- il y a 6 semaines
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00:00:00Sous-titrage MFP.
00:00:30Sous-titrage MFP.
00:01:27Sous-titrage MFP.
00:01:30Sous-titrage MFP.
00:01:58Sous-titrage MFP.
00:02:19Sous-titrage MFP.
00:03:19Sous-titrage MFP.
00:03:48Sous-titrage MFP.
00:05:14Sous-titrage MFP.
00:05:44Sous-titrage MFP.
00:05:46Sous-titrage MFP.
00:06:45Jason, I'm bored.
00:06:47I'm bored with cocktail parties and opening nights.
00:06:50I'm bored with evenings at the opera and weekends at the races.
00:06:53A few days in Paris might be just the thing to get the creative juices flowing again.
00:06:57I can have George cable the Ritz for the usual suite.
00:06:59I'm not talking about Paris.
00:07:01I'm talking about someplace completely different.
00:07:04Like Morocco or Egypt.
00:07:06Ooh, boat trip down the Nile sounds so romantic.
00:07:10I've got just the dress to wear to the pyramids.
00:07:13Hey, we can leave next week.
00:07:15Spend a couple of weeks there.
00:07:16Maybe stop in Casablanca or Tangiers as long as we're hopping around.
00:07:20I'd still be back in time for the opening of my new play.
00:07:22Ooh.
00:07:22To Cairo and Morocco and Tangiers, to all the exotic and romantic places in the world.
00:07:31Hey, there's another room in here.
00:07:33Oh, isn't it divine.
00:07:36Everything's so perfectly preserved.
00:07:37It's quite lovely.
00:07:38I just don't want to suddenly feel a bandaged hand around my throat.
00:07:42Hi there.
00:07:43Who are you?
00:07:44Oh, we're sightseeing.
00:07:45We thought we were alone.
00:07:46You gave me quite a start.
00:07:48Oh, I'm awfully sorry.
00:07:49Tom Baxter, explorer, adventurer.
00:07:51I'm doing a little archaeological work.
00:07:53A real-life explorer.
00:07:55I've come in search of the Purple Rose of Cairo.
00:07:57It's an old legend that's fascinated me for years.
00:08:00A pharaoh had a rose painted purple for his queen.
00:08:03And now the story says purple roses grow wild at her tomb.
00:08:06How romantic.
00:08:08And you?
00:08:09Uh, we're going back to New York tomorrow.
00:08:11It's been a refreshing two weeks.
00:08:12Say, we should bring her back to New York to meet the Countess.
00:08:14She loves anything in a pith helmet.
00:08:16Right.
00:08:17I will say it's tempting.
00:08:19Oh, then it's settled.
00:08:20You can explain to us what we've been looking at
00:08:22for the last two weeks
00:08:23and we can take you night clubbing.
00:08:24It's so impulsive that...
00:08:27I'll come.
00:08:28Why not?
00:08:30What's life without a little risk-taking?
00:08:32Who knows?
00:08:33A fortune teller predicted I'd fall in love in New York.
00:08:40Table for six, please, Arturo.
00:08:42Six, sir.
00:09:06Now, ladies and gentlemen,
00:09:08the Copacabana is proud to present
00:09:10Miss Kitty Haynes.
00:09:17Ours could be a different sort of love affair
00:09:22Which busy buddies couldn't help but stare
00:09:28I think our poetic little archaeologist
00:09:31is about to make a discovery.
00:09:33Oh, ain't life swell?
00:09:36Hey, open the champagne.
00:09:37I feel like getting plushed to the scuffers.
00:09:40Let's take it one day at a time
00:09:44And who cares just how it turns out
00:09:54Check, please.
00:09:56Miss, could I have a check, please?
00:09:58Come on, a man wants his check.
00:10:00Oh, sorry.
00:10:02I'm sorry.
00:10:04So what were you thinking about?
00:10:06Oh, a penthouse.
00:10:09The desert.
00:10:10Oh, my gosh.
00:10:11Kissing on a dance floor.
00:10:12So you did go to the movies last night after all.
00:10:15The people were so beautiful.
00:10:17They spoke so cleverly
00:10:18And they do such romantic things.
00:10:20The one named Tom Baxter.
00:10:23He was so cute.
00:10:24Do you want to go to the movies after all?
00:10:26I'd love to see it again.
00:10:27Come on, what is this?
00:10:27A social club?
00:10:28I've got a sink full of dirty dishes.
00:10:30Come on, girls.
00:10:30Come on.
00:10:38Well, I am impressed.
00:10:40I really am.
00:10:42You have yourself quite a place here.
00:10:44You know, I still can't get over the fact
00:10:46That 24 hours ago I was in an Egyptian tomb.
00:10:48I didn't know any of you wonderful people.
00:10:51And here I am now.
00:10:52I'm on the verge of a madcap Manhattan weekend.
00:10:55I hope you like your martinis very dry.
00:10:59Oh, no.
00:10:59No, thanks.
00:11:00I think I'll wait for that glass of champagne
00:11:02At the Copacabana.
00:11:07I'm home, Monk.
00:11:10What are you doing home so early?
00:11:12I thought I said you can go to the movies.
00:11:13Yeah, I did.
00:11:18I better go.
00:11:20No, no, stay here.
00:11:21This is Cecilia.
00:11:23This is my friend Olga.
00:11:25Olga's an acrobat.
00:11:30I am not.
00:11:32I have to go home.
00:11:33Oh, no, come on.
00:11:33Come on.
00:11:34I was going to tell you fortune here.
00:11:35What do you mean drunk?
00:11:37I'm not drunk.
00:11:37Come on.
00:11:38Don't worry about her.
00:11:39She's my ball and chain.
00:11:40Or she tries to be Olga.
00:11:42Olga, where the hell are you going?
00:11:44Hey, Olga.
00:11:45Come on.
00:11:45I want to show you a card for me.
00:11:47Olga.
00:12:07Is there any more of that meatloaf left?
00:12:11That stuff you made yesterday was delicious.
00:12:15What's going on?
00:12:16We're moving out.
00:12:19Oh, what are you talking about?
00:12:21What's wrong?
00:12:23What?
00:12:23Because of a four?
00:12:25Because of Olga, is that it?
00:12:27Because that would be funny.
00:12:28That would be ridiculous.
00:12:30I mean, if it's because of Olga,
00:12:31you'd be making a bigger fool out of yourself
00:12:33than you usually are.
00:12:33Pardon me.
00:12:35She's Joe Caruso's sister.
00:12:37And I was just showing her a card trick.
00:12:40You're undershirt, son.
00:12:41Backwards?
00:12:42I put it on that way this morning.
00:12:44Now, listen, Cecilia.
00:12:45You're making a mistake.
00:12:47All right, I'm sorry.
00:12:49I was drinking.
