Actors and Sin (1952)
82 min | Comedy, Drama | 18 July 1952 (USA)
Two-part story--the first is about a washed-up Broadway actor and his tough daughter, who is a bigger star than he is; the second is about a literary agent whose newest client--a nine-year-old boy--is the author of an unique book.
Directors: Ben Hecht, Lee Garmes
Writer: Ben Hecht
Stars: Edward G. Robinson, Eddie Albert, Marsha Hunt
82 min | Comedy, Drama | 18 July 1952 (USA)
Two-part story--the first is about a washed-up Broadway actor and his tough daughter, who is a bigger star than he is; the second is about a literary agent whose newest client--a nine-year-old boy--is the author of an unique book.
Directors: Ben Hecht, Lee Garmes
Writer: Ben Hecht
Stars: Edward G. Robinson, Eddie Albert, Marsha Hunt
Category
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Short filmTranscript
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00:01:25This is a tale that could happen only in the city of New York,
00:01:29and happen only among its people of the theater,
00:01:31to whom a press notice is a coat of arms.
00:01:34I am, in my luckier hours,
00:01:36one of that chameleon tribe of the backstages,
00:01:39Alfred O'Shea by name,
00:01:41a playwright successful enough
00:01:42to receive the bow of an occasional head waiter.
00:01:45This is the truth,
00:01:47edited and twisted about a bit,
00:01:49but for the first time told,
00:01:51of the glamorous Marsha Tillyou,
00:01:53whose husband I once had the troublesome honor of being.
00:01:57With a screech of police sirens
00:01:59and a spate of newspaper headlines crying murder,
00:02:01this is how the tale of Marsha Tillyou ended.
00:02:03Here are two men from the police.
00:02:06My daughter has been murdered.
00:02:10Marsha Tilly was dead.
00:02:12Who found the body?
00:02:15I...
00:02:17I came to call on her this morning,
00:02:19to breakfast together.
00:02:21She's not awake, the maid said.
00:02:24I looked in.
00:02:28No, not awake.
00:02:31Asleep forever.
00:02:36Look.
00:02:38A heart torn with a murderous bullet.
00:02:43My Marsha.
00:02:46My radiant child.
00:02:49And this is the happy night
00:02:51on which the tale of Marsha Tillyou began.
00:03:01The greatest opening night in years, and it was all yours.
00:03:04Well, I had a slight assist from the playwright, my dear.
00:03:07Oh, it was the most beautiful performance I've ever seen.
00:03:10How sweet of you to say so.
00:03:11Great job, Marsha. You kill the people.
00:03:14Thank you, dearest George.
00:03:16Thank you for an unforgettable performance, my dear.
00:03:20Oh, Otto, how nice of you.
00:03:22The forgotten lady will be remembered forever.
00:03:25They just loved you, Marsha.
00:03:27You're very sweet, my dear.
00:03:29After tonight, you're a star, Marsha.
00:03:31A star that will shine forever.
00:03:33Not unless I get some sleep.
00:03:35Thank you all for your flowers, the applause, and your kind words.
00:03:39Let's hope the critics are 2% as generous.
00:03:42But very likely, we'll all wake up to a massacre.
00:03:45Good night.
00:03:50There'll be no massacre, darling.
00:03:52The critics staggered into the night, muttering Hosannas.
00:03:57It was superb.
00:03:59Your play, Alfie.
00:04:01Champagne and firecrackers.
00:04:04You are a great writer, darling.
00:04:06I'll make an even better husband, darling.
00:04:09I doubt that.
00:04:11A good husband has to have a talent for silence.
00:04:14That's what makes the male dependable.
00:04:16His inability to talk.
00:04:18And you, darling, are a man of words.
00:04:21But such lovely words.
00:04:23I haven't a word.
00:04:25I just worship you.
00:04:28Promise you'll never break my heart.
00:04:31I'll always hold it this side up.
00:04:36Miss Hillier's dressing. No more visitors, please.
00:04:39Who is it, Tommy?
00:04:41Only your shadowy father, my dear.
00:04:44Come out of his limbo to pay homage to his daughter, genius.
00:04:47I thought you were in Connecticut.
00:04:50Teaching those young things to act.
00:04:52I'm awful. I was going to write you.
00:04:55But it wasn't necessary.
00:04:57The press columns kept me informed.
00:04:59May I come in?
00:05:01Darling.
00:05:04My dear.
00:05:06You were like an army with banners.
00:05:09In all my years as an actor,
00:05:11I've never beheld so glamorous a talent as yours.
00:05:14You saw me?
00:05:16Why, you old pollywog, I had no idea you were out front.
00:05:20My dear, a hundred Cyrano's with drawn swords
00:05:23couldn't have kept me out of your theater tonight.
00:05:25My daughter's debut as a star.
00:05:27Nice, wasn't it?
00:05:29My father, Maurice Tiller, you.
00:05:31Alfred O'Shea.
00:05:33Mr. O'Shea is the scoundrel I've chosen for my husband.
00:05:36Get acquainted, you two.
00:05:38My congratulations to you, sir.
00:05:40Thank you, sir.
00:05:42Alfred, you're a lovely present.
00:05:44They're adorable. They're like me.
00:05:46Make-believe wings.
00:05:48Sit down, Dad, and please don't start bragging.
00:05:51Turn him off, Alfred, if he gets on Hamlet.
00:05:53My dear daughter,
00:05:55were I a hundred Barrymores instead of one miserable Tillio,
00:05:59I could talk only of you tonight and your triumph.
00:06:04You've written a very fine play, Mr. O'Shea.
00:06:07But it was my daughter's genius that made it glow,
00:06:10that brought the audience to its feet.
00:06:12I quite agree.
00:06:14I remember a similar phenomenon on my opening night as Othello.
00:06:20You could hear the cheering far out into the street.
00:06:23Sweet Daddy.
00:06:25I learned as a child to call him Old Devil Ham.
00:06:28So you liked me tonight, Mr. Tillio.
00:06:31Your little craft-brained daughter
00:06:33did not bring disgrace on the great name she bears.
00:06:36You mock me, daughter.
00:06:38Oh, darling, forgive me.
00:06:40And rightly.
00:06:42I have, for 20 years, haunted the back rows.
00:06:45Theatrical has been.
00:06:47No manager, however lowly or desperate, would engage me.
00:06:51I hovered around Broadway like a ghost.
00:06:54Shabby, garrulous, invisible.
00:06:59But I had one bit of glory left.
00:07:02My child.
00:07:07I remember one sorry day when I returned to my hotel
00:07:10and I saw my little girl at the piano, sir,
00:07:14mastering the complicated coordinations of a Bach minuet.
00:07:20She was seven, Marsha.
00:07:23Those little hands.
00:07:28And I said to her mother,
00:07:31I've been turned down again, my dear, but it doesn't matter.
00:07:35For one day,
00:07:38my name will belong to a star.
00:07:44Nowadays, as I always dreamed it would, my youth.
00:07:50Marsha Tillio became one of the quick and glittering legends of Broadway.
00:07:54A name with a light on it.
00:07:56A name to gavel and write about.
00:07:58Our marriage was ideal.
00:08:00And then, our marriage was a bust.
00:08:02She began driving me party with her infidelities.
00:08:05She was in love, out of love,
00:08:07half ice soldier, half pirate.
00:08:10Scandals bounced off her like rain off a duck.
00:08:12But nothing matters when the applause is loud
00:08:15and the years are all skyrockets going up.
00:08:19What's this ugly tale I hear about your new play, Alfred?
00:08:23We're closing on the road. Not bringing it in.
00:08:26Oh, I'm surprised. Marsha tells me it's very clever.
00:08:30Yes. I'm down to wifely applause.
00:08:34It seems I'm the youngest ex-genius Broadway has seen
00:08:37since the Royal.
00:08:40Can I buy you a drink, Laxley?
00:08:42No, thanks.
00:08:43The Critics' Circle forbids its membership to drink with embittered playwrights.
00:08:47It's too hazardous.
00:08:49Here are the receipts. 25 standees.
00:08:52Standees.
00:08:54Beautiful word.
00:08:58You're a critic of the drama, sir,
00:09:00and I speak to you with the deference of an old actor
00:09:03who never quite commanded the praise of critics.
00:09:06But who, though wounded by their thousand arrows,
00:09:09still holds them in the highest esteem.
00:09:13Your last article about my daughter
00:09:15was the first to do her justice, Mr. Laxley.
00:09:18I wrote that piece during a total eclipse of the intellect,
00:09:21and I regret every syllable of it.
00:09:24Your daughter, sir, is an ingrate with the soul of a baboon.
00:09:30A great actress may be permitted an oratory or two.
00:09:34No. Your article was accurate.
00:09:37There have been great actresses in the past.
00:09:40I can remember many of them.
00:09:42But none like my daughter, Marcia.
00:09:46She doesn't speak lies.
00:09:48She radiates them.
00:09:51I've seen every one of her performances for three years.
00:09:56You hear that? Her entrance.
00:09:58Never misses.
00:10:00She comes on the stage like magic.
00:10:02I would admire your daughter a bit more than I do
00:10:05if you could induce her to wear a gag offstage.
00:10:08I'm sure she never meant any offense to you.
00:10:11No, not at all. Childish high spirits.
00:10:14I have a brain made out of laundry soap.
00:10:17When I write, I give off soap bubbles.
00:10:20My face looks like an oyster.
00:10:22I'm as appealing as an old sock hanging on a gas jet.
00:10:25This about a man who has adored her brilliantly for two years.
00:10:30And my dear Laxley, we must remember she's young.
00:10:33She is not young.
00:10:35She's older than the original serpent.
00:10:40My dear Phyllis, I promise you not to shed a tear.
00:10:44Tears are quite out of dial for women of my sort.
