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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:55,400 --> 00:00:58,600 HERE ARE THE FINAL EXAMINATION PAPERS. 2 00:00:58,600 --> 00:01:02,400 WILL EACH TEACHER COLLECT HER SPECIAL SUBJECT AS I CALL IT OUT? 3 00:01:02,400 --> 00:01:03,200 GEOMETRY. 4 00:01:03,400 --> 00:01:05,000 HERE I AM, MISS BRIARCROFT. 5 00:01:05,200 --> 00:01:06,200 THANK YOU. 6 00:01:06,400 --> 00:01:08,000 ANCIENT GREEK HISTORY. 7 00:01:08,000 --> 00:01:12,800 I'M ANCIENT GREEK HISTORY. 8 00:01:13,000 --> 00:01:14,200 PHYSICAL DEPORTMENT. 9 00:01:14,400 --> 00:01:15,600 HERE I AM. 10 00:01:15,600 --> 00:01:16,600 DIVINITY. 11 00:01:16,600 --> 00:01:19,600 THAT'S ME. I MEAN, I. 12 00:01:19,600 --> 00:01:22,600 FRENCH. 13 00:01:22,600 --> 00:01:24,600 FRENCH. MISS BRUCE? 14 00:01:24,600 --> 00:01:25,600 SHE'S NOT HERE. 15 00:01:25,600 --> 00:01:27,600 OBVIOUSLY NOT. 16 00:01:27,600 --> 00:01:30,200 WHERE IS SHE? WHAT IS WRONG WITH THIS GIRL? 17 00:01:32,800 --> 00:01:35,400 ONE AT A TIME. 18 00:01:35,400 --> 00:01:37,000 YES, MISS PERKINS? 19 00:01:37,000 --> 00:01:39,000 THERE'S SOMETHING ODD ABOUT MISS BRUCE. 20 00:01:39,000 --> 00:01:41,600 SHE DOESN'T SEEM TO LIKE BEING A TEACHER. 21 00:01:41,600 --> 00:01:44,000 SHE SEEMS TO GO ABOUT IN A DREAM. 22 00:01:44,000 --> 00:01:46,000 SHE TALKS ABOUT LIVING AND LOVING. 23 00:01:46,200 --> 00:01:48,400 THAT WILL DO, MISS PERKINS. 24 00:01:48,400 --> 00:01:49,800 YOU WILL TAKE THESE PAPERS TO MISS BRUCE 25 00:01:49,800 --> 00:01:51,800 AND TELL HER TO CORRECT THEM IMMEDIATELY. 26 00:01:52,000 --> 00:01:53,400 VERY GOOD, MISS BRIARCROFT. 27 00:01:57,000 --> 00:01:58,000 WELL, MISS BRUCE! 28 00:02:01,000 --> 00:02:03,200 I MUST SAY, I DON'T THINK THAT IS THE PROPER THING 29 00:02:03,200 --> 00:02:05,400 FOR A TEACHER IN A SCHOOL TO BE DOING. 30 00:02:05,600 --> 00:02:10,400 NO, PROBABLY NOT, BUT I DON'T FEEL LIKE A TEACHER TONIGHT. 31 00:02:10,600 --> 00:02:12,600 DO YOU KNOW WHAT I FEEL LIKE TONIGHT? 32 00:02:12,600 --> 00:02:17,600 I FEEL LIKE GOING TO A DANCE THE WAY I USED TO WHEN I WAS A PUPIL HERE. 33 00:02:17,800 --> 00:02:19,800 I'VE MADE AN AWFUL MESS OF IT. 34 00:02:19,800 --> 00:02:21,200 ANYBODY WOULD TELL YOU THAT. 35 00:02:21,200 --> 00:02:22,600 MISS BRIARCROFT WOULD TELL YOU 36 00:02:22,800 --> 00:02:24,400 IF SHE EVER TOLD ANYONE WHAT SHE REALLY THOUGHT. 37 00:02:24,600 --> 00:02:28,600 MY DEAR, YOU MUSTN'T SAY THINGS LIKE THAT ABOUT OUR PRINCIPAL. 38 00:02:28,800 --> 00:02:30,400 BUT THAT'S JUST THE TROUBLE. 39 00:02:30,400 --> 00:02:33,000 I DO SAY THINGS LIKE THAT. I CAN'T HELP IT. 40 00:02:33,200 --> 00:02:34,600 I TELL PEOPLE WHAT I THINK OF THEM. 41 00:02:34,800 --> 00:02:37,400 I EMBARRASS PEOPLE ALL THE TIME. YOU KNOW THAT. 42 00:02:37,400 --> 00:02:42,000 WELL, AT TIMES YOU ARE A LITTLE, SHALL WE SAY, TACTLESS? 43 00:02:42,000 --> 00:02:44,600 YES. SAY IT-- TACTLESS. 44 00:02:44,800 --> 00:02:47,400 I DON'T BELONG HERE. 45 00:02:47,400 --> 00:02:50,800 NOT THAT I'M NOT GRATEFUL TO MISS BRIARCROFT FOR GIVING ME THIS JOB 46 00:02:51,000 --> 00:02:53,400 AFTER FATHER DIED AND THERE WASN'T ANY MONEY, 47 00:02:53,600 --> 00:02:56,800 BUT DO YOU KNOW WHAT I'D DO IF I HAD ANY COURAGE? 48 00:02:56,800 --> 00:02:58,200 I'D GO SOMEWHERE ELSE. 49 00:02:58,200 --> 00:03:00,200 I THINK YOU'RE TALKING NONSENSE. 50 00:03:00,200 --> 00:03:02,400 IN THE FIRST PLACE, YOU HAVE NO MONEY. 51 00:03:02,600 --> 00:03:05,800 I HAVE A LITTLE, AND I STILL HAVE A FEW CLOTHES THAT I HAD 52 00:03:05,800 --> 00:03:09,200 AFTER THE FAMILY FORTUNE WENT BLOOEY. 53 00:03:09,200 --> 00:03:11,600 I COULD GET ANOTHER KIND OF A JOB. 54 00:03:11,800 --> 00:03:15,600 REALLY, MISS PERKINS, I'M TERRIBLY DISCOURAGED. 55 00:03:15,800 --> 00:03:18,200 WEREN'T YOU EVER DISCOURAGED WHEN YOU WERE YOUNG? 56 00:03:18,400 --> 00:03:21,000 I'M NOT AN OLD WOMAN YET. 57 00:03:21,200 --> 00:03:25,200 THERE NOW. YOU SEE? I'M ALWAYS SAYING THE WRONG THINGS. 58 00:03:25,200 --> 00:03:26,200 I'M SORRY. 59 00:03:26,400 --> 00:03:29,000 NOT AT ALL. I SHALL BE VERY GRATEFUL 60 00:03:29,000 --> 00:03:31,000 IF YOU'LL HAVE THOSE FRENCH PAPERS CORRECTED FOR ME 61 00:03:31,000 --> 00:03:32,000 IN THE MORNING. 62 00:03:32,200 --> 00:03:33,000 YES, MISS PERKINS. 63 00:03:33,200 --> 00:03:35,400 GOODNIGHT. 64 00:03:33,200 --> 00:03:35,400 GOODNIGHT. 65 00:03:44,800 --> 00:03:47,000 GOOD OLD BRIARCROFT. 66 00:04:35,200 --> 00:04:37,400 STAR LIGHT, STAR BRIGHT, 67 00:04:37,400 --> 00:04:40,000 VERY FIRST STAR I'VE SEEN TONIGHT, 68 00:04:40,200 --> 00:04:43,200 I WISH I MAY, I WISH I MIGHT, I WISH-- 69 00:04:43,400 --> 00:04:48,800 DON'T WASTE THE NIGHT IN WISHING 70 00:04:49,000 --> 00:04:54,600 WHEN THERE'S A MOON ABOVE 71 00:04:54,800 --> 00:05:01,800 LOVE SCENES ARE SWEET WHEN LOVERS MEET 72 00:05:01,800 --> 00:05:08,400 AND THIS IS THE NIGHT, MY LOVE 73 00:05:10,800 --> 00:05:17,800 WHILE I SING A SERENADE 74 00:05:19,800 --> 00:05:26,400 OUR BIG LOVE SCENE WILL BE PLAYED 75 00:05:27,800 --> 00:05:34,600 THROUGH THE HUM OF SOFT GUITARS 76 00:05:36,600 --> 00:05:41,000 UNDERNEATH THE STARS 77 00:05:43,600 --> 00:05:50,600 WE'LL REHEARSE IT EVERY DAY 78 00:05:53,200 --> 00:05:55,600 FAITHFULLY... 79 00:05:55,800 --> 00:05:56,600 WHAT IS IT? 80 00:05:56,600 --> 00:05:58,200 I THINK IT'S A RADIO. 81 00:05:58,200 --> 00:06:01,200 WE'LL LEARN OUR PLAY 82 00:06:01,400 --> 00:06:05,800 AND THEN SOMEDAY 83 00:06:06,000 --> 00:06:10,000 WE'LL BOTH REVEAL 84 00:06:10,200 --> 00:06:16,200 OUR BIG LOVE SCENE WAS REAL 85 00:06:40,800 --> 00:06:42,000 A RADIO. 86 00:06:42,000 --> 00:06:44,000 WHAT? RADIO? 87 00:06:58,600 --> 00:07:00,000 WHAT DOES THIS MEAN? 88 00:07:00,000 --> 00:07:01,000 IT MEANS EVERYTHING. 89 00:07:01,000 --> 00:07:03,000 YOU KNOW I DETEST THE RADIO. 90 00:07:03,000 --> 00:07:04,200 YES, I KNOW. 91 00:07:04,200 --> 00:07:06,400 I'VE DONE MY BEST, BUT I CAN'T BE A TEACHER. 92 00:07:06,400 --> 00:07:08,200 I'M SORRY, MISS BRIARCROFT, 93 00:07:08,200 --> 00:07:11,800 AND I THANK YOU FOR EVERYTHING YOU HAVE DONE. 94 00:07:14,600 --> 00:07:17,600 LISTEN TO THAT. 95 00:07:17,600 --> 00:07:19,600 TURN THAT OFF IMMEDIATELY. 96 00:07:19,800 --> 00:07:23,200 NO, MISS BRIARCROFT, TURN IT ON LOUDER. 97 00:07:23,400 --> 00:07:24,800 LET THE WHOLE SCHOOL HEAR IT. 98 00:07:25,000 --> 00:07:26,600 THAT'S WHAT THIS SCHOOL NEEDS-- 99 00:07:26,600 --> 00:07:30,000 MUSIC, LIFE, LOVE-- AND THAT'S WHAT I NEED. 100 00:07:30,200 --> 00:07:31,200 YOU? 101 00:07:31,200 --> 00:07:33,200 AND THAT'S WHAT I'M GOING TO GET! 102 00:08:05,200 --> 00:08:07,200 WHO IS IT? 103 00:08:07,200 --> 00:08:09,800 JACK THOMPSON, THE GREATEST PUBLICITY AGENT IN THE WORLD. 104 00:08:09,800 --> 00:08:11,400 OH, HE'S HERE AGAIN. 105 00:08:11,400 --> 00:08:15,400 HEY, COME ON. COME ON! IT'S 2:00. SNAP INTO IT. 106 00:08:15,400 --> 00:08:16,600 WHAT DAY? 107 00:08:16,600 --> 00:08:18,200 WEDNESDAY! 108 00:08:18,400 --> 00:08:19,400 WHAT YEAR? 109 00:08:19,400 --> 00:08:21,400 1934. 110 00:08:21,400 --> 00:08:23,200 1934? THANKS. 111 00:08:23,400 --> 00:08:25,000 HEY, BILL, COME ON. SNAP INTO IT. 112 00:08:25,000 --> 00:08:27,000 YOU GOT TO GET THE TRAIN FOR HOLLYWOOD AT 3:15. 113 00:08:27,200 --> 00:08:29,200 I'VE GOT THE BAND WAITING DOWN AT THE STATION FOR YOU. 114 00:08:29,200 --> 00:08:32,000 OH, BOY, WHAT A SEND-OFF YOU'RE GOING TO GET. 115 00:08:32,000 --> 00:08:33,400 DO I HAVE TO HAVE A SEND-OFF? 116 00:08:33,600 --> 00:08:36,600 WHY, SURE YOU DO! AW, COME ON. SNAP INTO IT. 117 00:08:36,800 --> 00:08:39,200 THE GUYS ARE WAITING OUTSIDE. 118 00:08:39,200 --> 00:08:40,000 WHAT GUYS? 119 00:08:40,200 --> 00:08:42,200 THE FELLOWS TO RECORD YOUR SONG. 120 00:08:42,400 --> 00:08:45,200 OH, YEAH? I'M GOING TO THROW THEM OUT ON THEIR EAR. 121 00:08:45,200 --> 00:08:47,200 WHAT DO YOU THINK OF THAT? 122 00:08:54,200 --> 00:08:55,400 WHERE ARE THEY? WHERE ARE THEY? 123 00:08:55,600 --> 00:08:57,400 WHERE'S WHAT? 124 00:08:55,600 --> 00:08:57,400 MY PANTS. MY PANTS! 125 00:08:57,600 --> 00:08:59,400 PANTS, PANTS. 126 00:08:59,400 --> 00:09:01,600 YOU'VE GOT THEM DRAPED AROUND YOUR HIPS. 127 00:09:01,800 --> 00:09:03,000 WHY DIDN'T YOU TELL ME? 128 00:09:03,000 --> 00:09:04,200 SAY, WHO'S OUT THERE, THAT SPOOK? 129 00:09:04,200 --> 00:09:05,600 YEAH. 130 00:09:05,600 --> 00:09:08,600 BOY, HE HAUNTS ME. I'M GOING TO HANDLE HIM. COME ON. 131 00:09:31,200 --> 00:09:36,400 BEAUTIFUL GIRL, YOU'RE A LOVELY PICTURE 132 00:09:36,400 --> 00:09:41,000 BEAUTIFUL GIRL, JUST A GORGEOUS MIXTURE 133 00:09:41,200 --> 00:09:46,600 OF ALL THAT LIES UNDER THOSE BIG BLUE SKIES 134 00:09:48,400 --> 00:09:50,400 MY HEART CRIES 135 00:09:50,600 --> 00:09:55,200 BEAUTIFUL GIRL, YOU'RE A DAZZLING EYEFUL 136 00:09:55,200 --> 00:09:59,600 BEAUTIFUL GIRL, I COULD NEVER TRIFLE 137 00:09:59,800 --> 00:10:05,200 IF I HAD YOU, YOU'D BE MY DREAMS COME TRUE 138 00:10:07,800 --> 00:10:11,600 THERE MAY BE BLONDS AND BRUNETTES 139 00:10:11,600 --> 00:10:14,600 THAT ARE HARD TO RESIST 140 00:10:14,600 --> 00:10:18,400 YOU SURPASS THEM LIKE A QUEEN 141 00:10:18,600 --> 00:10:23,400 YOU'VE GOT THOSE LIPS THAT WERE MEANT TO BE KISSED 142 00:10:23,600 --> 00:10:26,600 AND YOU'RE OVER SWEET 16 143 00:10:26,800 --> 00:10:33,000 OH, BEAUTIFUL GIRL, YOU'RE A GORGEOUS CREATURE 144 00:10:33,000 --> 00:10:37,400 BEAUTIFUL GIRL, LET ME CALL THE PREACHER 145 00:10:37,600 --> 00:10:43,000 IF I HAD YOU, YOU'D BE MY DREAMS COME TRUE 146 00:10:55,600 --> 00:10:58,200 I FORGOT THE WORDS 147 00:10:58,400 --> 00:11:03,400 SO THAT WILL HAVE TO DO 148 00:11:03,400 --> 00:11:06,600 BEAUTIFUL GIRL 149 00:11:11,400 --> 00:11:14,000 COME ON, FELLOWS, MAKE IT SNAPPY. 150 00:11:14,000 --> 00:11:15,400 LOOK WHERE YOU'RE GOING! 151 00:11:19,200 --> 00:11:20,600 IT'S 2:18. 152 00:11:20,600 --> 00:11:21,800 SELL IT AT 220. 153 00:11:24,800 --> 00:11:26,400 WHERE IS IT? 154 00:11:27,800 --> 00:11:28,800 WHERE IS IT? 155 00:11:28,800 --> 00:11:29,800 WHERE'S WHAT? 156 00:11:29,800 --> 00:11:30,800 THE PHONE. 157 00:11:31,000 --> 00:11:33,000 PHONE? IT'S UNDER THE PILLOW. 158 00:11:33,000 --> 00:11:34,400 WHAT DID YOU EXPECT? 159 00:11:37,000 --> 00:11:38,200 HELLO? 160 00:11:38,200 --> 00:11:41,800 OH, MADEMOISELLE YVONNE. THIS IS JACK THOMPSON. 161 00:11:42,000 --> 00:11:44,200 ARE YOU ALL PACKED AND READY FOR HOLLYWOOD? 162 00:11:44,200 --> 00:11:47,000 WHAT'S THE MATTER? YOUR MAID LEFT YOU? 163 00:11:47,000 --> 00:11:48,600 DON'T FORGET, AMERICAN TRAINS DON'T WAIT-- 164 00:11:48,800 --> 00:11:50,000 NOT EVEN FOR FRENCH ACTRESSES. 