00:12:50You know how I get when I drink, sweetheart.
00:12:52You think it means I don't love you?
00:12:53No.
00:12:54You can't leave.
00:12:56I need you.
00:13:00And you know I love you.
00:13:02Now, look, I made a mistake.
00:13:03You don't love me.
00:13:04Oh, baby, come on.
00:13:05You don't.
00:13:06You treat me bad, and you're beat up on me.
00:13:09Look, I hit you when you get out of line.
00:13:10And I never just hit you.
00:13:12I always warn you first.
00:13:13And then if you don't shape up, you get whacked.
00:13:15Come, leave it.
00:13:16Now, listen, Cecilia.
00:13:17I don't know who's filling your head full of these crazy notions,
00:13:20but I've had enough.
00:13:23I want supper.
00:13:24Get my meatloaf.
00:13:26Uh-uh.
00:13:27Come on, Cecilia.
00:13:28You know I can't live without you.
00:13:30I'm like a little kid when it comes to you.
00:13:32It's just tough.
00:13:33Look, I'm sorry.
00:13:34I mean, I'm really sorry.
00:13:35Can't I be sorry?
00:13:37I drink, I get crazy.
00:13:38It's not me.
00:13:39It's the whiskey.
00:13:40I'm going, Mark.
00:13:41I'm going.
00:13:42Oh, Jesus Christ, I can't reason with you.
00:13:44All right, go ahead.
00:13:45Go see how far you get.
00:13:46Go on.
00:13:47Go on.
00:13:47You won't last.
00:13:48You see how it is out in the real world.
00:13:50Go on.
00:13:51You'll come back.
00:13:52You're just bluff.
00:13:53You're all phony.
00:13:55You'll be back.
00:13:56It may take a week.
00:13:57It may take an hour.
00:13:58But you'll be back.
00:14:21Oh, jeez.
00:14:22Look at all those guys.
00:14:25Come on, honey.
00:14:26We're going to make a buck.
00:14:29Let's go.
00:14:58We're going to make a buck.
00:15:00J'ai mangé bacon et tomateau. Tu trouves me ham et swiss.
00:15:03Je vais vous dire.
00:15:05Cecilia, je veux vous rencontrer quelqu'un.
00:15:07J'ai dit que j'allais garder mes eyes open pour l'eligible men.
00:15:10Oh, c'est bon.
00:15:11Just keep an open mind.
00:15:13C'est ma sister, Cecilia.
00:15:15C'est Mr. Teddy Ashcroft.
00:15:17C'est charmant.
00:15:19Teddy's an exterminator.
00:15:21Right nurse and pest control.
00:15:22My specialty are mice and silverfish.
00:15:25I'm pleased to meet you.
00:15:27Waitress, please! My hamburger!
00:15:29I'm coming.
00:15:30I'll be right there.
00:15:32That's it.
00:15:33That's it, Cecilia.
00:15:34You're fired.
00:15:35Get out.
00:15:36I'll pay for it.
00:15:37I'll be more careful.
00:15:38Out, out.
00:15:39Take off your apron.
00:15:40Go home.
00:15:40You're fired.
00:15:41If she goes, then I go too.
00:15:43That's fine with me.
00:15:44She doesn't mean that.
00:15:45No, you've got kids.
00:15:46No, she doesn't mean that.
00:15:48Then tell her to mind her own business.
00:15:50You're fired.
00:16:04Back from Egypt.
00:16:06From the Bedouins to Broadway.
00:16:08I'm not a religious man.
00:16:09I hereby vow never to fly over the Atlantic in bumpy weather and never to look at another
00:16:13camel.
00:16:14Drinks anyone?
00:16:15Boy, I can't wait to get out of these clothes and hit some of the night spots.
00:16:19Well, children, let's not waste any time.
00:16:21The floor show at the Copacabana starts in 10 minutes and we're meeting the Countess
00:16:25and Larry Wilde.
00:16:27Well, I am impressed.
00:16:29I really am.
00:16:30You have yourself quite a place here.
00:16:32You know, I still can't get over the fact that 24 hours ago I was in an Egyptian tomb.
00:16:37I didn't know any of you wonderful people.
00:16:39And here I am now.
00:16:40I'm on the verge of a madcap Manhattan weekend.
00:16:44I hope you like your martinis very dry.
00:16:47Oh, no.
00:16:48No thanks.
00:16:48I think I'll wait for that glass of champagne at the Copacabana.
00:16:58Miss Rita, something on your mind.
00:17:02Cause you ain't been yourself since you come back from them pyramids.
00:17:05No, it's nothing.
00:17:06I'll be okay.
00:17:08I don't suspect it has anything to do with that explorer fella, Mr. Tom Baxter.
00:17:12Now, why would you say that?
00:17:15The way he speaks, all romantic life.
00:17:18Yeah.
00:17:20Come on, Delilah.
00:17:21Draw my back.
00:17:22Yes, ma'am.
00:17:24Now, will you be wanting the big bubbles or the ass's milk?
00:17:36Well, I can't wait to get out of these clothes and hit some of the night spots.
00:17:40Well, children, let's not waste any time.
00:17:42The floor show at the Copacabana starts in ten minutes, and we're meeting the Countess and Larry Wilde.
00:17:46Well, I am very impressed.
00:17:49I really am.
00:17:49You have yourself quite a place here.
00:17:53You know, I still can't get over the fact that 24 hours ago I was in an Egyptian tomb.
00:17:57I didn't know any of you wonderful people.
00:18:01And here I am now.
00:18:02I'm on the verge of a madcap Manhattan weekend.
00:18:07My God, you must really love this picture.
00:18:10Me?
00:18:11You've been here all day, and I've seen you here twice before.
00:18:14You mean me?
00:18:16Yes, you, you, you.
00:18:17This is the fifth time you're seeing this.
00:18:20Henry, come here, quickly.
00:18:22I gotta speak to you.
00:18:23Oh, my God!
00:18:26Listen, old sport, you're on the wrong side.
00:18:29Tom, get back here.
00:18:30We're in the middle of a story.
00:18:31I'm gonna have a look around.
00:18:32You can't go on without me.
00:18:33We can't continue with the story.
00:18:34Who are you?
00:18:35It's Cecilia.
00:18:36I'll go get the manager.
00:18:38Let's get out of here and go somewhere where we can talk.
00:18:40You're in the room.
00:18:42Wrong, Cecilia.
00:18:43I'm free.
00:18:43I have 2,000 performances this same, not this routine.
00:18:47I'm free.
00:18:47Call Father Donnelly.
00:18:48Tom!
00:18:51I don't understand.
00:18:52What's going on?
00:18:53Who are you?
00:18:54Who am I?
00:18:54You've seen the movie five times.
00:18:56I'm Tom Baxter, poet, adventurer, explorer of the Chicago Baxter.
