All language subtitles for Gilda.1946.720p.BluRay.x264.VPPV

N' (orchestra: mambo)

(dice clattering)

MAN (narrating):
To me, a dollar was a dollar in any language.

It was my first night in the Argentine,

and I didn't know much
about the local citizens.

But I knew about American sailors,

and I knew I'd better get out of there.

(water lapping)

Put your hands up.

Up!

- Ow!
- (gun clatters on ground)

(water splashes)

Get going-

A cane like that can come in handy.

It is a most faithful and obedient friend.

It is silent when I wish to be silent.
It talks when I wish to talk.

- That's your idea of a friend?
- That is my idea of a friend.

- You must lead a gay life.
- I lead the life I like to lead.

- You're a lucky man.
- I make my own luck.

What are you doing
in a neighborhood like this?

- I came down to save your life.
- Don't overdo it.

He wouldn't have killed me
if I had given him the money.

But you wouldn't have
given him the money.

- Mmm, I don't think I would.
- How did you get it?

- Get what?
- The money you would have died for.

- Gambling.
- I'll leave you here.

- Oh, thanks.
- Pleasure.

- I'll do the same for you sometime.
- Save my life?

Give you a cigarette.

With your luck, why don't you go
where there's some real gambling?

- I thought it was illegal in Buenos Aires.
- Oh, it is.

Oh, I see. Just like home.

There's a casino about a half hour
the other side of town.

- Here's the key.
- Thanks.

- But don't go.
- Why not?

They won't let you use your own dice.

Well, I didn't think it showed.
(chuckles)

A man who makes his own luck, as I do,
recognizes another's.

In any event,
they won't let you in without a tie.

The spot is not on your nose yet.

- Who's he?
- N (orchestra: tango)

A loafer.

Would you like a fine perfume
suitable for nobility?

No, thanks.

We have a talcum powder
as soft as rose silk.

No, thanks.

- Towel?
- Yeah. Thank you.

- Oh.
- Mm-hmm.

(wolf whistle)
Hey. Who's she?

A harPY-

(chuckles)

Well, how would you classify me?

Peasant.

N (tango continues)

(people chattering)

CROUPIER: Fa/tes vosjeux mesdames.
Fa/tes vosjeux, mess/eurs.

Fa/tes vosjeux.

(continues in French, indistinct)

Place your bets, ladies and gentlemen.
Place your bets.

Ladies and gentlemen, place your bets.

(croupiers chattering
in English, French, Spanish)

Mesdames et messieurs,
faites vos jeux.

F aites vos jeux mesdames e! messieurs.

Place your bets, ladies and gentlemen.
Place your bets.

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

(Speaking Spanish)

Number two. A thousand pesos.

- No more bets.
- (roulette wheel spinning)

(roulette ball clattering)

Number two. Black.

- Numéro deux. No/r.
- (crowd chattering)

CROUPIER:
Number two.

Place your bets, ladies and gentlemen.
Place your bets.

(speaking Spanish)
Place your bets.

Two chips.

A thousand pesos, sir.

- Cut.
- What?

- Player's allowed to cut at any time.
- Of course.

A thousand pesos.

Cut.

Cut.

NARRATOR:
As usual, lmade my own luck.

And I knew just when
to stop letting it ride.

N (orchestra: rumba)

N (orchestra: rumba)

Hey, bud. The director wants to see ya.

Is Brooklyn across the river here too?

Vamos.

- (whistles) Hey.
- Thanks, peasant.

(clears throat)

(sighs)
Where is he?

Don't worry, bub.
He'll be here.

How'd you like a thousand pesos apiece?

You don't buy your way out of this, bub.
You're in trouble.

Oh, now, wait a minute.

MAN:
All right, Casey, Huerta.

Well, well.
The little man with the sharp friend.

- I told you not to bring your own dice.
- Well, well again.

You really had me fooled last night.
I thought you were somebody.

I didn't think you'd just be the manager
of a gambling joint.

My name is Ballin Mundson.

Mine's Johnny Farrell.

And I'm not the manager.
I own the joint.

And I don't like to be cheated.

There isn't a dice table in the house.

Nobody wins that much money
at twenty-one honestly.

- I had a lucky streak.
- A very deft way of cutting cards.

Took me years to learn.

Of course, you ought to be in jail.

But I suppose I owe you an obligation,
since I saved your life.

Hey, you ought to be more careful
about those things.

Now get out of here. Don't come back.

Mmm. Now, you know,
you're being very stupid.

Probably.

You simply had me gambling
on the wrong side.

I'll be better if you had me on your side.

I don't like my people to cheat.

I cheat with my own money, sure.

But with your money,
I wouldn't have to cheat.

Think it over.

You know, I think I will.
How much time do you give me?

Oh, there's no hurry.
You can take a minute or two.

Excuse me while you're
making up your mind.

(whistles)

Not you.

You really shouldn't hit a man when
he has his hands behind his back.

You see?
This way, you'll have two friends.

You've no idea how faithful and obedient
I can be - for a nice salary.

This I must be sure of-
that there is no woman anywhere.

- There's no woman anywhere.
- Gambling and women do not mix.

Those are the very words I use myself.

- Now, shall we quit talking about it?
- There was one once.

Get this, Mr. Mundson.

I was born last night
when you met me in that alley.

That way, I'm no past,
and all future, see?

And I like it that way.

JOHNNY (narrating):
He let me ease myself right to the top.

At first, I just watched the play
and the checkoffs.

By the way, about that time,
the war ended.

N' (crowd singing anthem in Spanish)

N' (crowd singing over loudspeaker)

(singing inaudible)

N' (singing over speaker)

Great news.
I thought we ought to celebrate too.

Oh, yes, of course.

Well -

(speaker clicks off)

I have to take a trip, Johnny.

I may be gone for a while,
and you're in charge of the casino.

- You've been promoted.
- Faithful service.

- Do I get a raise?
- No.

- Fair enough?
- Fair enough.

- But you do get five percent of the profits.
- I'll take seven and a half.

(laughs)
You're sharp, Johnny.

Almost as sharp as my other little friend.

- But not quite so obedient.
- No?

My other little friend
would kill for me, Johnny.

- Well, that's what friends are for.
- (blade pops)

To us, Johnny.

- To the three of us.
- The three of us.

JOHNNY (narrating):
Makes me laugh now, to think back.

Me, so sure it was just the three of us.

I soon found out, all right.

I remember it was late one afternoon.

I was getting ready
for the Saturday night crowd.

Funny I'd remember
what day it was, isn't it?

- Isn't it enough?
- For a peasant? (raspberry)

Mr. Farrell, Mr. Mundson called.
Just got back.

He'd like you
to come around to his house.

Thank you.

After all, I - I run the place.

He calls me Mr. Farrell.
Isn't that better?

(raspberry)

JOHNN Y (narrating):
You 'd think a bell would have rung,

or you'd think I'd have had
some instinct of warning.

But I didn't. I just walked right into it.

Ballin?

Ballin?

Sefior Mundson will be down
in a moment, Sefior Farrell.

Thanks. it's great having him back,
isn't it, Pete?

I hope it will be the same, Sefior Farrell.

BALLIN:
Johnny. Is that you?

- Hello, Ballin.
- Come on up here.

Well, what are you cryin' about?

- I feel great, Johnny.
- You look foolish.

- I'll show you why.
- Where's the canary?