00:10:49I should as soon think of going round in knee-length bloomers.
00:10:54Instead, when I remember you,
00:10:57I'll always order another highball
00:11:00and drown you over and over in three inches of alcohol.
00:11:06Goodbye, Phyllis.
00:11:08Don't swim too long.
00:11:27Marcia here yet?
00:11:47No.
00:11:48Very clear, as usual.
00:11:50They're rehearsing.
00:11:52She'll be along any minute, sir.
00:11:54I'm in a hurry.
00:11:56May I give her a message for you?
00:11:59Yes.
00:12:01Tell her I've left her, if you don't mind.
00:12:06But isn't that something you should tell her yourself, sir?
00:12:09Briefly, no.
00:12:11Tell her I'm taking a boat.
00:12:13May I say where you're going?
00:12:15I'm still a bit undecided.
00:12:17Possibly I shall shoot lions or wrestle with alligators,
00:12:21or I may merely live in a cave for the rest of my life.
00:12:25Anything will seem quite pleasant after three years beside your daughter.
00:12:30Well, you'll remember your years with Marcia as the golden time of your life, sir.
00:12:38My dear father-in-law, do forgive me.
00:12:42I'm sure the blame is all mine.
00:12:45I'm just not quite bright enough to see it.
00:12:48I see only...
00:12:51Battle of Gettysburg.
00:12:54Frightful carnage.
00:12:57Love...
00:12:59is et cetera.
00:13:01Marriage is...
00:13:03et cetera, et cetera.
00:13:05In short,
00:13:07I haven't drawn an unhysterical breath since our honeymoon breakfast.
00:13:11You mean you haven't drawn a sober one.
00:13:16Exit.
00:13:19One drunkard.
00:13:25He didn't wait for her.
00:13:27She'll not mind.
00:13:29He's been living off her for two years,
00:13:31throwing away her money.
00:13:33She has a right to try to find happiness where she can.
00:13:37I'm late.
00:13:39Herbie wants everyone in costume.
00:13:41Idiotic boy, these dress parades,
00:13:43and I'm beginning to suspect that Mr. Herbie is a boy too.
00:13:47Martinette, my act one costume.
00:13:50Well, flex your muscles and get me into it.
00:13:53Oh, uh, Alfred was here.
00:13:57Yes?
00:13:59He asked me to tell you that he's left you.
00:14:06Did it sound permanent?
00:14:09Well, he was an ungrateful pup.
00:14:12He said something about taking a boat for something.
00:14:16Our goodbye scenes have not included sea voyages.
00:14:21This one sounds a little more sincere.
00:14:24It's a rotten thing to do,
00:14:26leaving you doing rehearsals for a new play.
00:14:30Oh, it was my fault.
00:14:33I won all the arguments.
00:14:36There was nothing left for him to do.
00:14:39Oh, I'm sorry.
00:14:41I won all the arguments.
00:14:44There was nothing left for him to do.
00:14:49Let's look on the bright side.
00:14:52One pair of lungs less to scream at me.
00:14:58Did he...
00:15:00Did he sound as if he hated me?
00:15:03Did he mention anyone?
00:15:06People usually not, madam.
00:15:09Do you know who I am, Miss Tillew?
00:15:15Putting two and two together,
00:15:17I'd say that you were Mrs. Frederick Herbert.
00:15:20It's not that easy, Marcia Tillew.
00:15:22What isn't, my dear?
00:15:24Stealing another woman's husband.
00:15:26It isn't all sitting in gaudy restaurants,
00:15:28listening to his lying compliments,
00:15:30accepting his diamonds.
00:15:32It's not going to be that easy.
00:15:40Get her a handkerchief, Tommy.
00:15:43A big one.
00:15:47I'm so glad you didn't shoot me, Mrs. Herbert.
00:15:50I'd have felt terribly silly dying over Mr. Herbert.
00:15:55Like being shot for stealing milk bottles.
00:16:04I've had enough of fools clawing at me,
00:16:07snatching at me as if I were a Christmas tree.
00:16:10This foul dress doesn't fit.
00:16:14Nothing fits.
00:16:18Miss Tillew's almost ready, Mr. Herbert.
00:16:20You're keeping the entire cast waiting, Marcia.
00:16:23Terribly sorry, Mr. Herbert.
00:16:26I was delayed a few minutes chatting with your wife.
00:16:30Would you mind taking her along with you?
00:16:33Minus her shooting iron.
00:16:36You may keep the gun, Father.
00:16:38It's mine. My trophy.
00:16:41I'm sorry this happened, Marcia.
00:16:43It won't happen again.
00:16:45Come.
00:16:56He'll have to wait a few minutes.
00:16:59They can all wait.
00:17:02Like Alfred didn't.
00:17:33It's no use listening, Mr. Tillew.
00:17:36There'll be no outbursts from the audience.
00:17:39Dreams is a flop.
00:17:41We might as well face it.
00:17:43The critics call the turn on it.
00:17:45Well, the great grammatist Anton Chekhov wrote,
00:17:48critics are like horseflies.
00:17:50They stink like a horse but do not smell like a horse.
00:17:54I'm sure you've heard of them.
00:17:56I'm sure you've heard of them.
00:17:59Critics are like horseflies.
00:18:01They stink like a horse but do not help with the plowing.
00:18:04It's not the critics only.
00:18:06Somebody else can reform the audience.
00:18:08This is the fifth batch of them.
00:18:10Each deader than the other.
00:18:17Give me a drink, Tommy.
00:18:19Do you think you ought to drink during a performance?
00:18:22Don't you start telling me what to do.
00:18:25I'll pay you your back salary next week.
00:18:28Then you'll be free to resign as my advisor and blackmailer.
00:18:32I'll always tell you when I think something's wrong for you,
00:18:35if you never pay me anything.
00:18:37Shut up!
00:18:38The audience can always tell when you're drinking.
00:18:43That was no audience, Mr. Bones.
00:18:47That was a delegation from the morgue
00:18:49wrapped up in their winding sheets.
00:18:52I could drop dead on that stage
00:18:54or turn into a swan with two heads
00:18:56and they'd go right on staring in silence
00:18:58because the critics told them that was the proper thing to do.
00:19:05Oh, I'm bushed.
00:19:09Get me that drink.
00:19:12You were marvelous, Marsha.
00:19:14The rain had a dreadful effect on the audience.
00:19:16It always depresses them.
00:19:18And that leading man of yours, well, he's a veritable scarecrow.
00:19:21And a dummy to boot, you can't hear him pass the third row.
00:19:24You're carrying the whole show alone, darling, and superbly.
00:19:28You know, I cried like a fool at the end of the second act.
00:19:32You were magic, pure magic, Marsha.
00:19:39Here's to that old black magic.
00:19:47It always comes, that black magic.
00:19:49A funeral hat of fame.
00:19:51You can't miss and suddenly you can't hit.
00:19:54You're riding hard and fast and suddenly you're standing still.
00:19:58And those who cheered you and fawned around you
00:20:00unlimber their slingshots and let you have it.
00:20:03And the years are all skyrockets coming down.
00:20:18Sure you won't have anything, George?
00:20:20No, thank you, Marsha.
00:20:22I've done everything I can.
00:20:23Money is very tight.
00:20:25It's impossible to raise a loan without any collateral.
00:20:29I don't see why you keep bothering strangers about it, darling.
00:20:33Loan me the 10,000, George.
00:20:35I'm opening my new play out of town next month
00:20:38and I'd like to have my debts paid so I can concentrate on my art.
00:20:42Go ahead, you can loan me the 10,000.
00:20:44I haven't got it.
00:20:47I've given you much more.
00:20:49You've given me nothing.
00:20:50You've paid me fees as your lawyer.
00:20:54Nothing.
00:20:55I'm sorry, darling, I can't raise it.
00:20:59Your wife is stuffed with money.
00:21:02Please leave my wife out of these negotiations.
00:21:08I can't understand how I could even pretend
00:21:10to have loved a man with that subway vocabulary.
00:21:13I could kill you.
00:21:14Please, let's not talk about me.
00:21:17I'm tired of your amateur threats.
00:21:20Your wife is the only interesting thing left about you.
00:21:24I'll ask her over for a financial conference.
00:21:27You'll not do it.
00:21:28Why not?
00:21:30She owes me a great deal.
00:21:33After all, I've improved your haberdashery and your social standing.
00:21:38The profit's all hers.
00:21:40Not to mention turning her gigolo husband
00:21:42into a bona fide lawyer with his name in all the columns.
00:21:46I think any member of the wives' union
00:21:48would say I was entitled to a small loan.
00:21:52I'm not seeing you anymore, Marcia.
00:21:55And I'm warning you,
00:21:56don't try to blackmail my wife or you'll get what you deserve.
00:22:10They exit very quickly now.
00:22:17Oh, Mr. Herbert.
00:22:19I beg your pardon, but could I talk to you for a moment, sir?
00:22:22I have an appointment, Maurice.
00:22:23This is rather important, sir.
00:22:25What is it?
00:22:26Oh, thank you.
00:22:28Well, I don't know how to begin this interview,
00:22:31but I heard the most preposterous rumor.
00:22:34About what, Maurice?
00:22:35About Marcia's play.
00:22:36I heard the whole thing.
00:22:38I don't know how to begin this interview,
00:22:40but I heard the most preposterous rumor.
00:22:43About what, Maurice?
00:22:44About Marcia's play.
00:22:45I heard that you intended to close it in Boston
00:22:47and not bring it into New York.
00:22:48The rumor is a little inaccurate.
00:22:50I am bringing it into New York the last week in September.
00:22:53Ah, I knew it was absurd.
00:22:55Why, it's a beautiful place.
00:22:57The very best thing that Marcia's ever done.