00:19:00Yes, I know.
00:19:00You're Tom Baxter.
00:19:01You wind up with Kitty Hanks, the nightclub singer, but still, I...
00:19:03Not anymore.
00:19:04I don't have to.
00:19:05What do you mean?
00:19:05Well, I'm out before the wedding.
00:19:07I'm free.
00:19:08Don't you have to marry her?
00:19:09Not while I'm here, and she's up there.
00:19:10But you want to?
00:19:11She's so beautiful.
00:19:12She's not for me.
00:19:13She's too bony.
00:19:14Kitty Hanks, the nightclub singer, and bone?
00:19:16I need a place to hide.
00:19:18Look, I'm never going back, now that I've met you.
00:19:22Mr. Hanks?
00:19:24Mr. Hanks?
00:19:24What's happening?
00:19:25What's going on?
00:19:26Tom's left.
00:19:27He just walked right out.
00:19:28I don't know how he did it.
00:19:29I can't get out.
00:19:30This is just disgusting.
00:19:32I am an heiress, and I don't have to put up with it.
00:19:34He left the picture?
00:19:35Oh, my gosh.
00:19:36Well, don't panic.
00:19:38Just stay up there.
00:19:39Keep calm.
00:19:40Keep calm.
00:19:41Are you crazy?
00:19:41Somebody call for a freeze.
00:19:42Thank God you're here.
00:19:44Wait a minute.
00:19:45This is the second wheel.
00:19:46That's the point.
00:19:46I'm not on to later.
00:19:47Tom, Tom.
00:19:47Tom, Tom.
00:19:49Tom was the linchpin of the story.
00:19:51He was right.
00:19:52Whoever you are, you see, sir, although this is basically my story, Tom moves the exposition
00:19:56along.
00:19:56He lays out the facts.
00:19:57It's the story of a man's quest for self-fulfillment.
00:19:59It's the story of a complex tortured soul.
00:20:01It's the story of the effect of money on true roses.
00:20:03Money.
00:20:03My upbringing.
00:20:05My wealth.
00:20:05No.
00:20:05My private school.
00:20:07I'm the one who marries royalty.
00:20:09I'm the one.
00:20:09Nobody cares.
00:20:10A humble kid.
00:20:11What do you mean they don't care?
00:20:12A humble kid from a small town who marries a sister of the country.
00:20:16Stop arguing.
00:20:17And do what?
00:20:18Maybe you should just turn the projector off.
00:20:20No.
00:20:21No, don't turn the projector off.
00:20:22No, no.
00:20:23It gets black and we disappear.
00:20:25Easy, easy.
00:20:25Easy.
00:20:26Easy.
00:20:27We're all in this together.
00:20:28Yes, but you don't understand what it's like to disappear.
00:20:31It would be nothing to be annihilated.
00:20:34Don't turn the projector off.
00:20:35C'est parti !
00:21:05C'est parti !
00:21:35C'est parti !
00:21:38C'est parti !
00:21:39C'est parti !
00:21:41C'est parti !
00:21:43C'est parti !
00:21:45C'est parti !
00:21:47C'est parti !
00:21:49C'est parti !
00:21:52C'est parti !
00:21:54C'est parti !
00:21:56C'est parti !
00:21:58C'est parti !
00:22:00C'est parti !
00:22:02C'est parti !
00:22:04C'est parti !
00:22:05C'est parti !
00:22:08C'est parti !
00:22:10C'est parti !
00:22:12C'est parti !
00:22:27C'est parti !
00:22:28C'est parti !
00:22:31C'est parti !
00:22:44C'est parti !
00:22:46C'est parti !
00:22:48C'est parti !
00:22:49C'est parti !
00:23:10C'est parti !
00:23:12C'est parti !
00:23:14C'est parti !
00:23:15C'est parti !
00:23:17C'est parti !
00:23:47C'est parti !
00:23:49C'est parti !
00:23:50C'est parti !
00:23:51C'est parti !
00:23:51C'est parti !
00:23:53C'est parti !
00:23:53C'est parti !
00:23:54C'est parti !
00:23:55C'est parti !
00:23:56C'est parti !
00:23:56C'est parti !
00:23:57C'est parti !
00:23:58C'est parti !
00:23:59C'est parti !
00:23:59C'est parti !
00:24:00C'est parti !
00:24:00C'est parti !
00:24:02C'est parti !
00:24:02C'est parti !
00:24:04C'est parti !
00:24:04C'est parti !
00:24:05C'est parti !
00:24:05C'est parti !
00:24:06C'est parti !
00:24:07C'est parti !
00:24:07C'est parti !
00:24:08C'est parti !
00:24:08C'est parti !
00:24:10C'est parti !
00:24:18C'est ça, c'est ça, c'est ça.
00:24:49Oh, I'm not.
00:24:51There's too much pepper in the sauce.
00:24:53I told you to go easy on a pepper.
00:24:56Hey, Monk?
00:24:58I guess you and the guys are probably going out again tonight, huh?
00:25:02No, I'm not.
00:25:03My back is acting up again.
00:25:05You gotta give me one of your special rub-downs.
00:25:07I bought liniment.
00:25:08Oh, no.
00:25:09What?
00:25:10Well, I can't.
00:25:14What do you mean you can't?
00:25:16I'm sorry, I didn't mean I can't.
00:25:17I mean, I made some plans.
00:25:20You made plans?
00:25:21Well, I did.
00:25:23I said I'd babysit tonight.
00:25:26I just, you know, I ran into Mrs. Lorenzo in the rest,
00:25:29let's say in the restaurant, in the street today,
00:25:32and she has some, you know, I don't know,
00:25:34some like, I think it was a social club meeting
00:25:37or something she wanted to go to,
00:25:38and, you know, it won't be too long.
00:25:41Yeah, well, I think it's a great idea.
00:25:42Yeah, good.
00:25:44Yeah, because we can use every penny.
00:25:45Yeah.
00:25:46All right, so what am I gonna do about my back?
00:25:48Oh, well, don't worry.
00:25:48You know, I can do some now,
00:25:50and I'll do some when I come in,
00:25:51and you shouldn't move around too much.
00:25:53Just kind of take it easy.
00:25:54Well, if you're gonna go babysit and get paid in cash...
00:25:57I will.
00:25:57...don't let her owe you.
00:25:58Okay.
00:26:03It's a miracle!
00:26:04Complete miracle!
00:26:06We want our money back.
00:26:08I don't pay to watch those socialists
00:26:09sitting around up there,
00:26:10staring back at us making nasty remarks.
00:26:12Is that what they're doing now?
00:26:13Well, the last time I looked,
00:26:14the priest had a deck of cards,
00:26:16and the men were playing peanuts.
00:26:17Oh, I'm this first half.
