mr. Tracy,
do you mind if I sit down?

- Well, you--you--of course.

- Thanks.

Oh, that's better.

- Um, a drink?

- I'm on duty.
- Oh, I'm sorry.

- Oh, my.

- Uh, that's, uh,
Mrs. Sorel's, Charlie's widow.

- Oh, is she staying here too,
Mr. Tracy?

- Yes, but she is, I'm not.

I mean, I was staying here,
but when she came,

I left and moved
to a motel down the road.

- Oh, that was the widow, then,

who was leaving
just before I ran--

- Uh, w--yes,
that was the widow leaving.

- She didn't seem
terribly upset, did she?

- Well, uh, uh, she--she is.

She really is, really.
I mean, she's covering it.

- Mm. Last night you went

to the Sartori party,
you and Mrs. Sorel.

- That's right.
- Mm.

The widow and best friend
socializing with the murderer?

- Well, that's show business...
[chuckles]

- Oh, that's very interesting.

Mr. Tracy, do you mind
if I take a look around?

- Oh, w-w-well, n-not at all.
Why should I mind?

- You shouldn't.
- I don't.

- Thank you.

Well, thanks very much.

- That's all?

- I'll take that drink now,
Mr. Tracy,

if it's still available.

- You mean,
now you're off duty?

- No, now I'm thirsty.

- Hmm.
Um--

- Bourbon on the rocks.

- Bourbon.

- Well, this is very kind
of you, Mr. Tracy,

and I certainly appreciate it.

I just hope that
I'm not putting you

to any kind of inconvenience.

- No inconvenience at all.
It's, uh, just that I,

well, uh, wondered
what you were after.

- Ah, well, if I knew that,
good luck.

Staying in town long,
Mr. Tracy?

- Um, well, no, not very long.

I live in Paris, you know,
and I've only just arrived.

As a matter of fact,
when poor Charlie got it,

I was, uh,
6,000 miles away in Biarritz...

[chuckles]

- Oh, well,
that's a pretty good alibi.

- Uh, well,
I don't need an alibi.

- Fine, forget it.
- I want you to be aware

that I've done nothing,
absolutely nothing.

- [chuckles]

- Well, haven't I?

- Oh, Mr. Tracy,

don't you know that
people often do things

they're not even aware
of having done?

And then bingo,
they're in trouble.

Well, take you, for example.

If you were to know
something about this case

and then kept that knowledge
from the police,

do you know that's a felony?

Mm, and then, uh, let's say
that you and somebody,

anybody else were involved
together in this.

Well, now that's conspiracy.

That's a felony, a real felony.

Mm, and then, of course,
there are a lot of little side

issues like, uh, fraud,

and perjury and subornation,

and oh, well, you're up to
about 175 years already,

and you've hardly
done anything...

[laughs]

Well, you see what I mean,
Mr. Tracy?

- Yeah.
- Good night.

- Good night...
[mutters]

Uh, Inspector.

Good night.

- Well, thanks for the drink.
- Certainly.

[tense music]

♪ ♪

Sir Leopold Sartori,
George Tracy calling.

- It happens to be Sir
Leopold's poker evening, sir.

- Oh, where's he playing poker?

At his office?
Where's that?

[laughter]

[regal music]

♪ ♪

- Mother.

- Striking, isn't it?
- Yes.

Oh, you won't be meeting mother
this weekend, I'm afraid.

She's in San Francisco
on business,

but you're seeing the house,
and the house is mother...

[chuckles]

Mother won't have
a decorator, you know,

not with any of our houses.

She feels very strongly
about anything that gets

in the way
of her own personality.

- Mm.

I'd say mother was
barking up the right tree.

- Yes.

Oh, this is the, uh--
the television room.

- Oh?

Oh, oh, yes, of course.

- Now, shall we have a little
something to drink?

- We?
You and I, both of us?

- Of course.

I'm not a teetotaler,
not on special occasions--

mother's birthday,

when a Republican
president's inaugurated.

- Is, uh, this one of
those special occasions?

- I hope it will be.

- Go on, Bruce.

- Uh...
[laughs]

I don't know your name,
your first name.

- Oh, it's, uh, uh,

Charlene.

- Charlene.
That's beautiful.

Charlene, I hope you won't
think I'm too forward,

but I have dared to presume
on our brief acquaintance.

[sparkling music]

- Oh, what's that?
- I-I took the liberty of

calling Mr. Harry Winston
in New York,

and he flew this out
personally.

- I hope he flew in
an armored plane.

- Uh, may I?

- Oh.

