A Tale of Five Women (1951) - full transcript

(musical sting)

(grandiose music)

It all started in occupied Germany,

in the winter of 1945.

I was a bit lit up and on my way

back to my quarters.

Out of bounds to Allied Troops.

Good, nice and select.

I'll go in.

(upbeat music)

But the notice says, Allied
Troops are not allowed here.



That's exactly why I came here.

Admirable fellows, heroes to a man,

but there are times when I
get sick of the sight of them.

But you are not allowed
to drink here sir.

Oh?

What aren't I allowed to drink here?

Champagne.

Good, I'll start with not drinking that.

A Magnum, just in case I bump into

somebody else who isn't drinking.

Oh, very good.

(upbeat music)

- Hello!
- What are you doing?

Oh, you boys in the services?



Hey it's a limey.

(laughing)

- Hey baby.
- Oh wonderful.

Fill your Christmas stocking.

A real genuine homegrown limey.

(laughing)

(foreign language spoken)

Break it up, ladies,
we got a bottle coming.

(foreign language spoken)

Cigarette, sure, sure,
anything you want, here.

Here, waiter.

(laughing)

One cigarette, one cigarette.

Robert Mitchell, is that your name?

- Yeah, pretty, eh?
- Pretty case, too.

Give it to me for souvenir.

No, no, no, lady,
that's my secret weapon.

Hey, limey, how come you
have an American accent?

That's a long story.

You see, I was born in
England, but I worked in

America when I was a kid.

Picked up the accent and
never could get rid of it.

Tried everything, just
couldn't get rid of it.

- Just like pockmarks.
- What do you mean,

get rid of it?

Something wrong with the way we talk?

No, it's not that, but
how would you like it

if all your pals said things
like frightfully good show

and bang on and wizard brain?

I'm an outcast.

What were you doing in America, anyway?

- Flying.
- What?

When you were a kid?

All I ever did do was fly.

When you were in diapers,
what kind of a machine

did you fly, a B29?

(laughing)

Ain't no machine, just fly, fly, fly.

No props, no engines, just flying.

What?

Are you feeling all right, pal?

I feel fine.

I could show you some flying right now,

but I don't feel like it.

And why not?

Because I can't fly with my pants on,

that's why not.

(laughing)

Limey, I love ya.

He can't fly with his pants on.

Come on, girls, let's take 'em off.

Wait a minute.

Well, folks, here we are in the heart

of occupied Germany, the
contestants have entered

the ring, and the betting is two to one

against the defender.

There's the lift to the tide,

and a succession of body
blows and his jacket is off.

And there's a beat to
the left, to the right,

rip, his shirt's off.

(cheering)

Now they're moving slowly into the kill,

and there they go, pop,
pop, pop, pop, they're off.

Now, wait a minute, wait a minute.

Don't make me visit us.

- You doubt my word?
- I do.

Very well.

Stand back, I gotta have space.

That's it, limey.

(chattering)

[Man] The limey's gonna fly.

(circus music)

(knocking)

(foreign language spoken)

(chattering)

Grab those clothes.

Gentlemen, officers, please.

This is a respectable establishment.

There are no allied soldiers here.

OK, OK, but you're shutting
down for the night, anyway.

Everybody stay where you are.

(crashing)

Come on, buddy, snap out of it.

What's your name?

Who the heck are you?

Where's your duds?

- Yeah.
- You don't run around

- in your BVD's all the time.
- What's your outfit?

- Who are you?
- Oh, my name.

My name's.

I don't know.

- I don't know.
- Come on, buddy.

Snap out of it.

- What's your outfit?
- Who the heck are ya?

- I don't know.
- What's your name?

[Robert] I don't know, I don't know,

I don't know, I don't know.

I don't know, I don't know,
I don't know, I don't know.

(tense music)

Morning, boys.

I brought you a visitor.

Now, Mrs. McDermott, this is Mr. Lavinsky,

our champion embroiderer.

He does the loveliest
embroidery and applice work.

Our nurses are simply crazy about it.

It makes the most intimate
undies you ever saw.

Just did a perfect gorgeous set, ma'am.

Just like these.

We call him our ray of sunshine.

Now this is something very interesting,

Mrs. McDermott, a really baffling case

of total amnesia, complete loss of memory.

Mitchell, this is Mrs. McDermott
of the New York Promenade.

Mrs. McDermott's writing an article.

Yeah, on rehabilitation, I know.

Very interesting.

Now, Mitchell, you know
you've made tremendous progress.

We started him on knitting and
he's jumped to rugs already.

Yeah, I can embroider, too.

I'll make somebody a fine
wife one of these days,

time with me.

But surely you want to be rehabilitated.

No, I just want to be reminded.

How'd you like to know absolutely
nothing about your past?

It might have its advantages.

Aren't you happy with your hobby?

Do you think I want to
spend the rest of my life

sitting around here doing fancy work?

What happened to Mr. Mitchell?

Well, whatever it was,
it must have been very odd.

He was found in a collapsed building in

the American zone in Germany.

He was unconscious and practically naked.

With no means of identification.

All I gots my name, look.

Help yourself.

- Robert Mitchell.
- That's the name, all right.

That's his handwriting.

But there's no trace
of him in army records.

We've had a nationwide
publication of his photograph

and distinguishing marks.

No one's claimed him.

Certainly looks like
you're the world's prize

orphan, Mr. Mitchell.

Either that, or such a prize thinker,

nobody will own me.

- Could be.
- I'm a freak.

I don't want to be a freak.

I want to be able to say I remember

so and so and so and
so, like everybody else.

- I remember...
- That's just it,

don't you see?

Nearly conversation I hear
seems to start with I remember.

How can I have a future without a past?

Maybe I'm married, maybe I'm a father.

Lots of other guys are
fathers, why should I

be a father, too?

That's a possibility, matron.

Quite, quite.

Mind you, it's only nurses gossip.

Perhaps we better be
moving on, Mrs. McDermott.

Do you mind if I have
a chat with Mitchell?

No, certainly not.