165 00:11:50,200 --> 00:11:52,600 HERE. 166 00:11:52,600 --> 00:11:56,800 BEAUTIFUL GIRL, YOU'RE A GORGEOUS CREATURE 167 00:11:57,000 --> 00:11:58,400 HELLO, LILI. 168 00:11:58,400 --> 00:12:01,000 THIS IS THE CROONER TALKING. HOW'S MY LEADING LADY? 169 00:12:01,000 --> 00:12:04,800 OH, BILLY, I FEEL TERRIBLE. 170 00:12:04,800 --> 00:12:07,200 I WISH I HAD NEVER LEFT PARIS. 171 00:12:07,400 --> 00:12:09,000 WHAT DID WE DRINK LAST NIGHT? 172 00:12:09,000 --> 00:12:11,600 OH, YOU MEAN THAT GREEN STUFF. 173 00:12:11,800 --> 00:12:14,200 WHAT DO YOU CALL IT? OH, ABSINTHE. 174 00:12:14,400 --> 00:12:18,800 OH, BUT I LIKED IT. YES. I LIKE EVERYTHING FRENCH. 175 00:12:21,800 --> 00:12:24,200 YEAH. WHAT DOES THAT MEAN IN ENGLISH? 176 00:12:26,600 --> 00:12:29,600 WELL, I'LL HAVE TO LEARN HOW TO SPEAK FRENCH. 177 00:12:29,600 --> 00:12:31,000 GOOD-BYE, DARLING. 178 00:12:38,400 --> 00:12:40,000 HELLO. 179 00:12:40,000 --> 00:12:41,800 WHO? WHO? 180 00:12:42,000 --> 00:12:43,400 SAY, DO I KNOW A SYLVIA BRUCE? 181 00:12:43,600 --> 00:12:45,000 NEVER HEARD OF HER. 182 00:12:45,200 --> 00:12:47,400 I DON'T KNOW HER, AND I CAN'T SEE HER. 183 00:12:47,400 --> 00:12:50,600 SEND THAT BOY UP FOR THAT BAGGAGE, WILL YOU? RIGHT. 184 00:12:52,400 --> 00:12:55,800 BEAUTIFUL GIRL 185 00:12:55,800 --> 00:12:57,600 OH...BEAUTIFUL GIRL. 186 00:13:00,800 --> 00:13:02,000 COME IN. 187 00:13:12,600 --> 00:13:14,000 HOW DO YOU DO? 188 00:13:12,600 --> 00:13:14,000 HOW DO YOU DO? 189 00:13:14,200 --> 00:13:16,200 ARE YOU MR. BILL WILLIAMS? 190 00:13:16,200 --> 00:13:17,600 I AM NOT. 191 00:13:17,800 --> 00:13:19,400 I'M AWFULLY GLAD. 192 00:13:19,400 --> 00:13:20,600 WHAT DO YOU MEAN? 193 00:13:20,600 --> 00:13:23,000 I CAME HERE TO SEE MR. WILLIAMS. IS HE IN? 194 00:13:23,200 --> 00:13:24,400 YES. 195 00:13:27,200 --> 00:13:29,600 SAY, IT'S 2:31. YOU ALL PACKED? 196 00:13:29,800 --> 00:13:31,000 SURE. ALL EXCEPT MY SHAVING-- 197 00:13:31,000 --> 00:13:32,000 WHERE'S YOUR BAG? 198 00:13:32,000 --> 00:13:34,600 IT'S IN THERE. WHO'S THAT? 199 00:13:34,800 --> 00:13:36,200 I DON'T KNOW. SHE WANTS TO SEE YOU. 200 00:13:36,200 --> 00:13:37,800 SEE ME? 201 00:13:39,400 --> 00:13:40,600 MR. WILLIAMS? 202 00:13:40,600 --> 00:13:41,800 YES? 203 00:13:41,800 --> 00:13:43,400 ARE YOU GOING SOMEWHERE? 204 00:13:43,600 --> 00:13:45,000 YES. I'M GOING TO HOLLYWOOD. 205 00:13:45,000 --> 00:13:47,800 OH, THAT'S TOO BAD. 206 00:13:47,800 --> 00:13:49,200 BUT WHY ARE YOU GOING? 207 00:13:49,200 --> 00:13:50,800 I'M GOING OUT THERE TO MAKE A MOVIE. 208 00:13:50,800 --> 00:13:52,000 DON'T YOU READ THE PAPERS? 209 00:13:52,200 --> 00:13:55,200 NO. AND I DON'T GO TO MOVIES VERY OFTEN, EITHER. 210 00:13:55,200 --> 00:13:58,200 NO? 211 00:13:55,200 --> 00:13:58,200 NO. 212 00:13:58,200 --> 00:14:01,600 WELL, IF I'M NOT TOO INQUISITIVE, WHAT DO YOU WANT? 213 00:14:01,800 --> 00:14:05,600 WELL, YOU SEE, I JUST CAME UP HERE TO THANK YOU. 214 00:14:05,800 --> 00:14:06,800 THANK ME FOR WHAT? 215 00:14:06,800 --> 00:14:09,200 FOR WHAT YOU DID FOR ME LAST NIGHT. 216 00:14:09,200 --> 00:14:10,800 LAST NIGHT? 217 00:14:13,000 --> 00:14:14,000 WHERE WERE YOU? 218 00:14:14,000 --> 00:14:16,200 I WAS AT MISS BRIARCROFT'S SCHOOL. 219 00:14:16,400 --> 00:14:18,200 DID I GO TO A SCHOOL LAST NIGHT? 220 00:14:18,200 --> 00:14:22,600 OH, NO, BUT YOU SEE, MISS BRIARCROFT DOESN'T BELIEVE IN LOVE. 221 00:14:22,600 --> 00:14:24,800 OH, MY, THAT'S TOUGH. 222 00:14:25,000 --> 00:14:28,400 YOU DON'T KNOW HOW TOUGH. 223 00:14:28,400 --> 00:14:32,000 I WAS TERRIBLY LONESOME AND SORT OF DISCOURAGED, AND-- 224 00:14:32,200 --> 00:14:34,600 YOU DON'T THINK I OUGHT TO BE A TEACHER, DO YOU? 225 00:14:34,600 --> 00:14:37,800 NO, NO, OF COURSE NOT. 226 00:14:37,800 --> 00:14:39,800 YOU'LL EXCUSE ME FOR A MOMENT, WON'T YOU? 227 00:14:40,000 --> 00:14:41,800 YOU GO RIGHT ON AHEAD PACKING. 228 00:14:50,600 --> 00:14:51,800 WHAT'S THE MATTER? 229 00:14:51,800 --> 00:14:53,800 I'LL SEE YOU AT THE STATION. 230 00:15:01,400 --> 00:15:04,400 ALL SET, KID? WE JUST GOT TIME TO MAKE THE TRAIN. 231 00:15:04,400 --> 00:15:06,800 I CHANGED MY MIND. I'LL SEE YOU DOWN AT THE STATION. 232 00:15:06,800 --> 00:15:08,600 WAIT. YOU'RE GOING WITH ME. 233 00:15:08,600 --> 00:15:10,600 OH, NOT ME. 234 00:15:10,800 --> 00:15:12,400 YOU KNOW WHAT THAT GOOFY PRESS AGENT OF MINE DID? 235 00:15:12,400 --> 00:15:14,800 HE WENT OUT AND COOKED UP A BIG SEND-OFF FOR ME. 236 00:15:15,000 --> 00:15:16,800 YOU KNOW, ME DON'T LIKE BIG SEND-OFFS. 237 00:15:16,800 --> 00:15:19,800 ME VERY SMART BOY. ME SNEAK ON TRAIN. 238 00:15:20,000 --> 00:15:21,000 I'LL SEE YOU DOWN THERE. 239 00:15:21,000 --> 00:15:22,600 BUT IT'S YOUR SEND-OFF, NOT MINE. 240 00:15:22,600 --> 00:15:25,200 BUT YOU'RE THE DIRECTOR OF THE PICTURE. 241 00:15:25,400 --> 00:15:26,800 YOU TELL THEM ABOUT IT. 242 00:15:26,800 --> 00:15:29,200 TELL THEM IT'S GIGANTIC, TERRIFIC, STUPENDOUS. 243 00:15:29,200 --> 00:15:31,200 TELL THEM IT'S BARELY COLOSSAL. 244 00:15:31,200 --> 00:15:32,400 I'LL SEE YOU DOWN THERE. 245 00:15:32,600 --> 00:15:35,400 TOODLE-OO, CHEERIO, AND, UH...PIP-PIP! 246 00:15:45,600 --> 00:15:47,000 COME ON, FELLOWS, A BIG SEND-OFF. 247 00:15:47,000 --> 00:15:48,600 A LOT OF JAZZ, A LOT OF PEP. THAT'S IT. 248 00:15:48,600 --> 00:15:51,600 A LOT OF PICTURES. ALL THE PICTURES YOU WANT. 249 00:15:51,800 --> 00:15:54,600 BOYS, NOTHING BUT FRONT-PAGE PUBLICITY. YOU UNDERSTAND? 250 00:15:54,600 --> 00:15:56,000 A LOT OF IT. RIGHT. 251 00:15:59,400 --> 00:16:00,400 THERE HE IS 252 00:16:00,400 --> 00:16:01,400 WHERE? 253 00:16:00,400 --> 00:16:01,400 THERE 254 00:16:01,600 --> 00:16:02,600 WHERE? 255 00:16:01,600 --> 00:16:02,600 NO 256 00:16:02,800 --> 00:16:04,200 THERE HE IS 257 00:16:02,800 --> 00:16:04,200 WHERE? 258 00:16:04,200 --> 00:16:05,400 THERE 259 00:16:04,200 --> 00:16:05,400 WHERE? 260 00:16:05,400 --> 00:16:06,600 THERE HE IS 261 00:16:06,600 --> 00:16:09,000 AH, HE'S ONLY THE DIRECTOR. 262 00:16:09,200 --> 00:16:11,600 GIVE US THE NEWS WE CAME TO HEAR 263 00:16:11,600 --> 00:16:14,800 TREMENDOUS, GIGANTIC, COLOSSAL, MAD 264 00:16:14,800 --> 00:16:16,400 MAD? 265 00:16:14,800 --> 00:16:16,400 MAD 266 00:16:16,400 --> 00:16:18,400 MAD 267 00:16:16,400 --> 00:16:18,400 MAD 268 00:16:31,000 --> 00:16:32,600 MY STAR 269 00:16:32,800 --> 00:16:37,800 GORGEOUS, BEAUTIFUL, RAVISHING, DIVINE 270 00:16:37,800 --> 00:16:39,200 MY PUBLIC 271 00:16:39,200 --> 00:16:42,200 I LOVE THIS RECEPTION OF MINE 272 00:16:42,200 --> 00:16:43,200 THERE HE IS 273 00:16:43,400 --> 00:16:44,400 WHERE? 274 00:16:43,400 --> 00:16:44,400 THERE 275 00:16:44,400 --> 00:16:45,600 WHERE? 276 00:16:44,400 --> 00:16:45,600 THERE 277 00:16:45,800 --> 00:16:48,000 THERE HE IS! THERE HE IS! THERE HE IS 278 00:16:48,000 --> 00:16:51,000 THERE HE IS! THERE HE IS 279 00:16:52,800 --> 00:16:55,600 WHAT DO YOU GOT TO SAY ON THE TOPICS OF THE DAY? 280 00:16:55,600 --> 00:16:59,200 WHAT DO YOU GOT TO SAY BEFORE YOU GO AWAY? 281 00:16:59,200 --> 00:17:02,800 JUST AN ECHO 282 00:17:02,800 --> 00:17:05,600 OOH OOH 283 00:17:05,600 --> 00:17:09,000 IN THE VALLEY 284 00:17:09,000 --> 00:17:12,000 OOH OOH 285 00:17:12,000 --> 00:17:19,200 BUT IT BRINGS BACK SWEET MEMORIES OF YOU 286 00:17:26,800 --> 00:17:28,000 TICKETS FOR TWO 287 00:17:28,200 --> 00:17:32,200 YOU MEAN FOR 1, 2, 3, 4, 5, 6, 7, 8 288 00:17:32,200 --> 00:17:36,200 WHERE YOU ALL GOING? 289 00:17:36,200 --> 00:17:38,800 HOLLYWOOD 290 00:17:39,600 --> 00:17:41,800 HOLLYWOOD 291 00:17:42,000 --> 00:17:43,800 WE'RE COMING, TOO 292 00:17:43,800 --> 00:17:45,000 WE'RE COMING, TOO 293 00:17:45,200 --> 00:17:46,600 WE'RE COMING, TOO 294 00:17:46,600 --> 00:17:49,400 ALL ABOARD 295 00:17:49,600 --> 00:17:56,000 TRAIN LEAVING ON TRACK 27 296 00:17:56,200 --> 00:17:59,000 WE'RE GOING TO SEE GARBO AND GABLE 297 00:17:59,200 --> 00:18:02,000 WE'RE THROUGH WITH THAT WAITING ON TABLES 298 00:18:02,200 --> 00:18:05,200 EVERYONE SAYS THAT WE ARE ABLE 299 00:18:05,200 --> 00:18:08,400 TO BE UNDERSTOOD OUT IN HOLLYWOOD 300 00:18:08,400 --> 00:18:11,800 GOOD-BYE, GOOD-BYE, GOOD-BYE, PAL 301 00:18:11,800 --> 00:18:14,800 WE MUST BID YOU ADIEU 302 00:18:15,000 --> 00:18:18,200 GOOD-BYE, GOOD-BYE, GOOD-BYE, PAL 303 00:18:18,200 --> 00:18:21,600 I'LL BE SIGHING OVER YOU 304 00:18:21,600 --> 00:18:24,800 SO LONG, TA-TA, CHEERIO 305 00:18:24,800 --> 00:18:28,000 THINK OF US WHEN YOU GO 306 00:18:28,200 --> 00:18:31,400 UNTIL THEN, ONCE AGAIN 307 00:18:31,600 --> 00:18:35,800 GOOD-BYE, PAL 308 00:18:35,800 --> 00:18:39,400 OUT WHERE THEY SAY, "LET US BE GAY" 309 00:18:39,400 --> 00:18:44,000 I'M GOING HOLLYWOOD 310 00:18:44,200 --> 00:18:47,400 I'LL BALLYHOO GREETINGS TO YOU 311 00:18:47,400 --> 00:18:51,200 I'M GOING HOLLYWOOD 312 00:18:51,400 --> 00:18:56,600 SAY, WHILE YOU SLEEPYHEADS ARE IN THAT HAY 313 00:18:56,800 --> 00:18:58,600 I'LL BE DANCING 314 00:18:58,800 --> 00:19:01,000 I'M GONNA BE DANCING WITH A SUN-KISSED BABY 315 00:19:01,000 --> 00:19:03,600 AND I'M ON MY WAY 316 00:19:03,600 --> 00:19:05,000 HERE'S MY BERET 317 00:19:05,000 --> 00:19:10,000 I'M GOING HOLLYWOOD 318 00:19:32,800 --> 00:19:34,000 SAY, RASPUTIN. YES, SIR? 319 00:19:34,200 --> 00:19:35,400 I'VE GOT TO STUDY MY FRENCH LESSON. 320 00:19:35,600 --> 00:19:37,600 WILL YOU HANG THE DON'T DISTURB SIGN ON MY DOOR? 321 00:19:37,800 --> 00:19:39,600 YES, SIR! OKAY. 322 00:19:39,600 --> 00:19:41,600 JE VOUS AIME. I LOVE YOU. 323 00:19:41,600 --> 00:19:42,600 ME? 324 00:19:42,800 --> 00:19:44,800 OH, NO, RASPUTIN. IT'S IN THE BOOK HERE. 325 00:19:45,000 --> 00:19:47,800 OH, YES. HEE HEE HEE! 326 00:19:47,800 --> 00:19:49,400 JE VOUS AIME. I LOVE YOU. 327 00:19:49,400 --> 00:19:51,400 JE VOUS AIME. JE VOUS ADORE. 328 00:19:52,800 --> 00:19:54,800 SHH. I THINK I'VE LOST HIM. 329 00:19:55,000 --> 00:19:56,600 WHO'S THIS? 330 00:19:56,600 --> 00:19:59,800 THE GUY THAT'S PUTTING UP MOST OF THE DOUGH TO PUT ON THIS PICTURE. 331 00:19:59,800 --> 00:20:01,000 WHAT ARE YOU RUNNING AWAY FROM HIM FOR? 332 00:20:01,200 --> 00:20:02,800 HE JUST GRADUATED FROM COLLEGE, 333 00:20:03,000 --> 00:20:04,400 AND HE'S GOT A MISSION IN LIFE, 334 00:20:04,400 --> 00:20:06,400 AND HE WANTS TO TELL IT TO ME. 335 00:20:06,400 --> 00:20:07,400 OH, THAT'S BAD. 336 00:20:07,600 --> 00:20:09,200 YEAH. HE WANTS TO IMPROVE PICTURES. 337 00:20:09,400 --> 00:20:12,000 HE SAYS THEY'RE A BUSINESS AND THEY OUGHT TO BE AN ART. 338 00:20:13,400 --> 00:20:14,600 YES? 339 00:20:16,200 --> 00:20:17,400 UM, MAY I COME IN? 340 00:20:17,600 --> 00:20:20,400 YOU ARE IN. WE WERE JUST TALKING ABOUT YOU. 341 00:20:20,400 --> 00:20:21,800 MEET MR. WILLIAMS. 