00:22:59I am delighted to put an end to a lot of this itty-arty cavil, sir.
00:23:03I'm not bringing it in with Marcia.
00:23:06I don't understand.
00:23:08I'm replacing Marcia in the lead.
00:23:11No.
00:23:12Hazel Bond will open in it in New York in September.
00:23:16Everybody inside.
00:23:18Check and dial.
00:23:19Over to you.
00:23:21I can't believe what you're telling me.
00:23:23I've given you the facts, Maurice.
00:23:25I have an appointment.
00:23:27Mr. Herbert.
00:23:29Marcia Tellew is the finest actress in the American theater.
00:23:33She's more than a star.
00:23:35She is an artist such as is seldom born in this world.
00:23:38She's beauty and genius.
00:23:41Replacing Marcia Tellew?
00:23:44No, no, that can't be true.
00:23:46I haven't heard right.
00:23:48As well speak of replacing the stars in the heavens
00:23:51and blotting out the rays of the summer moon.
00:23:55Marcia's not what she used to be, Maurice.
00:23:57Her last three flops have proved that.
00:23:59They dislike her.
00:24:00There's been too much bad publicity.
00:24:02Too many tantrums.
00:24:03Too much liquor.
00:24:04And her performance as Madame Pinelli is shoddy and lifeless.
00:24:07That is a lie, sir.
00:24:09Mr. Tellew.
00:24:11That is a lie.
00:24:13It's a lie, sir.
00:24:19You're destroying my daughter.
00:24:22It's lies.
00:24:39It's lies.
00:24:41I've been looking for you.
00:25:09I went to the hotel and then I came back to the theater.
00:25:14Are you ill?
00:25:18I know.
00:25:20Not ill.
00:25:24But the wings are tired.
00:25:27The wings that keep the heart flying.
00:25:33You mustn't pay any attention to these out-of-town critics.
00:25:36The smaller the critic, the bigger his popcorn.
00:25:39The play will be fine just as soon as Mr. Herbert whips it into shape.
00:25:43All it needs is a new third act and a new leading man,
00:25:46and in New York, you'll be hailed, my dear.
00:25:49That stuff they wrote this morning is just...
00:25:52just hinterland malice.
00:25:59Do you mind if I make a suggestion, Marcia?
00:26:03Next season,
00:26:06you do something worthy of you.
00:26:10Not these exercises and small talk,
00:26:13these marathons of prattle that they call dramas nowadays,
00:26:17dramas that celebrate the death of language.
00:26:24You will play Shakespeare.
00:26:27Deep calls to deep.
00:26:30Deep calls to deep.
00:26:33Talent to talent.
00:26:36You belong in the magic words of Shakespeare.
00:26:39They're all waiting for you.
00:26:42Juliet, Portia, there's the Mona.
00:26:44You'll bring them new luster, new wings, you'll...
00:26:54A little drafty sitting here.
00:26:58Would you mind if I take you home, my dear?
00:27:05Yes, Marcia's next appearance was in a tragedy.
00:27:08Her own.
00:27:10She lay dead across the bed like Desdemona,
00:27:13two bullets in her heart and around her the signs of murder.
00:27:16Signs that said police and newspapers hunting for a killer.
00:27:21The End
00:27:26Greetings, Lexley.
00:27:28Veering? Good evening.
00:27:30Had as much as you can take of this opera?
00:27:32I'm afraid. Late one? Yes.
00:27:35The police still seem at sea.
00:27:38Marcia's assassin remains uncoloured.
00:27:42But bless them.
00:27:44They have a new clue to his identity
00:27:46which may be revealed in a later edition.
00:27:49You know, the police questioned me for hours.
00:27:51Half of Broadway has been given to third degree.
00:27:54Seems that anybody who knew Mr Liu is a logical suspect as a murderer.
00:27:58I'm told this is the worst play of the season.
00:28:01Can't afford to miss it. It might cheer me up.
00:28:04I don't remember seeing you at the funeral.
00:28:07I was out of town.
00:28:11Okay, I've got it. I'll take care of it.
00:28:14Yes, sir.
00:28:18I am Maurice Tidious, sir.
00:28:20How do you do?
00:28:22My name is Hayne. I'm assistant to the district attorney.
00:28:25Yes, yes, I know.
00:28:29In charge of my daughter's murder investigation.
00:28:34Please sit down. I'll be brief.
00:28:39Nice of you to see me.
00:28:41Very nice for a man so busy hunting a murderer.
00:28:48And you haven't found him.
00:28:50Two weeks of searching and no clue to a killer.
00:28:54And the press flaunting her name day by day.
00:28:58Bringing fresh scandal to her memory.
00:29:01You said on the phone that you had some particular information for me, Mr Toledo.
00:29:07Yes.
00:29:08Most particular, Mr Hayne.
00:29:13You've interviewed them all.
00:29:15And found only alibis and innocence.
00:29:18Well, if you have any name or evidence to give me, I'll be glad to check back.
00:29:23Well, I'm inviting you to meet the murderer tomorrow night.
00:29:27In my daughter's home.
00:29:29Why wait for tomorrow?
00:29:31If there's any truth in what you're saying, we ought to act at once.
00:29:33I suggest that you tell me.
00:29:35I...
00:29:37I may seem strange and impractical to you, Mr Hayne.
00:29:42An old character actor with his...
00:29:46mind jangling like girls out of tune.
00:29:50But please, I beg you, humor me.
00:29:56They will be there.
00:29:59All of them.
00:30:00All of them when you open the door.
00:30:02All of them.
00:30:03All of them when you are well.
00:30:07Too well.
00:30:10I've invited them for dinner.
00:30:12Informing them that matters are known are to be revealed.
00:30:15They've all accepted. They'll be there.
00:30:18And the murderer will be among them.
00:30:21I will give you the name...
00:30:24and the proof of the murder tomorrow night, Mr Hayne.
00:30:32Hello.
00:30:53Hello.
00:30:55Hello.
00:31:03Mr O'Shea.
00:31:05Good evening.
00:31:06Inclement weather, Mr Beering.
00:31:08Miserable.
00:31:13I was afraid I'd be late.
00:31:14No taxis in the rain, so I was reduced to walking.
00:31:18Where is our host?
00:31:20Our esteemed host is lurking in the wings, waiting for the house to fill up.
00:31:25Dear me.
00:31:27They're all here.
00:31:28Including a few of my minor suspicions.
00:31:31Was there any way of getting a drink around here?
00:31:33You ought to know.
00:31:36Who's that vulture?
00:31:38Mr George Murray, a barrister.
00:31:41Oh.
00:31:43Up to my time.
00:31:44I'd like a drink.
00:31:46Why don't you go and ask a butler or someone?
00:31:48I can't go prowling through a strange house.
00:31:51Oh, stop it.
00:31:52Don't pretend you've never been here before.
00:31:55Hello, O'Neil.
00:31:57I followed your battle of wits with the police and the press.
00:32:00Ridiculous.
00:32:01Questioning me as if I'd slashed my own painting.
00:32:05The killer was probably an art critic.
00:32:08Marsha was very proud of your friendship.
00:32:11She always said, if one has Mr Laxley for a friend, one needs no enemies.
00:32:16Plagiarism.
00:32:17For Muldaugh.
00:32:18What do you suppose the old man was saying?
00:32:20Plagiarism.
00:32:21For Muldaugh.
00:32:22What do you suppose the old goat's up to, Laxley?
00:32:25The meaning of this gruesome assemblage is beyond me.
00:32:28What do you think, Alfred?
00:32:29Oh, I don't know.
00:32:31Just a little get-together of Marsha's various campaigns for happiness.
00:32:37Well, the old barnstormer has ripped out all his pictures.
00:32:41That one, I think, is Richelieu.
00:32:44Good.
00:32:47And here, I'm afraid, we have Mr Tiller, you as a fellow.
00:32:53Looks a little like a Pullman porter.
00:32:55And Hamlet, eh?
00:32:57Did you ever see him on the stage, Laxley?
00:32:59Yes, once in my youth.
00:33:01At the Players' Club revival of Macbeth, I had that grim pleasure.
00:33:05Seems to have favored Shakespeare.
00:33:07Yes, he had a natural talent for bad acting, which made him a tireless Shakespearean.
00:33:12That, I presume, is the old ham's lair.
00:33:16Do you think if we applauded violently, he'd come out?
00:33:19For a bow, at least.
00:33:21I'm slowly perishing of hunger.
00:33:27Ladies and gentlemen.
00:33:31Permit me to present to you an important member of our memorial dinner party.
00:33:35Mr Thomas Hayne, assistant to the district attorney of the city of New York.
00:33:39Ah, a policeman. That always adds flavor to a cast of characters.
00:33:43I shall not introduce them by separate name to you, Mr Hayne, for they all have a name in common.
00:33:50They are the world of success.
00:33:53Critics of the drama, painters, poets, playwrights, producers, legal luminaries.
00:34:02They're charming, though sometimes mysterious wives.
00:34:07They're all here.
00:34:10The Roman candle signs that light up Broadway.
00:34:17Dinner is served.
00:34:28You will find your names at your proper places.
00:34:33Mrs Herbert?
00:34:35The old pollywog's putting on quite a show.
00:34:37Yes, a very fine rain effect.
00:34:40Thunder too.
00:34:41A bit old-fashioned, but quite interesting.
00:34:44He looks a little odd.
00:34:45Would be odd if he didn't.
00:34:47That's very funny.
00:34:51And who is this missing, Miss Grian?
00:34:56That is my guest of honor, sir.
00:35:02Well, well.
00:35:04This place has been reserved for one not entirely unknown to us.
00:35:07Who is it?
00:35:08Marsha Tillyou, who has gone out for the moment to fetch her harp.
00:35:13I wish to change my place.