- How did you know?
- How did I know what?

So you don't know? Come.

This is where the canary is, Johnny.

- JV' (phonograph: “Put the Blame on Mame”)
- N' (woman humming along)

Quite a surprise to hear a woman
singing in my house, hey, Johnny?

N' (humming continues)

That's quite a sur - a surprise.

N' (humming continues)

N' (humming, vocalizing)

Gilda, are you decent?

Me?

N' (phonograph continues)

Sure, I'm decent.

Gilda, this is Johnny Farrell.

Johnny, this is Gilda.

(phonograph clicks off)

So this is Johnny Farrell.
I've heard a lot about you, Johnny Farrell.

Really? Now, I haven't heard
a word about you.

Tsk, tsk, tsk. Why, Ballin.

I wanted to keep it as a surprise.

Was it a surprise, Mr. Farrell?

It certainly was.
You should have seen his face.

Did you tell him
what I'm doing here, Ballin?

No, I wanted to save
that as a surprise too.

- Hang on to your hat, Mr. Farrell.
- Gilda is my wife, Johnny.

Mrs. Ballin Mundson, Mr. Farrell.

- Is that all right?
- Congratulations.

You don't congratulate the bride, Johnny.
You congratulate the husband.

JOHNNY: Really? Well, what are you
supposed to say to the bride?

BALLIN:
You wish her good luck.

Good luck.

Thank you, Mr. Farrell. My husband tells me
you're a great believer in luck.

- We make our own luck, Johnny and l.
- I'll have to try that sometime.

I'll try it right now.

Tell him to come to dinner
with us tonight, Ballin.

It's an order.

Come along, Johnny.
We'll let Gilda get dressed.

Look your best, my beautiful. This will be
the casino's first glimpse of you.

I'll look my very best, Ballin.

I want all the hired help
to approve of me.

- Glad to have met you, Mr. Farrell.
- His name is Johnny, Gilda.

Oh, I'm sorry. Johnny is such
a hard name to remember

and so easy to forget.

Johnny.

There. See you later, Mr. Farrell.

That's right, Mrs. Mundson.

- I'll see Johnny downstairs.
- I'll see him at the casino.

JV' (phonograph: “Put the Blame on Mame ')

For some reason,
she doesn't like you, Johnny.

Really? What makes you think that?

- I know my wife.
- You do?

Why would she form
an instant antagonism like that?

- Maybe it's chemical.
- She'll get over it.

Sure.

When did you meet her?

The day I left for the interior.

- When did you get married?
- The day after that.

- Quick.
- You should know, Johnny.

- When I want something, I -
- You buy it quick.

Do you know anything about her at all?

It's an odd coincidence, Johnny.
Listen to this.

She told me she was born
the night she met me.

All three of us with no pasts,
just futures.

- Isn't that interesting?
- I think it's fascinating.

What's the matter with you?

I thought we agreed
that women and gambling didn't mix.

My wife does not come under
the category of “women,” Johnny.

- I could have made a mistake.
- You did. Don't make it again.

It starts already.

- What's this?
- Tact.

GILDA: Ballin. Would you come up
and help me into this thing, like a darling?

- See you at the casino.
- In about an hour.

Ballin.

JOHNNY (narrating):
It was all I could do to walk away.

I wanted to go back up
in that room and hit her.

What scared me was I -
I wanted to hit him too.

I wanted to go back and see them together
with me not watching.

I wanted to know.

I can never get a zipper to close.

Maybe that stands for something.
What do you think?

I think you were very rude to him.

- To whom?
- Johnny.

(laughs)
Was I? Oh, dear.

That's one of the things you'll have
to teach me, Ballin - good manners.

I want you to like him.

- You're sure about that?
- What do you mean?

He's a very attractive man,
if you like the type.

He's a boy.

Boys have the darnedest way
of growing up, Ballin.

- Almost when you're not looking.
- But I'll be looking.

- Your shoes.
- JOHNNY: About time.

Do you wish me
to put them on your feet?

- For how much?
- The charge is slight,

because I find this always
a revealing vantage point.

The worm's-eye view

is so often the true one.

Quite a philosopher, aren't you?

- One hears rumors.
- Really?

In my department, comes all the gossip.

(chuckles)
Really?

One hears she is very beautiful.

And very young and American.

You are also young and American.

It will be interesting to watch.

Maybe you should be fired
right out on your ear.

- Johnny.
- Hmm?

Mr. Mundson says to tell you he's -
They're here.

- Thanks.
- Say, have you seen her?

- (wolf whistle)
- Cut that!

- What'd I do?
- You whistled. I heard you.

After all, she is Mrs. Mundson.

So, mind your manners, see?

Yes, it will be interesting to watch.

(people chattering)

CROUPIER: Number eight, black.
Number eight, black.

Place your bets, ladies and gentlemen.
Place your bets.

(Speaking Spanish)

Place your bets, ladies and gentlemen.
Place your bets.

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

- (roulette ball clattering)
- (Spanish)

- Number two.
- No more bets.

Number two, mack.
Numéro deux, noir.

- Two, black, is the winner.
- (Spanish)

Number two, black.

Place your bets, ladies and gentlemen.
Place your bets.

Take over.

- Friend of yours?
- No, Mr. Farrell.

- Going into business for yourself?
- Orders, Mr. Farrell.

- Not my orders.
- No.

Johnny. I've been looking for you.

Gambling is illegal in Argentina.
Is that right?

- It isn't right, but it's true.
- That the reason for the payoff?

Payoff?

- Naturally that's the reason.
- Then why doesn't it show on the books?

Why doesn't it come out of my cut?

You're in my complete confidence, Johnny.
You may ask any questions you wish.

- I just asked one.
- Now, let's have dinner, shall we?

I was forced to leave Gilda alone
when I looked for you,

and Gilda's much too beautiful
to be left alone.

In other words,
you've changed the subject.

In other words, I've changed the subject.

N (orchestra: up-tempo)

N (orchestra: up-tempo)

I found him, Gilda.
Very elusive chap, our Johnny.

- Sit down, Johnny.
- Good evening, Mr. Farrell.

- You're looking very beautiful.
- Good evening, Mrs. Mundson.

Can't you return the compliment, Johnny?

- You're looking very beautiful.
- Why, thank you.

If there's anything I love, it's a spontaneous,
impulsive compliment like that.

And because you're so nice,
I'm going to show you something.

My husband gave it to me
for a coming-home present.

- Isn't it cute?
- 50,000 pesos, and it's “cute.”

- isn't she fabulous, Johnny?
- Fabulous.

Wait, Johnny. Let's drink to us.

- To the three of us.
- To the three of us.

- What's the matter, Johnny?
- I get confused.

Confused? Why?

Well, just a few weeks ago,
we drank a toast to the three of us.

Well, who was the third one then?
Should I be jealous?

- Hardly, darling. Just a friend of mine.
- Is it a him or a her?

That's a very interesting question.
What do you think, Johnny?

- A her.
- Oh.

Why that conclusion?

Because it looks like one thing,

then, right in front of your eyes,
it becomes another thing.

Well, you haven't much faith in the stability
of women then, have you, Johnny?

That's right.

One wonders who the woman was
who brought our Johnny to this pretty pass.

- Doesn't one, Gilda?
- One does.

Let's hate her. Shall we, Ballin?

- Let's. Shall we, Johnny?
- Let's.