Just ring the bell if you need assistance.

I don't know about your
being married, Mitchell,

but it certainly looks
like you ought to be.

- What's that?
- Something out of your past.

There's a secret compartment
in your cigarette case.

Well, what do you know?

He's the spitting image of me.

Isn't he cute, isn't he lovely?

You ain't ever took a real
good look at yourself, bud.

- I'm a father.
- Maria Severini, Rome.

Jeanine Minieare, Paris.

Charlotte Schmidt, Berlin.

Catiline Telic, Vienna.

Peggy Brown, London.

Hey, I'm a father.

What are those?

Looks like a list of girls names you met

in your travels.

Written on the currency
of their countries.

You've certainly been around, Romeo.

Five cities, five girls, one baby.

Let me see that.

Honey, I love you, you got Columbus skin,

you discovered me, the unknown man.

Get Washington on the phone.

Tell them they've got to find these girls.

They're all common names, Romeo.

Like trying to find a girl
named Smith in New York.

Thousands of them.

You'd have to mobilise Pinkertons,

the FBI, and army intelligence.

Well, tell them they've got to.

They can't leave me
like this, I'm a father.

Wait a minute.

When do you leave here?

Next week.

They got me a job with
a Mexican rug company.

Rugs.

A man in search of a girl.

A man in search of himself.

Well, that's it.

Rome, Vienna, Berlin, Paris, London.

A tale of five cities.

Listen, Mitchell, I've got a
proposition to make to you.

Anything you like, honey,
but get me out of here.

I've got to find myself.

That's what we're gonna do.

Maybe it won't be
pleasant what you'll find,

but my magazine's going to
send you in search of yourself.

Send you to find these girls.

You're going to meet them,
find out how you met them.

Which is the mother of your
child and who you were.

And we'll print your story.

For cash.

Honey, I love you, I'm crazy about you.

You're the most wonderful
thing that's happened to me

since I got here.

- Then it's a deal?
- It's a deal.

And if just so happens
that I'm not married...

You better be.

You got to go places,
Romeo, and get that story.

And the happy ending.

Reunited with your wife and child.

Mitchell, restrain yourself.

(grandiose music)

I knew you'd love the idea, Mr. Falk.

I don't, Miss McDermott.

Don't like it at all.

Mr. Falk, I'm going
to fight for this story.

Now come, come, my dear young lady.

Promenade is a respectable
family magazine.

How can you suggest
sending this cheapskate

of a Casanova, wandering all over Europe,

in search of his harem?

Here he is, unknown, lost.

He goes searching Rome,
Vienna, Berlin, Paris, London.

Finding these girls, meeting them.

Until, at last, he comes face to face with

the woman he loves, with
the child he's forgotten.

Have you gone nuts, too?

You think the Promenade,
the family reading

of a million American
homes, is going to risk

its reputation by sending
a raving lunatic to Europe?

I tell you he's as sane as you are.

Saner.

Well, that's an insult.

You state here distinctly that
this guy's out of his mind.

I said he'd lost his
mind, lost his memory.

I tell you, I'm not going
to have this mindless moron

coming here, thinking he can
collect a stack of dollars

for a bunk story.

No, sir.

How much does he want?

Would you send Mr. Mitchell in, please?

I refuse to see him.

I have something else better to do

than to waste my time with a half baked.

Oh.

This is Bob Mitchell.

How do you do, Mr. Falk?

If you think you're
going to be paid good money

for a punk idea like this.

Listen, Mister, I'm not
interested in your money.

All I want to do is go back to Europe,

find my wife and child,
and get some piece of mind.

And you know you can
do with your magazine.

No money?

Why didn't you say so at first?

I'm sending a Mr. Robert Mitchell down.

Fix him up with
transportation, round trip.

Rome, Vienna, Berlin, Paris, and London.

No, no salary, just minimum expenses.

(grandiose music)

Was I excited.

Here was Rome, the eternal city.

There was a guy from
Promenade, supposed to meet me

at the airport.

But, he hadn't turned up.

So I decided to take
the bus to the terminus.

There it all was.

The Rome of the Caesars, all jumbled up

with the Rome of today.

Coliseum, traffic cops.

Adrian's Arch and automobiles.

It was strange to think that out there

on the streets, Maria might
be walking, breathing,

wondering what had happened.

(swelling music)

(foreign language spoken)

I'm sorry, no speak Italian.

- American?
- Yes.

- You lost someone?
- I certainly have.

Let me fill in the form.

- Name of your father.
- I don't know.

Oh, I'm sorry.

That happens in life.

But it is no disgrace.

After all, it was not your fault.

- I don't quite get you.
- Oh, I understand.

It is a painful subject, huh?

Oh, the name of your mother.

- I don't know.
- Senor.

That you do not know your father's name,

I understand, I have sympathy for you.

But that you should not
know your mother's name,

well that is impossible.

Look, chum, just take it
from me that I don't know.

Then we cannot fill out the form.

I'm looking for a girl named Severini.

- Maria Severini.
- Severini.

Severini.

I will look.

Yeah, I thought you might.

Severini.

Marai Severini.

Yeah, that's right.

Severini.

- Salviati?
- No, Severini.

Severini.

What's the matter, can't you find her?

Senor, there are hundreds, thousands

of missing people in the files.

It would take months, years.

But look, I've got to find her.

You are young, I am not.

You have me spend the rest of my life

looking for a Maria Severini?

What do you want?

Is she perhaps your wife?

I don't know.

Your father you don't know.

Your mother you don't know.

Now your wife you don't know.

Perhaps you tell me
yourself you don't know.

That's right, I don't.

Then you go find her yourself, senor,

- or I go mad, too.
- All right.

Look, here's one.

Severini, Maria Severini, who is she?

She?

Oh, she's a refugee.

Everyone in the files is a refugee.

Where is she now?

Now they're no longer refugees.

Why do you keep this place open?

- I don't know.
- First I don't know,

now you don't know.

Senor, you say you know nothing
but I know I know nothing.

Look, I've got to find her.

