Daisy Kenyon (1947) - full transcript

{\an1}WAIT FOR ME.
I'LL ONLY BE A MINUTE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hI CAN'T WAIT.
SURE YOU CAN.
I DO THAT ALL THE TIME.

{\an1}I DON'T CARE WHAT YOU DO
ALL THE TIME, MISTER. IT AIN'T
RIGHT TO HOLD A CAB THESE DAYS.

{\an1}THERE USED TO BE 11,811 CABS
OPERATING IN NEW YORK CITY.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hNOW THERE'S
\h\h\h\h\h\h\h\h\h\h\h\hLESS THAN 10,000.
OKAY, YOU WON THE CASE.

{\an1}RIGHT NOW EVERY NEW YORK CAB
HAS TO TAKE CARE OF 1,156
PEOPLE, AND THAT'S A LOT--

{\an1}I SAID YOU WON THE CASE.
DO YOU HAVE TO CONVERT ME TOO?
HERE. KEEP IT.

{\an1}[ Buzzer Buzzes ]

{\an1}- HELLO, MR. O'MARA.
- EVENING, HONEYBUNCH.

{\an1}♪ [ Slow Jazz ]

{\an1}♪ [ Stops ]
\h\h\h\hHELLO, PET.



{\an1}I TOLD YOU I HAD
A DATE FOR DINNER.

{\an1}ANYBODY WANT A CUP OF COFFEE?

{\an1}NO, THANKS.
BUT I'D LIKE SOME CREAM.

{\an1}UH-UH, ANGELUS.
\h\h\h\h\h\h\h\hI'LL DEFINITELY START
\h\h\h\h\h\h\h\hMY DIET--

{\an1}TOMORROW. I KNOW.

{\an1}WELL, ANYWAY, YOU FINISHED
MY UPPER PART.

{\an1}AND DON'T FORGET. THIS IS
THE ONLY PLACE I EVER EAT.

{\an1}WHEN ARE YOU GOING
TO LET ME COME
LIVE WITH YOU, DAISY?

{\an1}WHEN YOU REDUCE
YOUR SUITOR TRAFFIC.

{\an1}HERE'S THE CREAM,
HONEYBUNCH.

{\an1}ALL RIGHT, DARLING.
GET UP AND LIVE.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTHANK YOU.

{\an1}THAT'S THE LAST OF
THE EBERHARDT SERIES.

{\an1}IT'S HALF PAST TIME
I GOT DRESSED FOR DINNER.

{\an1}DON'T GIRLS EVER DIE IN BED
IN YOUR MAGAZINES?



{\an1}SURE-- SUFFOCATION,
BUT I DON'T LIKE IT.

{\an1}WITH A PILLOW OVER MY FACE,
I LOOK LIKE ANYBODY.

{\an1}[ Chuckles ]

{\an1}HOW ABOUT MONDAY AT 9:00?
WE START ON THE FULLER JOB.

{\an1}SWELL. SEE YOU MONDAY.

{\an1}HAVE A GOOD TIME,
HONEYBUNCH.
\h\h\h\h\h\h\h\hGOOD NIGHT, MR. O'MARA.

{\an1}GOOD NIGHT, ANGELUS.
\h\h\h\h\h\h\h\h\h\h\h\hGOOD NIGHT, DAISY.

{\an1}[ Door Closes ]

{\an1}I'VE GOT TO GET DRESSED.
\h\h\h\h\h\h\h\h\h\h\h\hI CAN'T STAY, PET.

{\an1}I TRIED TO CALL YOU
ALL AFTERNOON,
BUT YOUR LINE WAS BUSY.

{\an1}\h\h\h\h\h\h\h\hI CAN'T MAKE DINNER AT
\h\h\h\h\h\h\h\hTHE LATIMERS' TOMORROW.
OH, HONESTLY. DO YOU REALIZE...

{\an1}THIS IS THE THIRD TIME WE'VE
MADE A DATE WITH THE LATIMERS
AND YOU'VE BROKEN IT?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hHONEY, IF YOU
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hLET ME TALK I--
WHY SHOULD I?

{\an1}I DON'T INTEND TO BELIEVE
A WORD YOU'RE GOING TO SAY.

{\an1}ONCE, YES.
BUT THREE TIMES IN A ROW.

{\an1}MAKE IT THE WEEK AFTER NEXT,
AND I'LL BE THERE
IF IT KILLS ME.

{\an1}I WILL NOT.
YOU DON'T HAVE TO GO
ANYWHERE WITH ME.

{\an1}WE JUST WON'T PLAN
ANYTHING AT ALL.

{\an1}COME ON, TUBBY.

{\an1}SURE YOU DON'T
WANT SOME COFFEE?

{\an1}NO, THANK YOU.
I DON'T WANT ANY COFFEE.

{\an1}GOING TO RAIN.

{\an1}OH, FINE.
LET'S MAKE CONVERSATION.

{\an1}DO YOU THINK THERE'LL BE RAIN
FOR THE ENTIRE EASTERN SEABOARD
THIS WEEKEND?

{\an1}I HOPE NOT. I'M GOING TO
WASHINGTON. HARD ENOUGH TO GET
A TAXI WHEN IT ISN'T RAINING.

{\an1}WASHINGTON? HOW THRILLING.

{\an1}HARRY S. WANT YOUR ADVICE
ON ATOMIC ENERGY?

{\an1}NOW, LOOK. YOUR BEING MAD
IS SILLY, AND YOU KNOW IT.

{\an1}I'VE NEVER BROKEN A DATE UNLESS
I COULDN'T HELP IT. UNLESS
SOMETHING REALLY IMPORTANT--

{\an1}THANKS.
\h\h\h\hI DON'T MEAN
\h\h\h\hYOU'RE NOT IMPORTANT.

{\an1}BUT WE CAN GO TO THE LATIMERS'
NEXT WEEK, AND WE CAN
SEE EACH OTHER ANYTIME.

{\an1}DO YOU REALIZE IN ALL THIS TIME,
EVER SINCE THE LATIMERS
FIRST INTRODUCED US,

{\an1}THAT WE HAVEN'T MADE
A SINGLE OTHER MUTUAL FRIEND?

{\an1}THOSE STAIRS OF YOURS
ARE DRIVING ME NUTS.

{\an1}WHY DON'T YOU LIVE
SOMEPLACE CIVILIZED?

{\an1}THAT APARTMENT ON 63rd STREET--
I CAN'T HOLD IT FOREVER.

{\an1}YOU'RE DETERMINED TO HAVE
A GOOD ROW, AREN'T YOU?

{\an1}THIS IS MY APARTMENT.
IT'S BEEN MY APARTMENT SINCE
I STARTED TO WORK IN NEW YORK.

{\an1}I LIKE IT,
AND I'M KEEPING IT.

{\an1}YOU'RE MAKING PLENTY
OF MONEY YOURSELF.

{\an1}I HAVE A THEORY THAT
YOU STAY IN THIS HOVEL
JUST TO PUNISH ME.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\hAND ANOTHER THING--
I DON'T THINK WE HAVE TIME
FOR A SINGLE OTHER THING.

{\an1}I THINK WE WON'T SEE
EACH OTHER ANYMORE, DAN.

{\an1}I THINK I'M THROUGH.

{\an1}DO WE HAVE TO GO THROUGH
ALL THIS AGAIN?

{\an1}NO, WE DON'T HAVE TO GO
THROUGH ANYTHING AGAIN.

{\an1}I HAVE TO FIGHT TO STAY HAPPY--
FIGHT FOR EVERYTHING.

{\an1}MY LIFE'S ALL MIXED UP
WITH YOU EVERY WAY I TURN.
AND WHAT FUN IS IT?

{\an1}I'VE TRIED, AND YOU'VE TRIED.

{\an1}IT ISN'T ALL YOUR FAULT.

{\an1}THERE JUST ISN'T ENOUGH.

{\an1}AT LEAST FOR ME THERE ISN'T.

{\an1}YOU'VE GOT HER,
AND YOU'VE GOT THE KIDS.

{\an1}YOU'VE GOT YOUR WORK
AND BEING A BIG SHOT
IN WASHINGTON.

{\an1}I'VE JUST GOT MY WORK.

{\an1}YOU MESSED THAT UP TOO.

{\an1}WHEN I'M MAD I CAN'T WORK,
AND I'M MAD ALL THE TIME.

{\an1}YOU'RE NEVER GOING TO MARRY ME,
BECAUSE YOU'RE NEVER GOING
TO BE DIVORCED FOR ALL YOU SAY.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\hTHAT'S NOT FAIR--
YOU'RE
NEVER GOING TO BE DIVORCED, DAN,
BECAUSE YOU DON'T WANT TO BE.

{\an1}BELIEVE ME, I'M NOT
BEING SORRY FOR MYSELF.

{\an1}I KNEW IT WOULD BE LIKE THIS.

{\an1}IT'S JUST THAT I'M TIRED.
THAT'S ALL. TIRED AND THROUGH.

{\an1}I'LL GET OUT WHENEVER
YOU TELL ME TO,

{\an1}BUT I WANT YOU TO TELL ME
BECAUSE YOU MEAN IT,
NOT BECAUSE YOU'RE ANGRY.

{\an1}ARE YOU REALLY
TELLING ME NOW?

{\an1}I SAID I WAS.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYOU KNOW I DON'T
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hLIKE SCENES.

{\an1}I'LL GET OUT NOW,
AND I WON'T COME BACK,
IF YOU TELL ME.

{\an1}DARLING.

{\an1}WILL YOU EVER BELIEVE
I MEAN WHAT I SAY?

{\an1}[ Chuckles ]
THAT DEPENDS ON
WHAT YOU SAY.

{\an1}I WAS TAKING A CLIENT OF MINE
OUT TO DINNER TONIGHT--
PAYTON AMES, THE NOVELIST.

{\an1}I'LL CALL HIM UP
AND TELL HIM TO FORGET IT.

{\an1}I TOLD YOU I HAD
A DATE FOR DINNER,

{\an1}AND YOU NEEDN'T THINK
THAT GETTING AROUND ME IS
GOING TO CHANGE MY MIND.

{\an1}YOU'RE MOST OF MY LIFE,
DAISY--

{\an1}THE ONLY PART OF IT
THAT MATTERS.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hWE CAN'T STOP.
I'VE TRIED.

{\an1}HONESTLY, I'VE TRIED.
AND I WILL ONE DAY TOO.

{\an1}ALL RIGHT, YOU WILL.

{\an1}YOU STOP SOMETIME,
MAYBE NEXT YEAR, NEXT WEEK,

{\an1}BUT NOT THIS WEEK.

{\an1}[ Laughs ]
ALL RIGHT. NOT THIS WEEK.

{\an1}NOW GO ON. BEAT IT.
MY DATE'S DUE.

{\an1}GOOD NIGHT.

{\an1}GOOD NIGHT, DAN.

{\an1}[ Door Closes ]

{\an1}[ Thunder Rumbling ]

{\an1}[ Whistles ]
TAXI!

{\an1}\h\h\h\h\h\h\h\hWAIT FOR ME.
HEY, TAXI!

{\an1}SORRY, I'M KEEPING HIM.

{\an1}ISN'T RIGHT TO HOLD
A CAB THESE DAYS.

{\an1}EVERY NEW YORK CAB
HAS TO DO FOR 1,156 PEOPLE.

{\an1}ANYWAY, MISS KENYON
WON'T BE READY.

{\an1}OH, SHE'S EXPECTING YOU,
BUT I'M AFRAID I DELAYED HER
A LITTLE BIT.

{\an1}[ Buzzer Buzzes ]

{\an1}GO RIGHT UP.
I'LL SEND THE CAB BACK
WHEN I'M THROUGH WITH IT.

{\an1}HE AIN'T PAID.

{\an1}THAT'S OKAY.
I'LL TAKE CARE OF THAT
AND DOUBLE THE REST.

{\an1}8883 PARK.
JUST GET GOING.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hOKAY.

{\an1}\h\h\h\hHELLO, MISS KENYON.
HELLO.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hAM I TOO EARLY?
NO, I'M A VERY SLOPPY GAL
AND NEVER ON TIME.

{\an1}A FRIEND DROPPED IN,
AND I COULDN'T START CHANGING.
THAT'S ALL RIGHT.

{\an1}I'VE GOT A WHOLE WEEK
BEFORE I REPORT BACK,
SO TAKE YOUR TIME.

{\an1}COME ON IN
AND MIX YOURSELF A DRINK,
WILL YOU?

{\an1}RIGHT THERE.

{\an1}I WON'T BE TOO LONG.

{\an1}WELL, HELLO, BEAUTIFUL.

{\an1}HOW DO YOU DO? YES.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hYOU STILL HERE?
I SHOULD SAY.

{\an1}EVERYTHING SEEMS TO GO WRONG
WHEN YOU'RE IN A HURRY.
YOU KNOW HOW IT IS.

{\an1}AH, IT'S ALL RIGHT.

{\an1}WE'VE BECOME
VERY CLOSE FRIENDS.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYOU LIKE TUBBY?
AH, HE'S A BEAUTY.

{\an1}I THINK IT'S
STOPPED RAINING.

{\an1}WOULD YOU LIKE THE BREVOORT
FOR DINNER? I HAVEN'T BEEN THERE
SINCE BEFORE THE WAR.

{\an1}I'D LOVE IT.

{\an1}WHERE ARE YOUR RIBBONS?

{\an1}OH, I MUST'VE LEFT THEM
AT THE CLEANERS.

{\an1}YOU MUST'VE BEEN WORSE OFF
AT THAT PARTY LAST NIGHT
THAN YOU THOUGHT YOU WERE.

{\an1}I'M ALWAYS WORSE OFF
THAN I THINK I AM.

{\an1}DON'T YOU REMEMBER
GIVING THESE TO ME?

{\an1}I ALWAYS GIVE THEM AWAY
WHEN I FIND SOMEBODY
WHO WILL LISTEN TO ME.

{\an1}WHY DID YOU ASK ME 400 TIMES
LAST NIGHT IF I WERE REAL?

{\an1}WHY NOT?
NOTHING ELSE HERE IS REAL.

{\an1}WHEN I CAME BACK FROM EUROPE
THE FIRST TIME
AFTER V-E DAY,

{\an1}THEY CHANGED SIXTH AVENUE
INTO SOMETHING CALLED
"AVENUE OF THE AMERICAS."

{\an1}IT WASN'T NEW YORK.
\hIT WASN'T HOME.

{\an1}THAT'S WHY I WENT
BACK TO GERMANY WITH
THE ARMY OF OCCUPATION.

{\an1}HMM. GERMANY,
WHERE NOTHING WAS CHANGED,
OF COURSE.

{\an1}YOU GOING TO BE IN THE ARMY
ALL YOUR LIFE?

{\an1}I'D INTENDED TO,
UNTIL I MET YOU.

{\an1}MISS ANGELUS TELLS ME
YOU'RE A YACHT DESIGNER.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hUSED TO BE.

{\an1}I REMEMBER NOW. YOU DESIGNED
THE LAPHAM SIX METER.

{\an1}THERE WERE BEAUTIFUL PHOTOGRAPHS
OF BOATS IN THE MAGAZINES
BY A SUSY LAPHAM.

{\an1}WAS THAT SOMEONE
IN YOUR FAMILY?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hMY WIFE.

{\an1}SAY, WHAT IS IT
WITH YOU GUYS?

{\an1}DON'T ANY OF YOU EVER GO BACK
TO THE WIVES YOU LEFT
WHEN YOU WENT TO WAR?

{\an1}[ Doorbell Buzzes ]
\h\h\h\hEXCUSE ME.

{\an1}[ Buzzing ]

{\an1}- HELLO?
- YOUR CAB, LADY.

{\an1}I TOOK THAT PARTY UP TO PARK.
HE SAID TO COME BACK,
YOU'D BE WAITING.

{\an1}BE DOWN IN A MINUTE.

{\an1}SEEMS MY FRIEND SENT
HIS CAB BACK FOR US.

{\an1}THEY'RE HARD TO GET IN THE RAIN.
HE MUST'VE BEEN LUCKY.

{\an1}HE WAS. HE TOOK MINE.
SURE, LET'S GO.

{\an1}HE CAN BE VERY RUDE AT TIMES.
\hHE WAS, I SUPPOSE.

{\an1}I DIDN'T NOTICE.

{\an1}WE WERE TALKING
ABOUT YOUR WIFE.

{\an1}YOU WERE, YES.
SHE'S DEAD.

{\an1}OKAY, HONEYBUNCH.

{\an1}WELL, DON'T YOU WORRY.
IF THEY GET YOU, I PROMISE
TO VISIT YOU IN LEAVENWORTH...

{\an1}WITH FLOWERS.
[ Chuckles ]

{\an1}GOOD NIGHT.
\h\h\h\h\h\h\h\h\h\h\h\hDANNY, DARLING.

{\an1}THE OFFICE TELEPHONED AGAIN.
THERE JUST ISN'T A DRAWING ROOM
ON THAT TRAIN.