Now that, I'll drink to.

(both speaking German)

Pardon me for a moment.

- Anything I can do, Ballin?
- No. I'll be right back.

Now, isn't this something?

It's a small world in Argentina,
isn't it?

Isn't it? Why did you marry him?

- My husband's a very attractive man.
- You don't love him.

What was that word again, Johnny?

You married him for his money.

That happened to come with him.

That's a great way to make a living.

That wouldn't be the big pot calling
the little kettle black, now, would it?

I was down and out.
He picked me up, put me on my feet.

Now, isn't that
an amazing coincidence, Johnny?

- That's practically the story of my life.
- N (orchestra plays)

- Hello.
- Good evening, sefiorita.

Sefior, I am Cap/Iain Delgado.

I would like to ask permission
to dance with your lady.

- The answer's no.
- The answer's yes. I'd love it.

- But the young man just said -
- The young man would love it too.

But he can't afford it.

- Women can be extremely annoying.
- You're in again.

Mauricio Miguel Obregon.
At your service.

So, that's your name.

- Hey, look, I've been watching you for
weeks now. - Then that makes us even.

- You don't gamble. You don't drink.
- Mm-mmm. Mm-mmm.

Then what are you
hanging around here for?

The atmosphere
has always interested me.

Hmm. Now it positively fascinates me.

- You could be a professional dancer.
- I am. I mean, I was.

Uh, that's against our union rules.

(clicks tongue)
I always observe the rules and regulations.

- How is it that I have never seen you?
- I didn't dance here.

- Oh. Where?
- America.

- This is not America?
- (laughs) I mean New York.

Oh. Your young man, is he too a dan -

He's not my young man.

You know, the expression on his face
says that he wishes he were.

The rules and regulations, remember?

- The rules are very changeable, my lady.
- They change with the weather.

(arguing in German)

- ls everything all right?
- Quite all right.

Who are the two krauts?
I've seen them before.

- Messenger boys.
- Whose?

I just wanted to know
if you were in trouble.

Apparently, I'm in serious trouble.
My wife seems to be missing.

She's dancing.

- You shouldn't have allowed it, Johnny.
- She wanted to dance with a guy.

What do you want me to do?
She's not my -

She's your wife.

Go get her.

- Now wait a minute. She's your -
- That's exactly the reason, Johnny.

A husband always looks a bit ridiculous,
don't you think,

dragging his wife
from another man's arms?

- I'll get her, Ballin.
- Thank you, Johnny.

Pardon me, but your husband is showing.

Oh. Thank you. Perhaps again sometime.

Until that sometime,
I shall only miserably exist, sefiora.

I always say there's something
about Latin men.

For one thing, they can dance.
For another thing -

- What's your telephone number?
- Hmm? Oh, it is -

Oh, never mind.
I'll give you mine. Cuyo 3-0-1-7.

- Cuyo 3-0-1-7.
- (speaking Spanish)

(Speaking Spanish)

What did you say to him?

I just told him, “lf a man answers,
hang up.” Wasn't that all right?

You can't talk to men down here
the way you would at home.

- They don't understand it.
- Understand what?

- They think you mean it.
- Mean what?

Doesn't it bother you at all
that you're married?

What I want to know is,
does it bother you?

I'm beginning to think
I've misjudged your Johnny, Ballin.

- Oh?
- He can be quite sweet, so protective.

Johnny takes care of all the things
that belong to me.

- He runs the joint.
- He runs the joint.

Hear that, Johnny? You're to take care
of me because I belong to the boss.

How will you like that?

Well, I do all kind of odd jobs.

I'll bet this is
the oddest job you ever had.

Now then, before we were interrupted,

I believe we were about
to drink a toast, so -

Disaster to the wench
who did wrong by our Johnny.

No, Gilda? You won't drink to that?

Why not? Disaster to the wench.

JOHNNY (narrating):
She had what it took to say it,

but I knew it scared her.

I knew it would haunt her.

Anyone as superstitious as Gilda,
out loud, asking for disaster.

(door opens)

- (footsteps)
- Hi.

- You're still dressed.
- Yes.

- Anything wrong?
- Everything's wonderful.

- But I told you zippers throw me.
- May I help?

Thank you.

You could have a maid in the morning.

- (laughs) Will she be old and ugly?
- If those are your orders.

I think that's good business,

to surround yourself with ugly women
and beautiful men.

(chuckles)
Yes.

You knew him before.

- Who?
- Johnny.

- Johnny Farrell?
- Johnny Farrell.

- You knew him before.
- No.

Don't lie to me, Gilda.
Don't ever lie to me.

I'm telling you the truth.
I didn't know him.

I don't think I've ever known him, Ballin.

I see.

You're a child, Gilda.
A beautiful, greedy child.

And it amuses me
to feed you beautiful things

because you eat
with such a good appetite.

But I shouldn't make any mistakes.

No, you shouldn't.

If you're worried about Johnny Farrell,
don't be.

- I hate him.
- And he hates you.

That's very apparent.

But hate can be a very exciting emotion.

Very exciting.
Haven't you noticed that?

- You make it sound -
- There is a heat in it that one can feel.

Didn't you feel it tonight?

- No.
- I did.

It warmed me.

Hate is the only thing
that has ever warmed me.

Place your bets, ladies and gentlemen.
Place your bets.

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

(Speaking Spanish)

- No more bets.
- (roulette ball clattering)

- Number 13, black.
- That's me.

- Numéro tre/ze, no/r.
- I was right next to her - 17. That's close.

You mean this has been going on for years,
and I didn't know about it?

(laughter)

- One is not always so lucky.
- I am.

You should watch out.
The superstitious have an old saying.

“Lucky at cards, unlucky at love.”

- it's a good thing I'm not, isn't it?
- Not what?

Superstitious.

- Keep it for me.
- Yes, Mrs. Mundson.

Place your bets, ladies and gentlemen.
Place your bets.

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

Place your bets, ladies and gentlemen.
Place your bets.

Place your bets, ladies and gentlemen.
Place your bets.

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

- Number two.
- No more bets.

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

(Speaking Spanish)

Fa/tes vosjeux, mesdames e1 mess/eurs.
Fa/tes vosjeux.

Place your bets, ladies and gentlemen.
Place your bets.

CROUPIER #2:
Place your bets.

CROUPIER #1: Fa/tes vosjeux,
mesdames e1 mess/eurs. Fa/tes vosjeux.

- Got a light?
- Yes, Mrs. Mundson.

It is so crowded and yet so lonely.

- Isn't it?
- How did you know?

You smoke too much. I've noticed.

Only frustrated people
smoke too much,

and only lonely people are frustrated.

Well, aren't you cute.

Cute? Me?

Awfully cute.
I think I'm gonna like you.

- Oh, I'm sorry.
- Nothing personal, I hope.

No. I was just tossing away
my frustration.

And it landed right on me.

- Maybe that means something?
- Oh, it does.

It means we're gonna
have a drink together.

No,I-

On the other hand, I'd love to.

Now we'll see.

See what?

Whether you are a gentleman, as you say,
or a peasant, as I say.

- Oh.
- The beautiful one is at the bar.

She'll probably have trouble.

Really? What kind of trouble?

A man. He's very good-looking.

Your source of income is in his office.

He will probably have trouble.

- What kind of trouble?
- Also a man.

Not so good-looking.

Now we know.

You are what I said.