00:26:18That's probably all the electrical storms
00:26:20we've had this season.
00:26:21The air is charged.
00:26:22I depend on the jewel,
00:26:24and I got personal expenses,
00:26:25and I got no substitute picture to put in here.
00:26:27I want my money back.
00:26:28This is a swindle!
00:26:29There's no story.
00:26:31Mrs. Lupus likes a story.
00:26:32I still think you should turn the projector off
00:26:34and shut down.
00:26:35This could be the work of Reds or anarchists.
00:26:37You can't do that.
00:26:38If he turns off the projector,
00:26:39you're liable to strand this Tom Baxter
00:26:41out in the world someplace.
00:26:43You want an extra guy running around?
00:26:44I saw the movie just last week.
00:26:46This is not what happened.
00:26:47Where is the Tom Baxter character?
00:26:49You'll get your money back.
00:26:51I want what happened in the movie last week
00:26:53to happen this week.
00:26:53Otherwise, what's life all about anyway?
00:26:55Can't we just go in and take a look?
00:26:57We don't want to stay long.
00:26:59If you want to see it,
00:27:00you have to pay admission.
00:27:01Okay, keep moving, folks.
00:27:05Any word about Tom Baxter?
00:27:07Nothing yet.
00:27:08So what are you people doing here?
00:27:10We can't continue the story
00:27:11till Tom gets back.
00:27:13Oh, we don't mind observing you all.
00:27:15Yes, my husband is a student
00:27:16of the human personality.
00:27:18Oh, yeah?
00:27:19Well, we're not human.
00:27:20It doesn't matter to Harold.
00:27:21He has trouble with humans.
00:27:22I have trouble.
00:27:24Where do I have trouble
00:27:25with the real people?
00:27:26Oh, I suppose you behave
00:27:27perfectly with Donald.
00:27:28He won't speak to my own son-in-law.
00:27:30I won't speak.
00:27:31The kid is quiet.
00:27:32He never makes conversation.
00:27:33He has to be drawn out.
00:27:35I don't like to draw people out.
00:27:36That's what I said.
00:27:38He has trouble with live humans.
00:27:40Yes.
00:27:41Yes, RKO.
00:27:43I want to speak to Mr. Raul Hirsch.
00:27:47Yes, Mr. Hirsch.
00:27:49He's the producer of
00:27:51The Purple Rose of Cairo.
00:27:52Yes.
00:27:53No, he's not.
00:27:55Just tell him I have a theater
00:27:56in New Jersey
00:27:57and there's a crisis for this film.
00:28:00Yes, this is Mr. Hirsch.
00:28:01What's the problem?
00:28:04What?
00:28:05They're all just sitting around
00:28:06up there on the screen.
00:28:07Rita, the Countess,
00:28:09Larry Wilde, the Playboy.
00:28:11The people are demanding
00:28:13their money back.
00:28:14The theater is nine-tenths empty.
00:28:17Come on, take a walk.
00:28:18Look, he just walked out.
00:28:21Baxter, the Communist is screaming.
00:28:23The priest in Reel 5 is in Reel 2.
00:28:26How can he come off the screen?
00:28:27It's impossible.
00:28:28It's never happened before in history.
00:28:29Just because a thing never happened before
00:28:31doesn't mean it can't happen for a first time.
00:28:33That's all you need.
00:28:33Hundreds of Tom Baxters
00:28:35on the loose running around.
00:28:36Hundreds?
00:28:37As your lawyer,
00:28:38I advise you to get control of it fast.
00:28:40A character from one of your productions
00:28:41on the loose?
00:28:42Who knows what he's capable of?
00:28:44Robbery, murder.
00:28:45I see lawsuits.
00:28:47I'd charter a plane right away.
00:28:48And I'd get down there fast.
00:28:51Get me Gil Shepard.
00:28:58Sorry I'm not too light on my feet.
00:29:01Oh, no, you're a feather in my arms.
00:29:02Oh, Monk never took me dancing.
00:29:05I, not even if, not even when we first met.
00:29:07Not even if I begged him.
00:29:09Really?
00:29:09So it's, so it's been bad for you.
00:29:11Oh.
00:29:12It's, it's been hard for everyone.
00:29:14You know, living in a world with,
00:29:16with no jobs and, and wars.
00:29:19You, you probably never even heard of the Great War.
00:29:22I'm sorry, I missed it.
00:29:23Yeah.
00:29:23People, people get old and, and sick
00:29:27and, and never find true love.
00:29:30Well, you know where I come from,
00:29:31people, they don't disappoint.
00:29:32They're consistent.
00:29:33They're always reliable.
00:29:36You, you don't find that kind in real life.
00:29:39You have.
00:29:41What?
00:29:50Is it true they're talking to you
00:29:51about the life of Lindbergh?
00:29:53It's nearly said, but don't print it till it's firm.
00:29:56You were great in the Purple Rose of Cairo.
00:29:59Thanks.
00:29:59I was, uh, did you know I was singled out
00:30:02by all the East Coast critics?
00:30:04Mm-hmm.
00:30:05The New York Times said that I was,
00:30:07I had almost too smoldering a quality
00:30:09to just play comedy.
00:30:11Would you play Lindbergh the way you played Tom Baxter?
00:30:14Would I play, no, of course not.
00:30:16Tom was kind of a change of pace for me.
00:30:17He was, for my earlier roles.
00:30:19I played Tom Baxter with a kind of a
00:30:23poetic, idealistic quality that, uh,
00:30:26just, Lindbergh was a loner.
00:30:27He was just self-reliant.
00:30:31I'd have to work it out with my dialogue coach.
00:30:33He's, he's a genius.
00:30:34Bill, can I see you for a minute alone?
00:30:35Please excuse me, I'm sorry.
00:30:37Yeah, right over here.
00:30:38What's up?
00:30:39Tom Baxter's come down off the screen
00:30:40and he's running around New Jersey.
00:30:42What are you talking about?
00:30:43I just spoke to Raul Hirsch.
00:30:44Nobody knows how it happened, but he's done it.
00:30:46How could he do that?
00:30:47It's not physically possible.
00:30:48In New Jersey, anything can happen.
00:30:49But I created the character.
00:30:51That's my point.
00:30:53As your agent, I would hate to see anything
00:30:54happen to your career now that it's starting to move.
00:30:56Like what?
00:30:57Who knows?
00:30:58There's a double of you on the loose.
00:30:59What's he up to?
00:31:00Is he robbing banks?
00:31:01Is he raping broads?
00:31:02Is he?
00:31:03Who knows?
00:31:04The last thing we need is for you to get a reputation.
00:31:07The last thing we need is for you to get a reputation.
00:31:11It's somehow difficult.
00:31:12It's not my fault.
00:31:13Raul Hirsch already said
00:31:15if you can't control your own creation,
00:31:17nobody's going to risk a picture on you.