{\an1}THEY TRIED AND TRIED.
YOU WANTED IT TO WORK IN,
DIDN'T YOU?

{\an1}WHAT DID YOU THINK
I WANTED IT FOR?

{\an1}OH, I'M SORRY, BABY.
MERVYN!

{\an1}DAN, HE'S RIGHT
BEHIND YOU.

{\an1}YES, SIR?
\h\h\h\h\h\h\h\hMERVYN, IT'S
\h\h\h\h\h\h\h\hTHE 12:30 I'M TAKING.

{\an1}BRING MY BAG AND MY BRIEFCASE
DOWN TO PENN STATION
AND MEET ME AT THE TRACK GATE.

{\an1}YES, SIR.
DAN, YOU WORK TOO HARD. YOU KNOW
YOU DO. EVEN FATHER THINKS SO.

{\an1}[ Rings ]
\h\h\h\h\h\h\h\h\h\h\h\hWELL, YOU NEVER GET
\h\h\h\h\h\h\h\h\h\h\h\hA DECENT VACATION.

{\an1}MR. HARRIS.
YOU'RE STUCK HERE ALL SUMMER.
HALF THE TIME, NO WEEKEND.

{\an1}\h\h\h\hI DON'T SEE HOW YOU DO IT.
\h\h\h\hONE OF THESE TIMES--
HELLO, HARRIS. LUCILLE, PLEASE.

{\an1}LOOK, HONEYBUNCH, I'M HOME,
AND I'M RELAXING, SO CALL ME
IN WASHINGTON, WILL YOU?

{\an1}RIGHT. SO LONG.

{\an1}DAN, WHAT ARE YOU GOING
TO WASHINGTON FOR ANYWAY?

{\an1}OFFICIALLY I'M GOING DOWN
TO PRESENT A BRIEF TO S.E.C.
ON AMALGAMATED GAS.

{\an1}BUT WHILE I'M THERE--
\h\h\h\hI COULD NEVER REMEMBER THAT.
\h\h\h\hNEVER MIND.

{\an1}I DON'T KNOW WHAT YOU'RE DOING,
BUT NO ONE EXPECTS ME TO
ANYMORE, SO IT DOESN'T MATTER.

{\an1}YOU THINK I KNOW
WHAT I'M DOING, BABY?

{\an1}- WHERE ARE THE GIRLS?
- ROSAMUND'S PRIMPING.
\h\hSHE'S TERRIBLY EXCITED.

{\an1}DANNY, I DO WISH YOU'D
CONSULTED ME BEFORE YOU TOLD HER
SHE COULD GO WITH US TONIGHT.

{\an1}THIRTEEN'S NO AGE
FOR THE STORK CLUB.

{\an1}WHAT'S THE HARM IN IT?
WHERE'S MARIE?
\h\h\h\hSHE'S DOING HER HOMEWORK.

{\an1}SHE'S GETTING AWFULLY
INDEPENDENT TOO, DAN.
I DON'T KNOW WHAT--

{\an1}WELL, HOW DO YOU LIKE?

{\an1}[ Whistles ]
FIFTY MILLION DOLLARS,
HONEY.

{\an1}ROSAMUND, IF YOU DON'T TAKE OFF
SOME OF THAT LIPSTICK,
YOU'RE NOT GOING WITH US.

{\an1}I'VE TOLD YOU TWICE NOW.
DAN, DO YOU THINK
IT'S TOO MUCH?

{\an1}OF COURSE IT IS,
BUT IT'S VERY ATTRACTIVE.

{\an1}ROSAMUND,
YOU HEARD ME.

{\an1}MOMMY, I'M NOT THAT YOUNG.
YOU FORGET MY NAME'S O'MARA,

{\an1}AND THERE'S A LIFE OF
INTERESTING CRIME AHEAD OF ME.

{\an1}[ Chuckling ]
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h[ Sighs ]

{\an1}YOU'RE VERY MEAN TO YOUR MOTHER.
YOU SHOULDN'T BE. SHE'S SWEET.

{\an1}YOU LAUGHED, DAN.
DADDY, WHERE ARE
WE GOING TONIGHT?

{\an1}DINNER AT THE COLONY, THEN THE
STORK CLUB. IS THAT ALL RIGHT?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTERRIFIC.

{\an1}[ Lucille ]
MARIE!
[ Slaps ]

{\an1}[ Girl Sobbing ]

{\an1}RIGHT TO YOUR ROOM.
TO YOUR ROOM THIS INSTANT!
\h\h\hWHAT'S GOING ON?

{\an1}\h\h\h\h\h\h\h\h[ Sobbing ]
\h\h\h\h\h\h\h\hDADDY!
WHAT IS IT, BABY?

{\an1}MARIE HAS BEEN INSOLENT.
I TOLD HER TO STAY
IN HER ROOM...

{\an1}BECAUSE SHE HAS TWO HOURS
OF HOMEWORK TO DO, BUT SHE--
WHAT IS IT?

{\an1}SHE HIT ME.
\hSHE HIT ME.

{\an1}BUT SHE SAID THINGS.
I'VE NEVER BEEN SPOKEN
TO LIKE THAT IN MY LIFE,

{\an1}\h\h\h\hAND BY MY OWN CHILD, I--
COULDN'T BE THAT BAD,
BABY.

{\an1}I'VE GOT WORSE FROM MY OLD MAN
FOR NOTHING BUT SNIFFLING WHEN
I DIDN'T HAVE A HANDKERCHIEF.

{\an1}I THINK YOU'VE BEEN
VERY RUDE TO YOUR MOTHER.
\h\h\h\h\h\h\h\h\h\h\h\hBUT SHE CALLED ME--

{\an1}THAT'S ONE OF THE VERY WORST
THINGS YOU COULD DO, TALKING
TO YOUR MOTHER LIKE THAT.

{\an1}\h\h\h\hBUT, DAN, YOU DON'T UNDERS--
LUCILLE, WOULD YOU STRAIGHTEN
UP THOSE FLOWERS, PLEASE?

{\an1}\h\h\h\h[ Sobbing Continues ]
THAT'S THE FOURTH COMMANDMENT,
BABY.

{\an1}YOU MUSTN'T BE RUDE
TO YOUR PARENTS.

{\an1}THE FOURTH.
THAT'S HOW IMPORTANT IT IS.

{\an1}IT'S UP AHEAD OF MURDER
AND STEALING.

{\an1}WHAT WAS IT YOU WANTED
ANYWAY?

{\an1}I JUST-- I JUST WANTED TO
STAY UP WHILE YOU HAD COCKTAILS
AND SEE EVERYBODY.

{\an1}I READ MR. AMES'S BOOK,
AND I WANTED TO MEET HIM.

{\an1}I DON'T SEE ANY REASON
WHY YOU SHOULDN'T MEET HIM.

{\an1}LUCILLE, I'M SURE SHE'LL
DO HER BEST TO GET HER HOMEWORK
FINISHED TOMORROW.

{\an1}ALL THAT HAS NOTHING TO DO
WITH THE WAY SHE SPOKE TO ME.
AND LOOK AT HER.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h[ Doorbell Buzzes ]
LOOK AT YOURSELF,
DARLING.

{\an1}DON'T KNOW WHAT
I'M GOING TO DO WITH YOU.

{\an1}HERE WE ARE
WITH GUESTS ARRIVING AND--

{\an1}THAT'S BETTER.
I'LL SEE TO THE GUESTS.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTHANK YOU.

{\an1}NOW SAY YOU'RE SORRY
AND GO WASH YOU'RE FACE.

{\an1}I'M SORRY.
THANK YOU, DAN.

{\an1}DON'T EVER HIT THAT CHILD
AGAIN, LUCILLE.

{\an1}HOW CAN YOU HAVE
SO LITTLE CONTROL AS TO LET
AN 11-YEAR-OLD CHILD--

{\an1}CONTROL?
IT'S EASY FOR YOU.

{\an1}YOU SEE THEM
FIVE MINUTES A DAY--
JUST ENOUGH TO SPOIL THEM.

{\an1}WELL, IF YOU COULD UNDERSTAND
HOW THANKLESS IT IS FOR ME--
NOW, LUCILLE,

{\an1}A HALF AN HOUR OF HERO WORSHIP
IS NOT GOING TO HURT MARIE.

{\an1}AND HOW DO YOU KNOW
WHAT HURTS HER--
WHAT HURTS ANYBODY?

{\an1}I REALIZE WHAT I AM TO YOU.
ALL RIGHT.

{\an1}ONLY DON'T INTERFERE
WHEN I TRY TO MAKE BETTER
HUMAN BEINGS OF MY DAUGHTERS.

{\an1}NOW, LUCILLE, DEAR--
\h\h\h\h\h\h\h\h\h\h\h\hNO, FOR ONCE
\h\h\h\h\h\h\h\h\h\h\h\hI'M GOING TO SAY IT!

{\an1}I KNOW EXACTLY WHAT
I AM TO YOU, AND SOMETIMES
I WISH I DIDN'T KNOW.

{\an1}KNOW WHAT? YOU JUST LOST
YOUR TEMPER WITH MARIE, AND
NOW YOU'RE LOSING IT WITH ME.

{\an1}I DON'T GET MAD EASILY,
AND I DON'T WANT TO NOW.

{\an1}MAYBE I HAVEN'T BEEN THE BEST
HUSBAND, BUT IF YOU WANT ME TO
STAY ANY KIND OF HUSBAND AT ALL,

{\an1}YOU'LL NEVER SAY ANYTHING AGAIN
LIKE WHAT YOU TRIED TO SAY
JUST NOW.

{\an1}YOU SAY YOU KNOW EXACTLY
WHAT YOU ARE TO ME.

{\an1}WELL, IF YOU DO KNOW,
YOU KNOW THE GOOD THINGS
AS WELL AS THE BAD.

{\an1}YOU'LL NEVER HAVE ANY LESS,
UNLESS YOU ASK FOR IT.

{\an1}AND YOU KNOW
IT ISN'T THANKLESS.

{\an1}WE HAVE TWO FINE GIRLS,
AND YOU'RE TO BE THANKED
FOR THAT.

{\an1}NOW GO POWDER YOUR NOSE.
LUCILLE, HONEY, GO ON.

{\an1}DADDY. DADDY,
I'M SO HUMILIATED.

{\an1}I ASKED MR. AMES TO AUTOGRAPH
HIS NOVEL FOR ME, AND WE HAVEN'T
A COPY IN THE HOUSE.

{\an1}WELL, I'LL TELL YOU
WHAT YOU DO.

{\an1}YOU GO OUT AND BUY A COPY
TOMORROW, AND I'LL GET IT
AUTOGRAPHED FOR YOU.

{\an1}AND NEXT TIME,
DON'T TALK SO BIG, HUH?
[ Chuckles ]

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hGOOD EVENING.
GOOD EVENING.

{\an1}EXCUSE US, PLEASE.

{\an1}♪ [ Slow Jazz ]

{\an1}IF THIS IS THE WAY THEY DO
THINGS IN YOUR COUNTRY, I'M
GOING BACK WHERE I CAME FROM.

{\an1}IN AN HOUR OR TWO,
WE'LL WORK OUR WAY
TO A TABLE.

{\an1}WHERE WOULD YOU
GO BACK TO?

{\an1}BRITTANY.
RENNES, THE CAPITAL.

{\an1}I WAS IN THE LEAD TANKS WHEN
WE TOOK THE PLACE. I NEVER FELT
SO WELCOME ANYWHERE IN MY LIFE.

{\an1}FOR THREE DAYS, I LISTENED
TO THE BELLS OF RENNES,
AND THERE WASN'T ANYTHING...

{\an1}IN THE WHOLE WORLD
EXCEPT THE BELLS OF RENNES.

{\an1}[ Man ]
JACK?

{\an1}I NEED TO KISS YOUR NECK.
\h\h\h\h\h\h\h\h\h\h\h\hNO, YOU DON'T NEED
\h\h\h\h\h\h\h\h\h\h\h\hTO KISS MY NECK.

{\an1}YOU JUST
KEEP ON TALKING.

{\an1}WOULD YOU LIKE TO GET OUT
OF HERE AND GO SOMEPLACE ELSE?
I WOULDN'T.

{\an1}I LIKE IT HERE.

{\an1}I LIKE IT FINE HERE
WITH YOU.

{\an1}WHERE ARE
WE ANYWAY?
\h\h\h\h\h\h\h\hTHIS IS THE STORK CLUB.

{\an1}AND THIS IS AMERICA.
YOU'RE WELCOME HERE TOO.

{\an1}YEAH.

{\an1}I DO KIND OF FEEL WELCOME.

{\an1}NEXT BEST THING TO
GOING TO RENNES AND LETTING
THE BELLS SUPPORT ME.

{\an1}THAT REMINDS ME.
WHAT AM I GONNA DO
FOR A LIVING WHEN I GET OUT?

{\an1}WELL, THERE ARE A LOT OF
BEAUTIFUL SLOOPS WAITING
TO BE DESIGNED, I UNDERSTAND.

{\an1}AH, KID STUFF.

{\an1}I THINK I'M GOING TO BE
A RUTHLESS TYCOON FROM NOW ON.

{\an1}I NEED A DRINK,
AND YOU, DAISY, NEED A DRINK.

{\an1}YOU'RE VERY NICE.

{\an1}YOU'RE ESPECIALLY NICE
WHEN YOU NEED A DRINK.

{\an1}ROSAMUND, THIS IS AN HISTORIC
OCCASION. FIRST TIME AT
THE STORK. COME IN HERE.

{\an1}THAT'S AWFULLY NICE, DAN,
REALLY. EXCUSE ME.
EXCUSE ME.

{\an1}OH, HELLO.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hHELLO.

{\an1}- [ Woman ]
\h\hNO CHECK NECESSARY.
- THANK YOU, HONEYBUNCH.

{\an1}\h\h\h\h\h\h\h\hHELLO, WALTER.
HELLO, O'MARA.
HOW ARE YOU?

{\an1}\h\h\h\h\h\h\h\hYOUR HAT, MR. WINCHELL.
THIS IS MY LITTLE DAUGHTER
ROSAMUND. HER FIRST NIGHT HERE.

{\an1}HELLO.
\h\h\h\hYOU KNOW LUCILLE.

{\an1}HAVE A GOOD TIME.
\h\h\h\h\h\h\h\h\h\h\h\hTHANK YOU.
\h\h\h\h\h\h\h\h\h\h\h\hCOME RIGHT IN, DEAR.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hLUCILLE.
GOOD EVENING,
MR. O'MARA.

{\an1}EVENING, HONEYBUNCH.
I'M DEPENDING UPON YOU
TO IMPRESS MY DAUGHTER...

{\an1}WITH THE VERY BEST TABLE
IN THE HOUSE.

{\an1}OH, HELLO, LEONARD.
GOING TO WASHINGTON TONIGHT.

{\an1}IF YOU CALL ME TOMORROW,
I MIGHT GIVE YOU A STORY.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTHANKS, O'MARA.

{\an1}JUST FOR THAT, I'LL LET YOU
HANDLE MY LIBEL BUSINESS.

{\an1}[ Quietly ]
UH, THE LADY IN THE CORNER THERE
WITH THE MAN IN UNIFORM--

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hALL RIGHT,
\h\h\h\h\h\h\h\h\h\h\h\hMR. O'MARA.
THANK YOU.

{\an1}I HAVE A TABLE
FOR YOU NOW.

{\an1}I'M SORRY, BUT WE JUST
REMEMBERED A LONG-DISTANCE CALL
WE PUT IN AND THEN FORGOT.

{\an1}TO RENNES.
NIGHT, HONEYBUNCH.

{\an1}I HAD A LOVELY TIME.

{\an1}DID YOU KNOW
IT WAS HALF PAST 3:00?

{\an1}I HAD A LOVELY TIME TOO.
NO, I DIDN'T KNOW
IT WAS HALF PAST 3:00.

{\an1}WILL YOU CALL ME
AGAIN SOON?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hSURE.

{\an1}OH, REALLY.
I'M NOT JUST BEING POLITE.

{\an1}I WOULDN'T SAY THIS
IF IT WEREN'T
HALF PAST 3:00,

{\an1}BUT DON'T ASK ME TO CALL
IF YOU DON'T MEAN IT.

{\an1}I HAVE TO WORK TOMORROW,
SO DON'T CALL ME TILL SUNDAY.

{\an1}IF YOU'RE SOBER
BY SUNDAY AFTERNOON, YOU CAN
TAKE ME TO A BASEBALL GAME.

{\an1}WILL YOU CALL ME
SUNDAY MORNING?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hI LOVE YOU.
YOU-- WHAT?

{\an1}[ Woman ]
WHEN YOU HEAR THE TONE,
THE TIME WILL BE 12:52.

{\an1}WHEN YOU HEAR THE TONE, DAISY
KENYON WILL HAVE BEEN STOOD UP
FOR THE FIRST TIME IN HER LIFE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h[ Rings ]
HELLO?

{\an1}\h\h\h\h[ Woman ]
\h\h\h\hMISS DAISY KENYON?
YES.