342 00:20:21,800 --> 00:20:23,600 I'M GLAD TO MEET YOU, MR. WILLIAMS. 343 00:20:23,800 --> 00:20:25,000 I'M GLAD TO KNOW YOU. 344 00:20:25,200 --> 00:20:28,200 MY NAME IS BAKER. ERNEST P. BAKER. 345 00:20:28,200 --> 00:20:29,600 WHAT'S THE "P" FOR? 346 00:20:29,800 --> 00:20:30,800 UH, PRATT. 347 00:20:30,800 --> 00:20:32,400 I KNEW IT. 348 00:20:30,800 --> 00:20:32,400 YES. 349 00:20:32,400 --> 00:20:35,200 I'M AWFULLY HAPPY YOU'RE GOING TO BE IN MY PICTURE. 350 00:20:35,200 --> 00:20:36,400 SO AM I. 351 00:20:36,600 --> 00:20:38,400 I WAS JUST TELLING MR. CONROY, 352 00:20:38,400 --> 00:20:41,600 THE TROUBLE WITH PICTURES TODAY IS-- 353 00:20:41,800 --> 00:20:43,600 OH, MR. CONROY? 354 00:20:43,800 --> 00:20:45,400 EXCUSE ME A MINUTE. SORRY, SIR. 355 00:20:45,400 --> 00:20:48,200 MR. CONROY! 356 00:20:48,400 --> 00:20:51,400 BON-JOW-ER. BON-JOW-ER? 357 00:20:52,800 --> 00:20:54,600 BON-JOW-ER. 358 00:20:57,400 --> 00:20:59,200 BONJOUR, MONSIEUR. 359 00:20:59,200 --> 00:21:03,200 IT ISN'T BON-JOW-ER. IT'S BONJOUR. 360 00:21:03,200 --> 00:21:04,200 WHAT'S THE IDEA? 361 00:21:04,400 --> 00:21:06,000 THAT'S THE WAY TO PRONOUNCE IT. 362 00:21:06,200 --> 00:21:07,800 NO. I MEAN YOUR BEING HERE. 363 00:21:08,000 --> 00:21:10,000 YOU SEE, YOU DIDN'T GIVE ME A CHANCE 364 00:21:10,200 --> 00:21:13,400 TO TELL YOU THIS MORNING WHAT I WANTED TO TELL YOU. 365 00:21:13,400 --> 00:21:15,000 WHAT? 366 00:21:15,200 --> 00:21:19,000 I WANTED TO THANK YOU FOR THE WAY YOU SANG LAST NIGHT OVER THE RADIO 367 00:21:19,200 --> 00:21:23,000 BECAUSE IT MEANT A LOT TO ME JUST AT THAT TIME. 368 00:21:23,000 --> 00:21:25,000 WHY DIDN'T YOU WRITE ME A LETTER? 369 00:21:25,000 --> 00:21:27,800 WELL, I COULD HAVE... 370 00:21:27,800 --> 00:21:30,200 BUT NOW THERE'S A LOT MORE TO TELL... 371 00:21:32,000 --> 00:21:33,600 SINCE THIS MORNING. 372 00:21:33,800 --> 00:21:35,600 A LOT MORE WHAT? 373 00:21:35,600 --> 00:21:38,200 WELL, YOU SEE... 374 00:21:38,200 --> 00:21:40,200 I'M TERRIBLY IN LOVE WITH YOU. 375 00:21:40,400 --> 00:21:41,600 HEY... 376 00:21:41,800 --> 00:21:45,000 YES, AND I WONDERED... 377 00:21:45,200 --> 00:21:47,000 WHAT ARE WE GOING TO DO ABOUT IT? 378 00:21:47,000 --> 00:21:48,400 WHAT ARE WE GOING TO DO ABOUT IT? 379 00:21:48,600 --> 00:21:51,800 YES. IT'S AN AWFUL PROBLEM, ISN'T IT? 380 00:21:52,000 --> 00:21:55,000 BUT I THOUGHT IF WE COULD JUST TALK IT OVER AND-- 381 00:21:55,000 --> 00:21:56,400 PLEASE DON'T GO. 382 00:21:56,600 --> 00:21:59,000 I HAVE TO GET OFF AT THE NEXT STOP ANYWAY. 383 00:21:59,000 --> 00:22:01,000 I HAVEN'T ANY MORE MONEY. 384 00:22:02,400 --> 00:22:04,800 WELL, IF THERE'S ANYTHING I CAN DO TO HELP... 385 00:22:06,000 --> 00:22:08,400 YOU DON'T UNDERSTAND, DO YOU? 386 00:22:08,400 --> 00:22:09,600 WHAT? 387 00:22:09,800 --> 00:22:11,400 THAT I REALLY LOVE YOU-- 388 00:22:11,400 --> 00:22:13,600 THAT WHEN I HEARD YOUR VOICE LAST NIGHT, 389 00:22:13,800 --> 00:22:16,200 IT WAS JUST LIKE AN ANSWER TO MY WISH. 390 00:22:16,200 --> 00:22:18,600 I'D MADE A WISH ON A STAR. 391 00:22:18,600 --> 00:22:21,200 AND THEN WHEN I SAW YOU THIS MORNING, 392 00:22:21,200 --> 00:22:27,200 I WAS SURE THAT IT WAS AN ANSWER TO MY WISH. 393 00:22:27,200 --> 00:22:28,600 PLEASE TRY TO UNDERSTAND. 394 00:22:31,000 --> 00:22:33,800 EXCUSE ME. HAVE YOU SEEN MR. CONROY? 395 00:22:34,000 --> 00:22:35,200 NO. 396 00:22:35,200 --> 00:22:37,400 THAT'S FUNNY. I WONDER WHERE HE WENT. 397 00:22:37,600 --> 00:22:41,200 DON'T GO. STICK AROUND AWHILE. 398 00:22:41,200 --> 00:22:43,600 ARE YOU SURE THAT I'M NOT, UH... 399 00:22:43,600 --> 00:22:45,000 OH, NO. NO, NOT AT ALL. 400 00:22:45,200 --> 00:22:46,200 THIS IS MISS, UH... 401 00:22:46,200 --> 00:22:47,200 BRUCE. 402 00:22:47,200 --> 00:22:49,200 YES. MISS BRUCE IS JUST GETTING OFF. 403 00:22:49,200 --> 00:22:50,800 OH, ISN'T THAT A PITY? 404 00:22:50,800 --> 00:22:54,200 YES, AS A MATTER OF FACT, IT IS. 405 00:22:54,200 --> 00:22:57,000 YOU KNOW, I THOUGHT MAYBE YOU WERE AN ACTRESS 406 00:22:57,000 --> 00:22:59,200 OR A BEAUTY PRIZE WINNER ON YOUR WAY TO HOLLYWOOD. 407 00:22:59,400 --> 00:23:01,000 THAT'S VERY NICE OF YOU. 408 00:23:01,200 --> 00:23:03,600 ARE YOU AN ACTOR OR A BEAUTY PRIZE WINNER? 409 00:23:03,600 --> 00:23:07,400 NO. I'M JUST SORT OF PUTTING A LITTLE MONEY INTO PICTURES. 410 00:23:07,400 --> 00:23:09,400 YOU SEE, THE TROUBLE WITH PICTURES TODAY IS-- 411 00:23:13,200 --> 00:23:15,200 I THINK THIS IS YOUR STATION. 412 00:23:15,200 --> 00:23:16,400 GOOD-BYE NOW. 413 00:23:16,400 --> 00:23:18,200 GOOD-BYE. 414 00:23:30,800 --> 00:23:32,400 SOMETHING MUST BE WRONG. 415 00:23:32,400 --> 00:23:33,600 YES, SO IT SEEMS. 416 00:23:33,600 --> 00:23:35,200 THAT'S JUST SOME FRENCH WOMAN COMPLAINING 417 00:23:35,200 --> 00:23:36,600 BECAUSE SHE HASN'T ANY MAID. 418 00:23:36,600 --> 00:23:38,200 DO YOU SPEAK FRENCH? 419 00:23:38,400 --> 00:23:40,800 WELL, I WAS JUST TEACHING IT. 420 00:23:40,800 --> 00:23:42,600 REMEMBER, MONSIEUR WILLIAMS, 421 00:23:42,600 --> 00:23:45,600 IT'S BONJOUR AND NOT BON-JOW-ER. 422 00:23:45,800 --> 00:23:49,600 AND THE NEXT THING TO REMEMBER IS AU REVOIR. 423 00:23:49,600 --> 00:23:51,200 UH...WHAT DOES THAT MEAN? 424 00:23:51,200 --> 00:23:53,800 IT MEANS "TILL WE MEET AGAIN." 425 00:23:55,000 --> 00:23:56,200 AU REVOIR. 426 00:24:03,000 --> 00:24:06,600 THEN MY HEART CRIES 427 00:24:06,600 --> 00:24:08,600 YOU LIKE AMERICAN HE SING SONG? 428 00:24:12,200 --> 00:24:13,200 YOU LIKE? 429 00:24:13,400 --> 00:24:15,800 AH, ME LIKE-A VERY MUCH. 430 00:24:15,800 --> 00:24:17,600 OOH...HIM VERY SHARP, THOUGH. 431 00:24:17,800 --> 00:24:20,600 YES, AND IF HE DON'T BE GOOD BOY... 432 00:24:20,800 --> 00:24:23,200 AH, ME BE VERY, VERY, VERY GOOD BOY. 433 00:24:23,200 --> 00:24:25,600 YOU NO LOOK AT OTHER GIRLS? 434 00:24:25,800 --> 00:24:27,400 NO. ME LIKE ONLY LILI. 435 00:24:27,600 --> 00:24:28,800 OH. OUI? 436 00:24:28,800 --> 00:24:30,800 OUI, OUI, OUI, OUI, OUI! 437 00:24:33,400 --> 00:24:36,000 OHH...OH, BILLY. 438 00:24:38,000 --> 00:24:39,200 WHO IS IT? 439 00:24:39,200 --> 00:24:40,400 C'EST MOI, MADEMOISELLE. 440 00:24:40,600 --> 00:24:41,600 ENTREZ. 441 00:24:47,800 --> 00:24:51,400 HEY...HEY... WHAT IS THIS? 442 00:24:51,400 --> 00:24:52,600 BONSOIR, MONSIEUR. 443 00:24:52,600 --> 00:24:54,400 YOU WERE SUPPOSED TO GET OFF. 444 00:24:54,400 --> 00:24:55,600 MONSIEUR? 445 00:24:55,800 --> 00:24:58,200 WHAT IS THIS? DO YOU KNOW HIM? 446 00:24:58,200 --> 00:24:59,800 NON, MADEMOISELLE. 447 00:24:59,800 --> 00:25:01,400 YOU MUST BE MISTAKEN, SIR. 448 00:25:01,400 --> 00:25:03,000 I DON'T REMEMBER MEETING YOU. 449 00:25:03,000 --> 00:25:05,000 OH. SO YOU'RE GOING TO HOLLYWOOD, HUH? 450 00:25:05,000 --> 00:25:06,400 MADEMOISELLE DID NOT HAVE A MAID. 451 00:25:06,600 --> 00:25:08,600 I APPLIED FOR THE POSITION. 452 00:25:12,600 --> 00:25:14,800 BON, MADEMOISELLE. BONSOIR. 453 00:25:14,800 --> 00:25:16,000 BONSOIR. 454 00:25:19,000 --> 00:25:20,400 GOOD EVENING, MONSIEUR. 455 00:25:29,000 --> 00:25:30,200 I HATE HER. 456 00:25:30,200 --> 00:25:31,200 WHO? 457 00:25:31,400 --> 00:25:33,200 THAT FRENCH WOMAN. 458 00:25:34,800 --> 00:25:38,600 UH, WOULD YOU MIND HAVING A LITTLE DRINK WITH ME? 459 00:25:38,800 --> 00:25:40,400 I DON'T MIND IF I DO. 460 00:25:44,000 --> 00:25:47,000 I KNOW JUST HOW YOU FEEL. 461 00:25:47,200 --> 00:25:49,400 I WAS IN LOVE ONCE. 462 00:25:49,400 --> 00:25:51,000 WHAT HAPPENED? 463 00:25:51,000 --> 00:25:54,600 SHE MARRIED A MAN FROM PHILADELPHIA. 464 00:25:54,800 --> 00:25:56,600 OH, THAT'S AWFUL. 465 00:25:56,600 --> 00:25:58,800 AND YOU HAVEN'T SEEN HER SINCE? 466 00:25:59,000 --> 00:26:01,400 SHE'S GOT AWFULLY FAT. 467 00:26:01,600 --> 00:26:04,600 WHY, THEN I WOULDN'T CRY. 468 00:26:04,600 --> 00:26:07,600 IT WAS THE MOST BEAUTIFUL THING IN MY LIFE. 469 00:26:10,000 --> 00:26:13,400 DO YOU THINK HE'LL EVER LOVE ME? 470 00:26:13,400 --> 00:26:15,000 WHO? 471 00:26:15,000 --> 00:26:16,000 BILL WILLIAMS. 472 00:26:16,200 --> 00:26:18,200 OH, SURE HE WILL. 473 00:26:18,200 --> 00:26:20,200 LET ME TELL YOU ABOUT LOVE. 474 00:26:20,200 --> 00:26:21,600 WHAT? 475 00:26:21,600 --> 00:26:25,800 LOVE IS THE MOST BEAUTIFUL THING IN THE WORLD. 476 00:26:25,800 --> 00:26:27,800 YES, I KNOW, 477 00:26:27,800 --> 00:26:29,400 AND LOVE NEVER DIES. 478 00:26:31,600 --> 00:26:32,800 COME IN. 479 00:26:34,000 --> 00:26:37,000 OH! ENTER, MADAME-MOISELLE. 480 00:26:37,200 --> 00:26:39,600 WE WERE JUST TALKING ABOUT LOVE. 481 00:26:39,800 --> 00:26:41,000 ABOUT LOVE, HUH? 482 00:26:41,200 --> 00:26:42,800 YES. ANY OBJECTIONS? 483 00:26:43,000 --> 00:26:45,600 THIS IS A NICE THING, GETTING MY MAID DRUNK! 484 00:26:45,600 --> 00:26:47,600 I'M NOT DRUNK... 485 00:26:47,600 --> 00:26:49,800 AND I'M NOT YOUR MAID. I RESIGN. 486 00:26:49,800 --> 00:26:53,400 LADIES, PLEASE. LET'S TALK ABOUT LOVE. 487 00:26:53,400 --> 00:26:56,600 I SUPPOSE SHE TOLD YOU SHE WAS IN LOVE WITH MY BILL! 488 00:26:56,800 --> 00:26:58,000 HE'S NOT YOUR BILL. 489 00:27:01,800 --> 00:27:05,200 HE'S NOT YOUR BILL. 490 00:27:11,600 --> 00:27:14,600 THE MOST BEAUTIFUL THING IN THE WORLD. 491 00:27:42,400 --> 00:27:44,600 INDEPENDENT ART STUDIO. WHO WANTS HIM? 492 00:27:44,600 --> 00:27:48,200 NO. HE'S TIED UP IN CONFERENCE. CALL BACK IN AN HOUR. OKAY. 493 00:27:48,200 --> 00:27:49,400 INDEPENDENT ART. 494 00:27:49,600 --> 00:27:51,000 WAIT A MINUTE. THAT CALL'S BEEN CHANGED. 495 00:27:51,000 --> 00:27:54,600 IT'S 9:00. YEAH, EVENING CLOTHES. ALRIGHT. OKAY. 496 00:27:55,200 --> 00:27:56,200 GOT THOSE DAMES? 497 00:27:56,400 --> 00:27:58,000 SURE. OUTSIDE. HOW'S THE PICTURE GOING? 498 00:27:58,000 --> 00:28:00,000 NOW YOU COME. IF YOU MUST KNOW, 499 00:28:00,000 --> 00:28:01,800 IT'S NOT A PICTURE. IT'S A CLAMBAKE. 500 00:28:02,000 --> 00:28:03,800 AS GOOD AS THAT, EH? HOW'S THE NEW FRENCH STAR? 501 00:28:04,000 --> 00:28:07,000 SHE'S A BUST. WHY THEY KEEP ON LAYING IT ON THE LINE 502 00:28:07,200 --> 00:28:10,800 FOR FOREIGN TALENT THAT CAN'T DO ANYTHING IS BEYOND ME. 503 00:28:11,000 --> 00:28:12,800 I CAN GRAB A DOLL OUT OF THE EXTRAS 504 00:28:12,800 --> 00:28:14,600 WHO'LL MAKE HER LOOK LIKE A DOLT. 505 00:28:14,800 --> 00:28:16,800 SHE'S SO BUSY TELLING ME HOW GOOD SHE IS, 506 00:28:16,800 --> 00:28:19,400 SHE'S GOT NO TIME LEFT TO LEARN HER LINES. 507 00:28:19,400 --> 00:28:21,800 SHE WON'T DO. THE WHOLE THING IS A BUST. 508 00:28:22,000 --> 00:28:22,800 NO. 509 00:28:23,000 --> 00:28:24,600 THIS IS THE FIRST DAY ON THE PICTURE. 