00:35:15Keep your seat, my dear.
00:35:18This is delightful.
00:35:21Mr Tillyou, bless his old grease-painted heart, will turn out the lights,
00:35:25and dear Marsha will dance for us with her tambourine.
00:35:30I'm an old actor.
00:35:32I'm an old actor.
00:35:37With the audience seated, and the curtain up,
00:35:40I find it hard to wait.
00:35:42And there's one who bids me speak.
00:35:44Yes, she's here,
00:35:47smiling at those who loved her.
00:35:52But note,
00:35:53note how she looks with cold eyes at one of us,
00:35:56with accusing eyes at one of us whose heart whimpers and cringes.
00:36:01Be gone, Marsha!
00:36:03Let the earth hide you!
00:36:06You're here tonight
00:36:09for the stern business of engines,
00:36:12to hear a name,
00:36:14a murderer's name!
00:36:18The district attorney asked me to give him the name privately,
00:36:22but I refused,
00:36:24because you were all her friends,
00:36:27her honorable friends.
00:36:30And I wished you all present at this hour of vengeance.
00:36:34Miss Thompson,
00:36:36close the doors.
00:36:38Lock them so he can't escape.
00:36:41Good, Thompson.
00:36:43She served my daughter during the days of her greatness,
00:36:48and now serves me.
00:36:50Thank you, Thompson.
00:36:51You may retire.
00:36:57Is this not like a play?
00:37:00Your face is waiting to hear
00:37:03the name of the murdering villain.
00:37:06Are you waiting?
00:37:08He's chatting from his neighbor.
00:37:10I keep my promise, Mr. Hayne.
00:37:12I have the proof
00:37:13enough to send that one from this table to the gallows!
00:37:17The man who killed my Marsha
00:37:19who murdered my Marsha
00:37:24is looking at me.
00:37:27Oh, the terror in his eyes.
00:37:31His name is...
00:37:37All right, nobody move!
00:37:39Give me a light.
00:37:45Get a doctor quick, he's stabbed.
00:37:49Quiet! Nobody move!
00:37:51What's he telling you?
00:37:53Marsha.
00:37:54Who was it?
00:37:57Stark.
00:37:59Marsha, where are you?
00:38:02Marsha, my bright star.
00:38:05Who attacked you? Who was it?
00:38:08Come closer.
00:38:11He mustn't escape.
00:38:14Bend me your ears.
00:38:17He was
00:38:20He was
00:38:28He's dead.
00:38:30Whoever killed him is in this room.
00:38:32I want you to all line up against the wall
00:38:33until the police come.
00:38:35Wait!
00:38:37Let's have another light in here.
00:38:41Here's a broken wire.
00:38:44There's no need for the police, Mr. Hayne.
00:38:47Or for your drawn gun.
00:38:50The mystery is a very simple one.
00:38:53Tell you who turned out the lights himself.
00:38:55The switch was right under his foot.
00:38:58And then
00:39:00he stabbed himself.
00:39:04If you'll all be quiet
00:39:06and Mr. Hayne will permit
00:39:09I'll read you a letter.
00:39:12It's from Marsha.
00:39:16It was mailed the night she was found dead.
00:39:20Alfred
00:39:22I'm bored
00:39:24tired
00:39:25hurt
00:39:26sick
00:39:28full of nasty things.
00:39:31I'd stay a while longer
00:39:33but death seems a little easier than life.
00:39:38Or it's a little poison, more or less
00:39:41to one who has swallowed so much.
00:39:46Goodbye.
00:39:50And do you remember the opening night
00:39:52of The Forgotten Lady?
00:39:56It was nice.
00:40:00Marsha
00:40:02May I have that?
00:40:05That's the truth.
00:40:08She committed suicide.
00:40:10Somebody shot her.
00:40:11There were two bullets in her heart.
00:40:15Maurice put them there.
00:40:17He worshipped her.
00:40:19She was his star.
00:40:23Only stars don't commit suicide.
00:40:26Failures do that.
00:40:30He tried to keep her a star.
00:40:33He arranged a murder scene
00:40:36to give her a proper exit.
00:40:38But all this
00:40:40inviting us
00:40:42killing himself
00:40:44he was mad, a madman.
00:40:45You see, he never thought of Marsha
00:40:47as having killed herself.
00:40:49He saw his lovely Marsha
00:40:51as having been murdered by all of us
00:40:53murdered by all the
00:40:55unscrupulous and cruel
00:40:57adorers who had danced around her.
00:40:59Including your humble servant.
00:41:01I can only say bravo.
00:41:04The old barnstormer
00:41:06played his own death scene
00:41:08from the moment he came into this room.
00:41:12He planned to run away
00:41:14he planned to
00:41:16to almost name a name
00:41:18and then die.
00:41:20Unless all of us would be raked over the coals
00:41:22clapped into jail
00:41:24not for his murder alone but for Marsha's.
00:41:28That was the main plot line.
00:41:31What a grand old boy
00:41:33dying
00:41:36remembering his lines to the last.
00:41:39A lovely piece
00:41:41of old-fashioned mumbling.
00:41:43A lovely piece of old-fashioned mumbling.
00:42:14This is Ben Hecht speaking.
00:42:16Movie making has calmed down a bit
00:42:18in the last 15 years
00:42:20and Hollywood is almost as sane
00:42:22a town as Keokuk.
00:42:24Well, let's say half as sane
00:42:26which is an astonishing improvement
00:42:28or perhaps it is not an improvement at all.
00:42:30Who knows?
00:42:32But it is an improvement
00:42:34and it is an improvement
00:42:36and it is an improvement
00:42:38and it is an improvement
00:42:40and it is an improvement
00:42:41and it is an improvement at all.
00:42:43Who knows?
00:42:45Personally, I pine a trifle for the old days
00:42:47when movie making was a mad and wonderful thing
00:42:49like riding bareback on a unicorn
00:42:51or going after whales with a bean blower.
00:42:55There was the great Puba
00:42:57top-smash Caesar of the studio
00:42:59hurler of thunderbolts
00:43:01molder of destinies
00:43:03headwaters of all the swimming pools.
00:43:05Grand, gloomy and peculiar he was
00:43:07and the earth did tremble at his footfall.
00:43:09And there was a star
00:43:11famed from pole to pole
00:43:13beloved by everybody's husband
00:43:15with the possible exception of her own
00:43:17pulling down ten thousand a week
00:43:19with no taxes
00:43:21and unable to stand at all.
00:43:23And finally, there was my hero
00:43:25the great agent
00:43:27the ten percenter
00:43:29the peddler of genius and beauty
00:43:31full brother to the headless horseman he was
00:43:33evasive, double-talking
00:43:35lying himself into a semi-abyss
00:43:36irresponsible as a grasshopper
00:43:38and liaison officer
00:43:40between the mad hatter
00:43:42and the three little pigs.
00:43:44I give you Orlando Higgins
00:43:46in his terrible prime.
00:43:48What's new, Flanagan?
00:43:50Mr. Goldwyn wants you to call him immediately.
00:43:53What for?
00:43:55Philippe Padano seems to have gotten drunk again.
00:43:57Who's Philippe Padano?
00:43:59He's our client.
00:44:01The one you told Mr. Goldwyn
00:44:03was going to be greater than Valentino.
00:44:04Oh, that phony.
00:44:06If Goldwyn calls again
00:44:08tell him I've gone to Palm Springs.
00:44:10He can't locate me.
00:44:12Check? Check.
00:44:14Anything else?
00:44:16Walter Wanger wants a three-month option
00:44:18on that novel you don't like
00:44:20The Moon Dance.
00:44:22It's a stinker.
00:44:24And Metro refuses to let Madeline Long get married.
00:44:26She's been calling all morning.
00:44:28She wants you to break her contract.
00:44:30Her neck would be more constructive.
00:44:32There are a few other things.
00:44:34She's been calling every 10 minutes
00:44:36since yesterday.
00:44:38Now, Miss Daisy Marcher...
00:44:40Never heard of her.
00:44:42She's an author.
00:44:44She got hold of your private phone number.
00:44:46I have to keep answering.
00:44:48I hate authors.
00:44:50I get sick every time I talk to one of them.
00:44:52They're the worst fatheads in town.
00:44:54Now, listen.
00:44:56I'm not remotely interested in unknown authors.
00:44:58Try the Leland Hayward agency.
00:45:00He's a fellow who jumps for ham sandwiches.
00:45:02And kindly stop calling me up.
00:45:04Is this Mr. Higgins?
00:45:06It is, Mr. Higgins.
00:45:08Are you sure?
00:45:10Yes, honey.
00:45:12It's about the only thing in the world I am sure of.
00:45:14Now, listen.
00:45:16Well, this is Daisy Marcher.
00:45:18I would have called you up sooner,
00:45:20but I've been sick with a fever
00:45:22and I couldn't get up out of bed.
00:45:24Yesterday was my first day up.
00:45:26Is that so?
00:45:28And how do you feel now, Miss Marl?
00:45:30Oh, I feel all right now.
00:45:32As long as I keep my muffler around my neck.
00:45:34You won't.
00:45:36But I'm getting very impatient to know
00:45:38why you haven't sold my motion picture drama.
00:45:40You've had it for two weeks.
00:45:42It's called A Woman of Sin.
00:45:44That'll be about enough, Miss...
00:45:46Who's this?
00:45:48I'm returning your manuscript in the next mail
00:45:50to leave this office.
00:45:52Goodbye.
00:45:54Holy catfish.
00:45:56We down to handling halfwits?
00:45:58Woman of Sin.
00:46:00Check on her, will you, Flanagan?
00:46:01We don't want junk like that
00:46:03going out of this office.
00:46:05Mr. Higgins, secretary.
00:46:07I'm in Palm Springs.