{\an1}WASHINGTON IS CALLING.
GO AHEAD, WASHINGTON.

{\an1}HELLO? HELLO, BABY.
HOW ARE YOU?

{\an1}HELLO, DAN.
I'M FINE, THANKS.
HAVING A GOOD TIME?

{\an1}TERRIBLE.
I MISS YOU, BABY.

{\an1}\h\h\h\hHOW'S YOUR BOYFRIEND?
[ Knocking ]

{\an1}OH, YOU KNOW, THE FELLA
YOU WENT OUT WITH
THE OTHER NIGHT.

{\an1}I STOLE HIS TAXI,
BUT I SENT IT BACK.
DID YOU GET IT ALL RIGHT?

{\an1}DON'T TRY TO BLUFF
YOUR WAY OUT OF THAT.
I WAS FURIOUS, AND I STILL AM.

{\an1}AND THAT TABLE
AT THE STORK CLUB.
REALLY, YOU BEHAVED LIKE A--

{\an1}I BEHAVED LIKE A CAD, HUH?
[ Chuckles ]

{\an1}ARE YOU GONNA LEAVE ME
FOR HIM?

{\an1}I'M GOING TO LEAVE YOU,
ALL RIGHT, BUT NOT
FOR MR. LAPHAM.

{\an1}HE'S NICE,
BUT A LITTLE UNSTABLE.

{\an1}OH, REALLY?
HE'S GOT AN INTERESTING FACE.

{\an1}OH, BABY, I JUST LOOKED AT
MY WATCH. I'M 40 MINUTES LATE
FOR A LUNCH.

{\an1}BIG, PREPOSTEROUS LUNCH OUT
AT CHEVY CHASE. IT'LL BE OVER
BY THE TIME I GET THERE.

{\an1}BETTER FINISH MY COFFEE
AND GET OUT OF HERE.

{\an1}I'LL TAKE THE 2:00 TRAIN,
MAYBE THE 3:00.

{\an1}\h\h\h\hDO YOU WANNA MEET ME
\h\h\h\hAT PENN STATION?
[ Knocking ]

{\an1}COME IN.

{\an1}MR. O'MARA?
\h\h\h\h\h\h\h\hTHAT'S RIGHT. WILL YOU
\h\h\h\h\h\h\h\hMEET ME AT THE STATION?

{\an1}AND SIT AROUND WONDERING
WHICH TRAIN YOU TOOK?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hWHO JUST CAME IN?
A GENTLEMAN I NEVER SAW BEFORE
IN ALL MY LIFE...

{\an1}WHO DOESN'T KNOW I'M ALREADY
40 MINUTES LATE FOR LUNCH.

{\an1}- SWEETIE, MEET ME
\h\hAT THE SAVARIN.
- NO, I DON'T THINK SO.

{\an1}OH, COME ON. GIVE.
DON'T MAKE ME BEAT YOU DOWN
EVERY TIME. I LOVE YOU.

{\an1}I LOVE YOU TOO,
\hI GUESS.

{\an1}GOOD. I'LL SEE YOU THERE.
GOOD-BYE, DEAR.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hBYE.

{\an1}I'M WILL THOMPSON, ATTORNEY FOR
THE CIVIL RIGHTS ASSOCIATION.

{\an1}THIS IS THE KIND
OF PRESSURE STUNT
I DON'T GO FOR, THOMPSON.

{\an1}I HAVE AN OFFICE IN NEW YORK.

{\an1}I'VE BEEN TRYING
TO REACH YOU FOR WEEKS.

{\an1}I WANT YOU TO WORK ON
A CASE, MR. O'MARA.
I REPRESENT SUYO NOGUCHI.

{\an1}THE ARMY JUDGE ADVOCATE
TELLS ME THAT HE SPOKE TO YOU
ABOUT THE CASE.

{\an1}OH, YES.

{\an1}WELL, I COULDN'T HAVE BEEN
VERY INTERESTED, BECAUSE I DON'T
REMEMBER ANYTHING HE SAID.

{\an1}NOGUCHI IS A NISEI JAPANESE.

{\an1}FOUGHT IN ITALY.
WOUNDED, DECORATED.

{\an1}CAME HOME TO FIND HIS FARM
LEGALLY STOLEN.

{\an1}THAT'S NOT MY KIND OF CASE.
THERE ARE OVER 50 MILLION
VICTIMS OF THIS WAR.

{\an1}IT ISN'T ANYBODY'S
KIND OF CASE.

{\an1}IT'S AN UNPLEASANT,
THOROUGHLY THANKLESS
KIND OF CASE, O'MARA.

{\an1}BUT IT'S REPRESENTATIVE
OF ALMOST EVERY NISEI
WHO FOUGHT IN EUROPE.

{\an1}I USED TO FEEL A SORT
OF PLEASANT DIGNITY...

{\an1}KNOWING THAT I COULD ALWAYS
BE CALLED UPON TO PROTECT
A DEMOCRATIC IDEA.

{\an1}I'M A TIRED AND ANGRY MAN
NOW, MR. O'MARA,

{\an1}BUT YOU'RE AN UNSPENT
AND VERY WEALTHY MAN.

{\an1}MAYBE YOU COULD USE SOME
OF THAT SORT OF PLEASURE.

{\an1}COME ALONG
AND RIDE WITH ME.

{\an1}\h\h\h\h\h\h\h\hHELLO, BABY.
HI, CAD.

{\an1}- YOU HAVE A NICE SUNDAY?
- OH, LOVELY.

{\an1}DID YOU EVER TRY MAKING
ONE MARTINI LAST AN HOUR?

{\an1}MAYBE IT WOULD'VE BEEN EASIER
IF YOU'D DRUNK IT.

{\an1}I'M GLAD YOU'RE HERE, BABY.
I NEED YOUR ADVICE.

{\an1}YOU WHAT?

{\an1}I'VE JUST TAKEN A CASE THAT'S
GONNA MAKE YOU FEEL YOU'VE
HAD A SALUTARY EFFECT ON ME.

{\an1}IF YOU TOOK A CASE LIKE THAT,
IT MUST BE ON PAGE ONE
OF THE NEWSPAPERS.

{\an1}AH, YOU'RE VERY UNGRACIOUS.
I TOOK IT BECAUSE IT'S GONNA
MAKE YOU LOVE ME LIKE MAD.

{\an1}DO YOU WANT MY ADVICE,
OR DO YOU WANNA BRAG?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hBOTH.

{\an1}I WANNA KNOW HOW I'M GONNA
BREAK THIS TO MY WIFE'S OLD MAN.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hMY LAW PARTNER,
\h\h\h\h\h\h\h\h\h\h\h\hYOU KNOW.
MM-HMM.

{\an1}HE'S GONNA HAVE A STROKE
WHEN HE FINDS OUT
WE'VE TAKEN A CASE...

{\an1}WITH NO FEE, NO PUBLICITY
AND REPRESENTING A JAPANESE.

{\an1}IT'S A CASE OF A VETERAN,
SUYO NOGUCHI.

{\an1}HE FOUGHT IN ITALY
WITH THE FOURTH DIVISION.

{\an1}HE COMES HOME WITH
A PURPLE HEART, SILVER STAR,
AND HE WAS DISCHARGED.

{\an1}ONLY THERE WASN'T
ANY HOME TO COME TO.

{\an1}SOME SMART OPERATOR OUT
ON THE COAST DIGS UP A LAW
WRITTEN BY CORTÉS...

{\an1}AND MOVES HIS FARM
RIGHT OUT FROM UNDER HIM.

{\an1}WELL?
LOVE ME LIKE MAD?

{\an1}MM-HMM.
I LOVE YOU LIKE MAD.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTHEN WHY DON'T
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYOU KISS ME?
ALL RIGHT, I WILL.

{\an1}I'M STARVED.
WHERE ARE WE GOING FOR DINNER?
\h\h\h\h\h\h\h\hOH, HONEY, WE AREN'T.

{\an1}I'VE GOT TO SEE MY WIFE'S
OLD MAN ABOUT THIS
AND A COUPLE OF OTHER THINGS.

{\an1}WHICH REMINDS ME.
THERE'S SOME OTHER ADVICE
I WANT FROM YOU.

{\an1}SERIOUSLY, DAISY,
MARIE WORRIES ME.

{\an1}LUCILLE DOESN'T SEEM
TO KNOW HOW TO HANDLE HER.

{\an1}WHAT WOULD YOU THINK OF
BOARDING SCHOOL FOR A YEAR?

{\an1}DAN, HOW DO YOU EXPECT ME
TO ANSWER A QUESTION LIKE THAT?

{\an1}BY THE WAY, YOU DIDN'T TELL ME
THAT ROSAMUND WAS GETTING SO
TALL. LUCILLE LOOKED VERY WELL.

{\an1}YOU SOUND JEALOUS.

{\an1}DIDN'T IT EVER OCCUR TO YOU
THAT I HAVE MORE REASON
TO BE JEALOUS THAN LUCILLE HAS?

{\an1}HERE WE ARE HAVING A PERFECT
TIME-- WHAT THE DEVIL ARE YOU
LOOKING FOR IN THAT PURSE?

{\an1}A NICKEL.
HAVE YOU GOT ONE?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYES.
THANK YOU.

{\an1}HONEY,
WHAT'S THE MATTER?

{\an1}OH, ANGELUS?
DAISY.
\h\h\h\hHI.

{\an1}WHAT ARE YOU DOING?
NOTHING MUCH.

{\an1}GOOD. I'LL MEET YOU AT
MY APARTMENT IN 15 MINUTES.

{\an1}WE'LL THROW SOME SORT
OF DINNER TOGETHER,
THEN THE MOVIES, OKAY?

{\an1}DAISY, LISTEN. I DON'T HAVE TO
LEAVE FOR HALF AN HOUR, AN HOUR.
PLEASE DON'T GET MAD AGAIN.

{\an1}THERE WAS SOME PICTURE
I WANTED TO SEE
AT THE GREENWICH.

{\an1}I LOVE YOU, DAISY, AND YOU
LOVE ME. WHY CAN'T YOU LET US BE
HAPPY FOR ONE MINUTE TOGETHER?

{\an1}DAN, I'VE HAD A BAD DAY.
I'VE BEEN WALKING AROUND
ALL AFTERNOON...

{\an1}THREE BLOCKS NORTH,
THREE BLOCKS SOUTH,
SOUTH BY NORTH.

{\an1}I CAN'T WANDER ALL MY LIFE.
I'VE GOT TO BE GOING SOMEWHERE.

{\an1}CAN'T YOU UNDERSTAND THAT?
EVEN IF IT'S TO THE MOVIES.

{\an1}ANGELUS, I'LL SEE YOU
IN 15 MINUTES.

{\an1}♪ [ Slow Jazz ]

{\an1}YOU COOK
LIKE YOU PAINT, HONEY--
FAST, COLORFUL AND GLIB.

{\an1}I'LL CALL THE THEATER
AND SEE WHAT TIME
THE PICTURE GOES ON.

{\an1}YOU'D MAKE SOME SELFISH GOON
A MUCH BETTER WIFE THAN
HE DESERVES, IS ALL I CAN SAY.

{\an1}THAT'S ALL I CAN SAY TOO.

{\an1}GREENWICH.
\hGREENWICH.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h[ Rings ]
HELLO?

{\an1}\h\h\h\hMISS KENYON?
YES.

{\an1}HELLO. HOW ARE YOU?
THIS IS PETE LAPHAM.

{\an1}\h\h\h\h\h\h\h\hHELLO?
I'M VERY WELL,
THANK YOU.

{\an1}THAT'S GOOD. I JUST HAPPENED
TO BE IN YOUR PART OF TOWN.
I DON'T SUPPOSE I COULD COME BY?

{\an1}I'M SORRY, BUT YOU CAUGHT ME
AS I WAS ON MY WAY OUT.

{\an1}I HAVE A CAB WAITING DOWNSTAIRS
AND A WHOLE GANG OF PEOPLE.

{\an1}YOU HAVE?
\h\h\h\hYES, I HAVE.

{\an1}WE'RE ON OUR WAY TO A BALL GAME,
AND WE'RE VERY, VERY, VERY LATE.

{\an1}- PLEASE, CAN'T I COME UP?
- I'M AFRAID YOU CAN'T.

{\an1}TOMORROW
OR ANY OTHER DAY?

{\an1}NO, NOT TOMORROW
OR ANY OTHER DAY.

{\an1}[ Line Clicks ]

{\an1}WELL, WHAT TIME DOES
THE PICTURE GO ON?

{\an1}OH, HOW STUPID OF ME.
I'M SORRY. SOMEBODY CALLED,
AND I FORGOT ALL ABOUT IT.

{\an1}THANK YOU.

{\an1}[ Bell Dings ]

{\an1}[ Horn Honking ]

{\an1}YES, SIR?
\h\h\h\h\h\h\h\hUH, SCOTCH AND SODA,
\h\h\h\h\h\h\h\hPLEASE.

{\an1}THIS ISN'T A BAR.
IT'S A RESTAURANT,
OR HAVEN'T YOU NOTICED?

{\an1}WELL, IN THAT CASE,
BRING ME A STEAK SANDWICH
AND A GLASS OF MILK.

{\an1}WHO'S IN THERE, BUDDY?
YOUR WIFE?

{\an1}I CAN GIVE YOU THE NAME OF
A GUY WHO WORKS VERY CHEAP
AND SAVE YOU ALL THIS TROUBLE.

{\an1}IF I HAD A WIFE, IT'S WHEN
SHE WASN'T AT THE MOVIES
I'D WORRY, NOT WHEN SHE WAS.

{\an1}STEAK SANDWICH
AND A GLASS OF MILK.

{\an1}[ Knocking ]

{\an1}DOOR DOWNSTAIRS WAS OPEN.

{\an1}YES?

{\an1}I DID SOMETHING BAD.

{\an1}YES, I GUESS YOU DID.

{\an1}YOU'D BETTER TELL ME.
IT HAD SOMETHING TO DO WITH
THE BALL GAME, DIDN'T IT?

{\an1}WELL, YOU WERE SUPPOSED TO CALL
ME THIS MORNING AND TAKE ME
OUT THIS AFTERNOON. THAT'S ALL.

{\an1}\h\h\h\h\h\h\h\hEXCEPT THAT I DIDN'T.
EXCEPT THAT YOU DIDN'T.

{\an1}I'VE BEEN SHOT TWICE
FOR A GOOD DEAL
LESS THAN THAT.

{\an1}I FORGOT.

{\an1}LOOK, IT'S LATE. I'M AFRAID
YOU'D BETTER RUN ALONG.

{\an1}CAN I COME BACK AGAIN
SOMETIME?

{\an1}I-- I DON'T KNOW.
YOU-YOU MIX UP EVERYTHING.

{\an1}YOU DON'T SOUND
MIXED UP.

{\an1}YOU SOUND COMPOSED,
CERTAIN.

{\an1}NO, DON'T, PETE.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hI'M GOING.

{\an1}I JUST WANT TO HOLD YOU
FOR A MINUTE.

{\an1}THE WORLD'S DEAD,
AND EVERYBODY IN IT'S DEAD
BUT YOU.

{\an1}HOW DID THEY COME TO DIE?

{\an1}DAISY, HAVE YOU--

{\an1}DID YOU EVER LET YOURSELF
GET INTO A MOOD YOU COULDN'T
FIND A WAY OUT OF?

{\an1}WHAT'S THE MATTER?

{\an1}MY WIFE WAS KILLED
IN AN ACCIDENT.

{\an1}DRIVING A CAR DOWN
FROM TRURO ON THE CAPE
FIVE YEARS AGO.

{\an1}THAT STARTED IT--
A KIND OF SLOW DYING.

{\an1}I FOUGHT AGAINST IT,
BUT IT HAPPENED ANYWAY.

{\an1}THE WAR DID THE REST.

{\an1}THAT'S FOOLISH,
AND I THINK YOU KNOW IT.

{\an1}YES. TWO TIMES I WAS WOUNDED,
I WANTED LIKE ANYTHING TO LIVE.

{\an1}BUT WHEN I GOT WELL,
IT STARTED AGAIN.

{\an1}THAT'S WHY I DIDN'T
GET OUT OF THE ARMY
AFTER EUROPE.

{\an1}WITH SUSY GONE
I DIDN'T WANT TO SEE
ANY OF MY FRIENDS...

{\an1}OR GO BACK TO ANYTHING
I'D EVER DONE BEFORE.

{\an1}THAT WAS BAD, WASN'T IT?
BUT I DON'T BELIEVE
A WORD OF IT.

{\an1}OH, I BELIEVE THE FACTS,
ALL RIGHT,

{\an1}BUT NOT THE MELODRAMA.

{\an1}IF EVERYTHING HAD
GONE DEAD FOR YOU,
YOU WOULDN'T KNOW IT.

{\an1}YOU WOULDN'T BE SITTING HERE
TRYING TO SOUND LIKE
A CASE HISTORY.

{\an1}AND YOU KNOW ALL ABOUT
CASE HISTORIES, DON'T YOU?