510 00:28:24,600 --> 00:28:28,000 I'M SUPPOSED TO BE ON MY TOES, BUT I'M NOT. I'M SUNK. 511 00:28:28,200 --> 00:28:29,800 I FEEL LIKE A STRANDED DOGFISH 512 00:28:29,800 --> 00:28:32,200 ON THE BARNEGAT SHOALS. LET IT GO. 513 00:28:34,600 --> 00:28:36,400 HELLO, MR. CONROY. 514 00:28:38,400 --> 00:28:40,000 NO. 515 00:28:40,200 --> 00:28:41,600 THANK YOU, MR. CONROY. 516 00:28:41,600 --> 00:28:43,600 AND HOW WOULD YOU LIKE TO-- 517 00:28:43,600 --> 00:28:46,200 EXCUSE ME. IS THIS THE WAY INTO THE STUDIO? 518 00:28:46,200 --> 00:28:47,800 WELL, IT'S ONE WAY. 519 00:28:48,000 --> 00:28:49,200 WHAT DO YOU HAVE TO DO? 520 00:28:49,200 --> 00:28:51,000 THAT'S EASY. JUST WATCH. 521 00:28:51,200 --> 00:28:53,000 HELLO, FREDDIE! HOW'S YOUR UNCLE? 522 00:28:53,000 --> 00:28:53,800 NOTHING TODAY. 523 00:28:54,000 --> 00:28:56,000 SEE? NOTHING TO IT. 524 00:28:56,200 --> 00:28:57,600 HELLO, FREDDIE. HOW'S YOUR AUNT? 525 00:28:57,600 --> 00:28:58,800 WHAT DO YOU WANT? 526 00:28:59,000 --> 00:29:00,000 I WANT TO SEE MR. WILLIAMS. 527 00:29:00,200 --> 00:29:02,600 NO INDIANS TODAY. 528 00:29:00,200 --> 00:29:02,600 HE'S NOT AN INDIAN. 529 00:29:02,600 --> 00:29:04,800 WHO DID YOU WANT TO SEE? 530 00:29:02,600 --> 00:29:04,800 MR. BILL WILLIAMS. 531 00:29:04,800 --> 00:29:05,800 NOT A CHANCE. 532 00:29:07,000 --> 00:29:10,600 OH. WELL, NOW THAT WE'RE IN THE STUDIO-- 533 00:29:10,800 --> 00:29:12,600 HEY, YOU! ME? 534 00:29:12,600 --> 00:29:14,800 COME HERE. 535 00:29:14,800 --> 00:29:16,600 THAT'S ALL. 536 00:29:18,600 --> 00:29:19,800 LET ME SEE YOUR LEGS. 537 00:29:20,000 --> 00:29:21,000 I CERTAINLY WILL NOT. 538 00:29:21,200 --> 00:29:23,000 OH, LET ME SEE YOUR LEGS. 539 00:29:23,000 --> 00:29:24,800 LOOK, MR. CONROY. LOOK WHAT JILLY'S GOT. 540 00:29:25,000 --> 00:29:26,400 I'VE SEEN THOSE BEFORE. 541 00:29:26,600 --> 00:29:29,000 YOU DON'T HAVE TO BE SO RUDE ABOUT IT. 542 00:29:29,200 --> 00:29:31,200 SAY, I'VE SEEN YOU BEFORE, TOO. 543 00:29:31,200 --> 00:29:32,800 OH, YES. ON THE TRAIN. 544 00:29:32,800 --> 00:29:36,000 I WOULD LIKE YOU TO TAKE A MESSAGE TO MR. BILL WILLIAMS FOR ME. 545 00:29:36,200 --> 00:29:38,600 I CAN HARDLY WAIT. 546 00:29:41,600 --> 00:29:43,200 WELL, THAT'S TOO BAD. 547 00:29:43,200 --> 00:29:45,600 SAY, LISTEN, YOU'LL NEVER BREAK INTO MOVIES THAT WAY. 548 00:29:45,600 --> 00:29:48,800 I DON'T WANT TO BREAK INTO MOVIES. 549 00:29:45,600 --> 00:29:48,800 YOU DON'T WHAT? 550 00:29:48,800 --> 00:29:52,200 NO. I JUST CAME HERE TO SEE SOMEBODY INSIDE THE STUDIO. 551 00:29:52,400 --> 00:29:53,800 YOU MEAN TO STAND THERE AND TELL ME 552 00:29:53,800 --> 00:29:56,600 THAT YOU DON'T THINK YOU'RE BETTER THAN NORMA SHEARER? 553 00:29:56,800 --> 00:29:58,400 SAY, CAN I TOUCH YOU? 554 00:29:58,400 --> 00:30:00,200 DO YOU THINK YOU'RE BETTER THAN NORMA SHEARER? 555 00:30:00,200 --> 00:30:03,200 I DO, BUT THEY DON'T. WHERE YOU LIVING? 556 00:30:03,200 --> 00:30:06,200 I DON'T KNOW. I HAVEN'T FOUND A PLACE YET. 557 00:30:06,200 --> 00:30:09,000 I SORT OF LIKE YOU. IF YOU WANT TO GO 50-50 WITH ME, 558 00:30:09,000 --> 00:30:12,000 I'VE GOT A ROOM IN A BUNGALOW COURT. IT'S NO WALDORF-ASTORIA-- 559 00:30:12,200 --> 00:30:14,000 ALLONS-Y. 560 00:30:12,200 --> 00:30:14,000 WHAT'S THE MATTER? 561 00:30:14,000 --> 00:30:15,400 THAT'S FRENCH FOR "LET'S GO." 562 00:30:15,600 --> 00:30:17,200 YOU SPEAK FRENCH? 563 00:30:17,200 --> 00:30:21,400 WHAT A BREAK! I'VE GOT A FRENCH BOOK HOME THAT A BOY BROUGHT ME ONCE. 564 00:30:29,000 --> 00:30:30,600 COME ON. RIGHT THIS WAY, DARLING. 565 00:30:30,600 --> 00:30:32,400 HELLO, JILL. 566 00:30:30,600 --> 00:30:32,400 HELLO, JILL. 567 00:30:32,600 --> 00:30:36,000 WHAT IS THIS? LOOKS LIKE OLD HOME WEEK ON THE PLANTATION. 568 00:30:36,000 --> 00:30:37,000 WE WERE JUST LEAVING. 569 00:30:37,000 --> 00:30:39,400 OH, DON'T GO! 570 00:30:39,600 --> 00:30:41,200 GOOD-BYE. 571 00:30:39,600 --> 00:30:41,200 SO LONG. 572 00:30:41,200 --> 00:30:43,000 GOOD-BYE. 573 00:30:44,200 --> 00:30:45,600 OH, THIS IS FINE. 574 00:30:47,600 --> 00:30:51,200 SAY, DO YOU SUPPOSE IF I CALLED THE STUDIO, 575 00:30:51,400 --> 00:30:52,800 I COULD TALK TO HIM? 576 00:30:52,800 --> 00:30:55,800 I SUPPOSE YOU COULD, BUT THERE'S BEEN A LITTLE ARGUMENT 577 00:30:56,000 --> 00:30:58,800 BETWEEN THE TELEPHONE COMPANY AND ME ABOUT A BILL. 578 00:30:58,800 --> 00:31:00,400 OH. 579 00:31:00,400 --> 00:31:03,600 SAY, SWEETS, YOU LOOK ALL IN. HOW ABOUT LYING DOWN? 580 00:31:03,600 --> 00:31:05,800 YES. I AM KIND OF TIRED AT THAT. 581 00:31:05,800 --> 00:31:09,000 IT'S THE CLIMATE. IT SORT OF GETS YOU AT FIRST. COME ON. 582 00:31:09,200 --> 00:31:11,800 IT'S MY HILLS, MY COUNTRY, MY GRASS. 583 00:31:11,800 --> 00:31:14,000 WELL, THIS IS THE ROYAL BEDCHAMBER. 584 00:31:14,200 --> 00:31:15,200 NOW, RIGHT THROUGH THAT WINDOW, 585 00:31:15,200 --> 00:31:17,400 YOU CAN SEE CATALINA ON A CLEAR DAY. 586 00:31:17,400 --> 00:31:19,600 THAT IS, IF YOU WANT TO SEE CATALINA. 587 00:31:19,600 --> 00:31:21,400 WELL, MAKE YOURSELF AT HOME. 588 00:31:21,600 --> 00:31:22,800 THANKS. 589 00:31:31,600 --> 00:31:35,800 WE'LL LEARN OUR PLAY 590 00:31:35,800 --> 00:31:40,600 AND THEN SOMEDAY... 591 00:31:40,800 --> 00:31:42,200 THERE'S YOUR BOYFRIEND. 592 00:31:42,400 --> 00:31:44,200 YES. I KNOW. 593 00:31:44,200 --> 00:31:47,800 OUR BIG LOVE SCENE 594 00:31:47,800 --> 00:31:49,000 WAS REAL 595 00:31:49,000 --> 00:31:51,400 GEE, KID, I DIDN'T KNOW IT WAS THAT BAD. 596 00:31:54,400 --> 00:31:56,400 IT'S THE CLIMATE. 597 00:31:59,200 --> 00:32:00,400 CRAZY ABOUT HIM? 598 00:32:00,600 --> 00:32:02,200 MM-HMM. 599 00:32:02,400 --> 00:32:03,800 ANY CHANCE? 600 00:32:07,400 --> 00:32:09,600 OH, DON'T MIND ME, JILL. 601 00:32:09,800 --> 00:32:12,400 I'M AWFULLY SORRY TO BE LIKE THIS. 602 00:32:12,600 --> 00:32:15,600 WELL, KID, IF YOU'VE GOT LOVE, YOU'VE GOT LOVE. 603 00:32:15,600 --> 00:32:18,800 IF I COULD ONLY JUST SEE HIM OR... 604 00:32:18,800 --> 00:32:21,200 TALK TO HIM. 605 00:32:21,200 --> 00:32:25,600 YOU'LL FIND A WAY. NOW, GET SOME SLEEP. 606 00:32:28,200 --> 00:32:30,000 JILL. 607 00:32:28,200 --> 00:32:30,000 WHAT? 608 00:32:30,000 --> 00:32:31,600 I'LL BE ALRIGHT IN THE MORNING. 609 00:32:31,600 --> 00:32:34,000 SURE YOU WILL. YOU'LL LIKE IT OUT HERE. 610 00:32:53,800 --> 00:32:59,000 I'M TIRED OF ALL THE HURRY 611 00:32:59,000 --> 00:33:03,600 OF MODERN CITY WAYS 612 00:33:03,600 --> 00:33:09,200 I'M TIRED OF ALL THE WORRY 613 00:33:09,200 --> 00:33:15,000 OF THOSE CITY DAYS 614 00:33:15,000 --> 00:33:19,600 I'M THROUGH WITH ALL THE RIOT 615 00:33:19,800 --> 00:33:24,400 OF GLARING CITY LIGHTS 616 00:33:24,600 --> 00:33:29,200 GIVE ME THAT GORGEOUS QUIET 617 00:33:31,800 --> 00:33:35,000 OF THOSE COUNTRY 618 00:33:35,200 --> 00:33:37,200 NIGHTS 619 00:33:39,600 --> 00:33:44,800 TAKE ME WHERE THE DAISIES 620 00:33:44,800 --> 00:33:49,600 COVER THE COUNTRY LANES 621 00:33:49,800 --> 00:33:54,600 WE'LL MAKE HAY WHILE THE SUN SHINES 622 00:33:54,800 --> 00:33:59,600 WE'LL MAKE LOVE WHEN IT RAINS 623 00:33:59,600 --> 00:34:04,600 TAKE ME WHERE THE SONGBIRDS 624 00:34:04,600 --> 00:34:09,200 THRILL YOU WITH SWEET REFRAINS 625 00:34:09,200 --> 00:34:13,800 WE'LL MAKE HAY WHILE THE SUN SHINES 626 00:34:13,800 --> 00:34:17,600 WE'LL MAKE LOVE WHEN IT RAINS 627 00:34:17,800 --> 00:34:23,000 FROM THE HUSTLE AND THE BUSTLE OF THE CITY 628 00:34:23,200 --> 00:34:27,800 WE'LL BECOME A PAIR OF COUNTRY FOLKS 629 00:34:27,800 --> 00:34:32,600 IN THAT LITTLE COTTAGE SITTIN' PRETTY 630 00:34:32,600 --> 00:34:35,800 WE'LL BE MR. AND MRS. DOKES 631 00:34:36,000 --> 00:34:41,800 OH, WILL YOU TAKE ME WHERE THE DAISIES 632 00:34:41,800 --> 00:34:46,200 COVER THE COUNTRY LANES? 633 00:34:46,400 --> 00:34:51,000 WE'LL MAKE HAY WHILE THE SUN SHINES 634 00:34:51,000 --> 00:34:54,600 WE'LL MAKE LOVE WHEN IT RAINS 635 00:35:24,800 --> 00:35:26,800 FROM THE HUSTLE AND THE BUSTLE 636 00:35:26,800 --> 00:35:28,800 OF THE CITY 637 00:35:28,800 --> 00:35:32,000 WE'LL BECOME A PAIR OF COUNTRY FOLKS 638 00:35:32,000 --> 00:35:36,000 AND IN THAT LITTLE COTTAGE SITTIN' PRETTY 639 00:35:36,200 --> 00:35:39,200 WE'LL BE MR. AND MRS. DOKES 640 00:35:39,400 --> 00:35:44,000 OH, WILL YOU TAKE ME WHERE THE DAISIES 641 00:35:44,000 --> 00:35:47,200 COVER THE COUNTRY LANES? 642 00:35:47,200 --> 00:35:51,200 WE'LL MAKE HAY WHILE THE SUN SHINES 643 00:35:51,400 --> 00:35:54,600 WE'LL MAKE LOVE WHEN IT RAINS 644 00:35:54,600 --> 00:35:57,600 TAKE ME WHERE THE DAISIES 645 00:35:57,600 --> 00:35:59,600 COVER THE COUNTRY LANES 646 00:35:59,800 --> 00:36:02,800 OH, WE'LL BE MAKIN' HAY WHILE THE SUNNY SUN SHINES 647 00:36:02,800 --> 00:36:04,800 WE'LL BE MAKIN' LOVE WHEN IT RAINS 648 00:36:05,000 --> 00:36:08,200 OOH, TAKE ME WHERE THE SONGBIRDS 649 00:36:08,200 --> 00:36:10,600 THRILL YOU WITH SWEET REFRAINS 650 00:36:10,600 --> 00:36:13,600 OH, WE'LL BE MAKIN' HAY WHILE THE SUNNY SUN SHINES 651 00:36:13,800 --> 00:36:17,800 WE'LL BE MAKIN' LOVE WHEN IT RAINS 652 00:37:14,200 --> 00:37:16,400 GOOD EVENIN', FARMER DOKES. 653 00:37:16,400 --> 00:37:18,200 GOOD EVENIN', LADY FAIR. 654 00:37:18,400 --> 00:37:20,200 HOW IS THE CHICKENS IN THE OLD BACKYARD, 655 00:37:20,400 --> 00:37:21,600 AND HOW IS THE OLD GRAY MARE? 656 00:37:21,600 --> 00:37:24,000 WELL, SIR, I PUT 'EM ALL AWAY, 657 00:37:24,200 --> 00:37:26,000 AND I LOCKED THE BARN UP TIGHT. 658 00:37:26,200 --> 00:37:28,000 THERE'S GONNA BE A MOON IN THE OLD HAYFIELD, 659 00:37:28,000 --> 00:37:29,600 AND WE'LL HAVE US A DANCE TONIGHT. 660 00:37:29,800 --> 00:37:31,400 I'M WILLIN', FARMER DOKES. 661 00:37:31,600 --> 00:37:33,800 YOU THRILL ME, LADY FAIR. 662 00:37:33,800 --> 00:37:35,800 WE'LL GET BUSY IN THAT OLD HAYFIELD, 663 00:37:35,800 --> 00:37:37,600 AND WE'LL DO SOME DANCIN' THERE. 664 00:37:37,600 --> 00:37:39,000 CAN YOU DO THE TURKEY TROT? 665 00:37:39,200 --> 00:37:41,000 DAD-BURN IT, YOU GOT ME ON THE SPOT. 666 00:37:41,200 --> 00:37:43,400 THEN I'LL BE ON HAND 'CAUSE THERE'S GONNA BE A BAND... 667 00:37:43,400 --> 00:37:46,200 IN THE OLD HAYFIELD TONIGHT. 668 00:38:53,200 --> 00:38:57,600 TAKE ME WHERE THE DAISIES 669 00:39:00,000 --> 00:39:05,800 COVER THE COUNTRY LANES 670 00:39:06,000 --> 00:39:12,400 WE'LL MAKE HAY WHILE THE SUN SHINES 671 00:39:12,400 --> 00:39:19,600 WE'LL MAKE LOVE WHEN IT RAINS 672 00:39:25,600 --> 00:39:27,400 JILL? JILL? 673 00:39:31,200 --> 00:39:33,200 YEAH? WHAT IS IT? 674 00:39:33,200 --> 00:39:36,200 YOU KNOW, I THINK I'M GOING TO LIKE THIS CLIMATE. 675 00:39:36,200 --> 00:39:37,600 ATTAGIRL. 676 00:39:41,000 --> 00:39:42,400 ON THE SET, EVERYBODY! 677 00:39:46,200 --> 00:39:48,800 SAY, MR. CONROY, I'VE GOT AN IDEA. 678 00:39:48,800 --> 00:39:50,600 I DON'T WANT TO HEAR IT. 679 00:39:50,600 --> 00:39:53,800 WHERE'S THAT FRENCH ACTRESS OF YOURS? 