Any losses that you incurred in business

were reimbursed to you
across the casino tables -

regularly and very generously.

But, in spite of orders, you continue to sell
tungsten wire to the Bendolan Company.

But Mr. Bendolan can't manufacture
electric light globes

without tungsten wire for filaments,
Mr. Mundson.

- He can't continue in business without - - We
d0n't wish Mr. Bendolan to continue in business.

Isn't that clear to you?

But he's the only outlet for my product
in this territory, Mr. Mundson.

If I don't sell to him,
I can't continue in business.

- Don't you understand that?
- Perfectly.

And that doesn't matter to you,
does it, Mr. Mundson?

On the contrary,
I sympathize with you deeply.

Life is very difficult
for the defenseless ones of the world.

Yes.

As you say.

Thank you, Mr. Mundson.

- I thought we were in the gambling business.
- Leave me alone.

I never heard of a game played
with electric light globes.

Let's join Gilda for a drink,
shall we, Johnny?

Sure.

Hey, uh, better let me
case the joint first.

- Case the joint?
- Yeah, see if the coast is clear.

I didn't like the look
on the defenseless one's face.

- (scoffs) That mouse.
- I didn't like the look on his face.

All right, Johnny.

Gilda was right.
You are protective.

Sure. That's me all over.

Give me five minutes.

M: (tang0)

Gilda.

- Maybe you didn't notice. I'm dancing.
- You were dancing.

- Hey, what's the idea?
- Oh, you'll get used to it.

I've never been able
to finish a dance in here yet.

When Ballin comes down,
I want you sitting in a booth alone.

You're sure it's Ballin
who objects to my having friends?

- What I want to know is, who is this guy?
- Johnny Farrell. He runs the joint.

This is Gabe Evans, Johnny Farrell -
all the way from New York.

- Isn't he pretty?
- Just darling.

- Now get him out of here.
- But I like him.

If he leaves, I go with him.

That's all right with me too.

Well, what's keepin' you?

Not a thing.

- Let's go where we can have some fun.
- Like I said?

Exactly like you said.
Didn't you hear about me, Gabe?

If I'd been a ranch, they would have
named me the Bar Nothing.

- The coast is clear, I take it.
- Very clear.

Look, Ballin, I'm a big boy now.
You can tell me things.

Gilda warned me that you'd grow up.
By the way, where is she?

- Gilda?
- Yes, Gilda.

She was bored.
There's an American picture in town.

- She went to see it.
- Alone?

Who would she go with?
She doesn't know anybody down here.

You'd know more about that than I would,
wouldn't you, Johnny?

-(gunshofl
- (people screaming, shouting)

No!

(screaming, shouting)

(gunshon

Esta' muerto.

Bad form, isn't it,
to make a scene in public.

- The ocean would have been quieter.
- Only fools ruin themselves gambling.

- Gambling?
- What else?

(raspberry)

(crowd murmuring)

- Come on home, Ballin.
- What happened to him?

Come on.

- Did he kill himself, Johnny?
- Yes.

When a man becomes weak enough
to accept a bribe,

he's already a dying man.

- Didn't bother you, did it?
- That he killed himself? No.

But it did bother me that, back there,
you were afraid.

Oh, no, I was amazed. I realized
that something could happen to me.

That's why I'm going
to tell you something. Come in.

Over here, Johnny.

Remember this, Johnny.

Remember this too.

- Could you do it now by yourself?
- Yes.

Eight left, 24 right, two left,

17 right.

You're the only one
who knows the combination, Johnny.

If anything should ever happen to me,
there are papers in there.

Signatures and instructions
how to carry on.

Thanks for not letting me down.

You're not just the owner
of a gambling joint, huh?

You know what a cartel is, Johnny?

I think so. A trust.

A monopoly of some kind, isn't it?

- An international monopoly.
- Big business, huh?

- Monopoly in what?
- Tungsten.

- That doesn't impress you.
- Well, I don't know much about it.

I mean, I don't know
if it's worth getting shot at

for the pleasure of monopolizing it.

A man who controls a strategic material
can control the world, Johnny.

Whoa now.
The world's a pretty big place.

Made up of stupid little people.

(chuckles)
Well, if anybody can do it,

I'd lay 8-to-5
you're the baby who can.

And you'd win.

Now let's go downstairs and have a drink.

With you and Gilda on my side -

- You are on my side, Johnny?
- I told you that.

- And Gilda?
- What do you mean?

Women are funny little creatures, Johnny.

Oh, I don't know much about 'em.

- Odd things are important to them.
- Really?

I bought her, Johnny,
just as I bought you.

She knows that, doesn't she?

That's just it.

Money doesn't mean very much to Gilda.
If she should become restless -

I'm mad about her, Johnny. Mad.

- What do you think of that?
- Oh, I think it's great.

Because she is on your side, Ballin.

I'd lay 8-to-5 on that too.
And I'd win.

Well, I'd better be getting
back to the joint.

(vehicle approaching)

(brake sets, door opens)

N' (Gilda humming)

Know what? I have the funniest feeling
we're not alone.

Maybe we're haunted.

Maybe if we go inside, it'll go away.

Besides being pretty,
you're positively intelligent.

Come on.

No.

You know, I have the funniest feeling
somebody said something.

Maybe the lady forgot to tell you.
Her husband lives here.

For a long, long time,

I've taken husbands little by little,
in small doses.

So that now, I've developed
a complete immunity to them.

You're through for the evening, son.
Scram.

- Well, so he runs this joint too, does he?
- I said scram.

- For two cents, I'd -
- You'd what?

That's great,
hitting a man when he's drunk.

He shouldn't get drunk on my time.

- On your time?
- I thought that was settled.

I take care of everything
that belongs to the boss.

What's his is yours?

You went to a picture show tonight.
Alone.

Really?

Would you like to know
whether I enjoyed it?

That's your story. That's what I told Ballin.
That's what you're going to tell him.

Tsk, tsk, tsk.
Making me deceive my husband.

I got some news for you, Gilda.
He didn't just buy something.

- He's in love with you.
- Is that so hard to understand?

- And you're not gonna do anything -
- I've got some news for you, Johnny.

I'm going to do exactly what I please
when I please.

I was true to one man, once,
and look what happened.

- I made up my mind then -
- This isn't about us. it's about him.

Really? You don't say so.

Now get this straight.
I don't care what you do,

but I'm going to see to it
that it looks all right to him.

From now on, you go anywhere you please
with anyone you please,

but I'm gonna take you there, and I'm gonna
pick you up and bring you home.

Get that?

Exactly the way I'd take
and pick up his laundry.

Shame on you, Johnny.

Any psychiatrist would tell you that your
thought associations are very revealing.

What are you talking about?

Any psychiatrist would tell you
that means something, Johnny.

- Did you hear what I said?
- Sure, I heard what you said.

You're going to take me there
and pick me up.

All to protect Ballin.

(lock clattering)

Who do you think
you're kidding, Johnny?

JOHNNY (narrating): I hated her so,
I couldn't get her out of my mind for a minute.

She was in the air I breathed

and the food I ate.

N' (guitar strumming)

N' (guitar strumming)

N' (Gilda vocalizing)

At first, I thought
I was just dreaming it.

I'd been hearing her voice in my sleep
for nights anyway.