She may be my wife.

Maybe the mother of my child.

(foreign language spoken)

I have discovered something.

- What?
- This Maria Severini,

- she no longer exist.
- What?

- You mean she's dead?
- I don't know.

But as a refugee, she no longer exists.

She's crossed off, she got a job.

Well, why didn't you say so?

Because once she's no longer
a refugee, I know nothing.

Well, where is she now?

Maria Severini, waitress,
Club (foreign language spoken).

Number three.

Wonderful, thanks a lot, pal.

(piano music)

There are so many Marias around.

Yes, I know, but this
one used to work here.

Maria Severini, she was a refugee.

Oh, yes, I remember now.

She has gone some time ago.

Perhaps Marina knows.

She's a manicurist, down in
the (foreign language spoken).

(foreign language spoken)

- Yes.
- Thanks.

Thank you very much.

(grandiose music)

We were refugees, together.

Oh, what happened to Maria?

We sort of lived together for a while.

We earned a living giving
lessons to soldiers.

Allied soldiers.

Do you stay long in Rome?

Maybe, but I've got to find Maria first.

I wonder if you could help me to find her.

I have not seen her
for many, many months.

But I think she's still there.

(foreign language spoken)

Where is that?

I'd talk to Mario.

I'll write it down for you.

Thank you very much,
that's very kind of you.

(grandiose music)

Then, at last, I went
to meet my fate, Maria.

I could picture her, already.

Just like the name sounded.

Sweet, gentle.

(foreign language shouting)

(crashing)

Hold it, hold it, stop.

Look, the war's over.

We're all supposed to like each other now.

You dropped your chapot, General.

You ought to trade that
in for a steel helmet.

A little ammunition?

(foreign language spoken)

Temper, temper.

So you think to fool
me, speaking English.

But it don't work.

(foreign language spoken)

Come again?

No speak Italian, I
don't understand a word.

(foreign language spoken)

You are under arrest.

In Italian or English, I do not care.

You're making a mistake, General.

I just came here to see Maria Severini.

So do I, now I got you both.

Maria Severini.

(foreign language spoken)

You are both under arrest for arson.

Burning and destroying property.

Look, General, you're
making a big mistake.

Look, if you're Maria
Severini, tell him who I am.

In fact, tell me who I am.

I don't know.

(foreign language spoken)

If you are not (foreign
language spoken),

- who are you?
- I don't know.

I'm an American.

I came here to find...
You come to prison

with me and there we find out.

You're making a big mistake.

I tell him this stupid
fool is making a mistake.

(foreign language spoken)

Aldo, for Pete's sake, who is Aldo?

- A young rascal.
- My boy.

My poor little boy.

A boy, your boy.

Our boy.

The sweetest boy in all the world.

I love him.

He's my baby.

It was not his fault the taxi was burned.

The taxi was burned, it was arson.

Look, General, take it easy.

Little babies don't go
around burning taxis.

Go ahead, honey, tell your story.

Start at the beginning.

It was last Sunday.

The beaches were crowded.

There were processions
everywhere from the church

and from the communists.

I am in the church, but
Aldo is a communist.

Aldo drives a taxi.

Only rich people use taxis.

So Aldo does not like rich people.

Suddenly, my procession is attacked.

I am seized and driven away.

I am being kidnapped.

A good story.

Now she pretends she is kidnapped.

But I was not kidnapped.

It was my Aldo who drives the taxi.

He burns the taxi, he drives the taxi.

For the love of Mike, how old is Aldo?

He's young, he's only 25.

He's come for me because
he's giving a big party.

His dad, the winner, in a football pool.

(chattering)

He's rich now, so he's no more communist.

(foreign language spoken)

Maria, I haven't been well lately.

I don't think so fast anymore.

How do I fit in with this?

Senor, I apologise.

I mistake you for this scoundrel Aldo.

You can go free, senor.

Oh, thanks heaps.

She admits his guilt.

We can explain to the judge
why he burns the taxi.

He burns it because he hates it.

Because he thought we were rich.

He does not need to drive the taxi.

He will marry me, and we
will be happy forever.

Until the radio gives the news.

Thousands of people have the
winner in the football pool.

Aldo has not won 40,000,000 lire.

But only 2,000.

And he has burned the taxi.

So we are ruined.

I am so sorry.

I am afflicted, but I have my duty.

What are you gonna do?

She will not tell where Aldo is,

I must take her to prison.

But you can't do that,
I've got to talk to her.

Look, my name's Bob
Mitchell, I'm working for

New York Magazine, I'll
take care of everything.

I'll pay for the cab, how much is it?

- 400,000 lire.
- 400,000 lire?

- That is the claim.
- Look, the name's Mitchell,

not Marshall.

All right, I'll pay for it.

At least Mr. Falk will.

I will see what can be arranged.

Goodbye, senor, and good luck.

Maria.

Look at me.

Have you ever seen me before?

My name's Bob Mitchell.

I was an American soldier of some kind.

Try and remember.

Bob Mitchell, a soldier.

Look.

That's your name.

When and where did you write it?

Who am I?

I remember you, yes.

You were a soldier.

Yes, I know, but who am I?

What kind of a soldier?

There were so many of you.

Thousands.

All of the liberators.

But you I remember.

You were quite simpatico.

But you were so awkward.

- What?
- I couldn't teach

- you a thing.
- Maybe I was just

- young and innocent.
- No, you were stupid.

Never in a thousand years
could I teach you Italian.

Italian.

(laughing)

You say you take five
lessons for a thousand lire.

You come once and you don't come anymore.

And don't pay the thousand lire.

I'm sorry about that, Maria.

Sorry I bothered you.

Here.

Graci.

Thank you for the taxi, Mr. Mitchell.

It was a very old cape, a very cheap cape.

That's what you think.

And tell Aldo to stick
to being a communist

next time he thinks he's won a pool.

Even congress won't
stand for converting them

at a thousand bucks a head.

Not even Stalin.

Out of the dust.

(dramatic music)

A thousand bucks.