680 00:39:53,800 --> 00:39:55,200 SHE MUST BE LATE AGAIN. 681 00:39:55,200 --> 00:39:57,000 YEAH, SHE MUST BE. SHE IS. 682 00:40:01,800 --> 00:40:03,200 GOOD MORNING, MASSA WILLIAMS. 683 00:40:03,400 --> 00:40:04,200 GOOD MORNING. 684 00:40:04,400 --> 00:40:05,800 SAY GOOD MORNING TO MASSA WILLIAMS. 685 00:40:05,800 --> 00:40:07,800 MORNING, MASSA WILLIAMS. 686 00:40:05,800 --> 00:40:07,800 MORNING. 687 00:40:07,800 --> 00:40:10,000 DO YOU RECKON YOU COULD SIGN MY AUTOGRAPH BOOK? 688 00:40:10,200 --> 00:40:13,200 SURE. SURE. 689 00:40:13,200 --> 00:40:16,000 AIN'T YOU GOT NICE HANDS, MASSA WILLIAMS. 690 00:40:16,000 --> 00:40:17,400 YOU'LL LET ME TELL YOUR FORTUNE? 691 00:40:17,600 --> 00:40:19,400 WELL, SOME OTHER TIME, PLEASE. 692 00:40:19,600 --> 00:40:24,600 YEAH SO, A MIGHTY INTERESTING HAND. 693 00:40:24,600 --> 00:40:26,400 YOU KNOW WHAT, MASSA WILLIAMS? 694 00:40:24,600 --> 00:40:26,400 WHAT? 695 00:40:26,600 --> 00:40:28,600 YOU'RE UNDER A BAD INFLUENCE. 696 00:40:28,800 --> 00:40:31,200 THERE'S A FOREIGN WOMAN IN YOUR LIFE. 697 00:40:31,400 --> 00:40:34,000 YOU DON'T TELL ME. 698 00:40:31,400 --> 00:40:34,000 YEAH, SIR. 699 00:40:34,000 --> 00:40:35,600 BUT SHE AIN'T THE ONE YOU'RE GOING TO MARRY. 700 00:40:35,800 --> 00:40:37,400 NO? NO, SIR. 701 00:40:37,600 --> 00:40:39,200 YOU'RE GOING TO MARRY A BLOND, 702 00:40:39,200 --> 00:40:42,000 A BLOND GIRL THAT'S VERY MUCH IN LOVE WITH YOU. 703 00:40:42,000 --> 00:40:44,000 DO YOU KNOW ANYBODY LIKE THAT? 704 00:40:44,000 --> 00:40:45,000 NO. 705 00:40:45,000 --> 00:40:47,000 OH, YOU BIG LIAR. YOU DO TOO. 706 00:40:47,200 --> 00:40:49,400 WHAT'S THAT? 707 00:40:47,200 --> 00:40:49,400 HELLO. 708 00:40:49,400 --> 00:40:50,800 WELL, I'M A-- 709 00:40:51,000 --> 00:40:53,600 IT'S MIGHTY NICE TO SEE YOU AGAIN, MASSA WILLIAMS. 710 00:40:53,800 --> 00:40:55,400 SURE 'NUFF, HONEY? 711 00:40:57,800 --> 00:40:59,000 WHO'S THIS HERE? 712 00:40:59,000 --> 00:41:03,000 LOOK OUT THERE, MASSA WILLIAMS. I'S REAL. 713 00:41:03,000 --> 00:41:05,200 RUN ALONG, JASPER. 714 00:41:05,400 --> 00:41:08,400 I'M AWFULLY SORRY ABOUT THE WAY LILI TREATED YOU ON THE TRAIN. 715 00:41:08,600 --> 00:41:10,400 OH, THAT'S ALRIGHT. 716 00:41:10,600 --> 00:41:13,600 IT'S A GOOD WAY TO FIND OUT ABOUT SOMEONE-- 717 00:41:13,600 --> 00:41:14,800 TO BE HER MAID. 718 00:41:16,800 --> 00:41:19,200 WELL, WE'LL LET THAT ONE PASS. 719 00:41:19,200 --> 00:41:21,000 OKAY... 720 00:41:21,000 --> 00:41:23,000 BUT SHE REALLY IS AWFUL. 721 00:41:27,800 --> 00:41:29,000 I'M NOT GOING TO GO ON WITH THIS! 722 00:41:29,000 --> 00:41:30,400 I TELL YOU, I QUIT! 723 00:41:30,400 --> 00:41:32,800 WHAT'S THE MATTER NOW? 724 00:41:32,800 --> 00:41:34,400 THIS DIRECTOR OVER THERE-- 725 00:41:34,600 --> 00:41:37,800 HE DARES TELL ME THAT I AM LATE! 726 00:41:37,800 --> 00:41:41,400 EXCUSE ME, MISS GARBO. WOULD YOU SIGN MY AUTOGRAPH BOOK? 727 00:41:41,400 --> 00:41:42,800 I'M NOT GARBO. 728 00:41:43,000 --> 00:41:45,200 NO? IS YOU MARIE DRESSLER? 729 00:41:45,400 --> 00:41:47,000 CERTAINLY NOT! 730 00:41:47,000 --> 00:41:48,400 THEN WHO IS YOU? 731 00:41:48,600 --> 00:41:50,400 LILI YVONNE. 732 00:41:50,400 --> 00:41:51,400 LILI WHO? 733 00:41:51,400 --> 00:41:54,000 YVONNE! 734 00:41:54,000 --> 00:41:55,200 IS YOU AN ACTRESS? 735 00:41:55,200 --> 00:41:57,600 AM I AN ACTRESS? 736 00:41:57,800 --> 00:42:00,000 I'M NOT GOING TO STAND HERE AND BE INSULTED. 737 00:42:00,000 --> 00:42:02,800 YOU SEND HER AWAY! 738 00:42:02,800 --> 00:42:04,800 GO AWAY. 739 00:42:04,800 --> 00:42:07,400 MASSA WILLIAMS SIGNED IT. 740 00:42:11,800 --> 00:42:14,000 BONJOUR, MADEMOISELLE. 741 00:42:14,000 --> 00:42:17,200 SO! THIS GOES ON, HUH? 742 00:42:17,200 --> 00:42:18,600 IT WASN'T HIS FAULT. 743 00:42:20,400 --> 00:42:21,800 OH, WHAT'S THE MATTER? 744 00:42:22,000 --> 00:42:23,800 IF THIS WOMAN IS NOT KEPT OUT OF THE STUDIO, 745 00:42:23,800 --> 00:42:26,600 I WILL NOT GO ON WITH THE PICTURE! 746 00:42:26,800 --> 00:42:29,400 WELL, FROM WHAT I'VE HEARD AROUND HOLLYWOOD, 747 00:42:29,400 --> 00:42:31,200 THAT WOULD BE GREAT FOR THE PICTURE. 748 00:42:35,200 --> 00:42:38,600 UH, PARDON ME, BUT YOU AND MR. WILLIAMS 749 00:42:38,600 --> 00:42:41,400 ARE WANTED ON THE SET RIGHT AWAY. OH, NO. 750 00:42:41,400 --> 00:42:44,600 HERE. MR. WILLIAMS, THIS IS YOUR SWORD. 751 00:42:44,800 --> 00:42:46,000 I-- 752 00:42:46,200 --> 00:42:50,800 YOU KNOW, SOMEDAY, SHE'S GOING TO DO THAT ONCE TOO OFTEN. 753 00:42:51,000 --> 00:42:53,800 UM, WHO ARE YOU? 754 00:42:53,800 --> 00:42:56,400 DON'T YOU REMEMBER? ON THE TRAIN. 755 00:42:56,600 --> 00:42:59,200 YOU TOLD ME ABOUT LOVE. 756 00:42:59,200 --> 00:43:01,400 OH, YES. YES. 757 00:43:01,400 --> 00:43:03,200 YOU'VE, UH, CHANGED QUITE A BIT. 758 00:43:03,400 --> 00:43:07,200 IT'S THE CLIMATE. PLEASE DON'T LET HER KEEP ME OUT OF THE STUDIO. 759 00:43:07,400 --> 00:43:10,000 BUT SHE SAID SHE'D QUIT THE PICTURE IF SHE SAW YOU AGAIN. 760 00:43:10,200 --> 00:43:12,000 I'LL KEEP OUT OF HER WAY, HONESTLY. 761 00:43:12,000 --> 00:43:16,400 PLEASE GET ME A JOB AS AN EXTRA. I CAN DANCE, REALLY. 762 00:43:16,400 --> 00:43:19,200 WELL, UH, I'LL DO WHAT I CAN. I-- 763 00:43:19,200 --> 00:43:20,400 OH, PLEASE. 764 00:43:20,400 --> 00:43:23,800 AND I'VE GOT A FRIEND. SHE'S AWFULLY HARD UP. 765 00:43:23,800 --> 00:43:26,600 SHE'D LIKE TO HAVE A JOB, TOO. 766 00:43:26,600 --> 00:43:29,200 SHE'S BEEN SO NICE TO ME. 767 00:43:29,400 --> 00:43:30,800 WELL, I-- 768 00:43:30,800 --> 00:43:33,800 OH, THANK YOU. THANKS SO MUCH. 769 00:43:35,400 --> 00:43:36,800 UH, THANK YOU. 770 00:43:49,200 --> 00:43:51,600 WAIT, WAIT, WAIT! 771 00:43:51,800 --> 00:43:55,400 WHAT DO YOU THINK THIS IS, SHERMAN'S MARCH TO THE SEA? 772 00:43:55,600 --> 00:43:57,600 THIS IS SUPPOSED TO BE A DANCE. 773 00:43:57,600 --> 00:44:00,000 YOU GOT TO PICK THEM UP AND PUT THEM DOWN TOGETHER. 774 00:44:00,000 --> 00:44:02,400 WHAT'S THE MATTER? CAN'T YOU DO IT? 775 00:44:02,600 --> 00:44:05,400 WHAT DO YOU THINK YOU'RE DOING? OFF TO BUFFALO? 776 00:44:05,600 --> 00:44:08,000 WHO, ME? YEAH, YOU. 777 00:44:08,000 --> 00:44:11,400 MR. CONROY, IT WAS MY FAULT. I BUMPED INTO HER. 778 00:44:11,400 --> 00:44:14,000 IT'LL BE OFF TO ROCKAWAY BEACH FOR BOTH OF YOU 779 00:44:14,000 --> 00:44:15,600 IF YOU DON'T GET THIS RIGHT. 780 00:44:15,800 --> 00:44:17,800 GET SET FOR THE ARRIVAL OF THE PRINCE! 781 00:44:17,800 --> 00:44:19,200 GET SOME SPIRIT IN THIS THING! 782 00:44:19,200 --> 00:44:21,400 COME ON! WHERE'S THE PRINCE?! 783 00:44:21,400 --> 00:44:24,000 OH, ALRIGHT. I COME, I COME. 784 00:44:28,400 --> 00:44:30,000 MAKE IT SNAPPY! 785 00:44:43,000 --> 00:44:45,800 WHO TOLD YOU TO PUT ON YOUR COSTUME? 786 00:44:46,000 --> 00:44:49,200 WHY, MR. BAKER DID. 787 00:44:49,200 --> 00:44:51,800 ALRIGHT. GET READY TO SING YOUR SONG. 788 00:44:57,200 --> 00:45:01,400 HAVE YOU HEARD ABOUT CINDERELLA'S FELLOW, FOLKS? 789 00:45:01,400 --> 00:45:05,600 HE'S THE PRINCE THAT MARRIED CINDERELLA, FOLKS 790 00:45:05,600 --> 00:45:07,800 WHEN THEY MET IN THE PALACE FAIR 791 00:45:07,800 --> 00:45:10,000 THEY WERE, OH, SUCH A HAPPY PAIR 792 00:45:10,200 --> 00:45:13,800 TILL THE CLOCK STRUCK QUARTER OF 12:00 793 00:45:14,000 --> 00:45:18,200 HAVE YOU HEARD THAT CINDERELLA WENT AND HID? 794 00:45:18,400 --> 00:45:21,400 WAIT, WAIT, WAIT. STOP. 795 00:45:21,400 --> 00:45:23,000 WHAT ARE YOU DOING, A HOOTCHY-KOOTCH? 796 00:45:23,000 --> 00:45:24,400 DON'T YOU LIKE IT? 797 00:45:24,400 --> 00:45:28,000 NO. GET BACK IN THE BIRDCAGE. WE'LL REHEARSE IT AGAIN. 798 00:45:28,200 --> 00:45:29,600 WHY MUST WE REHEARSE IT AGAIN? 799 00:45:29,800 --> 00:45:31,000 BECAUSE I DON'T LIKE IT. 800 00:45:31,200 --> 00:45:33,400 IF YOU DON'T LIKE IT, I WILL NOT DO IT AT ALL! 801 00:45:33,600 --> 00:45:34,800 WAIT A MINUTE, MISS YVONNE. 802 00:45:34,800 --> 00:45:36,200 I WILL NOT WAIT A MINUTE! 803 00:45:36,200 --> 00:45:38,800 I DO NOT LIKE THE SONG, I DO NOT LIKE THE SCENE, 804 00:45:39,000 --> 00:45:40,400 I DO NOT LIKE THE HORSES, 805 00:45:40,400 --> 00:45:42,000 AND I DO NOT LIKE YOU! 806 00:45:40,400 --> 00:45:42,000 GOOD! 807 00:45:42,000 --> 00:45:44,200 SO I'M THROUGH, DO YOU UNDERSTAND? I QUIT! 808 00:45:52,600 --> 00:45:54,200 DO YOU LIKE THE HORSES?! 809 00:45:54,400 --> 00:45:56,600 YES, MR. CONROY. 810 00:45:54,400 --> 00:45:56,600 YES, MR. CONROY. 811 00:45:56,600 --> 00:45:57,800 GOOD! 812 00:45:58,000 --> 00:45:59,000 NOW, MISS YVONNE-- 813 00:45:59,000 --> 00:46:01,200 I WILL NOT DO IT! 814 00:45:59,000 --> 00:46:01,200 MADEMOISELLE-- 815 00:46:01,200 --> 00:46:04,000 I DO NOT LIKE THE NUMBER, AND I WILL NOT DO IT! 816 00:46:04,200 --> 00:46:06,400 GET SOMEBODY ELSE TO DO IT! 817 00:46:06,400 --> 00:46:09,400 SOMEBODY ELSE? I-- NOW, LOOK-- 818 00:46:13,800 --> 00:46:15,000 WHAT DID SHE SAY? 819 00:46:15,000 --> 00:46:16,600 SHE SAYS NO. 820 00:46:16,800 --> 00:46:18,400 YOU KNOW WHAT SHE NEEDS? 821 00:46:18,400 --> 00:46:19,400 YES, BUT-- 822 00:46:19,400 --> 00:46:21,200 A GOOD PUNCH IN THE NOSE! 823 00:46:21,200 --> 00:46:22,600 MY DEAR FELLOW. 824 00:46:29,200 --> 00:46:31,200 YOU LISTEN. YOU CAN'T DO THIS TO THIS COMPANY. 825 00:46:31,400 --> 00:46:33,000 I SHALL DO WHAT I PLEASE! 826 00:46:33,000 --> 00:46:34,200 OH, NO, YOU WON'T! 827 00:46:34,200 --> 00:46:37,000 OH! BILLY! YOU WOULD HIT ME? 828 00:46:37,200 --> 00:46:38,600 YOU BET I WOULD! 829 00:46:37,200 --> 00:46:38,600 WHY? 830 00:46:38,600 --> 00:46:39,800 BECAUSE OF THE WAY YOU'RE ACTING! 831 00:46:40,000 --> 00:46:41,000 WHAT HAVE I DONE TO YOU? 832 00:46:41,000 --> 00:46:43,600 OH, THAT'S NOT THE POINT. 833 00:46:43,600 --> 00:46:48,200 OH. BILLY. 834 00:46:48,400 --> 00:46:50,600 BILLY, HIT ME. 835 00:46:50,600 --> 00:46:51,600 NO. 836 00:46:51,800 --> 00:46:53,800 WHY NOT? 837 00:46:53,800 --> 00:46:55,800 OH, LILI, FOR THE LOVE OF MIKE! 838 00:47:02,000 --> 00:47:03,400 OH, COME ON, LILI. 839 00:47:03,600 --> 00:47:06,400 DON'T TOUCH ME IF IT'S SO DISTASTEFUL TO YOU. 840 00:47:06,600 --> 00:47:08,000 IT'S NOT DISTASTEFUL TO ME. 841 00:47:08,000 --> 00:47:12,200 NO? THEN YOU FORGIVE LILI FOR BEING SO TEMPERAMENTAL? 842 00:47:12,400 --> 00:47:15,800 SURE, LILI. COME ON. EVERYTHING IS ALRIGHT. 843 00:47:15,800 --> 00:47:17,800 EVERYTHING IS ALRIGHT, BILLY? 844 00:47:24,000 --> 00:47:27,000 I WAS JUST THINKING, UH... 845 00:47:27,000 --> 00:47:28,400 NO. 846 00:47:28,600 --> 00:47:31,800 YEAH. COULDN'T WE GET ANYBODY ELSE? 847 00:47:32,000 --> 00:47:33,600 NO. WE'RE WASHED UP. 848 00:47:33,600 --> 00:47:35,800 HERE WE ARE, 25 MILES OUT IN THE STICKS, 849 00:47:36,000 --> 00:47:39,800 IT'S MIDNIGHT, YOUR CINDERELLA HAS TURNED INTO A QUINCE. 