[gentle music]

♪ ♪

Bruce,

this is going to be
difficult for me to say

because of the way
I feel, but,

I'm going to have to
insist on a--

on a rather long engagement.

- You are?
- Yes.

I'm as eager as you are, Bruce,
darling, but, well,

I can't just let you
sweep me off my feet, now,

can I, Bruce?

- Oh, my dear, yes.

- No, no, this mood
you're in, it's so--

so masterful
and overpowering.

It's--it's dangerous.

You feel that,
don't you, Bruce?

Oh, oh, I know what you're
thinking, Bruce, darling,

that Las Vegas is only
an hour's flight from here,

and you want to whisk me there
and marry me tonight.

There are those all-night
charter flight services,

but we have to fight
these impulses.

And my goodness,
the way you drive,

we could be at the airport
in minutes and, oh,

that would be awful,
wouldn't it, Bruce?

- Yes.

- Yes?

- It would never work.

- No, of course not.

- I mean, driving to
the airport at this hour

in all that traffic?

No, no,
I'm chartering a helicopter.

By the time, we've had
our little celebration drink,

we'll be on our way.

- Oh, I can't fight you
any longer, Bruce.

You're too strong.

[regal music]

♪ ♪

- Pacific Charter,
this is Mr. Minton.

I'd like your small helicopter

and your best pilot
as soon as possible.

On the lawn at the rear
of the house,

to take us to the airport.

I'll also need your small jet

for a charter flight
to Las Vegas.

Right.
Thank you.

And now, Charlene, darling,
that drink?

- Love to, but, uh...

there doesn't seem to be
anything to drink around here.

- Oh, we'll find something
downstairs.

♪ ♪

I'd better go first.
It's, uh, a little dark.

Careful.

[soft dramatic music]

♪ ♪

[suspenseful music]

♪ ♪

- [sighs]

♪ ♪

- [inaudible].

[mischievous music]

♪ ♪

[laughter
and indistinct chatter]

- Thank you.

Gentlemen,
this atoning fresh air fun

for over-privileged producers,

thank you one and all.

[laughter]
- I'm holding the cards tonight.

- That's fine.

Giving him cards is like
giving firewater to the Indians.

- I've had more fun
in a concrete mixer.

Good night, Leo.
- Good night.

Good--good night.

George,
what a pleasant surprise.

- Are you alone?
- Yes, come in.

George, sit down, sit down.
You care for a drink, a cigar?

- Leo, I've come to ask a favor,

the biggest.

- Ooh.

- It's the sort of thing
I've never asked anyone,

and I wouldn't dare approach
you if I weren't in a real jam.

- You, George?
- Yes.

- A respectable citizen?
[chuckles]

What is it, George?

Your--um, your library books
are overdue?

- Come on, Leo.
Don't joke with me now.

It's much too important to me,
and it means too much.

- All right, George, I'm sorry.
I understand. Please go on.

- Well,
I want to smuggle someone

who hasn't got passports
or papers to Mexico

and then from there to Europe.

- Well, good luck, George.

I say that with all my heart.

- But Leo, give me a clue.

Where can I go?
Where can I get some help?

- George...

this, uh, mysterious someone
you speak of

is of which sex?

- W-w-what has sex
got to do with it?

- Perhaps it's just the way
my mind runs.

- Oh, I see.
Well, it's, um--it's a girl.

- Ah.
- Mm.

Ah.

- Hey, Leo,
it's very important to me,

and I--I have to act
on it tonight.

- Well, but why no passport,
George?

Is she a fugitive?

- No, actually, uh,
she has a passport,

but you see, she's--

she's married
and it's a joint passport.

- Mm, I see.

And you do not wish
to invite the husband

along on the trip.

Yes, in general
that works out best.

Is--is it someone I know?

- No.

That is, they're not in--
in films or on the stage.

They're--they're civilians.

Leo, you've got to help me,

or I'm finished.

- [snorting]

Hmm.

George, it's a very good thing,
if I say so myself,

that you have come to me
with your problem.

Why do I say that?

Because "A," essentially,

I am a very romantic person.

B, I like you.

C, I am resourceful.

D, I am slightly crooked,

and in an operation like this...

that is vital.

Maritime operator,
San Pedro Yacht Basin, please.

Good evening, miss.
Sir Leopold Sartori is speaking.

My yacht, the Aphrodite,
is cruising towards Coronado.

Please call my captain and have
him return to San Pedro at once.

I want him there tonight.

Yes, thank you.

[rotary dial clicking]

Rafael, Sartori.