00:31:18Oh my God.
00:31:19Derek, I mean, I worked so hard to make him real.
00:31:20Yeah, well, maybe you overdid it.
00:31:22I'll sue my dialogue coach that works.
00:31:24You've got to fly down there and check into this quick.
00:31:26Right now it's only one movie house, but who knows?
00:31:28I can't.
00:31:29Hey, I'm afraid to fly.
00:31:30Gil, this is the scandal of all time.
00:31:33You know what happened to Fatty Arbuckle's career?
00:31:36I'll fly.
00:31:37I'll fly.
00:31:37Good.
00:31:39This is how they drink champagne in Cairo.
00:31:43I never had champagne before.
00:31:45It makes me feel silly.
00:31:47It's supposed to.
00:31:49The check is you requested, sir.
00:31:52So much.
00:31:54I hope you found it to your liking, sir.
00:31:56It was superb.
00:31:58It was wonderful.
00:31:58My compliments to the chef.
00:32:00And, uh, keep 20% for yourself.
00:32:03No, make that 30%.
00:32:06Yes, quite amusing.
00:32:08What is it?
00:32:09The fake money.
00:32:11Fake money?
00:32:13Is it, uh, play money, sir, or stage money?
00:32:17Keep 30% for yourself and stop looking so serious.
00:32:21I'll get the maitre d.
00:32:24Tom, that's not real money.
00:32:27What do you mean it's not real money?
00:32:31Oh, my God.
00:32:33Do you have any money?
00:32:35No.
00:32:36What are we going to do?
00:32:38We're going to have to make a run for him.
00:32:40I can't run.
00:32:41My ankles are bad for waitressing.
00:32:43Just get up.
00:32:44Follow me.
00:32:59Quick, get in the car.
00:33:04Let's go.
00:33:04Tom, this is not our car.
00:33:06We don't have a car.
00:33:06We came by foot.
00:33:07Let him go.
00:33:08Of course he doesn't go.
00:33:09There's no key.
00:33:10I just, I don't understand.
00:33:12It's how I was going to movies.
00:33:13Tom, this is real life.
00:33:14They don't start without a key.
00:33:16They don't?
00:33:16Let's go.
00:33:17Hey, you two, get back here.
00:33:19You can't run out of these checks.
00:33:21Don't run dead feet.
00:33:22Get back here right now.
00:33:26I'm sorry about the money.
00:33:28I had no idea.
00:33:29Oh, that's okay.
00:33:30It's not going to be so easy to get along without it in this world.
00:33:34I guess I have to get a job.
00:33:36That's not going to be so easy either.
00:33:38Right now, the whole country's out of work.
00:33:40Well, then we'll live on love.
00:33:41We'll have to make some concessions, but so what?
00:33:44We'll have each other.
00:33:45That's movie talk.
00:33:46You look so beautiful in this light.
00:33:49But you're not real.
00:34:00Was that real enough for you?
00:34:03You kissed perfectly.
00:34:05It's what I dreamed kissing would be like.
00:34:08Come away with me to Cairo.
00:34:10Cairo?
00:34:10We'll live in the desert.
00:34:12Oh, the blue-gold light of sunset falling over your hair.
00:34:15I'm sorry.
00:34:16I'm a little tipsy from the champagne.
00:34:29Where's the fade-out?
00:34:30What?
00:34:32Always when the kissing gets hot and heavy, just before the love-making, there's a fade-out.
00:34:37Then what?
00:34:38Then we're making love in some private, perfect place.
00:34:44That's not how it happens here.
00:34:47What, there's no fade-out?
00:34:48No.
00:34:49But when you kissed me, I felt like my heart faded out.
00:34:53And I closed my eyes, and I was in some private place.
00:35:00Fascinating.
00:35:00You make love without fading out?
00:35:05Oh, I can't wait to see this.
00:35:08Listen, I...
00:35:10I can't...
00:35:11I'm not that kind of girl.
00:35:13I'm married.
00:35:17Cecilia,
00:35:19it's clear how miserable you are with your husband.
00:35:24And if he hits you again,
00:35:26you tell me.
00:35:28I'd be forced to knock his teeth out.
00:35:30I don't think that'd be such a good idea.
00:35:32He's big.
00:35:33I'm sorry.
00:35:34It's written into my character to do it, so I do it.
00:35:38Listen, I...
00:35:39I think I'd better go home now.
00:35:41It's late.
00:35:42It's been a whirlwind of a day, don't you think?
00:35:45Yeah.
00:35:45What are you gonna do?
00:35:48I'll just...
00:35:48I'll sleep here at the carousel,
00:35:50and then walk around,
00:35:51and drink in the night air,
00:35:53enjoy my freedom,
00:35:55and dream of you.
00:36:06You got in late last night.
00:36:08Oh, yeah, you were out like a light.
00:36:10I took a hot bath.
00:36:11It relaxed me.
00:36:12You want to give me a cup of coffee?
00:36:14Oh, yeah, sure.
00:36:16You know, there was some big deal
00:36:17going on over at the movie house.
00:36:18A big crowd when I went to buy a cigarette.
00:36:21Yeah?
00:36:21I couldn't get the story straight.
00:36:23There's some guy who ran out
00:36:24the side exit with a customer.
00:36:25Who?
00:36:26A woman, a guy, an actor.
00:36:29I don't know what the hell
00:36:29the cop was talking about.
00:36:30He didn't know.
00:36:32They don't know who the woman was?
00:36:34Some woman dragged out in the dark.
00:36:36They got those real geronimos
00:36:38in the movie houses.
00:36:39See, that's why I don't like
00:36:40they staying out so late at night.
00:36:41I know.
00:36:41I couldn't help it.
00:36:43The Lorenzos didn't get back till late.
00:36:45I couldn't leave.
00:36:46Well, I hope you got paid overtime.
00:36:47Oh, sure.
00:36:48Oh, good, good.
00:36:49Let's have it.
00:36:52They didn't have any cash.
00:36:53I'll have to come back for it later today.
00:36:55So, sweetie, I told you to get paid
00:36:57in cash, didn't I?
00:36:58Well, I know, but all they had
00:37:00was big bills, and, you know,
00:37:02I was getting late.
00:37:03Yeah, well, they're going to
00:37:04fork it over today, right?
00:37:05Oh, yeah, they will.
00:37:06Sure.
00:37:07Leave something to you.
00:37:07You can bet you're going to get fouled up.
00:37:17You have no idea where he went?
00:37:19Mr. Hirsch, this is awful for us.
00:37:21Really difficult.
00:37:22Think of me, my reputation,
00:37:24my career.
00:37:24First thing we've got to do
00:37:25is we've got to keep it contained.
00:37:27Yeah.
00:37:27The word's out already.