This guy's not only nuts, he's a firebug.

He's going around Rome,
burning up taxi cabs.

- He didn't burn it, Mr.
- Falk, he only paid for it.

What do I care who fired it?

He's using my money.

He only did it in the
interest of the paper.

He's got a sweet nature.

He's brought happiness to
two young broken lives.

A million American hearts
are going to rejoice.

Oh, can that, McDermott.

I'm not buying the paper, I'm selling it.

I'm proud of Bob Mitchell.

Proud I discovered him.

Say.

What's between you two?

Nothing, only what I said.

I think he's got a sweet nature.

Well, then you can forget it.

This guy is in search
of his wife and child.

And he's got to find
them and bring this one

single message to 1,000,000 American homes

that true love triumphs over everything.

(dramatic music)

(laughing)

(foreign language spoken)

- Are you American?
- Yeah, you too?

- Yes.
- What part are you from?

- Los Angeles.
- Los Angeles.

- Well, howdy, partner.
- Are you, too.

Oh, no, I come from New York.

- Oh.
- Oh, I see.

Well, anyway, can you tell
me where this place is?

That way.

Frauline Cateline Tellick,

does she live here?

(foreign language spoken)

Tellick, Frauline Caterine Tellick.

Frauline Tellick.

What do you want here?

Danke.

No, no, no.

(foreign language spoken)

- Oh, sleep.
- Yeah.

(foreign language spoken)

Now, yes.

This is important.

(foreign language spoken)

Oh, just tell her Mitchell, Bob Mitchell.

(foreign language spoken)

Here, show her that.

(knocking)

(foreign language spoken)

Mistake.

Mistake.

(foreign language spoken)

Mistake, bitte.

Mistake.

I've always paid for my mistakes.

(foreign language spoken)

I'm sorry, I don't speak German.

I've come to see Cateline Tellick,

that's you, isn't it?

You have been given your
answer, now please go.

At once.

I've come a long way
to see you, Miss Tellick.

You heard what I said.

Leave me alone.

And go.

[Robert] I'm not going
until I've talked to you.

It's very important to me.

I have nothing to say to you.

You've only come here spying.

I'm trying to find someone who knew me.

I've got your name here.

Some sort of a souvenir.

Cateline Tellick.

There are plenty of
Tellicks in the world.

Not with your handwriting.

That is your handwriting.

Look, you know me.

You've met me somewhere.

What is it you want of me?

What am I, what did I do?

What do you mean?

You are Bob Mitchell, one of the soldiers

who came here when the
Nazis were driven out.

What kind of a soldier?

What rank, who were my friends?

I don't know.

You were a flying officer.

We met.

We had a good time.

Did I ever tell you where I came from?

Give you any address?

No.

I know nothing more about you.

Now please go.

Cateline, please try to understand.

I've had an accident, I've lost my memory.

I can't remember.

You're lucky.

I can't help you.

You are wasting your time.

Try to cast your mind back.

Where did we meet, here?

No.

Not here.

I was an art student when we met.

You said you were lonely.

We made a part and went out together.

You and I, my sister and her husband.

We used to go and dance and drink wine

in the (foreign language spoken).

You were very funny.

We used to laugh and say
you were an artist, too.

An artist, what kind of an artist?

I don't know.

It was some kind of a joke.

But you used to laugh and.

Well.

Then you went away.

That's all.

There was nothing else.

I see, nothing else.

What kind of a guy was I?

I liked you very much, Bob.

You're sorry about
that, Cateline, liking me?

No, I like to remember it.

But what does it matter?

Put on a dress, Cateline, let's go out.

Go to some of the places we used to,

to dance and to drink.

Come on, maybe I'll remember something.

No.

No, I can't be seen with you.

Why not?

Are you in some kind of trouble?

Can I help, is it money?

No, it's worse than lack of money.

You see, I'm a Hungarian, a refugee

without proper papers.

My sister and her husband
were in the same position.

I desperately wanted to
work to lead a decent life.

But that's not good enough.

You must also have a passport.

A labour permit.

Without those papers, you are an outcast.

But there are certain places
that are not so particular.

It was at one of those that
my sister and I got jobs.

(grandiose music)

(applauding)

Hostess at a night club.

Oh, it was a wonderful job, all right.

Bad tempered black marketeers.

Spending their profits on
cheap music and bad champagne.

To earn a living, we had
to persuade these customers

to drink, I hated drinking in those days.

I hated the men I had to drink with.

Seems funny now, doesn't it?

I wasn't very good at my job.

But I wanted to live.

He complained.

He had bought five bottles of champagne,

and I hadn't even taken my gloves off.

Often there were police raids.

The same old story.

Papers, papers, papers.

One of the girls was lucky
enough to have a passport,

which was shared for many weeks.

But it became more and more dangerous.

My sister's husband was
hoping to get her papers,

and smuggle us out of the country.

Sometimes she was there
while a raid was on.

These raids were getting far too frequent.

We escaped that time,
they were Austrian police.

Easy going.

But it couldn't go on.

Your sister and her husband?

My sister's husband went to see

the man who was fixing the papers.

It was a trap.

We never saw him again.

Where is he now?

When was he arrested,
what about the trial?

Arrested, trial?

He was kidnapped, deported.

Maybe he's doing forced
labour in some prison camp.

Or is dead.

And your sister?

Maya committed suicide.

I didn't have her courage, so I'm here.

Cateline, I want to help you.

Please, Bob, please go now.

No, there's something wrong.

I've got to get you out of here.

You're scared.

(laughing)

You are imagining things.

I have nothing to be scared of.

I'm quite safe here.

There is drink, there is music.

I can dance.

(upbeat music)

What is it, Cateline?

You're hiding something from me.

Why can't you go out with me?

Because of the papers?

It's not only.

(phone ringing)

Hello?

(foreign language spoken)

Did you hear it?

Yes, but I didn't understand.

That's why I'm safe.

Maya's dead, her husband's
dead, but I am alive.

My friend has influence.

Cateline, maybe I can do something.

There is nothing you can do, Bob.