00:46:09Just a moment. I'll see if he's here.
00:46:11Are you in for Freddie Blue?
00:46:14What does that cutthroat want?
00:46:18Put him on.
00:46:23Hello, Freddie boy.
00:46:25How's the world's worst chin rummy player?
00:46:27Anytime, pigeon.
00:46:29Yeah, Wednesday's fine.
00:46:31Double steaks?
00:46:33Perfect.
00:46:35What's that?
00:46:37Whose script?
00:46:41Oh, Daisy Marcher.
00:46:43Yeah, what about her?
00:46:46I'm glad to hear that, Freddie.
00:46:48Oh, great girl, Daisy.
00:46:50Most brilliant writer I've uncovered in years.
00:46:52Yeah, we handle her.
00:46:54Yeah.
00:46:55Yeah.
00:46:57Right.
00:46:59Right, have her there at three.
00:47:01Will do.
00:47:03Goodbye.
00:47:05Have whatchamacallher come in, will you?
00:47:07Miss Wright, please.
00:47:09Empire wants to buy Woman of Sin.
00:47:11Oh, round up that halfwit for me, will you?
00:47:14Daisy Marcher.
00:47:16Yeah, she sounded like a nut over the phone.
00:47:18That's no drawback in a writer.
00:47:20Last week, Gene Fowler reported a work
00:47:22at Metro and a hearse.
00:47:23Yeah, I want a copy of that Sin Woman script
00:47:25by Daisy Whozis.
00:47:27Oh, yes, Woman of Sin.
00:47:29Oh, I'd like to explain about that, Mr. Higgins.
00:47:31We made a mistake and sent it out to Empire
00:47:33instead of returning it to the writer.
00:47:35The envelopes got mixed up.
00:47:37You know, some writers are born under a lucky star.
00:47:39Even their agents can't stop them.
00:47:41You read it, huh?
00:47:43Oh, yes.
00:47:45Stunk, huh?
00:47:47Decidedly.
00:47:49Worse than at Epic we sold Columbia?
00:47:51Infinitely.
00:47:53Here's a reminder copy.
00:47:55We haven't got one.
00:47:57Good.
00:47:59Anything else?
00:48:01No, go back and see if you can make some more mistakes.
00:48:03That's the only way to succeed in Hollywood.
00:48:05I have Miss Burt's with Mr. Cobb's office at 3.
00:48:07You mean Daisy Marcher.
00:48:09Yeah, and handle it yourself, will you?
00:48:11You're the only member of my organization
00:48:13whose head isn't on backwards.
00:48:15I've never seen such a pack of ninnies.
00:48:18You have a 12 o'clock appointment
00:48:20with Mr. Sowsnick.
00:48:21Three hours late.
00:48:24I get there plenty of time.
00:48:27I want to play some tennis.
00:48:30Have a swim.
00:48:32Romanoff's for lunch.
00:48:41Keep in touch.
00:48:43Will do.
00:48:52I'm sorry, Miss Flanagan,
00:48:54you have no appointment with Mr. Cobb.
00:48:56I don't wish to see Mr. Cobb.
00:48:58I'm meeting Orlando Higgins.
00:49:00Mr. Higgins is in reception room A.
00:49:16Where's the writer?
00:49:18No luck.
00:49:19I called 50 places myself.
00:49:21Nobody ever heard of Daisy Marcher.
00:49:23This Greenwriters Guild has no record of her.
00:49:25Those fatheads.
00:49:27All they do is keep voting.
00:49:29I told you never to waste time on them.
00:49:31I hired a detective agency to run her down.
00:49:33They're putting three men on it.
00:49:37Mr. Cobb will see you now, Mr. Higgins.
00:49:39Oh, thank you, darling.
00:49:49Mr. Cobb.
00:50:06Hello, JB.
00:50:08Mr. Blue.
00:50:10Mr. Devlin.
00:50:12That was a terrific preview you had last night.
00:50:15Everybody I talked to was mad about the picture.
00:50:16If that doesn't get the Academy Award,
00:50:18it'll be one of the greatest injustices
00:50:20ever done in this town.
00:50:22My congratulations, JB.
00:50:24Higgins,
00:50:26you've done a lot of things I haven't approved of,
00:50:28such as selling me a lot of material
00:50:30which was low-grade garbage
00:50:32unworthy of what empire stands for.
00:50:34The finest pictures made the finest way.
00:50:37A great slogan, JB.
00:50:39Don't interrupt me,
00:50:41because I wish to say that I consider
00:50:43you finally redeemed yourself in my eyes
00:50:44by sending me this new story.
00:50:46A woman of shame, eh?
00:50:48It's called a woman of sin.
00:50:50I always told you, Mr. Devlin,
00:50:52this man is a complete idiot.
00:50:54All agents are.
00:50:56They ought to be barred from the industry.
00:50:58You're a great man, JB.
00:51:00The greatest single force in the industry.
00:51:02If you want to bar me,
00:51:04okay, we can begin the barring right now.
00:51:06Gentlemen, good afternoon.
00:51:08Sit down.
00:51:12Evidently, you have no sense of humor,
00:51:14Mr. Higgins.
00:51:16Could be.
00:51:18That story, a woman of sin,
00:51:20was placed on my desk by mistake.
00:51:22I never read stories.
00:51:24I read this one.
00:51:26Something guided my eyes to it,
00:51:28and I'm grateful to that power,
00:51:30because otherwise this story
00:51:32might have slipped by me.
00:51:34Like gone with the wind slipped by me.
00:51:39Am I talking too fast?
00:51:41No, JB.
00:51:42My boy,
00:51:44I consider a woman of sin
00:51:46greater than gone with the wind by twice.
00:51:48It is not only a great masterpiece
00:51:50of woman psychology and human soul drama,
00:51:52but one of the greatest pieces
00:51:54of box office entertainment
00:51:56we've ever gotten our hands on.
00:51:58I'm going to put an all-star cast in it.
00:52:00I'm glad you like it, JB.
00:52:02Like it?
00:52:04I'm crazy about it.
00:52:06It's what this country needs,
00:52:08a great story of animal love.
00:52:10I want this deal closed by tomorrow
00:52:12and if you try any Orlando Higgins tricks
00:52:14with any other studio,
00:52:16I'll ruin you for life.
00:52:19Uh,
00:52:21there's just one other hitch, JB.
00:52:23Go on.
00:52:25The writer.
00:52:27What's the matter with her?
00:52:29She, uh, she wants too much money.
00:52:31How much?
00:52:33Almost preposterous,
00:52:35but I couldn't budge her.
00:52:37How much?
00:52:3975,000.
00:52:40Frankly, JB,
00:52:42I don't think that script is worth it.
00:52:44No script is.
00:52:46You've got a deal.
00:52:48Mr. Devlin, 75,000 is the price we'll pay
00:52:50for a woman of sin and the contracts
00:52:52drawn up at once.
00:52:54I consider it the biggest bargain
00:52:56Empire has ever made.
00:52:58We'll shake hands on it, Orlando,
00:53:00like old friends, and remember,
00:53:02we got witnesses.
00:53:11Good morning.
00:53:13What's new, Flanagan?
00:53:15The detectives have struck out
00:53:17on Daisy Marcher.
00:53:19Hire some more.
00:53:21They've covered every hotel and hideaway.
00:53:23Don't tell me there is no Daisy Marcher.
00:53:25I talked to her.
00:53:32How are you?
00:53:34In the pink.
00:53:35Mr. Higgins, secretary.
00:53:38Who?
00:53:40Just a moment.
00:53:42I'll see if he's here.
00:53:44Are you in for JB Cobb?
00:53:46That's fat head.
00:53:56Orlando Higgins.
00:53:58Yes, I'm on personally.
00:54:01Hello, JB.
00:54:02Now, wait a minute.
00:54:04Before you start talking,
00:54:06I've been up half the night
00:54:08talking to Daisy Marcher
00:54:10like a Dutch uncle.
00:54:12I can't get her to see it our way.
00:54:14Yeah, yeah.
00:54:16No.
00:54:18No, she absolutely refuses
00:54:20to sign any contract
00:54:22that doesn't give her
00:54:24a percentage of the gross.
00:54:27Yeah, I...
00:54:29I...
00:54:30I...
00:54:32I told her it was absolute lunacy, JB.
00:54:34Look, I'm on your side.
00:54:36You know that.
00:54:38No, I told her she was acting
00:54:40like an absolute stinker.
00:54:42Yeah.
00:54:44Yeah, that's exactly what I've been begging her to do.
00:54:46To go over and talk it out with you.
00:54:48Yeah, like with her own father.
00:54:50I told her you're absolutely
00:54:52the fairest man in town.
00:54:54She spit in my eye.
00:54:56Yeah, we both almost lost her.
00:55:01Oh, now, wait a minute, JB.
00:55:03I can't stick you like that.
00:55:05Look, I'll try my darndest...
00:55:07I'll try my darndest
00:55:09to get it for the 75 grand
00:55:11we shook hands on.
00:55:13Yeah, I'll tell her.
00:55:15Will do.
00:55:17Call you back.
00:55:21He offers 100 grand.
00:55:23Then we'll go higher.
00:55:25You seen my pants anywhere, Flanagan?
00:55:35Oh, I didn't even work up a sweat.
00:55:40I don't know what it is about riders.
00:55:43They're either a millstone
00:55:45or a will-o'-the-wisp.
00:55:48You know, I got a theory
00:55:50that marcher creature dropped dead.
00:55:53Mr. Higgins, secretary.
00:55:56No, Mr. Selznick, Mr. Higgins
00:55:58has not come in from San Francisco.
00:56:00I'm very sorry.
00:56:02Thank you. I'll tell him.
00:56:06Why do you think Daisy Marcher dropped dead?