00:37:27We've got to keep the crisis local.
00:37:29I know the two reporters in town.
00:37:30They're old friends.
00:37:31Maybe I could talk to them.
00:37:32Fine, a couple of bucks
00:37:33spread around town.
00:37:34We'll buy some time.
00:37:35Don't worry about it.
00:37:35I mean, we're all so lost.
00:37:38I know it's rough.
00:37:39I just want the whole cast to know
00:37:41how much I appreciate you
00:37:42staying up there on the screen.
00:37:44I hope you're not going to
00:37:45hold this against me, R.H.
00:37:46You created the part of Tom Baxter Gill.
00:37:49The facts are undeniable.
00:37:50I want to go, too.
00:37:51I want to be free.
00:37:52I want out.
00:37:53I'm warning you,
00:37:54that's communist talk.
00:37:55You're going to have to pull
00:37:56the film out of the theater,
00:37:57and you're going to have to
00:37:58make good my receipts.
00:37:59You mean you're thinking
00:38:00of pulling the film
00:38:00because a minor character is missing?
00:38:02A minor character?
00:38:03Would you listen to her?
00:38:04You know, he may not have
00:38:06the most lines,
00:38:06but the plot turns on Baxter.
00:38:08I deliberately played him
00:38:09with a cheerful bravado.
00:38:11Who cares how you played him?
00:38:12He's minor.
00:38:13That's right.
00:38:14I would just like to get
00:38:14my hands on him
00:38:15right when my career
00:38:16was taking off.
00:38:17He could be raping
00:38:18that woman he abducted.
00:38:19And he's got my fingerprints,
00:38:20my exact prints.
00:38:21You know what they get
00:38:22for rape in a small town?
00:38:24Especially by a man
00:38:25in a fifth helmet?
00:38:26If this is the start
00:38:27of a new trend,
00:38:28our industry's as good as debt.
00:38:29The real ones
00:38:30want their lives fiction,
00:38:31and the fictional ones
00:38:32want their lives real.
00:38:33Does anybody know
00:38:34who that woman was?
00:38:35No, it was all so crazy
00:38:36nobody noticed.
00:38:38There's two donuts
00:38:39and a container of coffee
00:38:40to go, please.
00:38:41Right now, it's chaos.
00:38:43Well, how can rumors
00:38:44be circulating
00:38:45at the Brown Derby?
00:38:46It just happened.
00:38:47Well, squash it, Herbie.
00:38:49I got a career on the line.
00:38:51Look, I'll call you
00:38:52the minute I hear.
00:38:56Oh, excuse me.
00:38:57What are you doing here?
00:38:59I'm sorry.
00:39:00I don't have a pencil,
00:39:01or I'd give you an autograph.
00:39:02Where'd you get those clothes?
00:39:04Pardon me?
00:39:04Your clothes.
00:39:05Where'd you get them?
00:39:06A little store
00:39:07on Sunset and Vine.
00:39:09What are you talking about?
00:39:10What are you talking about?
00:39:12Excuse me.
00:39:14I just bought you these.
00:39:16Two-tongue donuts.
00:39:17For me?
00:39:17Yeah.
00:39:17Well, thank you very much.
00:39:19I hope you enjoy
00:39:20my next movie.
00:39:21Dude, I thought
00:39:21you were going to stay
00:39:22hidden at the park.
00:39:24What park?
00:39:25Tom, what's the matter
00:39:26with you?
00:39:26You're acting so peculiar.
00:39:28Tom, no, no.
00:39:29I'm...
00:39:30Wait a minute.
00:39:32Come here.
00:39:34What's coming over you?
00:39:35I'm not Tom.
00:39:36I'm Gil Shepard.
00:39:37I play Tom.
00:39:38What?
00:39:38How do you know Tom?
00:39:40You're Gil...
00:39:40Oh, my God.
00:39:42I don't believe it.
00:39:43You're Gil...
00:39:44I've seen you
00:39:45in lots of movies.
00:39:46Where's Tom?
00:39:46Oh, Broadway Bachelors,
00:39:48right?
00:39:49Yeah, yeah, well, you know...
00:39:50Honeymoon in Haiti?
00:39:51Don't about six.
00:39:52You were screaming.
00:39:53Thank you.
00:39:55Thank you very much.
00:39:56Try to do one a year,
00:39:58you know, just to keep...
00:40:00Where's Tom?
00:40:01Why?
00:40:02Well, he's my character.
00:40:04I created him.
00:40:05Didn't the man
00:40:05who wrote the movie do that?
00:40:07Yes, technically.
00:40:09But I made him live.
00:40:10I fleshed him out.
00:40:12You did a wonderful job.
00:40:14He's adorable.
00:40:15Thank you very much.
00:40:19What's your name?
00:40:20Cecilia.
00:40:21Cecilia.
00:40:24Where is he?
00:40:25Why?
00:40:26Has he done anything wrong?
00:40:28Wrong like what?
00:40:29Has he stolen anything
00:40:30or attacked any females?
00:40:32You?
00:40:33No, gosh, no, no.
00:40:34He's as sweet as can be.
00:40:36Well, I played him sweet.
00:40:37I was well-reviewed.
00:40:38Well, it comes across.
00:40:40Good.
00:40:41Look, I gotta speak to him.
00:40:43You're not upset with him?
00:40:44Well, a little, yes.
00:40:46But I know if I spoke to him,
00:40:47we could straighten everything out.
00:40:48Oh, I don't know.
00:40:50Please, I have a right.
00:40:52Well, it has to be secret.
00:40:54He doesn't want to have to go back
00:40:56into the movie.
00:40:57He doesn't?
00:40:58No, he loves being free.
00:41:00He's having the time of his life.
00:41:02Would you take me to him?
00:41:04Trust me.
00:41:07Please.
00:41:08Please.
00:41:18Hey, Mark.
00:41:20Somebody saw your wife last night
00:41:22at the dine and dance joint.
00:41:24I'm sure she's there every night
00:41:25with the Rocky fellas.
00:41:26She was with this crazy-looking guy
00:41:28wearing explorers at it.
00:41:30Breaches.
00:41:30Breaches?
00:41:32You know you're nuts.
00:41:33She was babysitting.
00:41:35Right.
00:41:36I guess you know it all.
00:41:42All right, who's next?
00:41:45All right, here we go.
00:41:52Tom?
00:41:55Tom?
00:41:57Cecilia, I dreamed of us in Cairo.
00:42:01Tom, I brought Gil Shepard to...
00:42:04I play you in the movie.
00:42:06You do?
00:42:07How dare you run away?
00:42:09This is disconcerting.
00:42:11Oh, I'll show you the meaning
00:42:12of disconcerting.
00:42:13I'm trying to build a career.
00:42:15Yeah, well, I don't want to be
00:42:16in the film anymore.