Then I realized -

♪ When Mrs. O'Leary's cow
kicked the lantern ♪

♪ In Chicago town ♪

♪ They say that started the fire ♪

♪ That burned Chicago down ♪

♪ That's the story that went around ♪

♪ But here's the real lowdown ♪

♪ Put the blame on Mame, boys ♪

♪ Put the blame on Mame ♪

♪ Mame kissed a buyer
from out of town ♪

♪ That kiss burned Chicago down ♪

♪ So you can put the blame
on Mame, boys ♪

♪ Put the blame on Mame ♪

♪ Remember the blizzard
back in Manhattan ♪

♪ In 1886.?

♪ They say the traffic was tied up ♪

♪ And folks were in a fix ♪

♪ That's the story that went around ♪

♪ But here's the real lowdown ♪

♪ Put the blame on Mame, boys ♪

♪ Put the blame on Mame ♪

♪ Mame gave a chump
such an ice-cold no ♪

♪ For seven days,
they shoveled snow ♪

♪ So you can put the blame
on Mame, boys ♪

- ♪ Put the - N'
- (footsteps running)

Oh. Good morning.

How very pretty you look
in your nightgown.

- What are you doing here?
- Singing to my friend.

- Isn't that all right?
- How long you been here?

HOW long?

Five verses.

- What are you doing here?
- Listening. I just finished my work, and -

Did you hear about that poor little cow
that blamed for -

Get out of here.

Get back to your washroom
where you belong.

(laughing)
Put a beggar on horseback, huh, Uncle Pio?

(raspberry)

Well, here's the laundry
waiting to be picked up.

- Where have you been?
- Swimming.

I bet you don't believe me.

I bet Ballin won't, either,
unless you're there to back me up.

You went swimming with me.

Didn't we have a good time?

(chuckles)
Swimming.

- That's what it says here.
- Where's your bathing suit?

Under this.

- Wanna see?
- I'll get dressed.

I hate to drag you out
this time of the morning, but

it's your idea, you know.

Why don't you
make it easy on yourself and

let him find out about me?

Or are you afraid
of what he might do to me?

Johnny.

- I am.
- What?

Afraid.

YOU'?

Oh, Johnny, I wish I'd never-

Never what?

Getting married on the rebound
is so stupid.

Rebound from what?

You.

Because you -

You don't know a man
you've only known one day.

He doesn't know you either.

That way, you start even.

All fair and even.

Would it interest you to know
how much I hate you, Johnny?

Very much.

I hate you so much that

I would destroy myself
to take you down with me.

Now I've warned you.

Now that's all fair and even.

All fair and even.

Now, would it interest you to know

that I know why you're hangin' around here
at 5:00 in the morning?

I told you, I'm the laundry.
I'm simply obeying instructions.

Now who's kidding who, Gilda?

(vehicle approaching)

(vehicle door opens, closes)

(footsteps receding)

(door opens)

Now that you've delivered me,

don't you want to wait
and get a receipt from the man?

Ballin.

- You're up.
- Yes.

Late to bed, early to rise
makes a man -

Let Gilda talk, Johnny.

I thought I could sneak out
and get back without waking you.

- No.
- We went swimming.

- You were asleep.
- Yes.

All of a sudden,
I just had to go swimming.

It was so hot.

- You weren't worried, were you?
- Yes.

- I'm - I'm terribly sorry.
- Is that what's making you so nervous?

Nervous?

No,l-l-

Well, a terrible thing happened to me.
No wonder I'm nervous.

What happened to you?

I lost that beautiful clip you gave me,
the one that cost so much.

Is that all?

Well, isn't that enough
to make a person nervous?

A clip can be replaced.

Thanks for being so nice about it.

I'm - I'm terribly sorry.

A clip can be replaced.

You see, I thought I had lost you.

Me?
(laughs)

- Not a chance.
- And that couldn't be replaced.

Shall we have a drink
before I start to cry?

You see, Johnny doesn't think
that would be a tragedy if you lost me.

Statistics show that there are more women
in the world than anything else.

- Except insects.
- Johnny!

On that charming observation,
I shall walk out.

Just to change my clothes.
I want to have breakfast with you.

Oh, by the way, I want to mention
that Johnny is a terrific swimmer.

This morning,
he outdistanced me beautifully.

But someday,
there'll be a return match.

And then look out, Johnny Farrell.

(footsteps receding)

- Johnny.
- Yeah?

You'll have to teach me how.

- How to what?
- Swim.

What else?

Sure. Anytime.

Apparently, you're very good at it.

Pretty good.

Did you teach Gilda
how to swim, Johnny?

I taught her
everything she knows, Ballin.

Does that satisfy you?

N (“Put the Blame on Mame”)

N (“Put the Blame on Mame”)

Wait a minute, fellas.

Let's take that trombone part over once again
and make it a little cleaner.

N (orchestra resumes)

Julio!

Julio!

(Speaking Spanish)

- You can't tell me where to put nothing.
- (shouting in Spanish)

- JV' (orchestra on speake/j
- (clicks off)

(knocking)

These are things which the merrymakers
add to their costumes.

I wonder if you care to make a choice.

- You have a great sense of
humor, haven't you? - (raspberry)

Which one would you suggest?

I would suggest, whatever you wear,

you will start out as this

and end up as this.

Really?

How did you figure that out?

Tonight it is the beautiful one's party
all the way.

She has changed the decorations.

She has changed the orchestra.

It isn't too much to think
that she will change -

I warned you once.
You didn't seem to hear me.

- Now you're through.
- Through? With what?

The casino. Your job.

You're fired.

You are mistaken.

I will be here after you are gone,

Mr. Peasant.

You asked me one time

what a great philosopher like me
is doing in the washroom.

- Now I will tell you.
- Go on.

Because to my department
comes all the gossip, and that way -

(knocking)

He's not here.
No one is here, you see.

Maybe we should have had that “Private” sign
on the stairway printed in German too.

Or maybe you can't speak Spanish.

- But I assure you, it does say “Private.”
- That's right.

We intend to see Mr. Mundson.

He's been avoiding us.

Didn't you hear? Mr. Mundson
is allergic to messenger boys.

The American Indian, as always,

walks into something
that does not concern him.

That's an old American custom.

Mr. Mundson is having an invited party tonight.
You are uninvited.

Tell the old man to go away.

No. You go away.

We intend to see Mr. Mundson.

You said that before. I said -

Get him on the telephone.
Please.

Why didn't you say what you wanted?

Mr. Mundson.
This is Mr. Farrell.

Some people wish to add these
to their costumes.

In my collection, I have two
lovely heads of pigs, if you -

No sale, Uncle Pio.

They'll just use their own faces.

Oh, Ballin?

There are a couple of nice kids here
with German accents.

I think they'd like to make
an appointment with you.

By the way, one of them
has a gun in my back.

Tell them -

Tell them to come here in an hour.

And, Johnny,

you come now, will you?

Immediately.

(party horns tooting)

(cheering, shouting)

(party horns tooting)

Listen, Maria. Carnival.

Yes, little one. Carnival.

What does it mean, Maria, exactly?

Carnival is the last three days
preceding the Lent,

which in Roman Catholic countries

is given up to feasting
and merrymaking.

Then come the fasting
and the penance.

In other words,
make hay while the sun shines.

You have a strange language,
little one.

Oh, I mean,

three days of sowing wild oats,

and then comes the harvest.

You know, Maria,

I have the funniest feeling.