00:56:08She's drunk.
00:56:11She was drunk as a coot when she called me.
00:56:14And had a cold.
00:56:17You take a lush like that
00:56:20and give her influenza,
00:56:23they never recover.
00:56:26Say, Flanagan,
00:56:28get me the obituary columns
00:56:30for the next three days, will you?
00:56:32I want to look them over.
00:56:35To end up in a drunkard's grave
00:56:37with fame and fortune on your doorstep,
00:56:41real irony.
00:56:44Make a great movie.
00:56:47Hello.
00:56:50I see.
00:56:52Just a moment.
00:56:54This Daisy Marcher to see you.
00:56:57No kidding.
00:56:58Where is she?
00:57:00In the reception room on this right.
00:57:02Have them send her right in.
00:57:04Send her in, please.
00:57:19What's holding her up?
00:57:21A tick.
00:57:23Where is Miss Marcher?
00:57:29What do you want?
00:57:31I miss Daisy Marcher.
00:57:34Go and tell your mother to come in
00:57:36and you wait outside like a good little girl.
00:57:38Can't I get anybody to run the office right?
00:57:40How many secretaries do I need?
00:57:42I have no mother.
00:57:44I'm an orphan.
00:57:46Which one of you is Mr. Orlando Higgins?
00:57:49I am Orlando Higgins.
00:57:51Then please give me my drama back.
00:57:54Are you trying to tell me
00:57:56that you're the author of Woman of Sheep?
00:57:58Shame?
00:58:00It's called Woman of Sin
00:58:02and of course I wrote it all alone.
00:58:04You know what happens to little girls
00:58:06who tell lies?
00:58:08Dirty, rotten lies?
00:58:10Anyway, I never liked men
00:58:12who were angry and died like you.
00:58:14I'm not in the habit of quarreling with babies.
00:58:16Now what I want to know is
00:58:18are you actually the author of Woman of Sin?
00:58:20Cross your heart, hope to die.
00:58:22Hope to die, yes I am.
00:58:24That hair ribbon kills me.
00:58:26Take that off.
00:58:28I won't.
00:58:30It makes me look taller.
00:58:32My mother gave it to me.
00:58:34You said you didn't have a mother.
00:58:36On her deathbed when I was a little girl.
00:58:38You see, father ran away with another woman
00:58:40who afterwards stabbed him to death
00:58:42and my mother hanged herself
00:58:44because of a broken heart.
00:58:46They cut her down and she lingered for an hour
00:58:48with her neck broken.
00:58:50I'm glad to hear it.
00:58:51Where do you live, little girl?
00:58:53Oh, in the hills.
00:58:55I like the wilderness.
00:58:57Oh, you live in a tree, huh?
00:58:59Like a squirrel?
00:59:01Part of the time.
00:59:03Then I spend some time with my grandmother.
00:59:05She lives in a little hut because she's half Indian
00:59:07and very old, about 110.
00:59:09Her name's Minitana.
00:59:11Shut up, you loony liar.
00:59:13I'll spank you.
00:59:15You're a nasty, red-eyed monster
00:59:17and I forbid you to ever speak to me again.
00:59:19Oh, no you don't.
00:59:21Explaining it.
00:59:23Come on, we're taking this brat home
00:59:25and finding out the truth about her
00:59:27if I have to skin her alive.
00:59:29So that was all a pack of lies
00:59:31about the stabbings, the hangings, and the Indians.
00:59:33Oh, yes, I'm very much alive, Mr. Higgins.
00:59:36And you're sure your daughter wrote this script all alone?
00:59:41I mean, you didn't help her in the hard parts?
00:59:44She wrote it all alone.
00:59:46Her own little bedroom.
00:59:48But the child simply will not learn
00:59:49how to spell.
00:59:51So I've told her what a help it'd be
00:59:53to her in her career.
00:59:55Haven't I, babykins?
00:59:59This is a very interesting kettle of fish.
01:00:03She's an author?
01:00:05Oh, yes.
01:00:07She's been at it since she was three.
01:00:09Writes day and night, never stops.
01:00:11Poor old thing.
01:00:12Sugar deficiency, the doctor told me
01:00:14I should watch out for it.
01:00:18Well, those are all the facts about Millicent.
01:00:24Daisy Marchers are non de plume.
01:00:27So I think that Millicent Egglehoffer
01:00:30is much more literary sounding.
01:00:32Don't you?
01:00:35Oh, come here, Pip.
01:00:37Come here, Pip.
01:00:39Come here.
01:00:40Oh, come here, Pip.
01:00:42Come here, sweetie.
01:00:44Let me fix your hair.
01:00:46The gentleman will think you're
01:00:48just a little street yard.
01:00:50Mother, this is too much.
01:00:52You're languid.
01:00:54Why, babykins, where are your manners?
01:00:56Flanagan, take Daisy into the other room.
01:00:58She's just disturbing her mother.
01:01:00Flanagan!
01:01:02Thanks so much.
01:01:04Uncontrollable temper.
01:01:06Her father, you know, was like that.
01:01:08He was a minister of the gospel.
01:01:10But his aura was dark purple all the time.
01:01:14I always felt that it was his aura
01:01:16that killed him and not pneumonia at all.
01:01:19Miss Egglehoffer,
01:01:21I want to talk business with you.
01:01:24Empire Studios is willing to pay
01:01:26$125,000 for a woman of sin.
01:01:32Is this agreeable to you?
01:01:36I don't know.
01:01:38All that money going to Millicent
01:01:40might spoil her character.
01:01:42She's so simple and unassuming now.
01:01:44No, the money will not go to her.
01:01:46The money will go to you.
01:01:48She's a minor.
01:01:50It would be criminal to hand over the money
01:01:52to a crack-brained infant like that.
01:01:54Poor babykins.
01:01:56I could do so much for her.
01:01:58After all, she does need an older head.
01:02:00Done and done.
01:02:02Now listen hard.
01:02:04This is important.
01:02:06Empire is going to spend $3 million on this epic.
01:02:08Maybe more before they're through.
01:02:11They're going to advertise it
01:02:13as the most sophisticated love drama ever filmed.
01:02:16Oh, that's wonderful.
01:02:19I'm very proud.
01:02:21Now, please, madam.
01:02:23You've got to concentrate.
01:02:26Now if it's ever found out
01:02:29that this great epic was written by a child of nine,
01:02:32it will ruin not only Empire,
01:02:34but it'll give the whole industry a black eye.
01:02:37Oh, boy.
01:02:40I know, the public's very fickle.
01:02:42Yes, now in...
01:02:44In putting this deal over for you, Mrs. Egelhofer,
01:02:47I'm taking a terrific gamble.
01:02:49If Empire ever finds out about her, I'd be lynched.
01:02:53No, no, I mean it.
01:02:55J.B. Cobb would have me lynched.
01:02:59Now,
01:03:01the only way to prevent this sort of thing from happening
01:03:03is to have Daisy put in my charge.
01:03:05I'll provide a fine home for her
01:03:07and keep her locked in it.
01:03:09You can visit her any time you want.
01:03:11I heard you.
01:03:13Come on, come on now, please hurry up.
01:03:15Don't you want to say goodbye to your mother, Daisy?
01:03:17Oh, it doesn't matter.
01:03:19I spoiled my child with too much love.
01:03:21No, mother.
01:03:23You have not spoiled me.
01:03:25It is the world that has spoiled me.
01:03:27You are not to blame.
01:03:29I forgive you
01:03:31and will always love you
01:03:33with what is left of me.
01:03:34Oh, come on, will you?
01:03:36Oh, please.
01:03:47What do you think, Mrs. Weitzel?
01:03:49Do we wait for Mr. Cobb
01:03:51or let's make the picture?
01:03:53We lost already all the money.
01:03:55No, no, no, we'll wait for Mr. Cobb.
01:03:57He'll be here right away.
01:03:59Mr. Cobb is coming.
01:04:01Good, good, good.
01:04:02Wait, wait.
01:04:13Good morning, Mr. Schweitzer.
01:04:15This is quite an honor, Mr. Cobb.
01:04:17I've never been on the set before.
01:04:19It's my policy never to interfere.
01:04:21Sit down, won't you, Mr. Schweitzer?
01:04:23Oh, thank you, thank you.
01:04:25No, no gentlemen.
01:04:27I prefer to stand.
01:04:29Everything's ready, J.B., for the launching ceremony.
01:04:30We can't proceed until Miss Marcher arrives.
01:04:32I'm doing it for her.
01:04:34Hello, J.B.
01:04:36Oh, good morning.
01:04:38Miss Marcher with you?
01:04:40Oh, I'm sorry, J.B.
01:04:42I gave her that case of champagne you sent her.
01:04:44Well, it softened her up for a minute
01:04:46and then bang, right back into her shelf.
01:04:48Well, you know how writers are.
01:04:50You can't reason with them.
01:04:52It's like talking to lunatics.
01:04:54Well, that's ridiculous.
01:04:56After all the publicity the studio's given her,
01:04:58like she was George Bernard Shaw.
01:05:00Aloof, devoted to her art.
01:05:02Better stay that way.
01:05:04The press is here, Mr. Cobb, waiting.
01:05:06Thank you, Mr. Schweitzer.
01:05:08This is your big opportunity.
01:05:10I won't forget you, Bill.
01:05:12Pardon me.
01:05:14Over here, Chief.
01:05:26Ladies and gentlemen of the press
01:05:27and fellow workers.
01:05:31I have only a few words to say
01:05:33on this important occasion.
01:05:35We are starting our picture,
01:05:37A Woman of Sin.
01:05:39And in starting this picture,
01:05:41I am fulfilling a dream I've had
01:05:43for 25 years
01:05:45of someday giving to the world
01:05:47a cinema masterpiece
01:05:49that will prove once and for all
01:05:51that Hollywood has come of age
01:05:53as a center of art.