00:42:17I'm in love with Cecilia.
00:42:18Mr. Shepard, you said you weren't angry.
00:42:20You can't do this to me.
00:42:21It's my best role.
00:42:22I've been critically acclaimed
00:42:23for this, my very...
00:42:24Cecilia, because of the way I do it.
00:42:25No, no, no, because of the way I do it.
00:42:27I'm doing it, not you.
00:42:28It's me, not him.
00:42:30I mean, isn't that obvious?
00:42:31Well, then how do you explain
00:42:32that here I am?
00:42:33Well, because I took you
00:42:34from the printed page
00:42:35and I made you live.
00:42:36I fleshed you out.
00:42:37So I'm living.
00:42:38Yes, but for the screen only, please.
00:42:40And as soon as...
00:42:40I want my freedom.
00:42:41I don't want another one of me
00:42:42running around the world.
00:42:43I mean, I can just imagine
00:42:45what he's been...
00:42:45Why?
00:42:45Are you afraid I'll embarrass you?
00:42:47Yes, frankly, I'm afraid...
00:42:48You created me.
00:42:49All right, look.
00:42:50I'm...
00:42:51Be reasonable here.
00:42:51I'm starting to build a career.
00:42:53Is life up on the screen
00:42:54so terrible that you...
00:42:55I want to be with Cecilia.
00:42:57I'm in love with her.
00:42:59Would you tell him to go back?
00:43:01Tell him that you don't love him.
00:43:02Tell him you can't love him.
00:43:03He's fictional.
00:43:05You want to waste your time
00:43:06with a fictional character?
00:43:07I mean, you're a sweet girl.
00:43:08You deserve an actual human.
00:43:09But Tom's perfect.
00:43:11Yeah, but he's not real.
00:43:12What good is perfect
00:43:13if the man's not real?
00:43:15I can learn to be real.
00:43:17It's easy.
00:43:18You know, there's nothing to it.
00:43:19Being real comes very naturally to me.
00:43:21You can't learn to be real.
00:43:22It's like learning to be a midget.
00:43:23It's not a thing you can learn.
00:43:24Some of us are real.
00:43:25Some are not.
00:43:26I say I can do it.
00:43:29I'm not going to stay here
00:43:30and argue with you.
00:43:30I'm going to go back to town.
00:43:32I'm going to call my attorney,
00:43:33the actors' union.
00:43:35I won't take this lying down.
00:43:37Nor will Raul Hirsch.
00:43:39Nor the police.
00:43:41Nor the FBI.
00:43:45Yes.
00:43:46Yes, we found him.
00:43:47Gil Shepard found him.
00:43:48But he refuses to get back on the screen.
00:43:51R.H. is very upset.
00:43:53No, no.
00:43:54We can't force him.
00:43:55It's not a crime.
00:43:57We need a plan.
00:43:58The press is on our side.
00:44:00It took a few bucks,
00:44:01but they're going to keep it quiet for now.
00:44:03Uh, what?
00:44:05Really?
00:44:08Tom Baxter character
00:44:09in a movie house in Chicago
00:44:10has been forgetting his lines.
00:44:12He just got a call from the manager.
00:44:15If anybody wants me,
00:44:16I'll be in the bathroom,
00:44:17on the floor,
00:44:19weeping.
00:44:23Hey, you...
00:44:23Aren't you at all even worried?
00:44:25What about Raul Hirsch?
00:44:27What's the FBI?
00:44:28No, Susie, if I can be with you,
00:44:29I'm never going back.
00:44:30But, you know...
00:44:31No more bucks.
00:44:32I said I was going to learn
00:44:33about the real world with you.
00:44:34Show me.
00:44:35I said I was going to be with you.
00:45:18It's beautiful.
00:45:20But I'm not sure exactly what it is.
00:45:22Well, this is a church.
00:45:24You do believe in God, don't you?
00:45:27Meaning?
00:45:29The reason for everything.
00:45:32the world, the universe.
00:45:34Oh, I think I know what you mean.
00:45:36The two men who wrote
00:45:36The Purple Rose of Cairo.
00:45:38Irving Sachs and R.H. Levine.
00:45:39The writers who collaborate on films.
00:45:41No, no, no.
00:45:42I'm talking about something
00:45:43much bigger than that.
00:45:44No, think for a minute.
00:45:46A reason for everything.
00:45:48Otherwise, it'd be like
00:45:49a movie with no point.
00:45:51And no happy ending.
00:45:52So there you are.
00:45:55I'm looking for you.
00:45:59Monk, this is my husband.
00:46:02This is Tom Baxter.
00:46:03Adventurer, explorer,
00:46:04the Chicago Baxter.
00:46:05Some charm to meet you.
00:46:07So you wear the britches.
00:46:09What'd you want to talk to me about?
00:46:10Well, I heard you out
00:46:11on the town last night.
00:46:13Yeah, I'm sorry.
00:46:14I admit I didn't tell the truth
00:46:16about that, but things have been
00:46:18so strange the last 24 hours.
00:46:20I told you I do.
00:46:21Obviously, your marriage
00:46:23has come to an impasse, sir.
00:46:26Monk, let's just talk.
00:46:27You're coming home with me.
00:46:29Perhaps you don't understand, sir,
00:46:30but I'm in love with your wife.
00:46:31Close your yap, jackass.
00:46:33Now let's go.
00:46:33You're failing to understand, sir.
00:46:36She's not coming with you.
00:46:37No, she's not, huh?
00:46:38No, you take your hands off her.
00:46:39No man will hit the woman I love.
00:46:41Nor any woman.
00:46:42Beat it!
00:46:43Beat it!
00:46:43Why, take your part!
00:46:45He's got a terrible character.
00:46:46All right, it's written into my character.
00:46:48Courage.
00:46:50Stop it!
00:47:00Stop it!
00:47:01What are you doing?
00:47:13Time for the old one-two, I think.
00:47:17Ah!
00:47:18I think he's had enough.
00:47:20Sorry, pal.
00:47:21Sorry about the rest of them.
00:47:23You all right?
00:47:24Let me give you a hand.
00:47:25There was a...
00:47:26Oh!
00:47:27It's not fair!
00:47:29Oh!
00:47:33Oh!
00:47:34What are you doing?
00:47:36You're coming home with me now.
00:47:37No, I'm not.
00:47:38What'd you say?
00:47:39No, I'm going to stay and see the talks, okay.
00:47:41You're a bully, Monk.
00:47:42I gave you an order.
00:47:44I don't care.
00:47:44I'm tired of taking your orders.
00:47:46You could have killed him.
00:47:47All right.
00:47:47I'm sorry.
00:47:48I didn't mean it.
00:47:49I hid mine.
00:47:50You can't just go through life beating people up.
00:47:52Look, I'm telling you one more time.