Can you marry me?

Make me Mrs. Bob Mitchell, US citizen,

with papers and passes, so I can live

like a free human being?

You must go now.

I'm waiting for him.

If he sees you, an American, it's no use.

Look, Cateline, I'm sponsored by a big

American magazine, they've
got millions of readers.

Maybe if I tell them your story,

I can't promise, but
maybe they'll publish it.

Then if enough people
get to hear about it,

well, maybe you'll get that photograph

with a rubber stamp on it.

A photograph with a rubber stamp on it.

(gentle music)

(grandiose music)

(crying)

(dramatic music)

Hey.

Hey fella, give us a break, will ya?

(foreign language spoken)

What was that?

(foreign language spoken)

Now wait a minute, I got
a piece of paper here

with the name of the street on it.

Something.

(foreign language spoken)

Yeah, you know where that is?

(foreign language spoken)

You can take me there?

Wonderful, wonderful.

(grandiose music)

Hey, what's going on?

(foreign language spoken)

What's (foreign language spoken)?

(foreign language spoken)

Hey, wait a minute.

You know the Schmidt family?

(foreign language spoken)

You mustn't ask me.

Oh?

What are you around here?

Shh, I am the fuhrer of the
(foreign language spoken).

Hey, fellas.

You know where the Schmidt
family live around here?

[Child] It is over there.

All right.

Is this the Schmidt family?

Bob.

Bob Mitchell.

Well.

(foreign language spoken)

I am Charlotte's brother.

I have waited a long time
for this visit, Mr. Mitchell.

At last you can meet them all.

Grandfather and grandmother,
my mother, my father.

(foreign language spoken)

He says, "Welcome, my son."

And this is my sister.

(foreign language spoken)

She says, "I always talk about you."

You went very suddenly, Mr. Mitchell.

Yes, you came into my life.

I was happy and grateful.

Then you went.

Whatever made me do such a thing,

to meet a girl and then?

All that sort of stuff and just
leave without saying a word?

Why did I do it?

The world went mad.

How, when, where?

Bob.

Surely you remember.

No, nothing.

Then why have you come back?

To find out who I am.

What sort of a guy I was.

You see, I don't know anymore.

Then tell him, Charlotte.

How could you forget it, Bob?

It was the day of the Hitler parade.

(marching)

The gestapo were after me.

I should have stayed in hiding,

but I went out in the streets.

(foreign language spoken)

Hey, hey, hey, what's going on here?

This is my wife, she's an American.

(foreign language spoken)

OK, come on, honey, let's go.

- Bob Mitchell.
- Charlotte Schmidt.

- Thank you.
- Forget it.

She saved your wife, Mr. Mitchell,

and then you go away from her.

That is not good.

Yeah, I guess I must
have been pretty much

of a low life, but I'll
make up for it, Charlotte.

Will you come to the states with me?

- America?
- Oh, I would love to, Bob.

But how could I leave my family?

And think of the children.

No, couldn't be.

Charlotte, when did you
say we last saw each other?

- Just before the war.
- Before the war?

But that's years ago.

Let's get this straight,
Charlotte, whose child is that?

Mine, Mr. Mitchell,
and my wife's, of course.

Bob, how could you think that of me?

I'm sorry, Charlotte,
but, well, when a man's in

the state of mind I am, he gets
mean minded and suspicious.

But whose child is this, I've got to know.

It's not one of mine.

What do you mean, not one of yours?

But I have many children.

Bob, surely you remember.

All very fine and healthy.

I'm sorry, folks, I'm a sick man.

I haven't been right in the head lately.

Come and see them, Bob.

I know they would like to see you.

Yeah, I guess they would.

Very much so, Mr. Mitchell.

(foreign language spoken)

(laughing)

What's that?

(foreign language spoken)

Chewing gum.

They would expect a present, you know.

Oh, yeah, yeah, sure they would.

Charlotte, how many children are there?

About a dozen.

That's impossible.

Please, Bob, you don't
realise how strong you are.

A dozen, I'll say I don't.

Charlotte, how long were we together?

Just one day.

That one day when you saved me
from the concentration camp.

They dare not touch me when
you said I was your wife.

That fellow really
believed she was your wife.

You scared him out of
his jack boots, you know.

Yeah, yeah, I get all
that, but what was I doing?

What kind of a job did I have?

I don't know.

You were just passing through.

Just passing through.

Yeah, that seems to be me, all right.

Please, come and see my children, Bob.

I haven't got a proper
school for them, yet.

So I tried to teach them.

Today they're going to
the vice chancellery,

where we met, Bob.

They want Hitler's (foreign
language spoken), his eagle.

They think it's made of gold.

Bye.

(foreign language spoken)

And this is his famous balcony,

- from which he used to speak.
- Looks a bit of a mess now.

It always was a mess,
like the children's eagle.

It glittered, but inside it was worthless.

Now the grown people he deceived,

the people who cheered
him on this balcony,

sell his badges and peddle his books,

and they mock him.

10 cigarettes, 10 cigarettes.

(chattering)

(foreign language spoken)

What do they want?

They want to show you a day in the

(foreign language spoken).

Oh.

Yes, mister, but if you will see a day

in the (foreign language spoken),

you must pay.

(foreign language spoken)

What's (foreign language spoken)?

- Little money.
- I thought so.

There's no escape, Bob.

OK, gang, we're coming.

(yelling)

(foreign language spoken)

[Charlotte] The diplomats are arriving

in their elegant motorcars.

Now the children make fun of it.

(foreign language spoken)

Doesn't seem to bother
the kids, Charlotte.

To them, it's just a big joke.

Ruins mean nothing for them, Bob.

It's all they've ever known.

They are children of the ruins.

And it's they who must build on them.

What will they build, Charlotte?

I don't know, Bob, but I
bring them here to learn.

It must be different.

Something real and clean.

For real people.

For good people.

Not a place for ghosts and devils.

Not this place.

Don't give up, Charlotte.

New York.