01:05:55A Woman of Sin
01:05:57is such a masterpiece.
01:06:00I wish to salute all the great stars
01:06:03who are going to take part in it
01:06:05and all of the talents
01:06:07that will contribute to its creation,
01:06:09but above all,
01:06:11the brilliant dramatist
01:06:13who has given us
01:06:15this throbbing story of love,
01:06:17Miss Daisy Marcher.
01:06:19I wish to salute her
01:06:21as a woman of sin
01:06:22Miss Daisy Marcher.
01:06:24Well, on with the show,
01:06:26ladies and gentlemen.
01:06:28And remember,
01:06:30through all the happy days
01:06:32of toil before you,
01:06:34as Shakespeare said,
01:06:36the play's the thing.
01:06:43All right, Alfred,
01:06:45on with the show.
01:06:47Places, everybody.
01:06:49Quiet on stage.
01:06:50Camera, action.
01:07:06I have found out at last
01:07:08what you are, Millicent.
01:07:10And what am I, Gilbert?
01:07:12Cruel, selfish,
01:07:15a woman of sin.
01:07:17And are you leaving me, Gilbert?
01:07:20No, no, I forgive you.
01:07:22I love you
01:07:24with what's left of me.
01:07:27I love you with my grief,
01:07:29my broken heart,
01:07:31my scalding tears.
01:07:34My darling.
01:07:36Cut. Print.
01:07:38Sensational.
01:07:42What's new, Flanagan?
01:07:46Walter Wayne, do you want to see you
01:07:48at midnight, projection room D?
01:07:50The Paramount meeting is for 5 o'clock.
01:07:52Mm-hmm.
01:07:54Mr. Selznick wants to know
01:07:56if you're free to go fishing tomorrow.
01:07:58No.
01:08:00The rest are from actors and writers.
01:08:13How's our little ball, Zack?
01:08:15She's sticking to chocolate cake.
01:08:20Hey.
01:08:41Hey, Flanagan.
01:08:48Looks a little older,
01:08:50fatter, don't you think?
01:08:52I'd still say she was about nine.
01:08:54Yeah, but not a young nine.
01:08:57Go away.
01:08:59Flanagan's going to take you
01:09:00to her house with her tonight.
01:09:02Oh, Fanny,
01:09:04how do you spell blonde?
01:09:07B-L-O-O-D.
01:09:13Shirts with two O's?
01:09:15Yes, I'm sure.
01:09:16Oh, well, thanks, Fanny.
01:09:20I want to talk to you, Orlando.
01:09:22Oh, well, all right.
01:09:24Let's sit down over here
01:09:26and have a good old conference.
01:09:34Orlando.
01:09:36Hmm?
01:09:38I'm sick and tired reading about
01:09:40a woman of sin in the newspapers.
01:09:42I'd like them to write about a sea of blood.
01:09:43Is that so?
01:09:45What in blazes is a sea of blood?
01:09:47I've told you a hundred times already.
01:09:50It's the news screen drama
01:09:52I'm writing about those pirates.
01:09:54It's a hundred times better
01:09:56than a woman of sin.
01:09:58Just a moment.
01:10:00There's a Mr. Moriarty
01:10:02to see Miss Daisy Marcher.
01:10:04No, quiet.
01:10:06No, I told you not.
01:10:08Oh, where's Moriarty?
01:10:10Lucy, just wait.
01:10:11Now I can finish the sea of blood.
01:10:13He knows all about pirates.
01:10:18Send Mr. Moriarty in, please.
01:10:21Where is he?
01:10:25Hi, hi.
01:10:27Are you Moriarty?
01:10:29Yes.
01:10:31Oh, come on in.
01:10:33What's your first name?
01:10:35They call me Captain.
01:10:37He's Captain Moriarty.
01:10:39That's right.
01:10:41I got your letter, Daisy.
01:10:43I came out with your mother
01:10:45and she told me to come here.
01:10:47Oh, and how is Daisy's mother?
01:10:49Eating.
01:10:51Come on in here.
01:10:53We're going to work in here.
01:10:55And you can bring your boat, too.
01:10:57There's plenty of room in the sea.
01:10:59I can only stay here one hour,
01:11:01but I'll come back and bring my boat.
01:11:03Oh, goodie, goodie.
01:11:05Come on, Captain.
01:11:12Kind of cute, huh?
01:11:16Hello?
01:11:19Yes.
01:11:21Just a moment, please.
01:11:23Mr. Cobb's office on the phone.
01:11:25They're running a rough cut of a woman of sin tonight.
01:11:28Eight o'clock sharp, projection room B.
01:11:30They want to know if he'll be there.
01:11:32Oh, I'll be there, I'll be there.
01:11:34Yes, he'll be there.
01:11:35No use putting on any false modesty, J.B.
01:11:38You've got a sensation in a woman of sin.
01:11:41I cried through the last five reels like a baby.
01:11:46Why, it's a combination of Anna Karenina,
01:11:49Camille, and the birth of a nation.
01:11:51It can't miss.
01:11:53Miss?
01:11:55It's good for a seven to 10 million gross.
01:11:57Frankly, J.B.,
01:11:59I didn't think you had a movie like this in you.
01:12:01You surpassed yourself.
01:12:02I had Bill Schweitzer in
01:12:04and had a serious talk with him, J.B.
01:12:06I got him to see the point
01:12:08and he's agreed to take his name
01:12:10off the picture as producer.
01:12:12I'm just going to read,
01:12:14personally produced by Jerome B. Cobb.
01:12:19I didn't really expect that, boys.
01:12:22But it's wonderful to know
01:12:24that you're appreciated by your fellow workers.
01:12:27After all, you had the vision.
01:12:28And that opening talk you made on the set,
01:12:30I could have made the picture myself
01:12:32after a speech like that.
01:12:35Excuse me, gentlemen.
01:12:37Yes?
01:12:39It's the art department.
01:12:41Send them in.
01:12:43Forgive my not sharing your enthusiasm, boys,
01:12:45but when a thing is done,
01:12:47you feel kind of let down, hollowed out.
01:12:52I don't know what to do.
01:12:54I don't know what to do.
01:12:55You know, Vincent Brown, J.B.,
01:12:57to think my head is in the clouds so much,
01:12:59I don't know my own art department.
01:13:01I've been hearing fine things about you, Mr. Brown.
01:13:04This is sort of a red-letter day in my life, Mr. Cobb.
01:13:07I've worked here 12 years
01:13:09and this is the first time
01:13:11I've had the honor of meeting you.
01:13:15May I introduce my assistant,
01:13:17a very fine artist, Mr. Cobb.
01:13:19Mr. Cobb.
01:13:21Mr. Cobb.
01:13:23Mr. Cobb.
01:13:25A fine, loyal man.
01:13:31Mr. Cobb's time is valuable, Hadley.
01:13:34Proceed ahead.
01:13:36Yes, let me see what you gentlemen have to show me.
01:13:39Who's that fellow you brought with you?
01:13:41He's the artist. His name's Daniello.
01:13:43He drew all the layouts.
01:13:45What's the idea of bringing him along?
01:13:47You know how J.B. feels about artists.
01:13:50Don't worry, he won't get in the way.
01:13:52Would you mind sitting there on that couch, please?
01:13:55I'll call you if I need you, Danny.
01:14:03These are just the preliminary sketches, Mr. Cobb.
01:14:06I thought you might have some ideas
01:14:08which I could incorporate.
01:14:10I understand.
01:14:16Mr. Brown, you've done a fine thing here.
01:14:18Well, after all, Mr. Cobb,
01:14:20I had your work to inspire me.
01:14:22Are these for the magazines or the billboards?
01:14:24We'll take that up later.
01:14:26Let me see what else.
01:14:28Of course.
01:14:30Sensational.
01:14:34Would you mind a very small suggestion?
01:14:37Why, not at all, Mr. Cobb.
01:14:39That's what we're here for.
01:14:41I would like, I love you changed.
01:14:43That line was 25 years old.
01:14:45Yes, sir.
01:14:46We'll hit that harder.
01:14:48Anything else, Mr. Cobb?
01:14:50Not a thing.
01:14:52I'm extremely pleased with everything.
01:14:54I think we ought to flood the country with this stuff.
01:14:56Nationally.
01:14:58This picture is going to outgrow
01:15:00it's gone with the wind.
01:15:02I feel it.
01:15:04That's not what I've been working for, Mr. Devlin.
01:15:06A woman of sin is going to win
01:15:08every Academy Award Oscar.
01:15:10I think this time,
01:15:12I've earned it.
01:15:13I've earned them.
01:15:15This gentleman
01:15:17is out.
01:15:25Good morning.
01:15:27Shut up.
01:15:29You big know-it-all.
01:15:31Something wrong?
01:15:33Never make a mistake.
01:15:35Flanagan, the guardian angel.
01:15:37You certainly sunk the Mauritania this time
01:15:39with everybody on board.
01:15:41Fine work.
01:15:43What am I supposed to have done?
01:15:45You mailed a copy of The Sea of Blood
01:15:47to Jerome Cobb, personally.
01:15:49With Daisy Marcher's name on the outside
01:15:51of the envelope so he'd be sure
01:15:53to grab it and read it himself.
01:15:55His favorite writer.
01:15:57Oh, my Aunt Bessie.
01:15:59I did not mail that script out.
01:16:01You were supposed to watch her.
01:16:03I have watched her like a hawk
01:16:05every minute of the day.
01:16:07I am cross-eyed from watching her.
01:16:09Well, it was mailed, I tell you.
01:16:11Ever since I read that pirate hogwash,
01:16:13I've been worried something like this
01:16:15had happened.