{\an1}ALL RIGHT, HAVE YOUR TRAGEDY,
HAVE YOUR MELODRAMA. GO ON.

{\an1}YOU'RE USING ME,
SORT OF.

{\an1}YES. AREN'T YOU USING ME?

{\an1}WE CAN TALK ABOUT ME
BUT NOT ABOUT YOU?

{\an1}I'M NOT INTERESTING.
THERE'S NO MELODRAMA
IN MY LIFE.

{\an1}YOU'RE IN LOVE
WITH A RUTHLESS TYCOON.
ISN'T THAT MELODRAMA?

{\an1}IT ISN'T LIKE THAT AT ALL.
YOU DON'T KNOW.

{\an1}DO YOU LOVE HIM?

{\an1}YES, I DO LOVE HIM.

{\an1}BUT IT ISN'T ENOUGH,
OR I WOULDN'T BE HERE,
WOULD I?

{\an1}WOULD YOU LIKE SOME MILK?

{\an1}GOSH, NO. I DRANK TWO GALLONS
WAITING FOR YOU TO COME OUT
OF THAT MOVIE.

{\an1}IN ALL THE CASE HISTORIES
I'VE READ, IT SEEMS
A GOOD IDEA TO GET A JOB,

{\an1}FIND OTHER THINGS
TO THINK ABOUT.

{\an1}THE WHOLE THING'LL GO
A MONTH AFTER WE'RE MARRIED.

{\an1}MARRIED?

{\an1}YOU'RE
A SOUTH-BY-NORTH CHARACTER
IF THERE EVER WAS ONE.

{\an1}Y-YOU'RE EXACTLY
WHAT I DON'T NEED.

{\an1}YOU KNOW YOU'RE VERY TENDER
ABOUT BEING PROPOSED TO?

{\an1}WILL YOU MARRY ME?
I LOVE YOU, AND I WANT
TO MARRY YOU.

{\an1}PLEASE SAY YES.

{\an1}PLEASE? COME AND MEET
MY SISTER AND BROTHER-IN-LAW
IN SCARSDALE...

{\an1}AND RECEIVE A LETTER
FROM MY AUNT IN CAMBRIDGE.

{\an1}PLEASE?

{\an1}COME LIVE WITH ME
AND BE MY LOVE.

{\an1}OR BETTER STILL,
LET ME COME HERE
AND LIVE WITH YOU.

{\an1}PLEASE MARRY ME.

{\an1}DARLING DAISY.
LOVELY DAISY.

{\an1}YOU HAVE SUCH NICE EARS,
DAISY.

{\an1}LET'S--
\hLET'S START ALL OVER AGAIN.

{\an1}THERE'S A--
THERE'S A BASEBALL GAME
WEDNESDAY NIGHT.

{\an1}IF I'M NOT HERE WEDNESDAY
AT 7:00, I WON'T BOTHER
TO CALL AGAIN.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hGOOD NIGHT,
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hMISS KENYON.
GOOD NIGHT.

{\an1}[ Door Closes ]

{\an1}\h\h\h\hHELLO, MR. O'MARA.
\h\h\h\hHOW'S CALIFORNIA?
HELLO, HONEYBUNCH.

{\an1}MR. O'MARA.
GOOD TO HAVE YOU BACK.
\h\h\h\hHELLO, FRANCES. HOW ARE YOU?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hHIYA, JACK.
HELLO, MR. O'MARA.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hHELLO, DARLINGS!
HI. WE'D GIVEN YOU UP
FOR LOST.

{\an1}FANCY MEETING YOU HERE,
DAN O'MARA.

{\an1}MARSHA, FIRST THINGS FIRST.
GET ME CHELSEA 2-0459.

{\an1}NINE.
\h\h\h\h\h\h\h\h\h\h\h\hWHERE'S COVERLY
\h\h\h\h\h\h\h\h\h\h\h\hAND COVERLY?

{\an1}ONE FOOT IN THE GRAVE,
THE OTHER ON MY NECK.

{\an1}CAN'T I GO AWAY FOR 18 DAYS
WITHOUT HIM BOTHERING US?

{\an1}[ Door Opens, Closes ]
\h\h\h\h\h\h\h\hOH, HELLO, SUGARPLUM.

{\an1}HAVE YOU ANY IDEA
WHAT'S BEEN GOING ON HERE, DAN?

{\an1}AMALGAMATED GAS IS RETAINING
STEVENSON BECAUSE WE DON'T
GIVE THEM ENOUGH TIME.

{\an1}THE S.E.C.--
CAN'T I GO AWAY WITHOUT YOU
WORKING YOURSELF INTO A STATE?

{\an1}DOESN'T THAT NUMBER
ANSWER?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hIT'S BUSY.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hKEEP TRYING, MARSHA.
THE S.E.C. ACCUSES US
OF HOLDING UP THE BUTCHER CASE.

{\an1}HOW ARE LUCILLE AND THE KIDS?
CHECK THAT NUMBER AND SEE
IF IT'S OUT OF ORDER.

{\an1}THEY'RE FINE. WE'RE ALL
HAVING DINNER TOGETHER.

{\an1}AND IF YOU WANT TO HAVE IT
A PLEASANT DINNER, LET'S GET
OUR HARSH WORDS OVER WITH NOW.

{\an1}DO WE HAVE TO HAVE
HARSH WORDS, PAPA?

{\an1}LOOK, DAN, IT WAS TOUGH ENOUGH
BEFORE YOU TOOK ON
THAT RIDICULOUS CASE.

{\an1}WHEN YOU SHUT YOURSELF UP
FOR 18 DAYS IN CALIFORNIA--

{\an1}PAPA, DID YOU OR I EVER OBJECT
WHEN COVERLY SR. SPENT
FOUR MONTHS A YEAR ON HIS BOAT?

{\an1}WELL, WHAT'S THAT
GOT TO DO WITH IT?
\h\h\h\hWE DIDN'T OBJECT, DID WE?

{\an1}A MAN NEEDS
HIS RELAXATION.

{\an1}AND I NEVER OBJECTED WHEN YOU
STOOD UP IN A TROUT STREAM...

{\an1}LOOKING LIKE CALVIN COOLIDGE
TWO MONTHS A YEAR EITHER,
DID I?

{\an1}WHAT'S ALL THIS GOT TO DO
WITH A GRANDSTAND PLAY
DEFENDING A JAPANESE?

{\an1}IF IT GIVES ME PLEASURE
TO FIGHT SOME LUCRATIVE
RACE PREJUDICES,

{\an1}INCLUDING YOUR OWN,
THAT'S MY SPORT.

{\an1}- YOU UNDERSTAND?
- ALL RIGHT, DAN. ONLY, UH--

{\an1}WHO BROUGHT THE S.E.C. CASE
IN HERE ANYWAY?

{\an1}AMALGAMATED GAS
AND NATIONAL MOTORS.

{\an1}AND WHY DO WE STILL HAVE
TO HAVE YOUR PAPA'S NAME
ON THAT DOOR...

{\an1}10 YEARS AFTER
HE DROWNED HIMSELF
IN THE FASTNET RACE?

{\an1}I SAID ALL RIGHT, DAN.

{\an1}OKAY, DEWDROP.

{\an1}AND NOW THAT THE HARSH WORDS
ARE OVER, WE CAN HAVE A VERY
PLEASANT DINNER TOGETHER.

{\an1}BUT A LITTLE LATER.
I GOT A MILLION
THINGS TO DO.

{\an1}WOULD YOU BE SWEET ENOUGH
TO CALL LUCILLE
AND ASK HER...

{\an1}\h\h\h\h\h\h\h\hIF SHE'LL MEET US
\h\h\h\h\h\h\h\hAT THE COLONY AT 9:00?
ALL RIGHT, DAN.

{\an1}JUST TELL HER I'M BACK,
AND I'M HAPPY, AND I'M WELL
AND THAT I LOVE HER.

{\an1}AND THAT YOU'RE HAPPY AND WELL
\hAND THAT YOU LOVE ME.

{\an1}\h\h\h\h\h\h\h\hWHAT ABOUT THAT NUMBER?
IT'S BUSY. I HAD
THE OPERATOR LISTEN IN.

{\an1}THE RECEIVER MUST BE
OFF THE HOOK. THERE WEREN'T
ANY VOICES, BUT THERE WAS MUSIC.

{\an1}FILE THESE WITH MOBILE POWER,
NATIONAL MOTORS.

{\an1}ALL THE REST OF THAT STUFF
IS THE NOGUCHI CASE.

{\an1}SHALL I CALL
THAT NUMBER AGAIN?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hNO, NEVER MIND.

{\an1}I'M GONNA SLIP OUT
FOR A FEW MINUTES AND SEE
GRAYBOVE FROM NATIONAL MOTORS.

{\an1}BOY, DID HE GIVE IT
TO THE WALKING DEAD.

{\an1}WHERE'D HE GO NOW?
\h\h\h\h\h\h\h\h\h\h\h\hKENYON. SHE DOESN'T
\h\h\h\h\h\h\h\h\h\h\h\hANSWER THE PHONE.

{\an1}THERE WERE A LOT
OF WIRES FROM HER
HE LOCKED IN HIS DESK.

{\an1}ON ONE OF THEM I SAW
JUST FOUR WORDS:

{\an1}"YES, SOMETHING
\hHAS HAPPENED."

{\an1}♪ [ Slow Jazz ]

{\an1}♪ [ Stops ]

{\an1}YOU'RE GOING TO MARRY HIM.
IS THAT WHAT YOU TRIED TO
WARN ME ABOUT IN YOUR WIRES?

{\an1}I HAVE MARRIED HIM.

{\an1}I WANTED TO TELL YOU
TO YOUR FACE.

{\an1}I COULDN'T
OVER THE TELEPHONE.

{\an1}WELL, THIS IS A NEW TWIST.

{\an1}THE GUY MOVES IN AND BRINGS
HIS ETCHINGS WITH HIM.

{\an1}WHAT'S HIS CONNECTION
WITH BOATS?

{\an1}HE DESIGNS THEM,
OR AT LEAST HE DID
BEFORE THE WAR.

{\an1}\h\h\h\h\h\h\h\hNOW HE'S WORKING AS
\h\h\h\h\h\h\h\hA COMPASS ADJUSTER.
A WHAT?

{\an1}WELL, IT'S JUST
A TEMPORARY JOB UNTIL
WE CAN SAVE ENOUGH MONEY...

{\an1}TO BUY A CAR
AND A SHACK ON THE CAPE.

{\an1}WE EXPECT TO LIVE UP THERE
MOST OF THE YEAR.

{\an1}I CAN GET MY MAGAZINE
ASSIGNMENTS HERE
AND DO MY WORK UP THERE.

{\an1}AFTER A FEW MONTHS,
PETER WILL KNOW
WHAT HE WANTS TO DO.

{\an1}THAT IS, WELL, HE DOESN'T
THINK HE WANTS TO GO BACK
TO YACHT DESIGNING.

{\an1}THIS IS THE SARTATIA,
ISN'T IT?

{\an1}YES, PETER'S FATHER
DESIGNED HER.

{\an1}SHE WAS A BEAUTY.
NICE CLEAN LINES.

{\an1}I USED TO SAIL HER YEARS AGO
WITH OLD POP COVERLY.

{\an1}I DIDN'T KNOW
YOU CARED ANYTHING
ABOUT BOATS, DAN.

{\an1}A LOT OF THINGS ABOUT ME
YOU DIDN'T KNOW.

{\an1}AND A LOT THAT
I DIDN'T KNOW EITHER.

{\an1}HAVE A GOOD LIFE, BABY.
YOU DESERVE IT.

{\an1}GOOD-BYE, DAISY.

{\an1}\h\h\h\h\h\h\h\h[ Quietly ]
\h\h\h\h\h\h\h\hBYE.
[ Door Closes ]

{\an1}DON'T YOU WANT THE CAB,
MR. O'MARA?

{\an1}IF YOU HADN'T PLANNED
TO KEEP IT.

{\an1}I HADN'T, ALTHOUGH
IT'S DEFINITELY
GOING TO RAIN.

{\an1}YOUR FATHER DESIGNED
THE SARTATIA, I UNDERSTAND.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYES.

{\an1}THERE WAS SOMETHING
I WAS NEVER ABLE TO FIGURE
ABOUT THE SARTATIA.

{\an1}OH, I USED TO SAIL HER
YEARS AGO.

{\an1}AND WHAT AMAZED ME WAS
THAT SHE DIDN'T ROLL TO SWELLS
LIKE OTHER ROUND-BOTTOM BOATS.

{\an1}\h\h\h\h\h[ Peter ] DIDN'T DO WHAT?
SHE DIDN'T ROLL,
EVEN IN LIGHT AIRS.

{\an1}THAT'S THE BLUENOSE IN HER.
THE OLD GLOUCESTER HULL.

{\an1}\h\h\h\h\h\h\h\hEVER SEE HER
\h\h\h\h\h\h\h\hOUT OF THE WATER?
NO.

{\an1}ALL HER SECTIONS CARRY
DISPLACEMENT HIGH.

{\an1}THIS WOULD BE HALF
A CROSS SECTION HERE,
WITH THE WATERLINE LIKE THAT--

{\an1}GIVING HER A SLICK UNDERBODY
WITH MAXIMUM STABILITY.

{\an1}WHAT I DON'T UNDERSTAND IS,
WHO FIGURED OUT THAT A FEW
PLANKS IN THE HULL OF A SHIP...

{\an1}TWISTED A CERTAIN WAY
WOULD MAKE HER BEHAVE
IN A PLANNED WAY.

{\an1}HUNDREDS OF YEARS
OF OBSERVING SEAMEN,
LOGIC.

{\an1}[ Laughs ]
IT'S THINGS LIKE THIS THAT
MAKE PEOPLE LIKE ME MAD.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hWHY?
ANYTHING LOGICAL MAKES ME
WANT TO FIGHT FOR SOME REASON.

{\an1}I'VE ALWAYS
DISTRUSTED LOGIC.

{\an1}LUCKILY, I NEVER RAN AGAINST IT
IN LAW COURTS VERY OFTEN,
OR ANYWHERE ELSE.

{\an1}THAT'S WHAT MAKES LIFE
UNEXPECTEDLY PLEASANT--
THE ILLOGICAL.

{\an1}LIKE THIS MOMENT,
FOR INSTANCE.

{\an1}GOOD LUCK, MR. LAPHAM.
I WON'T SEND THE CAB BACK
THIS TIME.

{\an1}[ Engine Starts ]

{\an1}[ Cab Departs ]

{\an1}[ Door Closes ]

{\an1}PETER.

{\an1}FUNNY THING IS,
I LIKE HIM.

{\an1}HE WANTS YOU
TO LIKE HIM.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hHE'S GOOD AT THAT.
POOR DEVIL.

{\an1}HE'S NOT A POOR DEVIL.

{\an1}DO WE HAVE TO SIT HERE,
PETER?

{\an1}BEGINNING OF A NEW ERA.
BOTTOM OF STAIRS--

{\an1}[ Footsteps Approaching ]

{\an1}BOTTOM OF STAIRS, SYMBOLIC
OF STARTING ALL OVER AGAIN.

{\an1}LUCKY WE'RE STARTING
ONE FLIGHT UP.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h[ Door Closes ]

{\an1}AREN'T YOU
GOING TO KISS ME?

{\an1}YEAH.

{\an1}I'M GONNA KISS YOU LIKE
NOBODY WAS EVER KISSED,

{\an1}EVEN BEFORE
YOU WASH YOUR FACE.

{\an1}WERE YOU EVER CARRIED OVER
YOUR OWN THRESHOLD BEFORE?

{\an1}NOT SOBER, DARLING.

{\an1}[ Clattering ]

{\an1}YOU'RE STILL DRIVING
A SHERMAN TANK.

{\an1}WE SHOULD'VE GOT HERE
IN TIME TO MEET THE BOAT.

{\an1}DOES THAT LOOK LIKE
ENOUGH LUMBER TO BUILD
A WHOLE BATHROOM?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hHALF BATH. THAT'S
\h\h\h\h\h\h\h\h\h\h\h\hWHAT WE ORDERED.
HEY! PETER LAPHAM!

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hDINO!
GLAD TO SEE YOU,
PETE.

{\an1}GOOD TO SEE YOU, DINO.

{\an1}\h\h\h\hFIVE YEARS HAVEN'T CHANGED
\h\h\h\hYOU ANY. HOW'S THE FISHIN'?
OH, TERRIBLE.

{\an1}AND THIS IS NOT KIDDING--
THE YEARS, THEY LEFT YOU
LOOKIN' PRETTY GOOD TOO.

{\an1}AND MRS. LAPHAM,
SHE STILL LOOKS VERY PRETTY.

{\an1}WELL, I'M ANOTHER
MRS. LAPHAM, BUT I'M GLAD
TO MEET YOU ANYWAY.

{\an1}OH. GLAD TO MEET YOU,
MA'AM.

{\an1}WELL, YOU ARE BACK IN
PROVINCETOWN NOW, PETE.