Buenos noches, amigo.

I will need your help later
on tonight,

say in two hours.

I want your fastest motorboat

and two of your
most reliable men.

What?
No, no, they need not be armed.

San Pedro Yacht Basin
in two hours.

Right.

George, my dear boy,

you are practically in Mexico

with a glass of tequila
in your hand

and your lady friend
by your side.

You don't seem pleased.

- It's just that I'm--

I guess overcome is
the only word I can think of.

What a really terrific guy
you are.

No, no, no, no, come on, now.
Don't shrug it off.

You've done something
for me tonight

that I'll never forget
for the rest of my life,

and you've taught me
one very important lesson,

never judge anybody
by appearances only.

Up to now in the past,

I've always thought highly
of you as a picture maker,

but I'm ashamed to say

I had a very low opinion
of you as a man.

- Well, forget it, George.

Forget all about it.
We all make mistakes.

- Never, and I would like
to add one final word.

If anyone dare criticize you
in my presence,

I can assure you

they will have me
to answer to personally.

- I appreciate that, George.

I find it deeply touching.

- Leo.

- [quietly]
George.

And now for next step.
- Yes.

- The travel documents.

I will need to be alone
for that, you understand?

- Yes, I'm completely
in your hands.

- Good. Go to the Bistro.
- Yes.

- I will contact you there
in two hours.

- Yes.
- Say nothing and wait.

[rotary phone clicking]

- Bistro, two hours, and wait.

- Sir Leopold, is it all right
to clean up in here now?

- Yes, come in, come in.

- Leo, I want to
thank you for--

- Esrobbi, Sartori.

Como estas?

You are alone?

Splendid.

Look, I will need
some travel documents.

That chap that did
such an excellent job

on British passports,
is he still around?

Ah, wonderful.

Yes, he must start tonight.

And now, most important,

your man must have contacts in
at least three European cities.

I suggest Geneva, Marseilles,
and Amsterdam.

[both laughing]

- Watch it there.
- Oh, that's so funny.

Oh, bup, bup, bup, bup.
[chuckles]

Mm, mm.

How old were you then?

- Eight.

So I said--I said,

"Mother, why must you
always go too far?

"It's so simple.

"All I wanted is
an orangeade stand like--

"like the other kids

so I can make my own
pocket money."

Well, mother threw herself
into that project

with the usual bounce.

She got her decorator
back from Europe

to design an orangeade stand
with a Venetian motif.

- [laughs]
I can't stand it.

- And she got the sauce cook
up from the Ranch

to chill and squeeze the oranges

and put
the Venetian orange stand

up against the iron gates
of the estate.

I wasn't allowed off
the grounds, you know?

So then a customer
would drive up,

and I would stand
behind the gate,

and I would reach through

and pour the juice
into the glass.

- Oh, you must have cleaned up.

- Well, I--

I think I grossed about...

65¢.
- Oh!

- The overhead came to $1,200.

[both laugh]

- Oh, it must
have been wonderful

to grow up that way,
with everything.

- Sure, must have been.

I've always had everything.

I never did anything...

[soft music]

♪ ♪

Until the night I met you.

You're beautiful.

So beautiful.

- Well, for the bride
that's handy.

- More than beautiful,

a loveliness I--I can trust,

that gives me confidence.

I was always very shy,

but with you,
I feel I can say things

I--I'd never said before.

- Bruce, sweetie,

we don't really know
that much about each other.

- I worship you.

I feel happy and--

and awed both at once.

- That's--that's
partly the champagne.

- No, no.

No, that made it possible
for me to...

tell you what you mean to me,

how much I love you.

It's...

It's as if all kinds of...

marvelous music and...

beautiful, beautiful poetry

were all mixed up inside me.

You are the source...

And the object of it all.

- Now, listen to me, Bruce.

I might not be like that at all.

You don't know.

- "How do I love thee?

"Let me count the ways.

"I love thee...

"to the depth...

"and the breadth...

"And the height...

my soul can reach."

♪ ♪

- [sighs]

Oh.

♪ ♪

- Ah, coach, you're sure
there haven't been

any phone calls for me?
- No, Mr. Tracy.

I promise, if somebody calls,
I'll let you know.

[indistinct chatter]

[suspenseful music]

♪ ♪

[car engine turns over]

- Oh, good evening, Mr. Tracy.

- Good evening, Worthington.
Is Sir Leopold at home yet?

- No, Sir Leopold hasn't been
back since he left this morning.

- Well, do you know--do you
know where I can find him?

♪ ♪

- Malibu Road, and hurry!