01:16:17A hundred duels to the death
01:16:19on the first 20 pages.
01:16:2215 women get their heads cut off,
01:16:24including five harmless old ladies.
01:16:26And the hero,
01:16:28single-handed,
01:16:30captures a whole fleet of ships.
01:16:32Stabs to death, 75 sailors
01:16:34in a battle all alone.
01:16:36And for a finish,
01:16:38they hang the whole town
01:16:402,000 men, women, and children
01:16:42all get hanged.
01:16:44Then they set fire to them for no reason.
01:16:46Didn't Mr. Cobb like the script?
01:16:48He's been chasing...
01:16:52chasing me all over the map.
01:16:54Caught me at the beach club.
01:16:56I told him it was a practical joke.
01:16:58Some sorehead writer
01:17:00trying to undermine Miss Marcher.
01:17:02You crippled idiot.
01:17:04Shame on you.
01:17:06Writing a lot of filthy junk
01:17:08like the sea of blood.
01:17:10Why did you torture me?
01:17:12You little fat...
01:17:14Let me go, you're torturing me.
01:17:16Let me go, you rat.
01:17:20Go on, cry.
01:17:22That'll wring your neck.
01:17:24Why didn't you stick to sex?
01:17:26Why'd you have to show
01:17:28what an idiot ignoramus you are
01:17:30by writing about a lot of...
01:17:32Get that miserable junk out of here.
01:17:34You little sneak.
01:17:36You did it.
01:17:38You sent that script out.
01:17:40You sent it out, didn't you?
01:17:42Oh yeah, Cobblin' Cobber.
01:17:44That's right, you rat eyes.
01:17:46I never let anyone have the original.
01:17:49I keep it myself.
01:17:51So there, you scoundrel.
01:17:53Now you give me that original.
01:17:55And you give me the original of Woman a Sinner
01:17:57or I'll break your little neck.
01:17:59I'll break your neck, you.
01:18:01You can't have him.
01:18:03I've got them both.
01:18:05Nobody can have him.
01:18:07Stand back or I'll kill you.
01:18:08I'll break your neck, you.
01:18:10What are you running here?
01:18:12A madhouse?
01:18:14What's the idea of beating up children
01:18:16this time of day?
01:18:18These are my sister's kids.
01:18:20Just raising the dickens.
01:18:22It's all right, gentlemen.
01:18:24Come on in, JB.
01:18:26I came over here because I personally
01:18:28want to track down the dirty crook
01:18:30who wrote this rotten thing.
01:18:32You give me that right now.
01:18:34Get away from me, little girl.
01:18:36Get these children home at once.
01:18:38Get rid of these brats, will you?
01:18:40I want to talk to you.
01:18:42Hold it, JB.
01:18:44Let him stay.
01:18:46No, don't be a stinker.
01:18:48Just a minute, just a minute.
01:18:50Little girl.
01:18:53What's your name, little girl?
01:18:55Daisy Marcher.
01:18:57And I want my story back
01:18:59from this big, fat fool.
01:19:01What do you mean your name is Daisy Marcher?
01:19:03Where's your mother?
01:19:05Oh, hang my mother.
01:19:06What does she say?
01:19:08Little girl, did you really write
01:19:10The Sea of Blood?
01:19:12Yes, I did.
01:19:14I did so absolutely.
01:19:16I helped her.
01:19:18I got a golden on my mother's wedding.
01:19:20Nobody leaves this joint.
01:19:23Can you prove that you wrote
01:19:25this story, little girl?
01:19:27What are you asking her questions for?
01:19:29You heard what she was saying
01:19:31when we came in.
01:19:33She's got the original copy.
01:19:34It's only a carbon.
01:19:36I noticed it when I was reading it.
01:19:38Yeah, I heard her.
01:19:40But I also heard her say
01:19:42she had the original copy of something else.
01:19:44If you just let me handle this, fellas,
01:19:46everything will be okey-doke.
01:19:48My word on it.
01:19:50This man is trying to put something over.
01:19:52Something so dirty and cheap,
01:19:54I refuse to believe it.
01:19:56I refuse to believe any human being
01:19:58could sink so low as this man.
01:20:00Apologies.
01:20:01Do you have a girlfriend?
01:20:03No, there is not.
01:20:05Don't be silly.
01:20:07I'm the only one.
01:20:09Go on, Freddy.
01:20:11Ask her and get it over with.
01:20:13Little girl,
01:20:15have you ever written
01:20:17any other screenplay than this one?
01:20:19You must be crazy.
01:20:21Really crazy.
01:20:23I should say I did.
01:20:25I wrote A Woman of Sin.
01:20:27It's been in all the papers every day.
01:20:28And on the billboards too with my name.
01:20:30That's the silliest question I ever heard.
01:20:33Dad, look.
01:20:35Look.
01:20:41Is that true?
01:20:43Listen, will you?
01:20:45You come barging in here like a pack of hoodlums
01:20:47spilling the beans.
01:20:49I've been trying to protect you fellas
01:20:51from the beginning.
01:20:53Get Mr. Cobb a glass of water.
01:20:55Never mind me.
01:20:56Empire, the industry, the studio.
01:21:01I want a straight answer.
01:21:03You got it.
01:21:05There lies the author of A Woman of Sin
01:21:07in all her glory.
01:21:09You scum.
01:21:11You grave robber.
01:21:13Taking advantage of my friendship.
01:21:15Nobody took advantage of you.
01:21:17You took advantage of yourself like you always do.
01:21:19Shut up.
01:21:21You ruined me for what?
01:21:23Tell me that.
01:21:24That idiot child to make a dirty penny.
01:21:26No, no, no.
01:21:28I can't believe it.
01:21:30She never wrote that.
01:21:32That idiot child never wrote that epic.
01:21:34Never.
01:21:36Mike, call the police.
01:21:38Get me the FBI.
01:21:40You rotten man calling me names.
01:21:42I'll finish you off.
01:21:44Hey, hey.
01:21:46Just a minute.
01:21:48Give me a hand.
01:21:55Hold all calls, please.
01:22:12I don't see what you're so excited about, J.B.
01:22:15You got a great picture.
01:22:17You built up a great name.
01:22:19Have a heart, Blandy.
01:22:21Let me in there.
01:22:22There's no reason in the world
01:22:24why you shouldn't cash in on that.
01:22:26I'm sure Daisy Marcher will play ball
01:22:28to keep this whole thing undercover.
01:22:30After all, she's a pretty smart kid.
01:22:33I'm sure we're all agreed on that.
01:22:35Let me in there.
01:22:37I'll fix that big fat fool.
01:22:39If you keep her quiet,
01:22:41you got no problems.
01:22:45Five pictures.
01:22:47One a year by Daisy Marcher.
01:22:49Now, with a couple of rewrites,
01:22:50that bucket of blood will be a knockout.
01:22:52I'll make a deal with you right here and now.
01:22:54$125,000 a picture.
01:22:56And a clause included.
01:22:58The first squawk out of Daisy Marcher
01:23:00or anybody else about her being a little young,
01:23:02you cancel the whole thing out.
01:23:04Let me in there, Blandy.
01:23:06It's my picture.
01:23:10What do you say, J.B.?
01:23:21Got to fight on.
01:23:26See my legal department tomorrow.
01:23:28Draw up the contracts.
01:23:30Will do.
01:23:32Can't give up the ship.
01:23:40This is George Fisher speaking to you
01:23:42from the forecourt of Gorman's Chinese Theater
01:23:44here in the heart of Hollywood.
01:23:46The event, a world premiere
01:23:48of a great motion picture,
01:23:50Woman of Sin.
01:23:52Tonight here at Gorman's Chinese Theater
01:23:54are thousands of fans lining the streets
01:23:56across the street from the theater
01:23:58and the fans in the bleachers on both sides
01:24:00of the lobby of the theater.
01:24:02Cordons of police are holding back the crowd.
01:24:04Now, listen.
01:24:06You're going to keep your big trap shut.
01:24:08You understand?
01:24:10Shut.
01:24:12I tell you, we're taking a terrible chance
01:24:14bringing out of the premiere.
01:24:16This town is full of snoops.
01:24:18Wouldn't you like to stay in the candy store
01:24:20and guarantee it?
01:24:22There's no chance of a slip-up.
01:24:24Whatever happens, we're protective.
01:24:26I got a right to see my own picture, haven't I?
01:24:28Now listen, one squawk out of you
01:24:30and you lose that whole five-picture deal.
01:24:32Is that clear?
01:24:34And you don't go hunting lions in Africa
01:24:36with Moriarity.
01:24:38And you don't go to India.
01:24:40What's she want to go to India for?
01:24:42Research.
01:24:44You'll give me your sacred promise
01:24:46that you'll play ball all the way down the line?
01:24:48Will do.
01:24:50We're now coming into the theater
01:24:52with some of the greatest movie makers of them all.
01:24:54Walter Wayne, David O. Selznick,
01:24:56Samuel Goldwyn, Jack Warner,
01:24:58and there's L.B. Lear, ladies and gentlemen.
01:25:01And now, the greatest of them all,
01:25:03Mr. Jerome B. Cobb and his entourage,
01:25:05including Orlando Higgins.
01:25:10I'm sorry, folks,
01:25:12but there's no baby's allowed at this opening.
01:25:14I'm J.B. Cobb.
01:25:16This infant is with the party.
01:25:18Certainly, Mr. Cobb.
01:25:20There's a lot of people, Daddy.
01:25:22Is everybody going to the movie show, Daddy?
01:25:24Shut up.
01:25:26Are they all going to the beautiful picture, Daddy?
01:25:29Don't overact.
01:25:31I won't, Daddy.
01:25:33Goo, goo, goo.
01:25:50© BF-WATCH TV 2021