{\an1}ARE YOU GONNA BUILD SOME
MORE OF THEM PRETTY BOATS
FOR THE SUMMER PEOPLE?

{\an1}I DON'T KNOW.
\hI JUST GOT HERE.

{\an1}WE BOUGHT A COTTAGE
UP ON MILL ROAD.

{\an1}FIRST THING I'M GONNA BUILD
IS IT.

{\an1}\h\h\h\h\h\h\h\hTHE SAME COTTAGE
\h\h\h\h\h\h\h\hYOU SOLD BEFORE?
NO.

{\an1}HEY, PETE,
I GOT A PROPOSITION.
LOOK AT MY BOAT.

{\an1}WHY DON'T YOU BUILD ME
A NEW BABY?

{\an1}GOOD, STRONG
BANKS SCHOONER.

{\an1}MODERN. YOU KNOW,
STREAMLINED.

{\an1}YOU MAKE HER GOOD, AND THE
FISHERMEN WILL ORDER HUNDREDS
OF THEM FOR THE WHOLE COAST,

{\an1}AND THIS IS NOT KIDDING.

{\an1}I DON'T KNOW. I'M NOT SURE
WHAT I'M GONNA DO. WHEN ARE YOU
GONNA PULL HER OUT OF THE WATER?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hMONDAY.
I'LL COME DOWN, TAKE A LOOK AT
HER HULL. SEE IF I GET AN IDEA.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hGREAT! AND THIS
\h\h\h\h\h\h\h\h\h\h\h\hIS NOT KIDDING?
THIS IS NOT KIDDING.

{\an1}SO LONG, DINO.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hSO LONG.

{\an1}\h\h\h\h\h\h\h\hOH.
MM-HMM.
[ Chuckles ]

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hSO LONG,
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hMRS. LAPHAM.
GOOD-BYE, DINO.

{\an1}[ Clattering ]

{\an1}SUSY AND I HAD A COTTAGE
TWO MILES UP MILL ROAD
FROM WHERE WE ARE.

{\an1}I DIDN'T TELL YOU BECAUSE--
\h\h\h\hYOU DIDN'T HAVE TO TELL ME.
\h\h\h\hI KNEW IT ANYWAY.

{\an1}SHE ISN'T OUT OF
YOUR LIFE YET, IS SHE?

{\an1}OF COURSE SHE IS.
I LOVED HER.
I LOST HER.

{\an1}I DON'T THINK
IT'S AS EASY AS THAT.

{\an1}DON'T EVER EXPECT ONE PERSON
TO REPLACE ANOTHER ONE, PETER.

{\an1}YOU MIGHT BE
DISAPPOINTED.

{\an1}YOU SURE YOU'RE
TALKING ABOUT ME?

{\an1}NOT ENTIRELY, NO.

{\an1}YOU LOST SOMETHING IN SUSY,
AND I LOST SOMETHING IN DAN.

{\an1}WE'VE NO RIGHT
TO EXPECT THE SAME THINGS
IN EACH OTHER.

{\an1}IT'S NO GOOD THINKING
ABOUT WHAT WE'VE LOST.

{\an1}IT'S A LOT MORE FUN
TO FIND OUT
WHAT WE'VE GAINED.

{\an1}I LOVE YOU, KENYON.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hTHIS IS NOT KIDDING?
THIS IS NOT KIDDING.

{\an1}[ Hits Ground ]

{\an1}[ Bells Tolling ]

{\an1}[ Tolling Stops ]

{\an1}GREAT.
LOOK WHO YOU MARRIED--
THE SON OF DRACULA.

{\an1}DON'T COVER IT UP NOW.
GET AT IT.
WHAT WAS IT, PETER?

{\an1}HOW DO I KNOW?

{\an1}SUSY, PANZERLEHRDIVISION
OF THE SCHUTZSTAFFEL
AND A WELSH RAREBIT.

{\an1}BUT MOST OF ALL, SUSY.

{\an1}IF YOU SAY SO, DOCTOR,
ALTHOUGH I DON'T SEE
HOW YOU KNOW.

{\an1}I'VE HAD TO WORK TO GET
DAN OUT OF MY SYSTEM.

{\an1}I'VE DONE IT TOO.

{\an1}NOW YOU'VE GOT TO WORK.

{\an1}WHEN DID YOU WRITE THIS
TO SUSY?

{\an1}THE NIGHT SHE DIED.

{\an1}I'D FORGOTTEN ABOUT IT.

{\an1}YOU GO THROUGH MY PAPERS
OFTEN, SWEETHEART?

{\an1}IT WAS IN
THE COMMON PROPERTY DRAWER--

{\an1}ALMOST AS IF YOU
WANTED ME TO SEE IT.

{\an1}I'M GLAD I DID.

{\an1}"THE WINDS OF EARTH
\hARE OLD AND SANE.

{\an1}"BUT TELL ME--
\hTELL ME WHEN YOU KNOW...

{\an1}WHAT HAPPENS TO A HURRICANE
THAT HASN'T ANY PLACE TO GO."

{\an1}THAT WAS SELF-PITY.

{\an1}THE WHOLE NIGHTMARE
WAS THAT.

{\an1}DAISY, DO YOU KNOW
YOU'VE NEVER TOLD ME
YOU LOVE ME?

{\an1}NO, DON'T SAY IT NOW.

{\an1}I LIKE YOU
FOR NOT SAYING IT.

{\an1}LET IT GROW.

{\an1}LET IT GROW UNTIL LOVING ME
MEANS LOVING THE EARTH...

{\an1}AND ALL THAT'S SWEET AND GREEN
AND MELLOW AND EXCITING
ON THE FACE OF THE EARTH...

{\an1}AND THE FACE OF THE OCEAN.

{\an1}LET IT GROW.

{\an1}LET IT GROW.

{\an1}PETER.
\h\h\h\h\h\h\h\h\h\h\h\hYES?

{\an1}I LOVE YOU.

{\an1}SAY IT AGAIN.
PUT MY NAME ON THE END OF IT.

{\an1}I LOVE YOU,
PETER LAPHAM.

{\an1}NOW YOU KNOW WHAT HAPPENED
TO THAT HURRICANE THAT
HADN'T ANY PLACE TO GO.

{\an1}YES, NOW I KNOW.

{\an1}\h\h\h\h\h\h\h\hHI.
HI.

{\an1}GUESS WHAT?
\h\h\h\h\h\h\h\hWHAT?

{\an1}I'VE HIT THE BIG TIME.
THE OFFICE CALLED,

{\an1}AND THEY WANT ME FOR A SERIAL
IN THE THURSDAY REVIEW.

{\an1}I'VE GOT TO GO
TO NEW YORK TOMORROW.

{\an1}OH, HONEY, I'D GO WITH YOU.
I DON'T KNOW WHAT TO DO
ABOUT DINO.

{\an1}I PROMISED HIM I'D
FINISH RIGGING TOMORROW.
WELL, THAT'S ALL RIGHT.

{\an1}I'VE WIRED ANGELUS.
SHE'LL HAVE TO SHARE
OUR APARTMENT WITH ME.

{\an1}OH, THAT CAME FROM DAN.
SHE FORWARDED IT FROM NEW YORK.

{\an1}I'D SAY POOR DAN,
ONLY I'M SURE HE LOVES IT.

{\an1}\h\h\h\h\h\h\h\h32 WEST 12th.
ALL RIGHT.

{\an1}HERE YOU GO.
\h\h\h\hTHANK YOU, SIR.

{\an1}HEY, SINCE WHEN DO YOU
GO SOUTH FOR PARK?

{\an1}YOU SAID 12th STREET,
MAC.

{\an1}DID I?
TAKE ME THERE THEN.

{\an1}WAIT HERE.

{\an1}[ Buzzer Buzzes ]

{\an1}♪ [ Slow Jazz ]

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hARE YOU ALONE?
ANGELUS LIVES HERE.
MARY ANGELUS.

{\an1}PETER AND I SHARE
THE APARTMENT WITH HER.
WE'RE AWAY MOST OF THE TIME.

{\an1}I KNOW.
I CALLED A COUPLE OF TIMES.
I NEED TO TALK TO YOU.

{\an1}TAKE ME TO LUNCH TOMORROW,
WILL YOU?
\h\h\h\hBABY, I NEED TO SEE YOU NOW.

{\an1}I JUST GOT OFF THE PLANE
FROM CALIFORNIA. I HADN'T
INTENDED COMING HERE.

{\an1}I GAVE THE DRIVER
THIS ADDRESS
WITHOUT THINKING,

{\an1}BECAUSE YOU'RE
THE ONLY PERSON IN THE WORLD
I WANTED TO SEE JUST NOW.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h♪ [ Stops ]
YOU HAVEN'T ANY RIGHT
TO NEED ANYTHING FROM ME.

{\an1}I HAVEN'T ANYTHING
TO GIVE YOU.

{\an1}I'M SORRY, DAISY.
\hI'M TIRED.

{\an1}I JUST HAD SOME TROUBLE.

{\an1}NOT FAMILY.
\hNOT PERSONAL THAT WAY.

{\an1}JUST SOMETHING I CARED ABOUT
THAT BLEW UP.

{\an1}- YOU REMEMBER
\h\hTHE NOGUCHI CASE?
- YES, I REMEMBER.

{\an1}WE GOT BEATEN.
NOGUCHI LOST HIS PROPERTY.

{\an1}WELL, HAVEN'T YOU EVER
LOST A CASE BEFORE?

{\an1}I DON'T FEEL THAT
\hI EVER HAD A CASE BEFORE.

{\an1}I'M STILL SURPRISED.
I CAN'T GET USED TO IT.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hWHY IS IT SO BAD?
WELL, I DON'T KNOW.

{\an1}MAYBE IT'S BECAUSE IT GOT
MIXED UP IN MY MIND WITH YOU.
THE TWO LICKINGS TOGETHER--

{\an1}DAN, I ASKED YOU
NOT TO COME IN. I DON'T LIKE
SEEING YOU THIS WAY.

{\an1}I THOUGHT WE WERE
GOOD FRIENDS.

{\an1}I HAVE THOUGHT OF YOU
MANY TIMES, BUT WHEN YOU
COME IN LIKE THIS, I JUST--

{\an1}I'M GLAD YOU THOUGHT OF ME
WHEN YOU WERE HAPPY WITHOUT ME.

{\an1}HAVE YOU BEEN HAPPY, BABY?

{\an1}YES, TERRIBLY HAPPY.

{\an1}HAPPIER THAN
I EVER MADE YOU?

{\an1}THAT'S A VERY STUPID QUESTION.
YOU NEVER USED TO BE STUPID.

{\an1}YOU SOUND CLINICAL.
THIS IS SOMETHING NEW.

{\an1}I THOUGHT IT WAS ABOUT TIME
I BEGAN TO RUN MY LIFE
WITH SOME INTELLIGENCE.

{\an1}MAYBE THAT'S WHAT SOUNDS NEW.

{\an1}I ASKED YOU TO LEAVE, DAN.
WHAT RIGHT HAVE YOU GOT
TO COME IN HERE...

{\an1}AND ACT LIKE
A DOG IN THE MANGER AFTER
THE HORSE HAS BEEN STOLEN?

{\an1}[ Laughing ]
\h\h\h\hWHAT ARE YOU LAUGHING ABOUT?

{\an1}MARRIAGE HASN'T STOPPED YOU
FROM MIXING YOUR METAPHORS.

{\an1}- CAN I POUR YOU A CUP, BABY?
- NO, THANK YOU.

{\an1}I DON'T LIVE HERE.
IT ISN'T MY COFFEE.

{\an1}YOU KNOW YOU'RE BEING
VERY RUDE TO ME?

{\an1}I LIKED YOU MUCH BETTER
THE WAY YOU USED TO BE.

{\an1}NOW YOU'RE ALL HEAD,
LIKE A NURSE IN
A MENTAL HOSPITAL.

{\an1}I THINK IT'S A POSE,
AND I WISH YOU'D CUT IT OUT,
AND SOUND LIKE DAISY KENYON.

{\an1}[ Clangs ]

{\an1}[ Chuckles ]
THAT'S MORE LIKE YOU.

{\an1}I OUGHT TO BE SORRY
\hI DID THAT.

{\an1}I COULD'VE HURT YOU.

{\an1}HURT AN O'MARA
WITH A STAMP BOX?

{\an1}THE O'MARAS, I'LL HAVE YOU KNOW,
HAVE SURVIVED STEINS,
DORNICKS AND BRICKS.

{\an1}SHALL I TELL YOU
WHAT WENT ON BETWEEN
YOU AND PETER THIS SUMMER?

{\an1}YOU CONVINCED YOURSELVES
THAT YOU LOVED EACH OTHER.

{\an1}THAT WAS EASY.
YOU'RE BOTH NICE PEOPLE.

{\an1}SO, LOGICALLY,
THERE WAS NO REASON WHY
YOU SHOULDN'T LOVE EACH OTHER.

{\an1}YOU THINK YOU KNOW
EVERYTHING, DON'T YOU?

{\an1}SURE. I KNOW ALL
ABOUT EVERYTHING.

{\an1}WHAT GOOD DOES IT DO ME?

{\an1}CAN'T EVEN WIN
A SIMPLE CASE.

{\an1}I DON'T FEEL SORRY FOR YOU, DAN.
OF COURSE YOU GOT BEATEN.

{\an1}THAT'S NOT SO AWFUL.
MOST PEOPLE GET LICKED
EVERY DAY.

{\an1}WHO TOLD YOU
YOU WERE SPECIAL?

{\an1}THE ONE TIME IN YOUR LIFE
YOU THOUGHT ABOUT SOMEBODY ELSE
YOU LOST. WELL, THAT'S TOO BAD.

{\an1}BUT IF YOU'RE REALLY
TRYING TO DO SOMETHING...

{\an1}THAT WILL CHANGE THINGS
FOR PEOPLE, YOU'VE GOT
TO BE HUMBLE.

{\an1}DON'T TELL ME TO BE HUMBLE.
I'M SO FAR DOWN RIGHT NOW.

{\an1}THAT'S NOT BEING HUMBLE.
THAT'S BEING SORRY
FOR YOURSELF.

{\an1}I LIKED YOU BETTER BEFORE.
YOU HAD FRIENDSHIP IN YOU THEN
THAT MET MINE AT THE DOOR.

{\an1}LET ME GO, DAN.
\hLET ME GO--

{\an1}[ Straining ]

{\an1}OOH!

{\an1}NOW GET OUT AND TAKE
YOUR UGLY FRIENDSHIP
WITH YOU!

{\an1}[ Sobbing ]
\h\h\h\h\h\h\h\hIF IT'S UGLY,
\h\h\h\h\h\h\h\hYOU MADE IT THAT.

{\an1}[ Sobbing Continues ]

{\an1}OH!

{\an1}[ Footsteps Approaching ]

{\an1}I'LL NEVER FORGIVE YOU.
NEVER.

{\an1}DAISY, PLEASE LET ME
TALK TO YOU. PLEASE.ues ]

{\an1}[ Door Slams ]

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hGOOD EVENING,
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hMR. O'MARA.
GOOD EVENING, MERVYN.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hYOUR BAGS, SIR?
IN THE HALL.

{\an1}DAN!
WE'VE BEEN WAITING!

{\an1}\h\h\h\hSWEETHEART,
\h\h\h\hWHAT'S THE MATTER?
NOTHING, BABY.

{\an1}DADDY, THEY BEAT YOU.
OH, DADDY.

{\an1}BEAT ME?
YES, HONEY, THEY DID.

{\an1}YOU'VE LOST THE CASE?
IS THAT ALL IT IS?

{\an1}IT ISN'T ALL.
HE LOOKS ILL.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hLET ME GET YOU
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hDR. RIEMER.
I'M NOT ILL, LUCY, JUST TIRED.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hOH, ARE YOU SURE,
\h\h\h\h\h\h\h\h\h\h\h\hDEAR?
I'M POSITIVE.

{\an1}NOW IF YOU'LL EXCUSE ME.
I'LL SEE YOU IN THE MORNING,
HONEY.

{\an1}\h\h\h\hDADDY, CAN--
MARIE. NO, DEAR.

{\an1}THEY BEAT HIM.
\hTHEY NEARLY KILLED HIM.

{\an1}HE JOKED IN HIS LETTER,
BUT THEY NEARLY KILLED HIM.

{\an1}NONSENSE, MARIE.
DADDY LOST THE CASE.
THAT'S ALL.

{\an1}THE CASE HAPPENED TO
MEAN A LOT TO HIM.

{\an1}NOW, CHILDREN,
GO TO BED, PLEASE.

{\an1}IT'S HALF AN HOUR
PAST YOUR BEDTIME, MARIE.

{\an1}YOU HAVE HOMEWORK TO DO,
ROSAMUND. I KNOW.

{\an1}COME ON, OLIVE OYL.
HE'S ALL RIGHT,
JUST TIRED.

{\an1}THE CASE WAS
A LOT MORE SERIOUS WITH HIM
THAN WE UNDERSTOOD.