(foreign language spoken)

Your call's just coming
through, Mr. Mitchell,

- box one, please.
- Thanks.

My lady editor, great girl.

Hello, Promenade office?

- Mitchell here.
- Miss McDermott speaking.

Hello, Leslie, it's
great to hear your voice.

Hey, Leslie.

I got her here with me.

- Who?
- Why, the girl

who's fine, Charlotte.

You'd like her, Leslie, she's swell.

That's fine.

That's the end of your
assignment, I guess.

Congratulations.

Now we can go to town with
a splash happy ending.

There's a million American
homes waiting to hear this news.

To hear you found happiness.

I'm switching you through to
our stenographers right away,

give it everything you've got.

Put Mr. Mitchell's call through

to the stenographers, please.

Hello, Promenade, put
me back to Miss McDermott.

(buzzing)

McDermott, New York Promenade.

Hey, Leslie, you got me
all wrong, I'm not married.

I still don't know who I am.

Then why didn't you say
so right away, you big mutt?

You keep right on with the job.

You've got to find that girl.

Next stop, Paris.

And if you don't find
her there, Mr. Falk says

I'm to cross to England
and find Peggy Brown

of London for you, even if
it costs a million bucks,

- got that?
- Yeah, I got it.

And remember, it's only
one girl you're looking for

in Paris, so make it snappy
and keep the eyes down.

Hold on a minute.

Take Mr. Mitchell's call, please.

OK, you're through.

- Bye now.
- Bye.

(grandiose music)

(foreign language spoken)

(chattering)

(foreign language spoken)

Oh, good morning.

I'm looking for a young lady.

(foreign language spoken)

Yeah, but I don't need a haircut.

(foreign language spoken)

Oh, I see, you don't speak English.

It says outside you speak English.

Yes, yes, yes.

(foreign language spoken)

Shoot, I speak English
as well as I speak French.

Well, (foreign language spoken).

(foreign language spoken)

- Cigarette.
- Thank you very much.

Number one, take the whole pack.

Oh, no, thank you.

We are not under liberation,
now we have good manners.

Tell me, where is Jeanine?

She's not in.

I am Annette, and you?

I'm Mitchell, Bob Mitchell.

(foreign language spoken)

(snoring)

She's very beautiful.

You don't find her changed?

Well, I don't know, you
see, I'm not quite sure

how well I know her.

Oh.

Monsieur is very discreet.

Like Jeanine.

Imagine she never told me.

But all the time I knew
she had a big secret.

And now it comes true.

I don't quite get you, madame.

Oh, very simple.

One night, I told her fortune.

You know what is in cards.

So I said, you are waiting someone,

your heart is finding young, an American.

Yes, young and rich and handsome.

That kind of lets me out, I'm afraid.

I'm not rich.

Nonsense, you're American.

All Americans are rich, aren't they?

Anyway, that will make
no difference to Jeanine.

It's love that is important, Mr. Pickles.

Oh, you sure that I'm
the one she's waiting for?

Yes, of course.

When I described you from the cards,

she just sigh like that.

There is no mistaking love, Mr. Pickles.

- Mitchell.
- Mitchell.

That Jeanine, she will be so happy.

You will have to take her out tonight,

to a wonderful place.

To (foreign language spoken).

Champagne, music.

Well, couldn't we go to some

place nice and inexpens, quiet?

Not for Jeanine.

She loves the real thing,
that is rich and gay.

And you will be so handsome together.

Oh, I'm so happy for you both.

Well, couldn't I just talk to her first?

No, monsieur, this is a big romance,

it must be a big surprise for Jeanine.

Well, I don't want her to
get the wrong ideas about me.

A woman's heart never
mistakes, leave it to me.

So, (foreign language spoken).

Eight o'clock, champagne,
Jeanine will be there.

Bye bye, I have much to arrange.

Are you sure she'll recognise me?

Yes, of course.

And you will recognise her.

She will be carrying red roses here,

near her jot, you know in
the language of flowers,

it means love.

Bye bye, Mr. Pickles.

- Mickle, Mitchell.
- Mitchell.

Don't forget, eight o'clock.

(foreign language spoken)

Champagne, Jeanine will be there.

(foreign language spoken)

Hello?

(foreign language spoken)

Hello?

Hello.

(foreign language spoken)

- Hello?
- Hello, Jeanine?

(foreign language spoken)

Speak English, you must practise.

- Are you mad?
- Mad no.

But excited, yes.

And I don't want that
old fool to understand.

I told him your mother was dying.

It's (foreign language spoken).

Is it one of your mysterious romance?

Oh, no, no, no, but
it's marvellous, Jeanine.

I know a rich American
has come to look for you.

Oh, he's so charming.

I'm sure he wants to marry you

and to take you to America.

His name is Winkles, a
general of some kind.

I have arranged for you to meet him at

(foreign language spoken)

But you're crazy, Annette.

I don't remember him,
and I have no clothes.

Yes, you know him.

No clothes, why do you think I am working

with the greatest
(foreign language spoken)

in all Paris?

(gentle music)

(foreign language spoken)

(tense music)

(laughing)

(foreign language spoken)

(laughing)

(foreign language spoken)

Thank you very much.

Hey there, hey, hey.

(foreign language spoken)

(laughing)

(foreign language singing)

(applauding)

You're Jeanine Miniere?

I'm Bob Mitchell.

Oh, you are not Mr. Pickle?

No, Mitchell.

But I guess I'm the same guy.

Of course, Bob Mitchell.

- That's right.
- Oh, that's very funny.

Really?

Bob Mitchell.

May I take your wrap?

I can't believe my eyes.

Champagne?

Look, I'll get straight to the point.

I wanted to ask you a question.

A very serious question.

I know, Annette told me.

I wanted to ask you if
I was ever married to you.

You see, I don't remember.

(laughing)

Now you're laughing at me.

I'm laughing at me and at Annette.

Oh, she's so romantic.

She thought that.

She sees love everywhere.

You love me, I love you.

Well, why not, maybe we did.

Oh, I was only a little girl.

In pigtails.