Don't tell anybody, but

I'm most awfully superstitious.

- Don't tell anybody.
- No.

Well, I have the funniest feeling
that this is it.

It?

I mean,

that for me, too,
it's Carnival, Maria.

- (knocking)
- BALLIN: Gilda.

- Yes, Ballin?
- May I come in?

Of course.

I'm going to be delayed.

Johnny will take you to the party.

- What's the matter?
- With me?

You're very excited about something
tonight, my beautiful.

Perhaps it's in the air.

Perhaps you shouldn't
have opened the window.

Close it.

There.

See how quiet it is now?

See how easily
one can shut away excitement

just by closing a window?

Remember that, Gilda.

Oh, I want to have a look at you
in your costume before you go.

I see you're going to carry a whip.

Have you warned Johnny
so he can also arm himself?

N (orchestra: romantic)

N (orchestra: romantic)

Nobody could ever dance
like you, Johnny.

When a person dances with you,

it's like they're a part of you, Johnny.

- It's like -
- You haven't improved any, have you?

You always did talk your head off
all the time you were dancing.

(laughing)

You used to say, “For Pete's sake, Gilda,
one thing at a time.”

Then you used to say,
“Talk or dance,

but don't do both things
at the same time.”

- You used to say -
- I still say it.

I have to keep talking, Johnny.

As long as I have my arms around you,
I have to keep talking, or

I might forget to dance, Johnny.

What do you think you're trying to do?

I'm not even trying very hard, but

I'm doing it.

Doing what?

- Push my hat back, Johnny.
- It's all right.

Push it back.

You're out of practice, aren't you?

Dancing, I mean.

I could help you
get in practice again, Johnny.

Dancing, I mean.

Oh! Sorry.

(chattering, laughing)

N (orchestra: up-tempo)

MAN:
Good evening, Mr. Farrell.

- Thank you.
- Obregon.

- I'm in again, as you put it.
- Oh, yeah.

Practically old home week.
We're all here.

Yes, we are all here, Mr. Farrell.

I would suggest that you see
that Mrs. Mundson goes home.

- You would suggest?
- There's going to be trouble.

I would suggest that you see that she's
out of here before the unmasking at 12:00.

You know, you sound like
a very bad melodrama.

Excuse me.

- What are you trying to do?
- (grunts) Oh, Johnny.

And here's the comedy relief.

Now the drama is complete.

- Is that a crack?
- What do you want?

I got a letter for you.

She said she was sorry
she didn't get to say good-bye.

No bad news, I hope.

- Johnny, she left -
- What's that to you?

Nothing, believe me.

But you sure act sore about it.
Why, you'd think that she was -

Get back on the door where you belong. From
now on, check everybody that comes in here.

- Get that?
- Okay, okay.

But she didn't come in.
She went out.

Lose something, Mr. Farrell?

Hello, Ballin.
I didn't even know you'd arrived.

- But obviously I did arrive.
- Obviously.

Where's Gilda, Johnny?

She's around somewhere. it's hard
to keep track of anyone in this mob.

Find her for me, Johnny.

Sure.

I won't guarantee
how long it's gonna take.

I'll wait.

I'm a great one for waiting, Johnny.

N' (fanfare)

(cheering, chattering)

m: (up-tempo)

Take your mask off.
It's time to unmask.

(screaming)

(crowd clamoring)

- WOMAN: Please! Please!
- MAN: Stand back!

It might be a good idea
for us to go home, Ballin.

Why?
Because a man drank too much?

It was one of the messenger boys,
and he didn't drink too much, Ballin.

He was murdered.

Good. Saves us the trouble.

Did you keep your appointment
with them?

No, I - I missed them.

Did you find Gilda?

- No.
- Find her. Take her home.

- No, I'll stick with you.
- No.

There's an old rule in chemin defer.

You play for the full stake
or you pass the shoe.

You can't rule the world
by passing the shoe, Johnny.

- I still think we oughta go home.
- Do as I tell you. Take Gilda home.

I told you once. I expect my little friends
to be obedient, Johnny.

- Speaking of little friends -
- Don't.

Wait for me at home, Johnny.

I may need
both of my little friends tonight.

Okay, Ballin.

(door opens, closes)

This is Mr. Mundson speaking.

Call the flying field.
Tell them to proceed as instructed.

Is that clear?

Proceed as instructed.

- (people chattering)
- (party horns tooting)

- (people chattering)
- (party horns tooting)

(party horns tooting)

(engine starts, revs)

Ballin was wrong, wasn't he?

About what?

He said you can shut out excitement
by just closing a door.

You can't, can you?

I don't know what you're talking about.

I was just mentioning how

quiet it was in the house.

There isn't anybody here but us,
you know.

Everybody's celebrating Carnival.

What about it?

I was just mentioning it.

Good night, Johnny.

JOHNNY (narrating):
I couldn't get it out of my head,

what she said about nobody
being in the house but us.

I thought of Ballin back in the casino,
fighting for his life,

and this little -

I knew that all his plans,

all his dreams of greatness
would be wrecked

because of what
she was doing to him.

I knew he wasn't strong enough
to throw her out.

I knew it was up to me.
I had to get rid of her - for him.

Gilda.

Get your clothes on.
You're getting out of here.

Are we, Johnny?

Are we?

Not “we.” You.

You do hate me, don't you, Johnny?

I don't think you have
any idea how much.

Hate is a very exciting emotion.

Haven't you noticed?

Very exciting.

I hate you too, Johnny.

I hate you so much that

I think I'm going to die from it.

Darling.

I think I'm going to die from it.

(door slams)

You left it open when you came in.

- (door slams)
- Ballin!

(vehicle engine starts)

(vehicle departing)

(airplane engine idling)

Africa's more than 2,000 miles away.

I don't think he'll make it.

I don't think he intends to try.

(plane engine sputtering)

(explosion)

- You managed it.
- Naturally.

- The seaplane is waiting?
- Yes, sir.

You run into some trouble, boss?

An unfortunate murder.

The detective, Obregon,
knows that I did it.

I'll stay away as long as necessary,
and then I'll go back

and attend to something.

JOHNNY (narrating):
In the will we found,

JOHNNY (narrating):
In the will we found,

Ballin had left everything to Gilda,

with me as sole executor.

I finally had them in my hands -

the little pieces of paper that Ballin
said would let a man rule the world.

A I first I was puzzled,
because it didn 7 seem like much -

a tungsten mine, a few patents,

a dozen or so small corporations
joined together to form one organization

with Mundson at the head.

But then I saw the potential power
of such a group,

saw how it could grow and spread

and gobble up anyone
who dared stand alone against it.

You have all come a long way to find out
what is gonna happen to your association.

I've told you.

Now you can return, having found out
that nothing has changed. Nothing.

I'll carry on
where Mr. Mundson left off.

- Anything else, gentlemen?
- Just one thing.

It has always seemed to me that no one man
should be at the head of our organization.

- I think it would be better-
- You heard the will.

I'm the sole executor.
It's gonna be business as usual.

Mrs. Mundson is the sole legatee.

Mrs. Mundson is in no condition
right now to see anyone.

Her husband's death
has hit her very hard.

She's asked me to represent her
with the stockholders.

However, we need be
in no hurry to leave.

There's a chance
that she may recover.

Not a chance in the world.

You see, Mrs. Mundson
is marrying me this afternoon.