850 00:47:39,800 --> 00:47:42,000 WE'RE THROUGH. 851 00:47:42,200 --> 00:47:44,800 WELL, SHALL WE DISMISS THE COMPANY? 852 00:47:46,400 --> 00:47:48,600 I'LL GIVE THEM A HALF AN HOUR FOR SUPPER. 853 00:47:48,600 --> 00:47:52,000 HERE'S A CHANCE FOR YOU TO GET ONE OF YOUR IDEAS. 854 00:47:52,000 --> 00:47:55,000 SEE WHAT YOU CAN THINK UP. 855 00:47:55,200 --> 00:47:58,200 ALRIGHT, CHILDREN! A HALF AN HOUR FOR SUPPER! 856 00:48:07,800 --> 00:48:09,400 HIYA, PAL. HI. 857 00:48:14,800 --> 00:48:17,400 WAIT TILL YOU HEAR THOSE GOOFY ELECTRICIANS DO THEIR RADIO ACT. 858 00:48:17,600 --> 00:48:19,000 WHAT RADIO ACT? 859 00:48:19,200 --> 00:48:22,600 THEY'VE BEEN LISTENING TO THE RADIO SO LONG, THEY'VE GONE SCREWY. 860 00:48:26,600 --> 00:48:29,800 OKAY, AMERICA. THIS IS MRS. CHINWATER'S LITTLE FAT BOY WALTER 861 00:48:29,800 --> 00:48:31,400 ON THE MAGIC CARPET. 862 00:48:31,400 --> 00:48:33,800 WE HAVE JUST COME THROUGH PHILADELPHIA. 863 00:48:33,800 --> 00:48:36,600 AND HERE WE ARE AT MADISON SQUARE GARDEN IN NEW YORK CITY. 864 00:48:36,600 --> 00:48:37,400 OKAY, JOE HUMPHRIES! 865 00:48:39,000 --> 00:48:44,600 THE WINNER... AND GREATEST HEAVYWEIGHT OF ALL TIME-- 866 00:48:45,400 --> 00:48:47,200 KATE SMITH! 867 00:48:48,400 --> 00:48:52,800 WHEN THE MOON 868 00:48:53,000 --> 00:48:56,800 COMES OVER 869 00:48:56,800 --> 00:49:01,400 THE MOUNTAIN 870 00:49:01,600 --> 00:49:04,600 EVERY BEAM 871 00:49:04,600 --> 00:49:08,400 BRINGS A DREAM, DEAR 872 00:49:08,600 --> 00:49:13,400 OF YOU-OOH 873 00:49:17,800 --> 00:49:20,600 HELLO, EVERYBODY! 874 00:49:20,600 --> 00:49:22,400 THIS IS LITTLE KATIE. 875 00:49:22,400 --> 00:49:25,800 DON'T FORGET, FOLKS-- ON MY NEXT PROGRAM, 876 00:49:25,800 --> 00:49:27,200 I'M GOING TO SING A SONG 877 00:49:27,400 --> 00:49:31,000 FOR ALL THE PEOPLE DOWN AT THE NUDIST COLONY. 878 00:49:31,200 --> 00:49:34,000 YOU'RE AN OLD SMOOTHIE. 879 00:49:34,200 --> 00:49:37,400 WELL, THANKS FOR LISTENING. 880 00:49:37,400 --> 00:49:39,800 RUSTY COLUMBO. 881 00:49:41,600 --> 00:49:44,800 I CAN'T FORGET 882 00:49:45,000 --> 00:49:49,200 THE NIGHT I MET YOU 883 00:49:49,400 --> 00:49:54,600 THAT'S ALL I'M DREAMING OF 884 00:49:54,800 --> 00:49:59,400 NOW YOU CALL IT MADNESS 885 00:49:59,600 --> 00:50:05,400 AH, BUT I CALL IT LOVE 886 00:50:07,000 --> 00:50:09,600 BOYS, BOYS, IT'S ALL FIXED. 887 00:50:07,000 --> 00:50:09,600 WHAT'S FIXED? 888 00:50:09,600 --> 00:50:11,600 IT'S OKAY. LILI IS GOING TO DO IT. 889 00:50:11,800 --> 00:50:16,800 3 CHEERS. BRING ME A BOX LUNCH AND SOME BICARBONATE OF SODA! 890 00:50:17,000 --> 00:50:21,800 AND YOU CALL IT MADNESS 891 00:50:22,000 --> 00:50:27,800 AH, BUT I CALL IT LOVE 892 00:50:31,800 --> 00:50:35,400 I AM DR. FAU MAN CHAU. 893 00:50:35,600 --> 00:50:41,000 I CANNOT BRING TO YOU DR. PETRI, FOR HE IS DEAD, 894 00:50:41,200 --> 00:50:46,800 BUT WHEN YOU BUY CHAFE & SUNBURN COFFEE, 895 00:50:46,800 --> 00:50:51,400 LOOK FOR THE DATE ON YOUR CAN. HEH HEH HEH! 896 00:50:51,600 --> 00:50:53,800 HOW DO YOU DO, LADIES AND GENTLEMEN? 897 00:50:54,000 --> 00:50:55,800 YOWSER, HOW DO YOU DO YOU DO? 898 00:50:56,000 --> 00:50:58,600 THIS IS NORA BROKENWIRE SPEAKING, 899 00:50:58,600 --> 00:51:01,400 INTRODUCING THAT ACE OF CIGGY PROGRAMS, 900 00:51:01,600 --> 00:51:04,000 MORTON DOWNEY AND HIS STOOGE... 901 00:51:04,000 --> 00:51:05,200 FOH NEE WAN. 902 00:51:10,000 --> 00:51:13,000 WHEN YOU'RE AWAY 903 00:51:13,200 --> 00:51:15,600 AT CLOSE OF DAY 904 00:51:15,600 --> 00:51:20,000 REMEMBER ME 905 00:51:20,200 --> 00:51:22,600 WHEN SHADOWS FALL 906 00:51:22,800 --> 00:51:25,000 MY HEART WILL CALL 907 00:51:25,200 --> 00:51:28,000 REMEMBER ME 908 00:51:32,200 --> 00:51:35,400 ARE YOU STILL SUFFERING, PEOPLE? 909 00:51:37,000 --> 00:51:40,200 THIS IS TONY TWICE SPEAKING, 910 00:51:40,200 --> 00:51:43,800 AND YOU KNOW WHO'S SINGING, HMM? 911 00:51:43,800 --> 00:51:48,800 WHY, THAT'S MORTON DOWNEY'S NEPHEW, UPSIDE DOWNEY. 912 00:51:48,800 --> 00:51:52,200 SAY, DID YOU EVER COME HOME 913 00:51:52,400 --> 00:51:56,600 AND WISH THAT YOU HAD A FRESH CIGARETTE 914 00:51:56,800 --> 00:51:59,400 WRAPPED IN CELLOPHANE? 915 00:51:59,400 --> 00:52:01,600 DID YOU? 916 00:52:01,600 --> 00:52:05,600 WELL, WHY THE HECK DON'T YOU BUY SOME? 917 00:52:06,600 --> 00:52:09,000 ...REFRAIN 918 00:52:09,000 --> 00:52:12,000 BUT IF YOU CARE 919 00:52:12,000 --> 00:52:14,600 NO MATTER WHERE 920 00:52:14,600 --> 00:52:19,600 YOU CHANCE TO BE 921 00:52:19,600 --> 00:52:22,600 WHEN YOU'RE AWAY 922 00:52:22,600 --> 00:52:26,000 MY HEART WILL SAY 923 00:52:26,000 --> 00:52:32,400 REMEMBER ME 924 00:52:32,600 --> 00:52:36,200 PRESENTING RADIO'S VAGABOND LOVER. OK, RUDY. 925 00:52:36,200 --> 00:52:39,800 HI. HELLO, EVERYBODY, AND THIS IS SLEEPY VALLEY. 926 00:52:39,800 --> 00:52:41,600 I USED TO BE A WESTERNER 927 00:52:41,800 --> 00:52:44,200 TILL FLEISCHMANN BROUGHT ME YEAST. 928 00:52:44,200 --> 00:52:48,600 AND INTRODUCING ROCKEFELLER'S FAVORITE SONG. 929 00:52:48,800 --> 00:52:55,000 MY DIME IS YOUR DIME 930 00:52:55,000 --> 00:52:59,600 YOUR DIME IS MY DIME 931 00:52:59,800 --> 00:53:04,400 THERE'S NO DIME LIKE OUR DIME 932 00:53:04,600 --> 00:53:11,000 AND NO ONE LIKE ME 933 00:53:11,000 --> 00:53:13,000 MORE! MORE! 934 00:53:13,200 --> 00:53:15,000 THIS IS THE INDEPENDENT ART COMPANY 935 00:53:15,000 --> 00:53:16,000 BROADCASTING FROM THE LOCATION 936 00:53:16,000 --> 00:53:17,400 ON A COAST-TO-COAST HICCUP. 937 00:53:17,600 --> 00:53:20,600 HERE YOU ARE, BABY. YOU TRY IT. IT WON'T BITE YOU. 938 00:53:20,600 --> 00:53:23,000 DO YOUR IMITATION OF OUR BIG FRENCH STAR. 939 00:53:29,200 --> 00:53:30,400 HAVE YOU 'EARD 940 00:53:30,400 --> 00:53:33,600 ABOUT CINDERELLA'S FELLA, FOLKS? 941 00:53:33,600 --> 00:53:38,200 IT'S THE PREENCE THAT MARRIED CINDERELLA, FOLKS 942 00:53:38,200 --> 00:53:40,400 WHEN THEY MET IN THE PALACE FAIR 943 00:53:40,400 --> 00:53:43,200 THEY WERE OH, SUCH A HAPPY PAIR 944 00:53:43,400 --> 00:53:46,800 TEELL THE CLOCK STRUCK QUARTER TO 12:00 945 00:53:46,800 --> 00:53:51,000 HAVE YOU 'EARD THAT CINDERELLA WENT AND HEED? 946 00:53:51,200 --> 00:53:55,800 HAVE YOU 'EARD WHAT CINDERELLA'S FELLA DEED? 947 00:53:55,800 --> 00:53:57,800 HE CALLED HIS ROYAL CREW 948 00:53:58,000 --> 00:54:00,400 AND SAID, "I ASK OF YOU" 949 00:54:00,400 --> 00:54:05,200 "FIND THE LOVELY GIRL WHO WORE THEESE SHOE" 950 00:54:05,400 --> 00:54:07,000 WHO'S DOING THAT? 951 00:54:23,400 --> 00:54:25,000 NO, I WILL NOT WAIT A MINUTE! 952 00:54:25,000 --> 00:54:27,600 I DON'T LIKE THE SONG. I DON'T LIKE THE SCENE. 953 00:54:27,600 --> 00:54:31,600 I DON'T LIKE THE HORSES, AND I DON'T LIKE YOU! 954 00:54:31,600 --> 00:54:34,400 DO YOU UNDERSTAND? I QUIT! 955 00:54:40,400 --> 00:54:42,200 1, 2, 956 00:54:42,400 --> 00:54:44,400 3, 4... 957 00:54:44,400 --> 00:54:45,800 HEY! 958 00:54:45,800 --> 00:54:47,800 ALRIGHT, GET YOUR COSTUMES ON RIGHT AWAY! 959 00:54:48,000 --> 00:54:49,200 MAKE IT SNAPPY NOW! 960 00:54:50,600 --> 00:54:53,600 STOP IT! STOP IT! 961 00:54:53,600 --> 00:54:55,200 NOW, WHAT'S ALL THIS ABOUT? 962 00:54:55,200 --> 00:54:56,200 SHE HIT SYLVIA FIRST! 963 00:54:56,400 --> 00:54:57,400 ARE YOU HURT, LILI? 964 00:54:57,400 --> 00:54:58,800 MY EYE! MY EYE! 965 00:54:58,800 --> 00:55:01,200 SHE HIT ME IN THE EYE! 966 00:55:01,200 --> 00:55:03,400 LET ME SEE IT. 967 00:55:04,800 --> 00:55:07,200 WELL, WHAT DO YOU THINK OF YOUR FRENCH SQUIRREL NOW? 968 00:55:07,400 --> 00:55:10,000 WE WON'T BE ABLE TO SHOOT FOR THAT EYE FOR A WEEK. 969 00:55:10,000 --> 00:55:13,800 WHAT CAN YOU THINK UP? WHAT ARE WE GOING TO DO NOW? 970 00:55:14,000 --> 00:55:15,600 I'LL TELL YOU WHAT WE'RE GOING TO DO. 971 00:55:15,800 --> 00:55:18,200 WE'RE GOING TO STOP LISTENING TO YOU, MR. CONROY. 972 00:55:18,200 --> 00:55:21,600 EVER SINCE WE STARTED, YOU'VE BEEN MAKING ME LOOK LIKE A QUINCE. 973 00:55:21,600 --> 00:55:23,000 WELL, THE QUINCE HAS TURNED. 974 00:55:23,000 --> 00:55:26,200 FROM NOW ON, I'M THE BOSS. DO YOU UNDERSTAND? 975 00:55:26,200 --> 00:55:27,400 I'M GOING TO KEEP THIS PRODUCTION 976 00:55:27,600 --> 00:55:29,200 FROM TURNING INTO A FAILURE. 977 00:55:29,200 --> 00:55:31,600 I WAS WRONG ABOUT MADEMOISELLE YVONNE, 978 00:55:31,600 --> 00:55:34,200 BUT IT WAS MY MISTAKE, AND I'M PAYING FOR IT. 979 00:55:34,200 --> 00:55:36,400 NOW, DON'T OPEN YOUR MOUTH UNTIL I'M FINISHED. 980 00:55:36,600 --> 00:55:38,200 I'M GIVING THE ORDERS HERE. 981 00:55:38,400 --> 00:55:40,000 YOU'RE TAKING THEM. 982 00:55:40,000 --> 00:55:41,800 MISS BRUCE, I ENGAGE YOU TO PLAY 983 00:55:42,000 --> 00:55:44,600 THE LILI YVONNE PART IN THIS PRODUCTION. 984 00:55:46,400 --> 00:55:47,800 NOW, QUIET, PLEASE! 985 00:55:48,000 --> 00:55:50,000 AS I TOLD YOU, I'M PAYING FOR THIS ENTERPRISE, 986 00:55:50,000 --> 00:55:51,800 AND I'M GOING TO TRY TO KEEP IT 987 00:55:51,800 --> 00:55:55,600 FROM TURNING INTO WHAT YOU, MR. CONROY, MIGHT TERM A CLAMBAKE. 988 00:55:55,800 --> 00:55:59,800 NOW, ALL OF YOU GET BACK ON THE SET AND GET TO WORK. HURRY UP. 989 00:56:01,000 --> 00:56:02,600 ON THE SET! 990 00:56:04,200 --> 00:56:06,400 TAKE YOUR PLACES! MAKE IT SNAPPY! 991 00:56:06,400 --> 00:56:08,200 YES, INDEEDY, HE'S THE PRINCE 992 00:56:08,200 --> 00:56:10,600 THAT MARRIED CINDERELLA, FOLKS 993 00:56:10,800 --> 00:56:11,800 YES, INDEEDY 994 00:56:12,000 --> 00:56:14,200 WHEN THEY MET IN THE PALACE FAIR 995 00:56:14,400 --> 00:56:16,400 THEY WERE SUCH A HAPPY PAIR 996 00:56:16,600 --> 00:56:18,800 TILL THE CLOCK IN THE TOWER STRUCK 997 00:56:18,800 --> 00:56:20,800 DIDDLY DIDDLY DEE, BOP BOP SHEBANG 998 00:56:20,800 --> 00:56:24,400 HAVE YOU HEARD HOW CINDERELLA WENT AND HID 999 00:56:24,600 --> 00:56:28,800 OOH, AND OH, WHAT CINDERELLA'S FELLA DID? 1000 00:56:29,000 --> 00:56:32,400 OOH, HE THANKED HIS ROYAL CREW 1001 00:56:32,400 --> 00:56:35,000 AND SAID, "I'M PROUD OF YOU" 1002 00:56:35,000 --> 00:56:41,000 "HERE'S THE GORGEOUS GIRL WHO WORE THE SHOE" 1003 00:56:42,400 --> 00:56:43,600 THAT'S IT! FINE! 1004 00:56:43,800 --> 00:56:46,000 NOT A BAD TAKEOFF. YOU'RE IN, LITTLE FELLA. 1005 00:56:46,800 --> 00:56:47,800 WAS I ALRIGHT? 1006 00:56:47,800 --> 00:56:49,400 GREAT. PROBABLY THE WORST DEFEAT 1007 00:56:49,600 --> 00:56:51,200 THE FRENCH HAVE SUFFERED SINCE WATERLOO. 1008 00:56:51,400 --> 00:56:52,400 OH, MISS BRUCE! 1009 00:56:52,600 --> 00:56:54,800 YOU IN WITH THE NEW IDEA? GOOD. I'M OUT. 1010 00:56:54,800 --> 00:56:56,400 I'LL TELL YOU ABOUT IT LATER. 