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