(gasps)

(no audible dialogue)

Look, Johnny. it's stopped raining.
Maybe that means something.

- You haven't gotten over it, have you?
- Gotten over what?

Being superstitious. Come on.

Where, Johnny?
Not back to the house.

What kind of a guy
do you think I am?

I don't think anybody
really knows that but me, Johnny.

Not even you.

All my clothes here.

Even my perfume.

You think of everything,
don't you, Johnny?

Everything-

We're right back where we started,
aren't we, darling?

Right back where -

Right back where we started.

Johnny.

Johnny, that isn't even decent.

What was that word again, Gilda?

Decent.

I said decent.

That's what I thought you said.

That sounded funny
coming out of you, Gilda.

JOHNNY (narrating): She didn't know then
what was happening to her.

She didn't know then
that what she heard

was the door closing
on her own cage.

She hadn't been faithful to him
when he was alive,

but she was gonna be faithful to him
now that he was dead.

Hey. What are you doing,
coming to work tonight?

Now, I believe in my duty to my job
and all that -

Good, because you got one,
a new one.

From now on, you're to stick
with Mrs. Mundson.

Mrs. - Mrs. Farrell.

Whatever she does,
wherever she goes, you're to be there.

She's not to talk to anyone,
and no one's to talk to her. Get that?

Gee, Johnny.
Is she in danger or something?

You will be, I guarantee,
if you don't do exactly as I told you.

Oh, sure, sure.

You were interestingly quiet
this afternoon.

What I have to say
I have to say to you and not the others.

I'm flattered.

Would you like to know how Mundson
came to be the head of the cartel?

No.

You've seen that the patents
are German, haven't you?

- They were, originally.
- Exactly.

- They belong to my principals.
- Not anymore.

Three years ago,
when it began to seem

that Argentina might find it necessary
to declare war against us,

we made an arrangement
with Mundson.

We allowed him
to buy our patents.

Good idea.
The casino here makes a nice front.

We even advanced him the money
with which to buy them from us.

Well, you couldn't
have picked a nicer man.

We had an agreement with Mundson

that, at the end of the war,
he would turn our property back to us.

- I didn't find any agreement.
- It was a gentleman's agreement.

I see. And Mr. Mundson
wasn't a gentleman.

He was a madman, Mr. Farrell.

He thought he could
rule the world alone.

I know. We had quite
a discussion about it.

JOHNNY (narrating): She still
didn't believe I wasn't coming back.

JOHNNY (narrating): She still
didn't believe I wasn't coming back.

Every night, she got all dressed up

and waited.

But a girl like Gilda couldn't stand
not knowing the why of things.

So she decided to swallow her pride
and come to see me.

That was wonderful.

(doors open, close)

Yes?

Hello.

Remember me?

I'm Gilda, your wife.

Remember?

You haven't been around lately.

I thought maybe you were
an amnesia victim or something.

Got a light?

You don't look so hot.
Do you know that?

You're losing weight.

This vacuum I'm living in.

- Mind giving me a reason?
- Not at all.

You've had such a full life up to now.

I thought a little peace and quiet
would do you good.

Give you time to think.

Think about what?

Would it be too corny
to say your sins?

- Yes, it would.
- Well, I said it.

You're cockeyed, Johnny,
all cockeyed.

I figured that's what the deal was.

You're getting even with me
for something.

(chuckles)

We're great people for getting even,
aren't we, Johnny?

- Are we?
- Aren't we?

Didn't I get even with you for
walking out on me by marrying Ballin?

Great. That's just great.
The man's dead, and -

And I'm glad.
What do you think of that?

He was insane, Johnny.

- I was afraid all the time.
- You acted like it.

Johnny, there's never been
anybody but you and me.

All those things I did were

just to make you jealous, Johnny.

There's never been anybody
but you and me.

Not anybody?

Not anybody.

What about your husband?

If you could forget him so easily,
you could forget the others too, couldn't you?

- But there weren't any others, Johnny!
- When you admit them.

When you admit them
and tell me who they were.

You wouldn't think one woman could
marry two insane men in one lifetime,

now, would you?

(footsteps receding)

JOHNNY (narrating):
She wasn't scared yet

because she didn't quite realize yet.

Right now, she was just plain mad,
and she was hitting back.

I want you to try and locate
a Mr. Gabe Evans for me.

Try all the hotels in the city,

but locate him.

JOHNNY (narrating):
She couldn't find him,

so she just reached out for anyone.

They weren 7 hard to find
for a girl like Gilda.

(no audible dialogue)

The waiter told him
he had a telephone call.

One of m y men
grabbed him outside.

He never came back.

She found somebody else,
of course.

But wherever she went,
whatever she did -

(rings)

It finally got to her that Buenos Aires
was her own private prison.

That's when she decided to run away.

She went to Monte video,
got a job singing in a nightclub.

- LI' (orchestra: ballad)
- Started divorce proceedings

and met a man.

♪ Amado mio a'

♪ Love me forever ♪

♪ And let forever ♪

♪ Begin tonight ♪

♪ Amado mio a'

♪ When we're together ♪

♪ I'm in a dream world ♪

♪ Of sweet delight ♪

♪ Many times I've whispered ♪

♪ Amado mio a'

♪ It was just a phrase
that I've heard in plays ♪

♪ I was acting a part ♪

♪ But now when I whisper ♪

♪ Amado mio a'

♪ Can't you tell I care
by the feeling there? ♪

♪ For it comes from my heart ♪

♪ My one endeavor ♪

♪ My love, my darling ♪

♪ Will be to hold you ♪

♪ And hold you tight ♪

♪ Amado mio a'

♪ Love me forever ♪

♪ And let forever ♪

♪ Begin ♪

♪ Tonight ♪

N' (orchestra: tempo quickens)

♪ Amado mio a'

♪ Love me forever ♪

♪ And let forever ♪

♪ Begin ♪

♪ Tonight N'

N (orchestra resumes)

“Let forever be tonight.”
Is that a date, Gilda?

I can't make any forever dates, Tom.
I haven't even got my divorce yet.

- I haven't any right to.
- I don't want you to.

- Want me to what?
- Get a divorce.

You don't?

A divorce you get in Montevideo,
without your husband's consent,

will never stand up
in Argentina, Gilda.

I don't want to go back
to Argentina ever.

- So what difference does it -
- Or at home.

You may want to go home
sometime, darling.

Wherever you go for the rest of your life,
you're gonna be tied to him.

You'll never be free.

Then it didn't do any good to run away.

No good at all.

Never does any good
to run away, Gilda.

- Go back to Buenos Aires.
- No.

And get an annulment.

You told me your husband left you
immediately after the ceremony.

There's nothing to it.

And I'll be with you, darling.
I'll be right by your side every minute.

I'm a very good lawyer, you know.

I've more money
than I know what to do with.

I'm very much in love with you.

That's kind of a terrific combination,
don't you think?

That's kind of a terrific combination.

The plane leaves at 2:00.
At 2:00 the next day, you'll be free.

Darling, utterly free.

I didn't think I'd ever trust a man again
as long as I lived,

but here I go again.

Thanks, Tom. Thanks.

Tom, this is the Hotel Centenario.

Isn't it all right?
I was told it's a good hotel.

Why, I think it's wonderful.
Just wonderful.

- I'll do it.
- Your bags will be up in a minute, sir.

Thank you, sir.

The light switch is right here somewhere,
if my memory doesn't fail me.