- Rusty?

What's going on?

♪ ♪

[engine turns over, revs]

[tires squealing]

[exciting music]

♪ ♪

[tires squealing]

[soft dramatic music]

♪ ♪

- George?

Hey, George.

Listen.

- Bonsoir, cherie.

- Leo, what are you doing here?

How'd you get in?

Where's George?

- Questions, questions,
questions.

George is waiting,
patiently, I hope.

some 45 miles from here.

I came in from the terrace door,
which was open,

and while I was waiting,

I slipped into one of
Charlie's leisure jackets.

Excellent fit, don't you agree?

And now, my dear,

why don't you slip into
something more comfortable?

That heavy dress, it--

- Leo, I'm honestly very happy
you came here tonight.

- Is this true?
- Yes, I want to talk.

- Then what are we waiting for?
- I want to talk.

- Come, moon of my delight.

- Leo, I want to talk to you!

- Of course, later we will
light cigarettes, relax,

chat about all sorts of things.

- No, now, Leo.

- Your skin is satin,

your body
a maddening monument...

- [shrieks]
- To pleasure and excitement.

- Oh, this can't be happening
to me!

- [giggling]
- Oh, George was right!

This is the punishment
that fits the crime!

- You speak in riddles,
my gorgeous sphinx.

- Leo.
I want to help you, Leo.

Leo, I beg of you,
don't waste your life

in an endless pursuit
of pleasure,

just running
from woman to woman!

- Don't worry about the running.
I'm in terrific condition.

I fence, you know,

and every day I work out
with barbells,

and in my bedroom
I have a trampoline!

Come, my little gypsy sw--
my little gypsy sweetheart.

With the dying embers
of campfire

you've healed a precious wound.

- Oh, Leo, listen to me!

I too was a transgressor,

and when I say that,
I'm not just whistling Dixie.

I was all out, but now I
See the emptiness in my life,

how shallow it was!

[grunts]
No!

- Every word you say is true!
- No!

[yelps]
- I'm already a better man,

a finer person.
- Leo! Leo!

No, this is--no, Leo!

Leo, no!

Oh, Leo! Leo!
Leo, no.

You've got to listen to me!

Now, Leo,
in this very same room

I behaved the way
you are behaving now!

- Tonight it will be perfect.
[giggles]

- Oh, Leo.
Leo, it cannot be!

There are reasons!

No, no!

[grunts, strains]

No, Leo!

No!
[grunts]

- You rat fink!

- Rusty, how wonderful to see--

- After what you put me through,

all the screaming and yelling

in five different languages,

four of which
I couldn't even understand.

All the names you called me,

and you don't even have
the decency

to stay away
from Charlie Sorel's house,

the man you murdered.

- Rusty, don't shoot him!
- Him?

This is for you, you conniving,
larcenous little tramp.

- [screams]

- Whoever you are,

whatever your name is,

you're a disgrace to your sex!

[gunshot]
- [shrieks] Listen now!

- I'm gonna shoot you,
and then I'm gonna take you down

to the State Game Commission.

- Whoa! No!

- Then I'm going to collect
a bounty on your hide!

- No, not again!

[gunshot]
[grunts]

[screams]

- Charlie?

["Goodbye Charlie"]

all: ♪ Good-bye, Charlie ♪

♪ Hate to see you go... ♪

- Charlie!
all: ♪ Good-bye, Charlie ♪

♪ Hate to see you go ♪

♪ ♪

Charlie?

♪ ♪

Charlie?

- He's insane!

- Charlie?

My friend, my very good friend,

and I trusted you.

I should have had
my head examined.

And you,
a veteran of every motel

from here to Oxnard,

and you've got to turn righteous
and shoot Charlie.

- Correction, please,
just for the record.

I shot Charlie.

- Oh, shut up.
- She shot--

- Will you shut up
and get out of here?

And do me a favor.
Don't bother driving carefully

because as far
as I'm concerned...

[rotary phone clicking]
You b--

what are you doing?

- Calling the police.

- Will you put that phone down?

- George, tell me,
this unwritten law,

the right to kill
in defense of your home,

do you think it will work twice

in the same week
for the same home?

- Put that down!

- But George, the police,
they will investigate.

- Will you forget it?

Go home and act
as if nothing's happened.

I'll take care of everything.
I'll--

- George, this is the most
beautiful act of self-sacrifice

on your part and--
- Will you get out?

Get out of my life.

Go home and shoot each other.

- All right, come,
my poor wife.

I will take you home.

I have learned a profound
and lasting lesson

from the tragic events
of this past week.