1011 00:56:56,400 --> 00:56:58,400 I--I WANT TO THANK YOU. 1012 00:56:58,400 --> 00:56:59,400 OH, THANK YOU. 1013 00:56:59,400 --> 00:57:00,600 YOU WERE WONDERFUL. 1014 00:57:00,800 --> 00:57:01,800 I'M AWFULLY GLAD. 1015 00:57:02,000 --> 00:57:04,000 DARLING, YOU WERE GLORIOUS! OH, THANKS. 1016 00:57:04,000 --> 00:57:07,400 WASN'T SHE SWELL? DIDN'T I TELL YOU YOU COULD DO IT? 1017 00:57:07,400 --> 00:57:09,200 HOW ARE YOU? 1018 00:57:09,400 --> 00:57:12,000 UM, I, UH, THINK I'LL BE GOING. 1019 00:57:12,200 --> 00:57:15,000 I THOUGHT MAYBE YOU'D LIKE TO GO TO A PARTY 1020 00:57:15,000 --> 00:57:16,400 AT THE MAYFAIR WITH ME SATURDAY NIGHT. 1021 00:57:16,400 --> 00:57:18,000 OH, I'D LOVE TO. 1022 00:57:18,000 --> 00:57:21,000 NOW, ISN'T THAT FUNNY? I WAS JUST GOING TO ASK YOU TO GO WITH ME. 1023 00:57:21,000 --> 00:57:22,000 WERE YOU REALLY? 1024 00:57:22,000 --> 00:57:23,200 I TELL YOU WHAT WE'LL DO. 1025 00:57:23,400 --> 00:57:25,000 WE'LL TOSS. HAVE YOU GOT A COIN? 1026 00:57:25,200 --> 00:57:26,600 WHY, YES, I THINK SO. YES. 1027 00:57:26,600 --> 00:57:29,000 MAKE NICELY WITH THE COIN, AND WE'LL FLIP. 1028 00:57:29,200 --> 00:57:30,200 HEADS IT'S ME, HUH? 1029 00:57:30,200 --> 00:57:32,000 NO, WAIT. YOU GO WITH HIM. 1030 00:57:32,000 --> 00:57:35,200 I JUST REMEMBERED. I'LL BE BUSY SATURDAY NIGHT. 1031 00:57:35,200 --> 00:57:36,800 OH, THAT'S TOUGH. 1032 00:57:36,800 --> 00:57:38,000 YES, IT IS. 1033 00:57:38,200 --> 00:57:39,600 WELL, LOOK, WE'LL HAVE DINNER FIRST. 1034 00:57:39,800 --> 00:57:40,800 THEN WE'LL GO TO THE PARTY AFTERWARDS, HUH? 1035 00:57:40,800 --> 00:57:41,800 OH, FINE. 1036 00:57:41,800 --> 00:57:43,000 DO YOU LIKE MEXICAN FOOD? 1037 00:57:43,000 --> 00:57:44,200 I DON'T KNOW. 1038 00:57:44,400 --> 00:57:47,400 YOU'LL LOVE IT. I KNOW A SWELL MEXICAN SPOT, TOO. 1039 00:57:47,400 --> 00:57:49,000 OKAY, THEN, IT'S ALL SET, HUH? 1040 00:57:49,000 --> 00:57:50,400 JUST ONE THING. 1041 00:57:50,600 --> 00:57:51,400 PARDON ME? 1042 00:57:51,600 --> 00:57:53,000 COULD I HAVE MY HALF-DOLLAR BACK? 1043 00:57:53,000 --> 00:57:54,800 WHY, OF COURSE. WHY NOT? 1044 00:57:53,000 --> 00:57:54,800 THANK YOU. 1045 00:57:54,800 --> 00:57:56,800 YOU WANT TO GO OVER TO THE PUBLICITY DEPARTMENT? 1046 00:57:56,800 --> 00:58:01,800 WE'LL HAVE JIMMY MANETTA MAKE SOME NICE BIG PICTURES OF YOU. 1047 00:58:01,800 --> 00:58:03,400 GEE, MR. BAKER, I'M AWFULLY SORRY 1048 00:58:03,400 --> 00:58:05,600 YOU AIN'T TAKING HER OUT INSTEAD OF HIM. 1049 00:58:05,600 --> 00:58:07,200 OH, THAT'S ALRIGHT. 1050 00:58:07,200 --> 00:58:08,800 OH, NO, IT AIN'T. IF SHE'D HAVE GONE WITH YOU, 1051 00:58:09,000 --> 00:58:12,800 IT WOULD HAVE BEEN BECAUSE YOU'RE HARMLESS. 1052 00:58:13,000 --> 00:58:14,200 THANKS. 1053 00:58:14,200 --> 00:58:16,000 OH, I MEAN-- WELL, I CAN SEE 1054 00:58:16,000 --> 00:58:18,200 THAT YOU'RE KIND OF STUCK ON SYLVIA AND... 1055 00:58:18,200 --> 00:58:19,800 OH, NO, I'M NOT. 1056 00:58:20,000 --> 00:58:22,600 OH, YES, YOU ARE. DON'T TELL ME. 1057 00:58:22,600 --> 00:58:24,200 BUT THAT GUY-- TOMORROW HE'LL BE 1058 00:58:24,200 --> 00:58:26,000 BACK WITH THE FRENCH DAME. 1059 00:58:26,000 --> 00:58:27,200 I KNOW MEN. 1060 00:58:27,400 --> 00:58:28,600 TONIGHT HE'LL BE TELLING SYLVIA 1061 00:58:28,600 --> 00:58:30,000 HOW MUCH HE LOVES HER, 1062 00:58:30,200 --> 00:58:32,400 AND SHE'LL BELIEVE IT. 1063 00:58:32,400 --> 00:58:33,400 THEN HE'LL START GIVING HER 1064 00:58:33,400 --> 00:58:34,400 THAT CROONING BUSINESS, 1065 00:58:34,600 --> 00:58:36,400 JUST TO-- WELL, YOU KNOW. 1066 00:58:36,600 --> 00:58:40,800 LIKE A TROUBADOUR I'LL CALL 1067 00:58:41,000 --> 00:58:43,400 TO 1068 00:58:43,600 --> 00:58:46,400 YOU 1069 00:58:46,400 --> 00:58:50,800 IN THE HUSH OF EVENING, LISTEN 1070 00:58:51,000 --> 00:58:55,800 LOVER 1071 00:58:56,000 --> 00:59:00,200 DO 1072 00:59:00,200 --> 00:59:04,600 AFTER SUNDOWN 1073 00:59:04,800 --> 00:59:10,600 IN THE HUSH OF EVENING 1074 00:59:12,200 --> 00:59:16,800 YOU WILL HEAR MY SONG 1075 00:59:17,000 --> 00:59:22,200 LONG AFTER SUNDOWN 1076 00:59:23,400 --> 00:59:24,800 OH, THAT'S LOVELY. 1077 00:59:25,000 --> 00:59:27,200 IF ONLY BRIARCROFT COULD SEE ME HERE. 1078 00:59:27,400 --> 00:59:30,400 SAY, WHO IS THIS BRIARCROFT YOU KEEP TALKING ABOUT? 1079 00:59:30,400 --> 00:59:31,800 IS THAT YOUR BOYFRIEND? 1080 00:59:32,000 --> 00:59:34,200 MY BOYFRIEND? HA HA! 1081 00:59:34,400 --> 00:59:36,800 BRIARCROFT IS A SCHOOLMISTRESS. 1082 00:59:36,800 --> 00:59:39,800 SHE DOESN'T BELIEVE THAT LOVE AND LAUGHTER COUNT. 1083 00:59:39,800 --> 00:59:43,000 SHE THOUGHT THAT PLAYING THE RADIO WAS A DEADLY SIN, 1084 00:59:43,200 --> 00:59:46,400 AND SHE THOUGHT I WAS CRAZY BECAUSE I RAN AWAY. 1085 00:59:46,400 --> 00:59:50,000 SHE SAID MY HEAD WAS FILLED WITH SILLY DREAMS, 1086 00:59:50,200 --> 00:59:52,000 BUT THEY'VE COME TRUE, BILL-- 1087 00:59:52,200 --> 00:59:55,000 THOSE SILLY DREAMS OF MINE. 1088 01:00:01,600 --> 01:00:02,600 I DON'T CARE WHAT HAPPENS NOW, 1089 01:00:02,800 --> 01:00:07,200 BECAUSE MY DREAM HAS COME TRUE. 1090 01:00:07,200 --> 01:00:08,600 WELL, HE'S GLAD. 1091 01:00:08,800 --> 01:00:09,800 IS HE? 1092 01:00:09,800 --> 01:00:12,000 YES, BUT HE LOOKS A LITTLE LONELY THERE. 1093 01:00:12,200 --> 01:00:13,400 WELL, HE WOULDN'T LOOK LONELY 1094 01:00:13,600 --> 01:00:15,800 IF I COULD DRAW LILI BESIDE HIM. 1095 01:00:15,800 --> 01:00:18,600 SAY, THAT'S RATHER CRUEL, ISN'T IT? 1096 01:00:18,600 --> 01:00:20,200 ISN'T IT TRUE? 1097 01:00:22,000 --> 01:00:24,200 YOU MEAN WASN'T IT TRUE. 1098 01:00:24,200 --> 01:00:25,800 YEAH. 1099 01:00:27,800 --> 01:00:30,000 BUT THAT WAS YESTERDAY. 1100 01:00:30,000 --> 01:00:32,200 AND NOW IT'S TODAY. 1101 01:00:33,000 --> 01:00:35,200 IT'S TOMORROW. 1102 01:00:35,200 --> 01:00:37,800 THERE ARE GOING TO BE A LOT OF TOMORROWS FOR US, SYLVIA. 1103 01:00:40,000 --> 01:00:41,200 ARE YOU HAPPY? 1104 01:00:41,200 --> 01:00:43,600 STILL IN HEAVEN. 1105 01:00:43,600 --> 01:00:45,600 WHERE ARE WE GOING? 1106 01:00:45,800 --> 01:00:47,200 YOU DON'T THINK I'M GOING TO LET YOU LEAVE ME 1107 01:00:47,200 --> 01:00:51,000 NOW WE'RE TOGETHER, DO YOU? 1108 01:00:51,200 --> 01:00:53,400 WHAT'S THE MATTER? YOU STILL WORRIED ABOUT LILI? 1109 01:00:53,600 --> 01:00:56,000 NO. THERE'S NO SUCH PERSON. 1110 01:00:56,000 --> 01:00:57,600 TONIGHT, YOU AND I ARE 1111 01:00:57,800 --> 01:01:00,400 THE ONLY TWO PEOPLE IN THE WORLD. 1112 01:01:05,800 --> 01:01:08,000 2165 SUNSET, PLEASE. 1113 01:01:08,000 --> 01:01:11,000 NO, MY PLACE-- PLEASE. 1114 01:01:11,000 --> 01:01:12,600 IS JILL THERE? 1115 01:01:12,800 --> 01:01:14,400 OF COURSE. 1116 01:01:15,600 --> 01:01:18,400 OKAY, MAKE IT THE ALOHA COURT. 1117 01:01:35,000 --> 01:01:38,600 SO YOU DON'T THINK, UH, MY APARTMENT IS... 1118 01:01:38,600 --> 01:01:40,000 BUT, DARLING, IT'S JUST-- 1119 01:01:40,200 --> 01:01:41,600 JUST WHAT? 1120 01:01:43,000 --> 01:01:45,200 IT MIGHT SPOIL IT SOMEHOW. 1121 01:01:48,600 --> 01:01:50,200 BILL. 1122 01:01:50,200 --> 01:01:51,600 PLEASE. 1123 01:01:51,600 --> 01:01:53,200 I'LL SEE YOU TOMORROW. 1124 01:01:53,200 --> 01:01:54,600 IT IS TOMORROW. 1125 01:01:54,600 --> 01:01:56,600 IT WAS TO BE TOMORROW. 1126 01:02:08,600 --> 01:02:10,800 I'LL CALL YOU THIS AFTERNOON. 1127 01:02:10,800 --> 01:02:11,800 WILL YOU? 1128 01:02:11,800 --> 01:02:13,000 SURE. 1129 01:02:48,400 --> 01:02:49,400 OH, GOOD MORNING, MISS. 1130 01:02:49,400 --> 01:02:53,000 GOOD MORNING. OH, I WANT SOME OF THOSE. 1131 01:02:53,200 --> 01:02:55,600 THOSE ARE NOT SO FRESH. 1132 01:02:55,600 --> 01:02:56,800 ROSES ARE MORE FRESHER. 1133 01:02:56,800 --> 01:02:57,800 YEAH, WELL, I DON'T WANT ROSES. 1134 01:02:58,000 --> 01:03:00,200 I WANT DAISIES. DAISIES DON'T TELL. 1135 01:03:01,800 --> 01:03:03,200 TWO FOR A QUARTER. 1136 01:03:03,200 --> 01:03:05,600 OH, I HAVEN'T ANY MONEY, THOUGH. 1137 01:03:05,600 --> 01:03:08,400 ALRIGHT, I TRUST YOU. NEXT TIME PAY ME. 1138 01:03:08,400 --> 01:03:09,800 ALRIGHT, THANK YOU. 1139 01:03:26,800 --> 01:03:31,600 AFTER SUNDOWN 1140 01:03:31,600 --> 01:03:38,400 IN THE HUSH OF EVENING 1141 01:03:38,600 --> 01:03:40,000 YOU WILL... 1142 01:03:40,000 --> 01:03:43,000 JE T'ADORE, MON CHERI. 1143 01:03:43,000 --> 01:03:49,200 LONG AFTER SUNDOWN 1144 01:03:49,200 --> 01:03:53,800 SKIES OF CORAL 1145 01:03:53,800 --> 01:03:59,000 WEAVE THEIR DREAMS AROUND US 1146 01:04:01,000 --> 01:04:05,400 AT THE CLOSE OF DAY 1147 01:04:05,400 --> 01:04:09,400 STAY AFTER SUNDOWN 1148 01:04:11,000 --> 01:04:15,400 LIKE A TROUBADOUR, I'LL CALL 1149 01:04:15,600 --> 01:04:17,600 TO 1150 01:04:17,600 --> 01:04:20,600 YOU 1151 01:04:20,800 --> 01:04:25,000 IN THE THRILL OF TWILIGHT, LISTEN 1152 01:04:25,000 --> 01:04:26,800 LOVER 1153 01:04:28,200 --> 01:04:30,000 HELLO. HELLO. 1154 01:04:30,000 --> 01:04:33,200 I WANT TO SPEAK TO MISS SYLVIA BRUCE, PLEASE. 1155 01:04:33,400 --> 01:04:35,200 YEAH. 1156 01:04:35,400 --> 01:04:36,800 NOT IN? 1157 01:04:37,000 --> 01:04:38,400 KNOW WHERE I COULD REACH HER? 1158 01:04:40,400 --> 01:04:42,400 OH, YOU DON'T, HUH? 1159 01:04:42,600 --> 01:04:43,800 OKAY. 1160 01:04:53,800 --> 01:04:55,600 SYLVIA BRUCE ISN'T AT THAT NUMBER, SIR. 1161 01:04:55,600 --> 01:04:57,600 SHE WENT OUT WITH MR. ERNEST P. BAKER. 1162 01:04:57,800 --> 01:04:59,200 OH, YEAH. THANKS. 1163 01:05:14,200 --> 01:05:15,400 WELL, HELLO THERE, AUNT JEMIMA. 1164 01:05:15,400 --> 01:05:16,600 WHAT Y'ALL DOING? 1165 01:05:16,600 --> 01:05:19,200 I WAS FINDING OUT ABOUT AN OLD PROVERB. 1166 01:05:19,200 --> 01:05:21,200 WHAT OLD PROVERB WAS THAT, HONEY? 1167 01:05:21,400 --> 01:05:24,000 LUCKY AT GAMBLING, UNLUCKY AT LOVE. 1168 01:05:31,400 --> 01:05:34,000 SOME CHIPS FOR THESE, PLEASE. 1169 01:05:35,400 --> 01:05:37,800 HOW DO YOU MEAN, UNLUCKY AT LOVE? 1170 01:05:39,400 --> 01:05:40,600 HERE YOU ARE. 1171 01:05:40,600 --> 01:05:41,800 THANK YOU. 1172 01:05:48,600 --> 01:05:49,600 WHERE WERE YOU TODAY? 1173 01:05:49,800 --> 01:05:50,600 OH, I DIDN'T FEEL WELL. 1174 01:05:50,800 --> 01:05:52,600 YOU DIDN'T FEEL WELL, EH? 1175 01:05:52,800 --> 01:05:54,800 WELL, GET THIS-- THIS IS BUSINESS WITH ME. 1176 01:05:54,800 --> 01:05:56,600 WE'RE MAKING A PICTURE, AND IF YOU THINK 1177 01:05:56,600 --> 01:05:58,400 YOU CAN GIVE ME THE RUNAROUND, YOU'RE OFF YOUR NUT. 1178 01:05:58,600 --> 01:05:59,800 YEAH, YEAH, I KNOW, I KNOW. 1179 01:06:00,000 --> 01:06:03,800 WE SHOOT AT 9:00 IN THE MORNING. YOU BE THERE... 1180 01:06:03,800 --> 01:06:05,400 SOBER! 1181 01:06:05,400 --> 01:06:07,400 UH, YOU SHOULDN'T TALK TO HIM LIKE THAT. 1182 01:06:07,400 --> 01:06:10,000 HE MIGHT WALK OUT ON THE PICTURE ALONG WITH LILI. 1183 01:06:10,000 --> 01:06:12,200 HE WON'T WALK OUT. I KNOW THESE ACTORS. 