Okay, Langford.

I'll do it anyway.

I'll get an annulment.
I don't need anybody's -

Didn't Langford tell you?

There's no such thing
as annulment in Argentina.

I'll get it anyway!
I will! I'll get an annulment!

I Will! I Will! I Will!
I'll get it! I'll get it! I'll get it!

I'll - I'll get it!

(sobbing)

Oh, Johnny,

please let me go.

Please let me go.

I can't stand it anymore.

I don't want anything from you.

But please,

just let me go.

I thought it was a nice touch,
bringing you back here.

Johnny, let me tell you
about that night.

I don't want to hear about that night.

Can't you understand?
I don't want to hear about that night.

(door opens, slams)

(sobbing)

- I was waiting for you, Mr. Farrell.
- Find anything interesting?

What are you stalling for anyway?

Why don't you close the joint up
if it bothers you so much?

Why do you think we've allowed
the casino to stay open?

Because a smart cop
doesn't arrest a purse snatcher

if the little thief will lead him
to the bigger crime.

I don't know
what you're talking about.

We know you're the head
of a tungsten monopoly, Mr. Farrell.

What we want to know
is the names of the participants.

I still don't know what -
what you're talking about.

I'll wait.

You're breaking up in little pieces
right in front of my eyes, you know.

Am I wearing you down, I hope?

- You.
- Something is.

Really?

Well, I'll have to take a look sometime.

- I hadn't not -
- N (orchestra: swing intro)

N (“Put the Blame on Mame”)

♪ When they had the earthquake
in San Francisco ♪

♪ Back in 1906 ♪

♪ They said that old Mother Nature ♪

♪ Was up to her old tricks ♪

♪ That's the story that went around ♪

♪ But here's the real lowdown ♪

♪ Put the blame on Mame, boys ♪

♪ Put the blame on Mame ♪

♪ One night she started
to shim and shake ♪

♪ That brought on the Frisco quake ♪

♪ So you can put the blame
on Mame, boys ♪

♪ Put the blame on Mame ♪

♪ They once had a shootin'
up in the Klondike ♪

♪ When they got Dan McGrew ♪

♪ Folks were puttin' the blame on ♪

♪ The lady known as Lou ♪

♪ That's the story that went around ♪

♪ But here's the real lowdown ♪

♪ Put the blame on Mame, boys ♪

♪ Put the blame on Mame ♪

♪ Mame did a dance
called the hootchie-coo ♪

♪ That's the thing that slew McGrew ♪

♪ Put the blame on Mame, boys ♪

♪ Put the blame ♪

♪ On Mame N'

MAN:
Bravo! Bravo!

Bravo! Hooray!

More! More! More!

More! More!

More!

- I'm not very good at zippers.
- (laughter)

But maybe if I had some help.

- I'll help you.
- I am an expert.

(audience laughing, shouting)

(speaking French)

Blow, you guys. I hate to do this,
but you know. Johnny.

- Leave me alone.
- Come on.

MAN: Let her alone!
What's the matter with you?

(laughing)

(audience quiets)

What do you mean by -

Now they all know what I am,
and that should make you happy, Johnny.

It's no use
just you knowing it, Johnny.

Now they all know that
the mighty Johnny Farrell got taken

and that he married a -
(whimpers)

(sobs)

The German has been arrested.
He will give us the information we want.

Now all we want from you are the patents
and the agreements bearing the signatures.

Let me tell you why we must know
who these signers are, Mr. Farrell.

So they can be prosecuted legally
for breaking the antitrust laws.

You didn't hear a word of it, did you?

All you can think of is the way Gilda
looked at you when you struck her, isn't it?

You two kids love each other
pretty terribly, don't you?

I hate her.

That's what I mean.

It's the most curious
love-hate pattern

I've ever had the privilege
of witnessing.

And as long as you're as sick
in the head as you are about her,

you're not able to think
about anything clearly.

All right, Mr. Farrell.

You're under arrest for illegally
operating a gambling casino.

I'm gonna let you stay here
under protective custody.

Send for me
when you can't stand it anymore.

I intend to have those signatures.

I can out-wait you, Mr. Farrell.

You see,
I have the law on my side.

It's a very comfortable feeling.

It's something
you ought to try sometime.

Eight left, 24 right,
two left, 17 right.

- You got that?
- I've got it.

That's the combination
to the safe.

There's everything in there you want,
and there's nothing in there that I want.

No.

That's at the casino, waiting.

When you finally sent for me,
I sent for Gilda.

She's going home, you know.

Home? Clear home?

The least you could do is say good-bye
and wish her luck.

She makes her own luck.

How dumb can a man be?

Do me a favor and get out of here
before you realize what a heel you've been,

will you, Mr. Farrell?

I couldn't bear it to see you break down
and feel like a human being.

I'm a very sensitive man, for a cop.

Gilda didn't do any of those things
you've been losing sleep over.

Not any of them.

It was just an act.

Every bit of it.

And I'll give you credit.
You were a great audience, Mr. Farrell.

Would you like, perhaps,
a tiny drink of ambrosia,

suitable only for a goddess?

No, thank you.

Mr. Obregon told me that the place
has been taken over by the government.

Don't think about it.

A cigarette perhaps?

Blended of the finest tobaccos

from the most romantic places
of the world.

No, thank you.

It all looks lonely, doesn't it?

All bad things end up lonely, little one.

I know that, don't I?

You can keep your silly epigrams
to yourself, can't you?

Uncle Pio.

I hear you're going home.

I came to say good-bye.

I want to go with you, Gilda.

Please take me.

I know I did everything wrong.

Isn't it wonderful?

Nobody has to apologize

because

we were both such stinkers,
weren't we?

Isn't it wonderful?

Wonderful.

(door opens)

I didn't intend to come back so soon,

but I want my wife.

Johnny.

You thought I died that night,
didn't you?

I'd murdered a man and thought it simpler
to disappear for a while. That's all.

I came to the house that night
to get Gilda, to take her with me.

But I found her occupied

with you, Johnny.

I had neither the time nor the inclination
for an emotional scene at the moment.

By the time the harbor police
reached the plane wreckage,

I was gone, of course,
in the launch I had waiting.

You didn't see me
parachute out, did you?

You weren't seeing very clearly
that night anyway, were you, Johnny?

Emotion is so apt
to cloud the brain, isn't it?

I intended to kill you with this, Johnny.

I thought it amusing to have one
of my little friends kill the other.

But now it won't do

because I have to kill Gilda too.

I told you I'd be looking -
(groans)

(gunshon

(gasps)

(Gilda crying)

Gilda.

Better get out of here,
Uncle Pio, quick.

You know, I'm a great cop, Mr. Farrell.

I'm certainly a pushover
for a love story.

I know the combination of the safe,
and I don't know where the safe is.

- Huh?
- The safe. Where is it?

It's in his room on the wall,
back of the desk.

Thanks. Say, haven't I seen
that cane somewhere before?

You have.

You really shouldn't leave things like that laying
around where I can get my hands on them.

He's lying, like the gentleman
I always said he was.

- Mr. Policeman, it was I -
- Keep your mouth shut.

You two can quit being noble
anytime you like, you know.

Because a man can only die once,

and Mundson committed suicide
three months ago.

Besides, didn't you ever hear of a thing
called justifiable homicide?

Johnny, let's go home.

Let's go home.