{\an1}I'VE SEEN MEN AFFECTED
THIS WAY BEFORE.

{\an1}A HOBBY TAKES MORE OUT OF YOU
THAN YOUR REGULAR WORK,
LIKE POP AND HIS BOAT.

{\an1}THAT'S THE FIRST TIME
IN 10 YEARS
HE'S CALLED ME LUCY.

{\an1}OH, MAYBE I'M BEING CRAZY,
BUT PLEASE
STAY HERE TONIGHT.

{\an1}HE'S NEVER BEEN
THIS WAY BEFORE.

{\an1}HE LOCKED HIMSELF
IN THE STUDY AND HE--

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hHE KEEPS HIS MILITIA
\h\h\h\h\h\h\h\h\h\h\h\hREVOLVER IN THERE.
NOW, LUCILLE, REALLY.

{\an1}DON'T GO. PLEASE!

{\an1}[ Phone Dialing ]

{\an1}[ Dan ]
HELLO. IS THIS
CHELSEA 2-0459?

{\an1}I WANT
MRS. PETER LAPHAM.

{\an1}\h\h\h\h\h\h\h\h[ Dan ]
\h\h\h\h\h\h\h\hHELLO?
WHAT IS IT?

{\an1}DAISY. DAISY,
WILL YOU LISTEN
TO ME A MINUTE?

{\an1}DON'T HANG UP.
JUST LISTEN.

{\an1}\h\h\h\h\h\h\h\hDAISY, ARE YOU
\h\h\h\h\h\h\h\hSTILL THERE?
YES, I'M STILL HERE.

{\an1}WHAT IS IT
YOU WANT NOW?
\h\h\h\hI WANT TO TELL YOU--

{\an1}I DON'T KNOW HOW ALL THAT
HAPPENED, BUT IT WASN'T YOU,
AND IT WASN'T ME.

{\an1}DAISY, DARLING,
DON'T LET IT END
LIKE THIS.

{\an1}[ Daisy ]
IT DIDN'T END TONIGHT.
IT ENDED A LONG TIME AGO.

{\an1}YOU MAKE ME SO ASHAMED
OF BOTH OF US.
\h\h\h\h[ Dan ] I KNOW.

{\an1}DAISY, LOOK.
I HAD TO CALL YOU.

{\an1}THIS IS THE WORST NIGHT
OF MY LIFE.

{\an1}I HAD TO TELL YOU...
\hI LOVE YOU.

{\an1}AND I LIKE YOU,
\hAND I ALWAYS WILL.

{\an1}YOU'RE THE ONLY
THING IN MY LIFE
THAT MATTERS.

{\an1}[ Daisy ]
SO WHAT AM I SUPPOSED TO
DO ABOUT IT?

{\an1}SHALL I SAY TO PETER,
"DAN O'MARA'S STILL
\hMY BEST FRIEND,

{\an1}"EVEN THOUGH HE BETRAYED
\hEVERYTHING I THOUGHT
\hABOUT HIM?

{\an1}WE MUSTN'T HOLD THAT
AGAINST HIM."

{\an1}SHALL I SIT DOWN
AND WRITE THAT TO PETER?

{\an1}OH, NO.
OH, NO, MRS. LAPHAM,
OR SHOULD I SAY DAISY?

{\an1}DON'T YOU BOTHER TO WRITE
YOUR HUSBAND. IT'S NONE
OF HIS BUSINESS, IS IT?

{\an1}WE HAVE A LOT IN COMMON,
MR. LAPHAM AND I.

{\an1}LUCILLE!
[ Phone Jingles ]

{\an1}HE OUGHT TO KNOW
THIS THING'S GOING TO
GO ON FOREVER.

{\an1}HE OUGHT TO KNOW YOU'RE THE
ONLY PERSON THAT MATTERS TO DAN!
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h[ Slams ]

{\an1}[ Sighs ]
YOU'RE STANDING THERE,
THINKING I'LL CALM DOWN.

{\an1}IF YOU GET ME
STARTED TALKING,
I'LL CALM DOWN.

{\an1}[ Gasps ]
\h\h\h\h\h\h\h\h\h\h\h\hWELL, YOU'RE WRONG.

{\an1}FOR A LONG TIME,
I DIDN'T THINK YOU WERE
WORTH KILLING, BUT YOU ARE.

{\an1}DADDY.

{\an1}IT'S ALL RIGHT, BABY.
IT'S ALL RIGHT.
THAT WAS JUST TALK.

{\an1}YOU BETTER GO TO BED, DEAR.
TAKE SOMETHING
TO HELP YOU SLEEP.

{\an1}I'M GOING TO DIVORCE HIM.
I CAN'T TAKE THIS
ANY LONGER.

{\an1}I DON'T THINK YOU REALIZE
WHAT A BITTER THING
DIVORCE IS.

{\an1}YOU'LL ONLY BE TORTURING
THE CHILDREN AND YOURSELF.

{\an1}GO TO BED, DEAR.
YOU'LL BE ABLE TO THINK ABOUT IT
MORE CALMLY IN THE MORNING.

{\an1}AFTER ALL, YOU DON'T BREAK UP
A MARRIAGE JUST ON THE EVIDENCE
OF A TELEPHONE CONVERSATION.

{\an1}HE SAYS I TREAT THE CHILDREN
AS IF THEY WERE BABIES.
ALL RIGHT, I WON'T ANYMORE.

{\an1}THEY'RE GROWN-UP ENOUGH
TO LEARN WHAT KIND OF
A FATHER THEY'VE GOT.

{\an1}[ Footsteps Approaching ]

{\an1}YOU COULDN'T SLEEP EITHER?

{\an1}I DON'T SEE HOW I MISSED YOU.
\hI COVERED BOTH WATERFRONTS.

{\an1}DON'T GO IN YET.

{\an1}YOUR FRIEND MARY'S
SEEN ENOUGH OF ME
FOR ONE NIGHT.

{\an1}DAISY, I THINK
I'M HUMBLE NOW.

{\an1}I WASN'T BEFORE,
BUT I AM NOW.

{\an1}I HAVEN'T STARTED
TO STRAIGHTEN OUT
THE MESS AT HOME YET.

{\an1}I HAD TO HAVE
A LOOK AT YOU FIRST.

{\an1}DAN, DON'T--
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hJUST A LOOK.

{\an1}I COULDN'T GO ON
THINKING OF YOU WITH THAT
EXPRESSION IN YOUR EYES.

{\an1}OH.

{\an1}I DIDN'T KNOW
IF YOU WERE COMING BACK.

{\an1}I DIDN'T KNOW
YOU WERE GOING TO STAY.

{\an1}LUCILLE THOUGHT
IT WOULD BE BETTER
IF I DID THE TALKING FOR HER.

{\an1}AS WHAT? HER FATHER
OR HER LAWYER?

{\an1}A LITTLE OF BOTH.
SHE WANTS A DIVORCE,
AND I CAN'T TALK HER OUT OF IT.

{\an1}THE ONLY QUESTION IS,
WHAT KIND?

{\an1}THE BEST THAT MONEY CAN BUY,
I GUESS.

{\an1}LUCILLE'S QUITE BITTER
AT THE MOMENT. PERHAPS
YOU CAN UNDERSTAND THAT.

{\an1}SHE WANTS TO
DIVORCE YOU IN NEW YORK
AND NAME MRS. LAPHAM.

{\an1}\h\h\h\h\h\h\h\hAND WHAT DO YOU THINK?
I MIGHT BE ABLE TO PERSUADE HER
TO DO IT THE EASIER WAY,

{\an1}IF YOU'D COOPERATE
ABOUT THE CHILDREN.

{\an1}AND WHAT IS HER IDEA
OF COOPERATION
ABOUT THE CHILDREN?

{\an1}SOLE AND ABSOLUTE CUSTODY.

{\an1}OF COURSE, EVENTUALLY,
YOU'D BE ABLE TO SEE THEM WHEN
THEY'RE A LITTLE MORE GROWN-UP.

{\an1}BUT LUCILLE THINKS THERE
SHOULD BE A CLEAN BREAK NOW
TILL THEY'RE ADJUSTED TO IT.

{\an1}PERHAPS YOU CAN
UNDERSTAND THAT.

{\an1}TILL SHE'S SOLD THEM
ON THE IDEA THAT
I'VE RUN OUT ON THEM.

{\an1}[ Chuckles ]
WELL, COME NOW, PAPA.
LET'S TALK SENSE.

{\an1}LUCILLE KNOWS I'D NEVER GO
FOR ANYTHING LIKE THAT.

{\an1}THEN WE FILE THE SUIT.
THERE'S NO OTHER CHOICE, DAN.

{\an1}YOU CAN THINK ABOUT IT
FOR A COUPLE OF DAYS
AND LET ME KNOW.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hWELL, THANKS.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hI'LL PHONE YOU.
OH, I'LL BE IN THE OFFICE.

{\an1}BUT I WON'T.
I'M PULLING OUT
OF THE FIRM, SUGARPLUM.

{\an1}PERHAPS YOU
CAN UNDERSTAND THAT.

{\an1}BUT, DAN, THERE'S NO REASON
WHY A PURELY PERSONAL CONFLICT--

{\an1}SURE, THERE IS--
YOUR SENSITIVE NATURE.

{\an1}YOU'D WEAR A SMILE, I KNOW,
BUT DEEP DOWN, YOU'D BE WINCING
EVERY TIME WE MET.

{\an1}YOUR HUMOR'S
IN RATHER BAD TASTE.

{\an1}BESIDES, IT WOULD
GIVE YOU SOMETHING
TO OCCUPY YOUR TIME.

{\an1}WITHOUT ME AROUND,
YOU'LL HAVE TO WORK
FOR YOUR INCOME.

{\an1}THIS MR. O'MARA'S OFFICE?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYES.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hYOU'RE MR. LAPHAM?
YES.

{\an1}HE'S EXPECTING YOU.
GO RIGHT IN, PLEASE.

{\an1}HELLO.
WELCOME TO CHAOS, MR. LAPHAM.
THROW ME MY HAT, SWEETHEART.

{\an1}MERVYN, YOU UNDERSTAND ALL THIS
IS TO GO TO THE NEW OFFICE.
\h\h\h\h\h\h\h\h\h\h\h\hYES, MR. O'MARA.

{\an1}GOOD-BYE, DARLINGS.
I'LL SEE YOU IN THE MORNING.
\h\h\h\hGOOD-BYE, MR. O'MARA.

{\an1}MR. LAPHAM,
YOU'LL THINK IT'S STRANGE.

{\an1}I'LL EXPLAIN TO YOU
WHY I TOOK THE LIBERTY OF
ASKING YOU TO COME HERE.

{\an1}HELLO, HONEY.
WHAT ARE YOU DOING HERE?

{\an1}C-CAN I SEE YOU
IN YOUR OFFICE, DADDY?

{\an1}A NEW CLIENT ALREADY.
O'MARA RETAINED BY O'MARA.

{\an1}PLEASE, DAN.

{\an1}I'LL BE WITH YOU
IN A SECOND,
MR. LAPHAM.

{\an1}NOW, WHAT IS IT,
SWEETHEART?

{\an1}ROSAMUND WAS COMING, TOO,
TO TALK TO YOU.

{\an1}SHE SAID HERSELF
IT WAS TERRIBLY IMPORTANT.

{\an1}AND THEN MILLICENT HARRISON
ASKED HER TO GO TO A MOVIE.

{\an1}BUT, ANYWAYS,
IT'S IMPORTANT TO ME.

{\an1}WHAT IS THIS
THAT'S SO IMPORTANT,
HONEY?

{\an1}I'M GONNA LIVE WITH YOU.
I DON'T CARE WHAT ROSAMUND DOES,
BUT I'M GONNA LIVE WITH YOU.

{\an1}AT THE CLUB, BABY?
LADIES AREN'T ALLOWED THERE.

{\an1}ALL RIGHT,
I'LL MOVE FROM THE CLUB,
JUST AS SOON AS I CAN.

{\an1}THEN YOU AND ROS CAN
COME AND LIVE WITH ME.

{\an1}WHENEVER IT'S ALL RIGHT
WITH YOUR MOMMY, THAT IS.

{\an1}IT WON'T BE ALL RIGHT
WITH HER.

{\an1}DAN, IT'S AWFUL THERE
WITHOUT YOU.

{\an1}WHY IS IT SO AWFUL,
HONEY?

{\an1}I WAS ALWAYS AWAY A LOT.
YOU'LL SEE ME JUST AS MUCH,
MAYBE EVEN MORE.

{\an1}WHEN YOU'RE NOT THERE,
SHE HATES ME.

{\an1}OH, NO.
YOU'RE WRONG.

{\an1}SHE'D NEVER HATE YOU.

{\an1}YOU MUSTN'T THINK
BECAUSE ANYBODY'S UNHAPPY,
THEY HATE YOU.

{\an1}WE'LL TALK ABOUT IT AGAIN,
SWEETHEART. YOU'RE ALL WRONG
ABOUT YOUR MOTHER.

{\an1}\h\h\h\h\h\h\h\hSUPPOSE I PICK YOU UP
\h\h\h\h\h\h\h\hFROM SCHOOL TOMORROW?
I WANT TO TALK ABOUT IT TODAY.

{\an1}NO, TOMORROW.
I'LL TELL YOU
WHAT WE'LL DO.

{\an1}WE'LL GO SOMEPLACE
AND HAVE TEA--

{\an1}A REGULAR, GROWN-UP DATE,
JUST THE TWO OF US, HMM?

{\an1}OH, MERVYN?
\h\h\h\h\h\h\h\h\h\h\h\h\hYES, SIR?

{\an1}WOULD YOU TAKE MARIE
AND SHOW HER THE NEW OFFICE?

{\an1}THEN SEE THAT
SHE GETS HOME OKAY.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYES, SIR.

{\an1}SO LONG, HONEYBUNCH.
I'LL SEE YOU TOMORROW.

{\an1}I'M NOT GONNA
LIVE WITH HER. I WON'T.

{\an1}WE'LL TALK ABOUT THAT
TOMORROW, BABY.

{\an1}I'M SORRY I KEPT YOU WAITING,
MR. LAPHAM.

{\an1}WHY DID YOU WIRE ME,
MR. O'MARA?
HAS SOMETHING HAPPENED?

{\an1}NO, I WIRED YOU BECAUSE
I WANTED TO TELL YOU
THAT NOTHING'S HAPPENED.

{\an1}WELL, THAT'S CLEAR NOW.

{\an1}WE'RE MEETING DAISY.

{\an1}I DIDN'T TELL HER
YOU WERE
COMING DOWN.

{\an1}[ Chattering ]

{\an1}WELL, THERE SHE IS
ALREADY.

{\an1}HELLO, HONEYBUNCH.
\h\h\h\hHELLO, MR. O'MARA.

{\an1}HELLO, DAISY.
\h\h\h\h\h\h\h\hHELLO, DARLING.

{\an1}HELLO. WOULD YOU
LIKE A DRINK?

{\an1}BOURBON AND WATER,
PLEASE.

{\an1}ONE BOURBON AND WATER
AND TWO MARTINIS.
\h\h\h\h\h\h\h\h\h\h\h\hYES, SIR.

{\an1}DO YOU TWO
GET TOGETHER OFTEN?

{\an1}NOT AS OFTEN
AS WE SHOULD.

{\an1}WEREN'T YOU SUPPOSED TO
MAKE THE TRIAL RUN
ON DINO'S BOAT TODAY?

{\an1}THEY'RE WAITING FOR ME
TO FLY BACK TONIGHT.

{\an1}WHY'D YOU COME DOWN?

{\an1}I WIRED HIM.

{\an1}I HAVE THINGS TO SAY
TO BOTH OF YOU,

{\an1}AND THERE'S NO POINT
IN SAYING THEM TWICE.

{\an1}I WIRED YOU,
MR. LAPHAM,

{\an1}BECAUSE I THINK
MISUNDERSTANDINGS
ARE CHILDISH.

{\an1}\h\h\h\h\h\h\h\h\hWE'RE GROWN-UP PEOPLE.
I BELIEVE WE ARE.

{\an1}DON'T YOU KNOW IT?

{\an1}I HAVE A HUNCH THAT WHEN
PEOPLE KEEP ON TALKING ABOUT
HOW GROWN-UP THEY ARE,

{\an1}IT ONLY MEANS
THEY'RE NOT VERY SURE OF IT,
MR. O'MARA.

{\an1}WELL, IF YOU'LL LET ME TALK,
MAYBE YOU WON'T WORRY
SO MUCH ABOUT THAT.

{\an1}LET'S SIMPLIFY ONE THING
AT LEAST.

{\an1}HE'S CALLED PETER,
AND YOU'RE DAN.

{\an1}IT ALL STARTED
ON WEDNESDAY.

{\an1}I'D HAD A BAD DAY.
I LOST A CASE THAT--

{\an1}WELL, THERE'S NO POINT
IN GOING INTO THAT.

{\an1}BUT I WENT OVER
TO 12th STREET,

{\an1}AND I BEHAVED LIKE A HEEL.