1184 01:06:12,200 --> 01:06:14,200 WELL, HE'LL WALK OUT IF SHE CAN GET HIM TO. 1185 01:06:14,400 --> 01:06:16,200 SHE TOLD ME THAT RIGHT TO MY FACE. 1186 01:06:18,400 --> 01:06:20,200 HEY, I GOT AN IDEA! 1187 01:06:20,200 --> 01:06:22,200 8 ON THE BLACK. 1188 01:06:22,200 --> 01:06:24,400 SAY, WHAT'S THE MATTER? YOU GOING HOLLYWOOD OR SOMETHING? 1189 01:06:24,400 --> 01:06:26,600 EVERYTHING ON DOUBLE ZERO, PLEASE. 1190 01:06:26,800 --> 01:06:28,600 HOW ABOUT OUR BIG LOVE SCENE LAST NIGHT? 1191 01:06:28,600 --> 01:06:30,600 I THOUGHT THAT WAS SUPPOSED TO BE REAL. 1192 01:06:30,600 --> 01:06:32,600 I'LL TELL YOU ABOUT THAT WHEN YOU'RE SOBER. 1193 01:06:35,800 --> 01:06:37,800 HEY, COME OUT OF THE CLOUDS. COME DOWN TO EARTH. 1194 01:06:37,800 --> 01:06:40,000 YOU'RE IN HOLLYWOOD-- HOLLYWOOD, CALIFORNIA. 1195 01:06:40,000 --> 01:06:42,800 YES, I KNOW. THIS IS HOLLYWOOD, ISN'T IT? 1196 01:06:42,800 --> 01:06:44,400 EVERYTHING'S A MOTION PICTURE SET. 1197 01:06:44,400 --> 01:06:46,400 IT'S ALL ARTIFICIAL-- THE COSTUMES, 1198 01:06:46,600 --> 01:06:48,000 THE SCENERY, THE PEOPLE. 1199 01:06:48,000 --> 01:06:49,800 YOU'RE TELLING ME. 1200 01:06:50,000 --> 01:06:51,800 YES, I'M TELLING YOU. 1201 01:06:51,800 --> 01:06:54,200 YOU'RE JUST PART OF THIS. YOU BELONG HERE. 1202 01:06:54,200 --> 01:06:56,800 POSSIBLY YOU'RE JUST AS FAKE AS THE SCENERY. 1203 01:06:56,800 --> 01:06:58,200 OH, YOU THINK SO, HUH? 1204 01:06:58,200 --> 01:07:00,400 YOU'RE REALLY NO MORE SINCERE THAN THOSE SONGS OF YOURS 1205 01:07:00,600 --> 01:07:02,200 ABOUT LOVE AND THE MOONLIGHT 1206 01:07:02,400 --> 01:07:05,000 OR WHATEVER ELSE IT IS YOU'VE BEEN CROONING ABOUT. 1207 01:07:05,000 --> 01:07:06,400 YOU'RE JUST A VOICE THAT CROONS 1208 01:07:06,600 --> 01:07:08,800 ABOUT SOMETHING THAT ONCE WAS REAL. 1209 01:07:09,000 --> 01:07:11,000 YOU'RE NOT REAL, BILL WILLIAMS. 1210 01:07:11,000 --> 01:07:12,400 YOU'RE JUST A FAKE. 1211 01:07:16,200 --> 01:07:17,800 DO YOU MEAN THAT? 1212 01:07:19,200 --> 01:07:23,200 I'VE NEVER SAID ANYTHING IN MY LIFE THAT I DIDN'T MEAN. 1213 01:07:25,400 --> 01:07:26,600 OKAY. 1214 01:07:31,200 --> 01:07:32,800 YOU WON, MISS. 1215 01:07:33,000 --> 01:07:34,800 I WON? 1216 01:07:38,200 --> 01:07:39,600 I WON. 1217 01:08:28,400 --> 01:08:31,800 AW, PLAY SOMETHING ELSE, WILL YOU? 1218 01:08:39,600 --> 01:08:40,800 THERE YOU ARE, DARLING. 1219 01:08:40,800 --> 01:08:43,200 THERE'S ANOTHER ONE FOR YOU. 1220 01:08:43,400 --> 01:08:45,600 THE HOTEL SAYS LONG DISTANCE IS CALLING AGAIN-- 1221 01:08:45,800 --> 01:08:47,200 THE STUDIO AT HOLLYWOOD. 1222 01:08:47,200 --> 01:08:49,400 MONSIEUR WILLIAMS IS NOT HERE. 1223 01:08:49,400 --> 01:08:51,600 I KNOW. I TELL THEM THAT. 1224 01:08:51,800 --> 01:08:53,400 THEY SAID IF YOU COME IN TO TELL YOU 1225 01:08:53,400 --> 01:08:55,400 THAT THEY'RE GETTING SOMEBODY ELSE FOR THE PART. 1226 01:08:55,600 --> 01:08:58,000 LET THEM. THEY GOT SOMEBODY ELSE FOR MY PART. 1227 01:08:58,000 --> 01:09:01,000 NOW LET THEM GET SOMEBODY ELSE FOR YOU. 1228 01:09:01,000 --> 01:09:03,000 NO, WAIT, WAIT. I BETTER TALK TO THEM. 1229 01:09:03,000 --> 01:09:07,200 NO, NO, NO, NO. YOU STAY RIGHT HERE WITH LILI. 1230 01:09:07,200 --> 01:09:09,000 DEUX ABSINTHES FRAPPEES, S'IL VOUS PLAIT. 1231 01:09:09,000 --> 01:09:11,800 SI, SI, SENORITA. 1232 01:09:11,800 --> 01:09:13,600 I DON'T LIKE THIS MEXICO. 1233 01:09:13,600 --> 01:09:15,200 TOMORROW WE TAKE A TRAIN TO NEW YORK, 1234 01:09:15,400 --> 01:09:17,200 AND THEN WE GO TO PARIS. 1235 01:09:24,400 --> 01:09:26,200 WHAT ARE YOU LOOKING AT? 1236 01:09:29,400 --> 01:09:31,000 HOW ABOUT COMING BACK, BILL? 1237 01:09:31,200 --> 01:09:32,400 HE IS NOT GOING BACK! 1238 01:09:32,600 --> 01:09:33,400 BILL. 1239 01:09:33,400 --> 01:09:34,800 HOW DID YOU KNOW I WAS HERE? 1240 01:09:34,800 --> 01:09:37,200 I FOLLOWED HER TRAIL. IT WASN'T DIFFICULT. 1241 01:09:37,400 --> 01:09:39,400 SHE LEAVES A VERY STRONG SCENT. 1242 01:09:39,400 --> 01:09:41,200 I WILL NOT BE INSULTED! 1243 01:09:41,400 --> 01:09:43,800 WHY DON'T YOU GO, THEN? 1244 01:09:44,000 --> 01:09:45,400 BILL. 1245 01:09:45,400 --> 01:09:46,800 PLEASE COME BACK TO HOLLYWOOD. 1246 01:09:47,000 --> 01:09:49,400 AW, I WANT TO GET AWAY FROM HOLLYWOOD. 1247 01:09:49,400 --> 01:09:51,800 IT'S A FAKE PLACE, PHONY PEOPLE-- 1248 01:09:52,000 --> 01:09:53,200 CROONERS. 1249 01:09:53,200 --> 01:09:54,800 IT WASN'T VERY CLEVER OF YOU 1250 01:09:55,000 --> 01:09:57,200 TO HAVE SAID THAT, WAS IT? 1251 01:09:57,400 --> 01:10:01,400 NO, I'M NOT CLEVER. I SAY WHAT I THINK. 1252 01:10:01,400 --> 01:10:04,200 THAT ISN'T THE RIGHT WAY TO GET A MAN, IS IT? 1253 01:10:04,200 --> 01:10:07,200 BUT IT'S THE ONLY WAY I KNOW. 1254 01:10:07,400 --> 01:10:09,600 BILL, I'M-- I'M NOT CLEVER. 1255 01:10:09,600 --> 01:10:11,600 I'M JUST HONEST. 1256 01:10:11,600 --> 01:10:13,600 I TOLD YOU WHAT I THOUGHT ABOUT YOU 1257 01:10:13,600 --> 01:10:15,200 BECAUSE AFTER THAT MEXICAN NIGHT, 1258 01:10:15,400 --> 01:10:16,400 YOU WENT BACK TO LILI. 1259 01:10:16,600 --> 01:10:19,000 AND HE'S GOING TO STAY WITH LILI. 1260 01:10:19,200 --> 01:10:23,200 BILL, YOU TOLD ME YOU LOVED ME THAT NIGHT... 1261 01:10:23,200 --> 01:10:24,600 AND I BELIEVED YOU. 1262 01:10:26,000 --> 01:10:28,000 I TOLD YOU I LOVED YOU. 1263 01:10:28,200 --> 01:10:31,400 THAT WASN'T CLEVER, BUT IT WAS TRUE. 1264 01:10:31,400 --> 01:10:32,200 I LOVED YOU WELL ENOUGH 1265 01:10:32,400 --> 01:10:34,200 TO FOLLOW YOU OUT HERE. 1266 01:10:34,200 --> 01:10:36,800 I STILL LOVE YOU, BUT... 1267 01:10:37,000 --> 01:10:38,600 BUT I SHAN'T FOLLOW ANYMORE. 1268 01:10:40,400 --> 01:10:42,200 IT'S UP TO YOU NOW, BILL. 1269 01:10:44,200 --> 01:10:46,400 I'M GOING BACK TO HOLLYWOOD. 1270 01:10:46,400 --> 01:10:49,200 THE PLANE IS LEAVING IN 15 MINUTES. 1271 01:11:00,200 --> 01:11:01,200 COME. 1272 01:11:01,400 --> 01:11:03,800 LET'S HAVE A LITTLE DRINK. 1273 01:11:25,400 --> 01:11:28,400 YOU CAME 1274 01:11:28,600 --> 01:11:31,400 I WAS ALONE 1275 01:11:31,600 --> 01:11:34,800 I SHOULD HAVE KNOWN 1276 01:11:34,800 --> 01:11:40,000 YOU WERE TEMPTATION 1277 01:11:40,200 --> 01:11:43,200 YOU SMILED 1278 01:11:43,200 --> 01:11:46,200 LURING ME ON 1279 01:11:46,400 --> 01:11:49,400 MY HEART WAS GONE 1280 01:11:49,600 --> 01:11:53,400 YOU WERE TEMPTATION 1281 01:11:53,400 --> 01:11:57,200 IT WOULD BE THRILLING 1282 01:11:57,400 --> 01:12:01,000 IF YOU WERE WILLING 1283 01:12:01,000 --> 01:12:06,200 IF IT CAN NEVER BE 1284 01:12:06,400 --> 01:12:08,400 PITY ME 1285 01:12:08,600 --> 01:12:12,200 FOR YOU'RE 1286 01:12:12,200 --> 01:12:15,200 BORN TO BE KISSED 1287 01:12:15,200 --> 01:12:18,800 I CAN'T RESIST 1288 01:12:18,800 --> 01:12:21,200 YOU ARE TEMPTATION 1289 01:12:21,200 --> 01:12:26,200 AND I AM YOURS 1290 01:12:26,400 --> 01:12:30,000 HERE IS MY HEART 1291 01:12:30,000 --> 01:12:33,000 TAKE IT AND SAY 1292 01:12:33,200 --> 01:12:37,200 WE'LL NEVER PART 1293 01:12:37,200 --> 01:12:40,600 I'M JUST A SLAVE 1294 01:12:40,800 --> 01:12:45,600 ONLY A SLAVE 1295 01:12:45,600 --> 01:12:49,400 TO YOU 1296 01:12:49,600 --> 01:12:53,200 TEMPTATION 1297 01:13:05,400 --> 01:13:06,600 HE WASN'T WORTH IT. 1298 01:13:11,000 --> 01:13:12,800 I SAID HE WASN'T WORTH IT. 1299 01:13:24,200 --> 01:13:25,600 HA HA HA! 1300 01:13:34,800 --> 01:13:36,200 WHAT DO YOU THINK YOU'RE DOING? 1301 01:13:36,400 --> 01:13:37,200 WELL, I WAS JUST-- 1302 01:13:37,400 --> 01:13:39,800 YEAH. GIVE HIM BACK HIS TOMAHAWK. 1303 01:13:40,000 --> 01:13:41,400 YES, SIR. HA HA! 1304 01:13:41,400 --> 01:13:43,200 OH, I WISH THEY'D HURRY AND GET THIS SCENE OVER WITH. 1305 01:13:43,200 --> 01:13:45,200 I THINK THEY'RE HAVING A LITTLE TROUBLE WITH WHAT'S-HIS-NAME-- 1306 01:13:45,200 --> 01:13:47,200 YOU KNOW, THE GUY THAT'S TAKING BILL'S PLACE. 1307 01:13:47,400 --> 01:13:48,600 HE SEEMS AWFULLY NICE. 1308 01:13:48,600 --> 01:13:50,600 YEAH. THEY WON'T MISS BILL A BIT-- 1309 01:13:50,600 --> 01:13:52,800 THAT IS, UNTIL THIS GUY STARTS TO SING. 1310 01:13:53,000 --> 01:13:54,000 NOW SEE IF YOU CAN GO IN 1311 01:13:54,200 --> 01:13:56,600 AND TELL MISS BRUCE WE'RE READY FOR HER. 1312 01:13:56,800 --> 01:13:58,600 TRY TO DO THAT RIGHT. 1313 01:13:58,600 --> 01:14:00,200 YES, SIR. 1314 01:14:01,000 --> 01:14:02,600 YES. 1315 01:14:02,600 --> 01:14:04,000 ARE THEY READY FOR ME? 1316 01:14:04,000 --> 01:14:05,200 UH, JUST ABOUT. 1317 01:14:05,400 --> 01:14:07,000 EVERYTHING'S GOING TO BE ALRIGHT, KID. 1318 01:14:07,000 --> 01:14:08,000 THANKS. 1319 01:14:08,000 --> 01:14:10,400 PARDON ME. 1320 01:14:08,000 --> 01:14:10,400 YEAH. 1321 01:14:10,400 --> 01:14:13,200 IT'S TOO BAD THE WAY THINGS TURNED OUT. 1322 01:14:13,200 --> 01:14:14,600 OH, DON'T WORRY, ERNEST. 1323 01:14:14,800 --> 01:14:16,400 THIS IS GOING TO BE A GOOD SCENE. 1324 01:14:16,400 --> 01:14:17,600 NO, I MEANT ABOUT YOU. 1325 01:14:21,800 --> 01:14:23,600 THAT'S ALL OVER WITH. 1326 01:14:23,600 --> 01:14:24,200 IT IS, REALLY. 1327 01:14:26,800 --> 01:14:28,400 I'M TERRIBLY SORRY ABOUT THE TROUBLE 1328 01:14:28,400 --> 01:14:30,600 I'VE CAUSED YOU AND EVERYBODY ELSE. 1329 01:14:30,800 --> 01:14:32,400 IT WASN'T YOUR FAULT. 1330 01:14:32,400 --> 01:14:35,400 OH, YES, IT WAS. 1331 01:14:35,400 --> 01:14:37,200 OH, COME ON. 1332 01:14:39,400 --> 01:14:40,800 I'M READY, MR. CONROY. 1333 01:14:40,800 --> 01:14:42,600 RIGHT. WELL, HERE'S OUR CARUSO. 1334 01:14:42,800 --> 01:14:45,200 NOW, DON'T START TO SING TILL I GIVE YOU THE CUE. 1335 01:14:45,200 --> 01:14:46,600 AT THE FINISH OF THE SONG 1336 01:14:46,600 --> 01:14:49,400 WHERE YOU TAKE HER IN YOUR ARMS, MAKE IT REAL. 1337 01:14:49,400 --> 01:14:51,000 THIS IS YOUR BIG LOVE SCENE. 1338 01:14:51,000 --> 01:14:54,800 THIS IS WHAT YOU'VE BOTH BEEN WAITING FOR FOR A LONG TIME. 1339 01:14:54,800 --> 01:14:58,400 THIS IS REAL. YOU GET ME? 1340 01:14:58,400 --> 01:15:00,200 YES. 1341 01:15:00,200 --> 01:15:02,000 I GET YOU. 1342 01:15:02,200 --> 01:15:03,400 POOR LITTLE KID. 1343 01:15:03,600 --> 01:15:06,800 RIGHT, PLACES, EVERYBODY! 1344 01:15:13,000 --> 01:15:15,200 TURN THEM OVER! 1345 01:16:25,200 --> 01:16:30,400 WHILE I SING A SERENADE 1346 01:16:34,200 --> 01:16:41,000 OUR BIG LOVE SCENE WILL BE PLAYED 1347 01:16:41,200 --> 01:16:48,200 THROUGH THE HUM OF SOFT GUITARS 1348 01:16:49,400 --> 01:16:55,600 UNDERNEATH THE STARS 1349 01:16:55,600 --> 01:17:02,400 WE'LL REHEARSE IT EVERY DAY 1350 01:17:04,400 --> 01:17:11,200 FAITHFULLY, WE'LL LEARN OUR PLAY 1351 01:17:11,400 --> 01:17:17,200 AND TO THE WORLD WE'LL BOTH REVEAL 1352 01:17:19,200 --> 01:17:24,200 OUR BIG LOVE SCENE IS REAL 92436