But you did promise you
will come back one day

and marry me.

That's what I want to know.

Did I?

Then it was too early.

And now maybe it's too late.

Here I am.

Yes, but it's not me
you are looking for.

Jeanine, I'm looking for myself.

That's what I want you to tell me.

Tell me about myself, how we met.

It was the liberation,
you were an actor, a hero.

I asked your autograph and you asked mine.

On 100 frank notes.

And you said you would come back one day

when the war is over, and
you kept your promise.

- But who was I?
- A soldier.

Like everybody else.

You were in a Jeep,
going up to the fighting.

You leaned out of the
jeep, and signed my book,

and had your little joke, that's all.

There was no romance.

You're a very sweet girl.

A strange girl.

Tell me, what do you do, really?

Well, during the war I
was in the underground,

and I'm still there.

Underground, the war's over.

This is Paris.

This is, as you say, Paris.

So let's have some more champagne.

(foreign language spoken)

Oh, no, let's dance.

(crashing)

(foreign language spoken)

What do you think you're doing?

(foreign language spoken)

And so what?

(foreign language spoken)

You are right, my dear.

(foreign language spoken)

Shut up, Blane.

I lose my job and because of you.

It's not possible.

Shut up, Madame.

(knocking)

(foreign language spoken)

(orchestral music)

(foreign language spoken)

Oh, what a lovely dress.

It's quite beautiful, my dear Mark,

I must have it.

- You think so?
- But it's quite

your best creation.

(foreign language spoken)

(upbeat music)

(foreign language spoken)

You, what are you doing here?

One minute, please.

But I told you I was
working in the underground.

- Yes, I know, but...
- This is Harry.

Harry, there is your train.

Well, goodbye.

- Good luck.
- Goodbye, Jeanine, good luck.

Hold.

Your ticket.

Don't forget to change at the
(foreign language spoken).

I won't.

Goodbye, Jeanine, and thank you.

And you know this girl, I'm sure

you will find her, somewhere.

I will, goodbye.

(gentle music)

(exciting music)

Well, have you found Peggy Brown yet?

No, not yet, but we will.

Incidentally, there's quite a few Browns

in London, you know.

- Yeah, I guess so.
- Now why couldn't you

have gotten yourself
mixed up with a nice girl

called Hoperdinkle, you know,
something nice and easy?

(laughing)

Well, well, very nice.

I bet old Falk's ulcers
are having puppies.

Well, how long do you think it'll take?

Well, give me a chance.

I've only been here a day myself.

And what a day.

Don't worry, Bob.

We've got a publicity campaign lined up

that'll bring Peggy Brown
along on roller skates.

- No kidding.
- Newspapers, posters.

The whole works, even the radio.

- Listen to this.
- Here is Radio Brittany.

Promenade Magazine, your
weekly slice of life

with the spice of life,
the family favourite

with world appeal, today
appeals to one woman only,

to Peggy Brown of Britain.

Do you remember Bob Mitchell, Peggy?

Bob Mitchell, just one of
a million American boys

who came over to fight for freedom.

Bob Mitchell, the boy who
lost his life without dying.

And that's no gag, Peggy Brown,

for Bob can remember nothing of the past.

All he knows is that you
once signed your name

for him on a 10 shilling note,

and maybe gave him the
photograph of a little child

with curly hair.

Yes, Peggy Brown of
Britain, you alone can solve

the most fascinating true life mystery

of the post war world, the
mystery of the missing memory,

as featured in this week's
edition of Promenade Magazine,

whose London offices
are anxiously awaiting

a call from you.

- How's that?
- I don't like it.

What?

I suppose to you it's
just another story.

Sell a million copies and
to heck with how you do it.

(exciting music)

Mrs. Peggy Brown.

Is Mr. Mitchell there please?

Peggy Brown, no, no, I'm sorry,

the editor's not here.

I insist upon speaking to the editor.

Peggy Brown speaking.

- Peggy Brown.
- Peggy Brown.

- Brown.
- Peggy Brown.

- Peggy Brown.
- Brown.

(chattering)

Get a picture, Jim.

Excuse me, Miss Brown,
perhaps you'd like to tell me

your story, I'm from
the news of the world.

Chic.

An American soldier, but
you didn't know his name.

Well, I just called him Mitch.

But you say you were sweethearts.

We were very sweet.

This unfortunate lad
Mitchell is the reincarnation

of the pundit Rom Chundra.

Well, I think his name was Mitchell,

but I had had 14 gin and Italians.

Well, did he give you
anything to remember him by,

a photograph or something?

Well, he did give me
six pairs of nylons.

(buzzing)

- Bluemont here, any luck?
- Yes.

I found out what our
GI's used for ammunition

when they weren't fighting.

(laughing)

(gentle music)

(knocking)

Come in.

This is the office
of Promenade, isn't it?

That's right, miss,
but they're all done now.

I want to see Bob Mitchell.

So do a lot of other people.

You'll have to come back in the morning.

Where can I find him?

What hotel is he staying at?

Can't tell you that,
miss, it's against orders.

Yes, but I've got something
to show him, you see.

Something that'll make him remember.

Please give me his address.

I'm sorry, miss.

Then will you take it to him?

Oh let me have it, I'll see he gets it.

- Tonight?
- No, now, miss.

Here's your medicine.

London, good lucking city, huh?

Wish it was mine.

- It could be.
- Could be.

Always it could be, but it never is.

- Perhaps tomorrow.
- Tomorrow.

Yesterday it was tomorrow,
and the day before that.

There never was a girl, she
never did sign her name.

It's all a pipe dream.

Maybe that.

The circulation machine doesn't
seem to be getting anywhere.

I'm sorry, Leslie, I
shouldn't have said that.

No, you were right.

Let's call it off, Bob.

Go back to the states.

You'll get a job all right.

And kill your story baby?

So what?

It seems to have brought
nothing but unhappiness.

Let's call it a day.

I don't mind, really.

No, I can't do that, Leslie.

I can't leave this thing
unfinished, not now.

On account of Peggy Brown?