{\an1}YOUR WIFE RESISTED.

{\an1}I'LL BE FRANK TO SAY
IF SHE HADN'T RESISTED,

{\an1}WE WOULDN'T ALL
BE SITTING HERE NOW.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\hANY QUESTIONS
\h\h\h\h\h\h\h\h\h\h\h\h\hABOUT THAT?
NO, NOTHING IMPORTANT.

{\an1}WHY ISN'T IT IMPORTANT?

{\an1}BECAUSE IT DOESN'T MATTER
WHAT HAPPENED.

{\an1}YOU'RE NOT
GETTING HOSTILE, ARE YOU?

{\an1}THAT WASN'T ON THE AGENDA.

{\an1}HONEYBUNCH,
I'M NOT HOSTILE.
HONEST. GO ON.

{\an1}I WANT ANOTHER MARTINI.

{\an1}YOU HAVEN'T TOUCHED
THE FIRST ONE YET.

{\an1}WELL, THAT'S THAT.

{\an1}IF IT WERE SOMETHING
THAT ONLY CONCERNED
THE THREE OF US,

{\an1}WE WOULDN'T NEED TO
SAY ANOTHER WORD
ABOUT IT.

{\an1}BUT I'M ASKING YOUR PERMISSION
TO LET ME TURN OUR PRIVATE
AFFAIRS INTO NEWSPAPER COPY.

{\an1}LUCILLE IS SUING ME
FOR DIVORCE.

{\an1}SHE WANTS TO DO IT IN NEW YORK,
NAMING DAISY AS CORESPONDENT.

{\an1}THEY FIGURE, IN ORDER
TO KEEP DAISY'S NAME
OUT OF THE NEWSPAPER,

{\an1}I'LL SIGN AWAY THE RIGHT
TO SEE MY CHILDREN.

{\an1}OH, NO, DAN.
YOU MUSTN'T.

{\an1}IT WOULD BE
TERRIBLE FOR THEM--
MARIE, ESPECIALLY.

{\an1}I'M PUTTING IT
UP TO YOU.

{\an1}IT'S NOT A THING
TO BE DECIDED WITHOUT
REALIZING WHAT IT INVOLVES.

{\an1}THIS IS EXACTLY THE KIND OF COPY
SUNDAY SUPPLEMENT EDITORS
ARE LOOKING FOR.

{\an1}WELL, IF THEY WANT A FIGHT,
WE'LL GIVE IT TO THEM.
WE HAVE MARY AS A WITNESS.

{\an1}I'M SURE WE CAN LICK IT.
I'LL CLEAR YOU, BABY.

{\an1}MAY I SPEAK NOW,
MR. CHAIRMAN?

{\an1}I SUPPOSE SO.

{\an1}I SAID IT DOESN'T
BOTHER ME, UH,

{\an1}WHAT'S HAPPENED RECENTLY
BETWEEN YOU AND DAISY,

{\an1}AND IT DOESN'T MATTER
WHETHER YOU CLEAR DAISY
OR DON'T CLEAR HER.

{\an1}THAT NICE POINT WHICH IS GOING
TO MAKE SO MUCH DIFFERENCE
TO THE READING PUBLIC...

{\an1}WON'T MEAN A THING TO ME.

{\an1}I'M NOT BEING HOSTILE.

{\an1}YOU SEE, I WALKED
INTO THIS MARRIAGE
WITH MY EYES OPEN.

{\an1}I KNEW
WHAT I WAS UP AGAINST.

{\an1}IT WAS A LONG SHOT,
BUT I THOUGHT
IT WAS WORTH THE CHANCE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hWELL, WASN'T IT?
I CAN'T COMPLAIN.

{\an1}I PUSHED MY WAY INTO YOUR LIFE,
DAISY, BECAUSE I NEEDED YOU.

{\an1}WELL, I'M FINE NOW.

{\an1}BETTER THAN EITHER OF YOU.

{\an1}THAT'S ALL THERE IS TO IT.
\h\h\h\h\h\h\h\h\h\h\h\hTHAT ISN'T
\h\h\h\h\h\h\h\h\h\h\h\hALL THERE IS TO IT.

{\an1}THE ONLY REASON I WAS
ABLE TO BREAK IN WAS THAT
HE DIDN'T LOVE YOU ENOUGH THEN.

{\an1}IF I HAD MET YOU NOW
FOR THE FIRST TIME,
WOULD I BE ABLE TO BREAK IN?

{\an1}I'LL DO MY OWN THINKING,
THANK YOU,
AND MY OWN EXISTING.

{\an1}I'M ALL FOR THAT.
THAT'S WHY I'M LEAVING IT
UP TO YOU.

{\an1}SO THAT YOU CAN WORK THIS THING
OUT FOR YOURSELF...

{\an1}WITHOUT BEING BOTHERED
BY THE TECHNICAL DRAWBACK
OF A HUSBAND.

{\an1}THAT'S A FORMALITY
WE CAN DISPOSE OF ANY TIME
YOU GIVE THE SIGNAL.

{\an1}I DON'T WANT A WIFE
ON FORMALITIES.

{\an1}\h\h\h\hPETER, HOW CAN YOU
\h\h\h\hSAY A THING--
[ Kisses ]

{\an1}I DIDN'T PLAN THIS,
BABY.

{\an1}\h\h\h\h\h\h\h\hYOU OUGHT TO KNOW THAT.
I'M ALMOST GLAD
IT HAPPENED.

{\an1}THERE'S NOTHING LIKE A CRISIS
TO SHOW WHAT'S REALLY
INSIDE PEOPLE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hYOU DON'T MEAN THAT.
DON'T YOU TELL ME
WHAT I MEAN!

{\an1}LET'S GO.
I DON'T LIKE IT HERE.

{\an1}IT WAS CLOSE TO 8:00,
WASN'T IT?

{\an1}WHEN YOU RETURNED
TO THE APARTMENT...
AND DISCOVERED MR. O'MARA THERE?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYES.
AND YOU HAD BEEN GONE
SINCE A LITTLE AFTER 4:00?

{\an1}YES, BUT IT'S HARDLY
IMPORTANT, SINCE HIS PLANE
DIDN'T GET IN TILL 5:30.

{\an1}[ Man ]
YOU TESTIFIED
ON DIRECT EXAMINATION...

{\an1}THAT YOU WERE SURPRISED
TO SEE MR. O'MARA,
DID YOU NOT?

{\an1}YOU HEARD ME.

{\an1}[ Murmuring ]

{\an1}SO I DID.
BUT I FOUND YOUR SURPRISE,
SHALL I SAY, SURPRISING.

{\an1}YOU WERE CERTAINLY AWARE THAT
THE TIES BETWEEN MRS. LAPHAM
AND MR. O'MARA...

{\an1}WERE MORE THAN THOSE
OF A CASUAL ACQUAINTANCESHIP.

{\an1}OBJECTION, YOUR HONOR.
QUESTION IS AMBIGUOUS...

{\an1}AND CALLS FOR A CONCLUSION
ON THE PART OF THE WITNESS.

{\an1}OBJECTION SUSTAINED.

{\an1}LET ME PUT IT THIS WAY.
YOU HAD SEEN MR. O'MARA
IN MRS. LAPHAM'S APARTMENT...

{\an1}ON SEVERAL
PREVIOUS OCCASIONS,
HAD YOU NOT?

{\an1}\h\h\h\h\h\h\h\hBEFORE SHE WAS MARRIED.
OH, YES, THAT WAS
BEFORE SHE WAS MARRIED.

{\an1}THEN YOUR SURPRISE CAME
FROM YOUR ASSUMPTION...

{\an1}THAT HER MARRIAGE HAD ENDED
THEIR PREVIOUS RELATIONSHIP.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hI KNEW IT HAD!

{\an1}\h\h\h[ Chuckling ]
[ Man ]
I STAND CORRECTED.

{\an1}BUT SINCE WE MUST
DEAL HERE WITH EVIDENCE,
RATHER THAN OPINIONS,

{\an1}COULD YOU TELL EXACTLY
WHAT CONCRETE FACTS MADE YOU
SO POSITIVE OF THE CHANGE?

{\an1}WELL, I--

{\an1}I JUST KNEW IT.
THAT'S ALL.

{\an1}THANK YOU, MISS ANGELUS.
YOU ARE A DEVOTED FRIEND.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hARE YOU THROUGH
\h\h\h\h\h\h\h\h\h\h\h\hWITH THE WITNESS?
YES, YOUR HONOR.

{\an1}UH, NO FURTHER QUESTIONS,
YOUR HONOR.

{\an1}[ Judge ]
THEN WE'LL RECESS
TILL 1:00.

{\an1}[ Chattering ]

{\an1}HOLD IT, PLEASE,
MISS KENYON.

{\an1}ROSAMUND!
\h\h\h\h\h\h\h\hDON'T BLAME ME, DAN.
\h\h\h\h\h\h\h\hIT'S MARIE.

{\an1}WHAT'S THE MATTER
WITH YOUR EAR?

{\an1}HONEY, WHAT'S THE MATTER
WITH YOUR EAR?

{\an1}IT'S THE COLD. THE MINUTE
WE WALKED OUT OF THE HOUSE,
IT STARTED BLEEDING.

{\an1}IF YOU'RE NOT HOME
IN HALF AN HOUR, THERE'LL BE
NO FUR JACKET FOR CHRISTMAS.

{\an1}AND HAVE DR. RIEMER
LOOK AT THAT EAR.

{\an1}[ Lucille ]
I HAD HIM LOOK AT IT THIS
MORNING. HE SAYS IT'S NOTHING.

{\an1}DID SHE HAVE A BLOW
OF SOME KIND?

{\an1}NO. IT'S PURELY
A NERVOUS THING.
NOTHING TO WORRY ABOUT.

{\an1}ALL RIGHT, LUCILLE.
\h\h\h\hTHANKS!

{\an1}WILL YOU SEE
THAT THEY GET HOME,
OR SHALL I?

{\an1}I THINK THAT'S UP TO ME,
DON'T YOU?

{\an1}COME ON, GIRLS.

{\an1}THE LUNCHROOM
IS A FLIGHT DOWN.
SHALL WE WALK?

{\an1}YOU KNOW, YOU'RE RIGHT.
THAT LAWYER'S BUILDING A CASE
FOR THE PAPERS AND NOTHING ELSE.

{\an1}[ Sighs ]

{\an1}WHY, DAN O'MARA.

{\an1}I'M SORRY.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hI KNOW.

{\an1}YOU LIKE TO BUILD,
NOT DESTROY THINGS.

{\an1}I JUST REMEMBERED SOMETHING
ABOUT THAT EAR.

{\an1}WHEN LUCILLE
FIRST HEARD ABOUT YOU,

{\an1}SHE TOOK IT OUT
ON THE CHILD.

{\an1}SHE ALWAYS HAS EVER SINCE.

{\an1}I SUPPOSE SHE DIDN'T MEAN
TO HIT HER SO HARD.

{\an1}OH, DAISY,
FORGIVE ME FOR THIS.

{\an1}SURE, BABY,
I FORGIVE YOU.

{\an1}YOU KNOW, IT'S A COMMON
PSYCHOLOGICAL PHENOMENON
IN ALL THE NORTHERN COUNTRIES...

{\an1}THAT THE FIRST SNOW OF THE YEAR
CAUSES ACUTE DEPRESSIONS.

{\an1}THAT MUST BE IT.
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYES,
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTHAT MUST BE IT.

{\an1}DO YOU DENY THAT BEFORE
YOUR MARRIAGE TO MR. LAPHAM...

{\an1}YOU WERE IN
CONSTANT COMMUNICATION
WITH MR. O'MARA?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hNO.
AND THE TESTIMONY OF
THE REAL ESTATE BROKER--

{\an1}THAT MR. O'MARA RENTED
AN APARTMENT IN THE EAST 60s.

{\an1}IF HE DID,
I NEVER LIVED IN IT.

{\an1}THE PLACE I LIVED IN
WAS MY OWN.

{\an1}I HAD A GOOD JOB.
I STILL HAVE IT. DO YOU
WANT ME TO PROVE THAT TOO?

{\an1}THAT WON'T BE NECESSARY.

{\an1}BUT TELL ME THIS,
MRS. LAPHAM.

{\an1}IN THE PERIOD OF YOUR, UH,
CONSTANT COMMUNICATION
WITH MR. O'MARA,

{\an1}YOU CAN TELL THE COURT
HOW OFTEN YOU HAD ENGAGEMENTS
WITH OTHER MEN.

{\an1}YOUR HONOR, I MUST POINT OUT
AGAIN THAT MY DIRECT
EXAMINATION OF MRS. LAPHAM...

{\an1}WAS CONCERNED SOLELY WITH
THE EVENTS OF THE EVENING
OF LAST SEPTEMBER 12.

{\an1}IT IS MY PURPOSE TO PROVE THAT
THE EVENTS OF THE PAST...

{\an1}FORM
A VERY SUBSTANTIAL BACKGROUND
FOR WHAT HAPPENED THAT EVENING.

{\an1}BE THAT AS IT MAY, YOU ARE
NOT ENTITLED TO ESTABLISH IT
IN THIS CROSS-EXAMINATION.

{\an1}YOU TESTIFIED EARLIER
THAT YOUR MARRIAGE
WAS A HAPPY ONE.

{\an1}\h\h\h\h\h\h\h\hWAS THAT TRUE
\h\h\h\h\h\h\h\hON SEPTEMBER 12?
YES.

{\an1}AND ON SEPTEMBER 13?

{\an1}I DID NOT SEE MY HUSBAND
ON SEPTEMBER 13.

{\an1}ISN'T IT TRUE THAT
YOU AND YOUR HUSBAND
HAVE NOT LIVED TOGETHER...

{\an1}SINCE THE NIGHT OF
MR. O'MARA'S RETURN
FROM CALIFORNIA?

{\an1}OBJECTION!
I SUBMIT THIS WHOLE LINE
OF QUESTIONING IS IRRELEVANT.

{\an1}MAY I ADD SOMETHING TO THAT,
YOUR HONOR?

{\an1}I DON'T KNOW IF YOU HAVE
THE LEGAL RIGHT TO ASK
SUCH QUESTIONS.

{\an1}BUT WHETHER YOU HAVE OR NOT,
I PROTEST THEM. I PROTEST YOU
AS A HUMAN BEING.

{\an1}THAT WILL DO, MRS. LAPHAM.

{\an1}THE OBJECTION IS OVERRULED.

{\an1}THANK YOU,
YOUR HONOR.

{\an1}I WOULD LIKE TO
ASK THE WITNESS TO TELL US,
IN HER OWN WORDS,

{\an1}JUST WHAT IS THE PRESENT
STATUS OF HER MARRIAGE,
AND WHAT BROUGHT IT ABOUT.

{\an1}WELL, IT-IT IS TRUE THAT
MY HUSBAND AND I ARE NOT LIVING
TOGETHER AT THE PRESENT TIME.

{\an1}BUT IT WASN'T CAUSED
BY WHAT HAPPENED THAT NIGHT.

{\an1}AT LEAST,
HE SAID IT WASN'T.

{\an1}PETER DID--
MY HUSBAND--

{\an1}HE SAID IT WASN'T IMPORTANT.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hYOUR HONOR,
\h\h\h\h\h\h\h\h\h\h\h\hMAY I SAY A WORD?
[ Murmuring ]

{\an1}IF IT IS AGREEABLE
WITH PLAINTIFF'S COUNSEL.

{\an1}THIS IS HIS CROSS-EXAMINATION.
\h\h\h\h\h\h\h\hCERTAINLY, YOUR HONOR.

{\an1}I REQUEST A RECESS
IN THIS TRIAL...

{\an1}FOR THE PURPOSE OF
A PRIVATE CONFERENCE
WITH THE PLAINTIFF.

{\an1}[ Murmuring ]

{\an1}[ Gavel Raps ]

{\an1}THE STATE IS ALWAYS WILLING
TO GRANT SUCH A REQUEST
IN A DIVORCE CASE.

{\an1}MY CHAMBERS
ARE AT YOUR DISPOSAL.

{\an1}THANK YOU, YOUR HONOR.

{\an1}WHY DID YOU DO THAT?
I COULD'VE GONE ON.

{\an1}MAYBE YOU COULD,
BUT I COULDN'T.

{\an1}THERE'S NO NEED FOR YOU
TO WAIT AROUND HERE.
GO HOME. I'LL COME BY LATER.

{\an1}BUT WHY DID YOU
THROW IN THE SPONGE?

{\an1}I LEARNED WHAT
REALLY MATTERS TO ME
WHILE YOU WERE UP THERE.

{\an1}WHAT REALLY MATTERS?

{\an1}I'LL GIVE YOU A HINT.
IT HAS TO DO WITH
HOW MUCH I LOVE YOU.

{\an1}JACK, HAVE MARSHA FIND
PETER LAPHAM, WHEREVER HE IS.

{\an1}TRACE HIM DOWN FROM THE CAPE,
BUT FIND HIM.