George, by the way, be sure
to send me the manuscript

of your new book
the moment it is completed.

- Bye, sweetie.

[emotionally]
It was nice seeing you.

[somber music]

♪ ♪

- Well, Charlie...
[sighs]

Maybe it was for the best.

[sighs]

- ♪ Char... ♪

♪ Lie! ♪

[dramatic music]

♪ Char... ♪

♪ Lie! ♪

[dramatic music]

♪ ♪

♪ Char... ♪

♪ Lie! ♪

[dramatic music]

♪ Char... ♪

♪ Lie! ♪

[dog grunts]
- [exclaims]

[dog barks]

- Quiet.
Quiet, boy.

[dog whines]

- Charlie?

Charlie?

[dog whines]

Charlie.
Charlie, get down.

Charlie, down, boy.

Oh, I'm so sorry.
He got away from me.

I hope he didn't frighten you.

I was just walking him
along the beach,

and he suddenly bolted
for your house.

He's harmless, really.
Charlie.

- W-w-what's your name?
- Virginia Mason.

- Where do you live?

- About a half mile
down the beach.

- How long have
you lived there?

- About eight years, since
my parents bought the place.

Their names are Ralph
and Helen Mason.

Say, you all right?

- C-c-could I ask you
a question?

Uh, you are a girl, aren't you?

I mean, you've always been a
girl, never anything but a girl?

- Hmm, I swear it.
- Thanks.

- Say, how much of this
have you had?

- An awful lot.
I don't remember.

- Mm.

Well, do you mind not
staring at me quite like that?

I feel like I'm having
a physical for life insurance.

- Uh, I'm sorry.

I think I need a drink.
- I think you need food.

When did you eat last?
- Uh, I don't remember.

- Mm, no wonder
you look so terrible.

Uh, where's the kitchen?

- [grunts]
Oh.

Now, you just sit
right down over there,

and, uh, stay away from the bar.

Say, you're really stocked up
on the necessities of life.

All you've got is,
uh, olives and pickled onions

and stuffed olives
and, uh, let's see.

Uh, we have ketchup, chili,
corned beef hash,

and corned beef hash.

- Why don't you just
scramble it all together?

- How about
some corned beef hash?

- I love it.

- Uh, have you got
a can opener?

- Yeah.

[dog whines]
- Good boy.

- Oh, Charlie.
- Uh, uh...

- Say, isn't that nice?
He likes you.

- Yeah, wonderful.
- All right.

Come on, now, Charlie.
That's enough, now.

It's too crowded in here
for all of us.

Come on.
I've got some cooking to do.

Come on.

All right, Charlie,

be a good boy
and sit right there.

Sit.
Sit.

That a boy.

- Why do you call him Charlie?
- I don't know.

Seemed like a good name
for him.

He likes it.

- Hey, you look like
you know what you're doing.

- [chuckles]
Oh, I love cooking.

Of course, I don't really do
too much of it.

You know, really, for one person
it's not much fun,

so you just--oh, thank you.

So you just find
you don't do too much of it.

I only come to the beach
on weekends, so I don't--oh.

I teach school, you know?
Westwood, elementary grade.

I have a little apartment,
and I have--

- Uh, it's a...

bachelor apartment?

- I'm single,
if that's what you mean.

Uh, you don't look as though

anyone's been feeding you
too regularly.

- I'm single too,

uh, if that's what you mean.

- Oh.
What do you do?

- Uh...

I'm a writer.
- Oh.

Uh, what's your name?

- George Tracy.

- Oh?
Of course.

George Tracy.
I read your last book.

Wasn't bad.
- It wasn't meant to be.

- Where do you live?
- Paris.

Uh...

the fact is I just arrived
a little while ago.

I'm due to go back any minute.

- Oh.
- It's, uh--

on the other hand,
it's just to finish a book.

[soft music]

I could, uh--

well, I could do that,
uh, anywhere.

- Oh?

- Right, uh--
right here...

in fact.

- Uh...

Uh, that--

that would be nice.

♪ ♪

[dog whines]

[light music]

♪ ♪

[playful dramatic music]

[dog whining]

[dog howling]

all: ♪ Good-bye, Charlie ♪

♪ Cashing in your chips ♪

♪ Bye-bye Charlie ♪

♪ Time you came to grips ♪

♪ ♪

♪ There ain't ♪

♪ No doubt ♪

♪ Strike three ♪

♪ You're out ♪

♪ Goodbye Charlie ♪

♪ Goodbye ♪

♪ ♪

Goodbye!