No.

On account of you.

I told you the story
doesn't matter that much.

- But you do.
- I don't come into this.

No, you can't come into it.

Not now.

How can a guy, a lost
guy, a guy who doesn't

even know his name, maybe has
a wife somewhere and a kid,

how can he ask you to marry him?

Bob.

That's the way it is, Leslie.

I guess that's the way it always has been.

(ringing)

Don't answer.

I better.

Maybe it's just as well.

Letter for Mr. Mitchell, please.

Oh, thank you.

- Let it wait.
- No, Bob.

I don't think anything can wait.

Not now.

All right, then open it.

It's just another false alarm, I'll bet.

Bob.

Bob, look at this.

Holy mackerel, it's the kid.

Who sent it, who does it belong to?

Bob, dear, surely you
haven't forgotten Jimmy.

We'd given you up.

Please come as soon as you get this.

Love, Delia.

Delia, Morrell, and Romanoff.

International circus.

The international circus, huh?

Yeah.

Yes, they're out at Hamstead.

Hamstead.

Well, we'll get a cab, come on.

(chattering)

(humming)

Ah, good evening.

I say, you haven't, by any chance,

got a fella called Bob Mitchell
staying here, have you?

That's right, sir, we have.

Oh, good, found his hotel at last.

Well, you might tell
him I want to see him.

I'm afraid Mr. Mitchell's
just gone out, sir.

- Gone?
- Yes, you just missed him

- by a few moments.
- Oh.

Of course, if you'd like to
telephone him in the morning.

No, I can't do that.

I've got to get back to Germany tonight.

No idea where he's
popped off to, I suppose.

- I can hardly.
- No, that's all right.

I'm the fellow he's looking for.

I can tell him who he is.

- Really, sir?
- Yeah.

Well, in that case, you might try

the international circus.

No idea he'd gone in for politics.

I beg your pardon.

It's all right, I'll let it pass.

Circus, eh?

Yes, that's right, it's a trapeze act.

Delia...
Delia.

That sounds like our Bob.

Oh, well, thanks very much.

See you in church.

(grandiose music)

This is it.

Looking for somebody?

Yes, I'd like to see
Delia, Morrell, and Romanoff.

- Are you Mr. Mitchell?
- That's right.

Miss Delia said to
send you straight over

to the caravan, you can't miss it.

There at the back.

Blue car with the gold letter.

Thanks very much.

Come on, Leslie.

Wonderful way to live.

(chattering)

This is it, I guess.

(knocking)

It's a cute little setup.

How would you like to
live in one of these?

(gentle music)

(dramatic music)

I'll give it to him now, shall I?

# Happy birthday to you #

# Happy birthday to you #

# Happy birthday dear Bob #

# Happy birthday to you #

Happy birthday, Bob, darling.

This is just to remind
you to come back quickly.

Thanks, Delia, it's beautiful,
but I don't need reminding.

Won't be long now and I'll
soon be back in the act.

By the way, how was I just now?

You were fine.

Too bad, Morrell, you'll
soon be out of a job.

Here's to you, darling.

Jimmy.

(dramatic music)

(yelling)

Jimmy.

Well, I'm afraid there's no change.

He's still unconscious.

Look, doc, I've got to
get back on my unit tonight.

You think he'll be all right?

I hope so.

We can't tell anything
until he comes around.

I'm afraid it won't be tonight.

Maybe not even tomorrow.

Can I see him or?

(indistinct singing)

(laughing)

Say, what's the big celebration?

It's my birthday, old man.

Believe it or not, he was actually born.

In Bullvine Hampton.

Wasn't a eyeful, I had it near the mater.

(laughing)

Come on, let's warm things up a bit.

Hey, Chad, Chad, what
about coming and beating

out the town, eh?

(chattering)

Hey, Mitch, Mitch.

# Mitch was poor but Mitch was honest #

Hey, come on, Mitch, you coming with us?

No, you've got to count me out.

Oh, come on, come on.

Trouble with you, is, old boy,

I don't believe you ever had a birthday.

Come on, fella.

# Mitch was poor, but Mitch was honest #

- A wire for you, sir.
- Oh, thanks.

Scotch.

Bring the bottle and leave it here.

But sir, I'm not allowed to...

Bring the bottle.

I am about to occupy
Germany in my own way,

in my own time, and nobody is gonna stop.

(muffled music)

Out of bounds to Allied Troops.

(grandiose music)

Where you from, buddy?

What's your name?

What's your unit?

What's your name?

What's your name?

Where are you from?

What's your unit?

Where are you from?

What's your name, buddy?

What's your unit?

What's your name?

What's your name?

What's your name?

Bob Mitchell.

Oh, Bob, darling, you've
been such a long time.

I had a long way to come.

Oh, Bob, you're back, it's a miracle.

Leslie.

Leslie, darling, what's the matter?

You weren't gonna run out on me.

What could I do?

Well, plenty.

First of all, you could meet Delia.

I'm very happy for you, Mrs. Mitchell.

Mrs. Mitchell?

Honey, you must be crazy.

Delia's not my wife.

I'm Bob's sister.

You are?

Yes, and this is her husband, here.

Jimmy's father.

Why, Mr. Romanoff.

His real name is Ramsbottom.

That's right.

Oh, Bob, I thought.

I know, darling.

And I could remember the kid.

Hey, Mitch.

How many horses do they
got in this circus, anyway?

Good old Mitch, caught
up with you, at last, eh?

(laughing)

Well, what do you know?

Honey, darling, I want
you to meet Peggy Brown.

- What?
- That's right, lady.

I'm the girl they're all looking for.

Lost a leg over Dunkirk, you see.

So they gave me a wooden one.

That's how I got my name.

Wooden leg, peg.

Peg, Peggy, Peggy Brown.

(laughing)

He's quite a girl, isn't he?

Yeah, but look here, I've
come to tell you who you are.

No, thanks, pal, I know that now.

- You do?
- Mm hmm.

I'm the luckiest guy in the world.

(grandiose music)

(musical sting)