Daisy Kenyon (1947) - full transcript

Commercial artist Daisy Kenyon is involved with married lawyer Dan O'Mara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent and caring man, whom she does not love, but who offers her love and a more hopeful relationship. She marries him... just as Dan gets a divorce.

{\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.