{\an1}I TRUST WE ALL REALIZE
THERE'S NO SENSE IN CARRYING ON
WITH THAT SIDESHOW OUT THERE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hDAN, I--
PLEASE, LUCILLE.

{\an1}\h\h\h\hBEFORE THERE'S ANY TALK OF
\h\h\h\hA RECONCILIATION, I'D LIKE--
SKIP IT, PAPA.

{\an1}THERE'S NOT GOING TO BE
ANY RECONCILIATION.
\h\h\h\h\h\h\h\hTHEN WE'LL PROCEED.

{\an1}FOR WHAT?
YOU HAVEN'T GOT A PRAYER
ON THAT KIND OF EVIDENCE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hI THINK--
LET'S NOT WASTE TIME
WITH WHAT YOU THINK.

{\an1}ASK SOMEONE WHO UNDERSTANDS
A LITTLE LAW.

{\an1}YOU CAN GO ON RAISING THE ROOF,
I'LL ADMIT THAT.
BUT WHAT'S THE POINT?

{\an1}I'LL AGREE TO YOUR
ORIGINAL TERMS IN EXCHANGE
FOR A QUIET DIVORCE IN NEVADA.

{\an1}YOU'LL HAVE THE GIRLS
ALL TO YOURSELF, LUCY.

{\an1}GIVE 'EM A BREAK.
\h\h\h\h\h\h\h\h\h\h\h\hTHEY DON'T WANT ME.

{\an1}THEY WILL, IF YOU WORK AT IT.
I'LL BE READY TO TAKE 'EM IF
THE JOB GETS TOO MUCH FOR YOU.

{\an1}OH, DAN, IT'S NO GOOD.
IT'S NO GOOD WITHOUT
THE TWO OF US.

{\an1}NEITHER OF US ALONE
IS ENOUGH FOR THEM.

{\an1}OH, DAN, I'VE HURT YOU.
I'VE HURT THE GIRLS,
AND DAISY, BUT--

{\an1}BUT NOBODY
AS MUCH AS MYSELF.

{\an1}I'M SORRY, HONEY.
THIS DIDN'T START OUT
AS MY IDEA.

{\an1}YOU CARRY ON WITH THE DETAILS,
WILL YOU, QUINN?

{\an1}[ Lucille Sobbing ]

{\an1}HELLO, MR. LAPHAM.
\h\h\h\h\h\h\h\hMR. LAPHAM.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hIS THE BOSS BACK
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hFROM COURT YET?
YES, HE GOT BACK HALF HOUR AGO.

{\an1}I'M SO GLAD
WE FOUND YOU SO QUICKLY.
HE'S WAITING FOR YOU.

{\an1}[ Intercom Buzzes ]

{\an1}\h\h\h\hYES?
MR. LAPHAM IS HERE.

{\an1}SHOW HIM IN.

{\an1}WELL, HELLO, PETER.
I'M GLAD I FOUND YOU IN TOWN.
HOW LONG HAVE YOU BEEN HERE?

{\an1}SOME TIME.
I'M WORKING ON PLANS FOR
A DIESEL FISHING FLEET.

{\an1}I CALLED YOU TO SEE
IF YOU STILL MEANT SOMETHING
YOU SAID AT OUR LAST MEETING.

{\an1}OH, SIT DOWN, WON'T YOU?
HAVE A CIGAR OR ANYTHING?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hNO, THANKS.

{\an1}NO CIGAR.
\hNO ANYTHING.

{\an1}WHAT DID I SAY?

{\an1}THAT YOU WOULD BE WILLING
TO BOW OUT OF YOUR MARRIAGE
ANYTIME DAISY GAVE THE SIGNAL.

{\an1}YES, I THINK THAT'S
A PRETTY ACCURATE QUOTE.

{\an1}AM I BEING SIGNALED?

{\an1}I WANT TO MARRY HER.

{\an1}I'VE TAKEN THE LIBERTY
OF DRAWING UP
THE NECESSARY PAPERS.

{\an1}NATURALLY,
DAISY DOESN'T WANT
ANYTHING FROM YOU,

{\an1}AND I ASSUME YOU DON'T
WANT ANYTHING FROM HER.

{\an1}WHERE DO I SIGN?

{\an1}YOU KNOW,
I'M COMPLETELY
BAFFLED BY YOU.

{\an1}WELL, I DON'T PRETEND
TO BE ABLE TO EXPLAIN
MYSELF IN DETAIL,

{\an1}BUT WHAT IS IT
THAT BOTHERS YOU?

{\an1}I WAS PRETTY SURE
AT ONE TIME THAT
YOU WERE IN LOVE WITH DAISY.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hWHO SAID I WASN'T?
WELL, HERE YOU ARE
GIVING HER UP WITHOUT A MURMUR.

{\an1}THE LEAST YOU COULD DO
IS PUNCH ME IN THE NOSE.

{\an1}I'D BE HAPPY TO,
IF I THOUGHT IT WOULD
ACCOMPLISH ANYTHING.

{\an1}SUPPOSE YOU GIVE ME
ALL THE ARGUMENTS
IN FAVOR OF IT, THEN--

{\an1}FORGET IT. I MIGHT
BE TOO CONVINCING.
RIGHT HERE. THREE COPIES.

{\an1}DID SHE PREFER
THAT I SIGN FIRST?

{\an1}WHO? DAISY?
WELL, NO.
NOT EXACTLY.

{\an1}I'M AFRAID I DIDN'T
MAKE MYSELF QUITE CLEAR.

{\an1}THE FACT IS,
I HAVEN'T ASKED HER YET.

{\an1}OH.

{\an1}WELL, DON'T YOU THINK
THAT WE OUGHT TO...

{\an1}GO THROUGH
ALL THE FORMALITIES
IN THEIR PROPER ORDER?

{\an1}SURE, IF YOU THINK SO.

{\an1}WHY DON'T WE CALL DAISY
AND GO SEE HER?

{\an1}FINE.
WHY DON'T WE?

{\an1}[ Phone Ringing ]

{\an1}[ Ringing Stops ]

{\an1}TRYING TO SNEAK OUT
BEFORE I PAY THE RENT?

{\an1}I'VE GOT TO GET OUT OF HERE.
THAT PHONE'S BEEN RINGING
EVER SINCE I CAME IN.

{\an1}I'VE GOT TO
GET BACK TO WORK.
THAT'S ALL THAT MATTERS NOW.

{\an1}I CAN'T FIGURE YOU.
YOU'VE BEEN IN LOVE
WITH DAN FOR SO LONG,

{\an1}AND NOW THAT HE'S
STOPPED THE TRIAL TO SAVE--
\h\h\h\h\h\h\h\hI CAN'T FIGURE MYSELF.

{\an1}THAT'S WHY
I'M GOING AWAY.

{\an1}I DON'T KNOW WHAT I WANT.
IT'S ABOUT TIME I FOUND OUT
ONCE AND FOR ALL.

{\an1}[ Phone Ringing ]

{\an1}YES?

{\an1}YES, DAN?

{\an1}PETER'S WITH YOU?

{\an1}OH, NO. NO,
I'M NOT UP TO THAT KIND
OF CIVILIZED NONSENSE.

{\an1}PLEASE, DAN,
DON'T BRING HIM HERE,
AND DON'T COME YOURSELF.

{\an1}I'VE JUST GOT TO
BE ALONE FOR A FEW DAYS.
MY WORK'S PILED UP ON.

{\an1}[ Daisy Sniffling ]

{\an1}WANT TO TELL ME
WHERE YOU'RE GOING, SO I'LL
HAVE SOMETHING TO LIE ABOUT?

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTO THE CAPE.
[ Ringing ]

{\an1}HELLO.

{\an1}OH. I'LL SEE
IF SHE'S HERE.

{\an1}IT'S LUCILLE O'MARA,
SOUNDING 10 TIMES
WORSE THAN YOU.

{\an1}HANG UP ON HER,
OR SHE'LL BE
CALLING YOU ALL NIGHT.

{\an1}SURE, BABY.

{\an1}I'LL HELP YOU
WITH THAT.
\h\h\h\h\h\h\h\h\h\h\h\hTHANK YOU.

{\an1}THANK YOU.
CAN I HELP YOU WITH
THE BAGS, MA'AM?

{\an1}NO, THANK YOU.
\h\h\h\h\h\h\h\h\h\h\h\hNOTHING ELSE
\h\h\h\h\h\h\h\h\h\h\h\hI CAN DO?

{\an1}NO.
\hNO, THANK YOU.

{\an1}[ Ringing ]

{\an1}- HELLO?
- BABY, WE'RE HERE
\h\hAT MILLS LANDING.

{\an1}WE'RE ON OUR WAY
TO FACE THIS THING OUT.
IT'S NO USE RUNNING AWAY.

{\an1}DON'T YOU EVER
BELIEVE WHAT I SAY?
I'VE GOT TO BE ALONE.

{\an1}[ Phone Ringing ]

{\an1}[ Ringing Continues ]

{\an1}[ Ringing Continues ]

{\an1}[ Ringing Continues ]

{\an1}[ Engine Starts ]

{\an1}[ Ringing Continues ]

{\an1}[ Ringing Continues ]

{\an1}[ Ringing Continues ]

{\an1}\h\h\h\h[ Tires Squealing ]
[ Ringing Stops ]

{\an1}HELLO, PET.

{\an1}WHERE HAVE YOU BEEN?

{\an1}IT'S NOT VERY SMART
DRIVING AROUND THESE ROADS
ON A NIGHT LIKE THIS.

{\an1}I'M NOT VERY SMART.

{\an1}CALL IT OFF?

{\an1}BETTER,
THOUGH I WOULD HAVE
BLITZED YOU.

{\an1}I DIDN'T HEAR
THE CAR COME IN.

{\an1}I HAD KIND OF
A CRACK-UP.

{\an1}WHAT HAPPENED, BABY?
\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hYOU HURT?

{\an1}NO, I'M ALL RIGHT.
CAR'LL HAVE TO BE
TOWED IN THOUGH.

{\an1}IT'S ABOUT TWO MILES
DOWN THE ROAD.

{\an1}WE CAN WORRY ABOUT THAT
LATER. IS THERE A DOCTOR
ANYWHERE NEAR?

{\an1}PLEASE BELIEVE ME.
I'M ALL RIGHT.

{\an1}MATTER OF FACT,
I FEEL A LOT BETTER
THAN I HAVE IN WEEKS.

{\an1}MAYBE THAT'S A GOOD WAY
TO GET CLEAR ON THINGS.

{\an1}SHOCK TREATMENT.

{\an1}WELL, IF YOU'RE SURE
YOU'RE ALL RIGHT,

{\an1}LET'S ELECT A CHAIRMAN
AND GET ON WITH THE MEETING.

{\an1}THE CAB IS DUE ANY MINUTE
TO TAKE ONE OF US
BACK TO THE STATION.

{\an1}SEEMS TO ME
YOU'VE MADE A LOT OF PLANS
ALL ON YOUR OWN, YOU TWO.

{\an1}WELL, THERE ISN'T GOING
TO BE ANY MEETING.

{\an1}I KNOW WHAT I WANT.
YOU'RE BOTH GOING BACK
TO NEW YORK.

{\an1}AND LEAVE YOU HERE ALONE
WITH NOTHING SETTLED?

{\an1}BABY, YOU'VE GOT TO
STOP RUNNING AWAY.

{\an1}I HAVE STOPPED RUNNING AWAY.

{\an1}WELL, WHO HAS THE FLOOR?

{\an1}\h\h\h\h\h\h\h\hWHO DO YOU THINK?
NOT NECESSARILY, HONEYBUNCH.
IN FACT, I YIELD.

{\an1}WELL, IT DOESN'T MAKE
VERY MUCH DIFFERENCE
WHO SAYS IT.

{\an1}DAN'S ASKED ME TO
GIVE YOU A DIVORCE.

{\an1}I DIDN'T TELL HIM
TO DO THAT.

{\an1}NO, IT'S HIS OWN IDEA.
BUT HE APPARENTLY HAD REASON
TO BELIEVE YOU'D GO FOR IT.

{\an1}THEN WHY DID YOU
COME HERE, PETER?

{\an1}TO HAVE YOU ASK ME
FOR IT YOURSELF.

{\an1}I SEE.
\h[ Horn Honks ]

{\an1}THAT'S OUR CAB.
I'LL BE OUTSIDE.

{\an1}[ Door Opens, Closes ]

{\an1}DAISY,
WE NEED A FRESH START.

{\an1}LET'S GO TO NASSAU.
LET'S GO SOMEPLACE
WHERE WE CAN RELAX.

{\an1}WE'VE BEEN THROUGH
A LOT, BABY,

{\an1}BUT WE'VE NEVER
GIVEN OURSELVES A FAIR CHANCE.

{\an1}IT TOOK ME A LONG TIME
TO REALIZE IT,
BUT I KNOW NOW WHAT I WANT.

{\an1}I'D GIVE UP EVERYTHING
FOR YOU, BABY.

{\an1}[ Scoffs ]
AS A MATTER OF FACT,
I PRACTICALLY HAVE.

{\an1}\h\h\h\h\h\h\h\h\h\h\h\h\h\h\h\hTHE GIRLS?
IT WAS THE ONLY WAY
TO END THE THING.

{\an1}YOU SHOULDN'T HAVE.
I COULD HAVE GONE ON.
I TOLD YOU.

{\an1}YES, BUT I COULDN'T STAND
WATCHING WHAT THEY WERE
DOING TO YOU.

{\an1}NOTHING WAS SO IMPORTANT
THAT I COULD LET THEM
TEAR YOU TO PIECES LIKE THAT.

{\an1}AND IN THE END,
IT WAS WORTH IT TO FIND OUT
WHAT I REALLY WANTED.

{\an1}LUCILLE WOULD HAVE
CALLED OFF
THE WHOLE BUSINESS...

{\an1}\h\h\h\h\h\h\h\h\h\h\h\hAND GONE BACK
\h\h\h\h\h\h\h\h\h\h\h\hTO WHERE YOU WERE.
BUT IT WAS TOO LATE.

{\an1}CAN IT EVER BE TOO LATE
FOR ROSAMUND AND MARIE?

{\an1}DON'T YOU UNDERSTAND?
IT'S ALL OVER, THAT MARRIAGE.

{\an1}IT CAN'T BE OVER
AS LONG AS THE CHILDREN
ARE A PART OF IT.

{\an1}MARRIAGE DOESN'T
BREAK UP THAT EASILY.

{\an1}IT'S TOO LATE.

{\an1}IT'S EVEN LATER
FOR US, DAN.

{\an1}YOU SAID IT TOOK YOU
A LONG TIME TO REALIZE
WHERE YOU STOOD.

{\an1}ME TOO.

{\an1}BUT OUT THERE JUST NOW,
WHEN THE CAR WENT OFF THE ROAD,

{\an1}THINGS SOMEHOW
GOT MUCH CLEARER.

{\an1}IT'S A FUNNY THING
ABOUT BEING IN LOVE.

{\an1}SOMETIMES IT'S EASIER
TO TELL WHEN YOU ARE
THAN WHEN YOU AREN'T.

{\an1}I STOPPED BEING IN LOVE
WITH YOU A LONG TIME AGO,
DAN, BUT THE--

{\an1}WELL, THE MEMORY
KIND OF LINGERED ON
AND KEPT ME MIXED UP.

{\an1}WELL, WHATEVER YOU CALL IT,
LOVE OR ANYTHING ELSE,

{\an1}IT WON'T BE OVER
TILL WE'RE DEAD.

{\an1}WE'VE GOT TO KILL IT,
FOR GOOD.

{\an1}I'M SORRY IF I LET
THE MEMORY MIX ME UP.

{\an1}IT MIXED ME UP TOO,
I GUESS.

{\an1}I WAS PRETTY SURE--
THE THINGS YOU PUT
UP WITH FOR MY SAKE.

{\an1}IT NEVER
WOULD HAVE WORKED.

{\an1}REALLY, DARLING.

{\an1}BECAUSE WHAT YOU CALLED
WANTING ME WASN'T ANYTHING
MORE THAN...

{\an1}WANTING TO RUN AWAY
FROM RESPONSIBILITY,

{\an1}THE WAY YOU'RE DOING NOW.

{\an1}GOOD-BYE, DAN.

{\an1}GOOD-BYE, DAISY.

{\an1}GO AHEAD.

{\an1}HEY, WHAT ARE YOU DOING?

{\an1}SAME AS YOU,
HONEYBUNCH.
GOING HOME.

{\an1}THAT IS MY HOUSE IN THERE,
YOU KNOW.

{\an1}AND MY WIFE.

{\an1}[ Vehicle Departs ]

{\an1}PETER?

{\an1}YEAH, THAT O'MARA
PUT UP A GREAT FIGHT.

{\an1}WHAT DO YOU KNOW
ABOUT FIGHTING?

{\an1}WHEN IT COMES TO
MODERN COMBAT TACTICS,

{\an1}YOU'RE BOTH BABIES
COMPARED TO ME.