00:47:54You coming with me?
00:47:55No, I'm not.
00:47:57I'm telling you one more time.
00:47:58You coming?
00:47:59No.
00:48:00Come on.
00:48:00No, I'm not.
00:48:03The hell with me.
00:48:04I need a beer anyway.
00:48:06I'll see you later.
00:48:10Oh, are you okay?
00:48:13Oh!
00:48:13Oh, yeah, I'm fine.
00:48:15You're not even marked.
00:48:16Your hair is in place.
00:48:18No, no.
00:48:19I don't get hurt or bleed.
00:48:20Hair doesn't must.
00:48:21It's one of the advantages of being imaginary.
00:48:24You were very brave.
00:48:25Yeah, well, I had him, too,
00:48:27until he started fighting dirty.
00:48:29That's why you'll never survive off the screen.
00:48:32You were pretty brave, too.
00:48:33You stood right up to him.
00:48:35You inspired me.
00:48:54Mr. Shepard.
00:48:55Oh, Cecilia, look, I've got to speak to you.
00:48:58Oh, listen, I've had a crazy morning.
00:49:01I'm still shaking.
00:49:02Look, I don't know what to do, all right?
00:49:03I've struggled my whole life,
00:49:04and now I'm finally beginning to break through,
00:49:07and my whole career is going right down the drain.
00:49:09You don't have to worry about that.
00:49:11You'll always be a great movie star.
00:49:14Oh, well, that's very nice of you to do this.
00:49:17But technically, I'm not really a star yet.
00:49:19Cecilia, don't...
00:49:20You know, I mean, I try to carry myself.
00:49:22Like, well, you know, I do the best I can as far as that.
00:49:24But star?
00:49:26That's a big word, isn't it?
00:49:28Star?
00:49:29Yeah.
00:49:31No, no, no.
00:49:32Star, no, no.
00:49:33And you're not just a pretty face.
00:49:36You're also a peach of an actor.
00:49:38Really, I've seen you.
00:49:39I've seen you a lot.
00:49:40You've got something.
00:49:43Is that your opinion?
00:49:44Sure, and I see all the movies.
00:49:47You've got...
00:49:48Oh, how can I describe it?
00:49:52You've got a magical glow.
00:49:54Oh, boy.
00:49:55Oh, oh.
00:49:56To hear that from a real person, that is just...
00:50:00It's not one of those movie colony bimbos, you know,
00:50:02where the fancy dresses filling you full of hot air.
00:50:04That's just...
00:50:05Would you get over here and sit down, please?
00:50:07Just...
00:50:07Well, you know, you can take it from me.
00:50:09You're not just a flash in the pan.
00:50:11No, I'm...
00:50:12You know, it would be very easy for me to trade on my looks.
00:50:15Oh, sure.
00:50:15But I have some serious acting ambitions.
00:50:18You should.
00:50:18You should.
00:50:20You...
00:50:20You know, I think you're great in all the funny movies.
00:50:23Thank you, Hans.
00:50:24Really, I was thinking you should play some of the more heroic parts.
00:50:28I want...
00:50:29I tell my agent that a hundred times.
00:50:31Well, you know, you could play like Daniel Boone or someone...
00:50:37Lindbergh.
00:50:37Oh, you'd be wonderful as Lindbergh.
00:50:40God, you are a mind reader.
00:50:41We had the same thought?
00:50:42Really?
00:50:42I am on the verge of signing for that part.
00:50:45No!
00:50:45I am.
00:50:46I can taste it.
00:50:47Oh, you'll be wonderful.
00:50:49Oh, there's something inside you that you have that same kind of lone heroic quality.
00:50:56You're exactly right.
00:50:56Everyone has been telling me not to do...
00:50:58You are right.
00:50:58Don't you listen.
00:50:59Basically, I have been a loner my entire life.
00:51:02Sure, anyone can see that.
00:51:03Sure.
00:51:03You know, you're deep and probably complicated.
00:51:07Can I buy you lunch?
00:51:09Me?
00:51:09Please.
00:51:10Can I?
00:51:10Please.
00:51:11Look, I love talking to you.
00:51:12I was just going to go upstairs.
00:51:13No, really, come on.
00:51:14I open myself up around you like no...
00:51:17Have you ever been to Hollywood?
00:51:19Come on.
00:51:19No, of course not.
00:51:20Well, I would love to just take you around Hollywood.
00:51:23I would...
00:51:23Can I make a confession?
00:51:25Sure.
00:51:26My real name, it's not Gil Shepard.
00:51:28It's Herman Bartabedian.
00:51:30Really?
00:51:30Yeah, I've been a cab driver for a go.
00:51:33Boy, do you have a pretty face.
00:51:36Come on.
00:51:37You do?
00:51:53Hi, big boy.
00:51:56You alone?
00:51:58Oh, hello.
00:52:01Well, I'm alone for now, but later I have an appointment.
00:52:05Or should I say rendezvous.
00:52:08Good for you.
00:52:10Where'd you get the funny suit?
00:52:13What, this?
00:52:15Yeah.
00:52:16You coming from a costume party?
00:52:20No, no, I'm Tom Baxter of the Chicago Baxters.
00:52:24Explorer, poet, adventurer.
00:52:26Just back from Cairo, where I searched in vain for the legendary Purple Rose.
00:52:30How about that?
00:52:33Who are you?
00:52:34My name's Emma.
00:52:36Oh, that's lovely.
00:52:37What do you do, Emma?
00:52:38I'm a working girl.
00:52:40And what do you do, you delicate creature?
00:52:44Anything that'll make a buck.
00:52:46Well, we Baxters never really had to worry about money.
00:52:50I'll bet.
00:52:51You want to come along with me?
00:52:53Where to, Emma?
00:52:55Where I work.
00:52:56I think you might have a good time.
00:52:59Sounds enchanting.
00:53:00I'm up for new experiences.
00:53:02I may be able to help.
00:53:07Hi, girls.
00:53:08This is Tom.
00:53:09Hi there, ladies.
00:53:10Don't you all look enticing?
00:53:11I know what you want.
00:53:13You want to be the great white hunter, and you want me to be the tiger.
00:53:18I don't get it.
00:53:20You will, if you can afford it.
00:53:21I met Tom out of the amusement park.
00:53:23Oh, no, that's my hat.
00:53:26Yes, I was thinking about something.
00:53:29I can imagine.
00:53:30Two of us at the same time?
00:53:32And I was thinking about some very deep things.
00:53:34About God and his relation with Irving Sachs and R.H. Levine.
00:53:38And I was thinking about life in general.
00:53:40The origin of everything we see about us.
00:53:43The finality of death.
00:53:45How almost magical it seems in the real world, as opposed to the world of celluloid and flickering shadows.
00:53:52Where did you find this clown?
00:53:54For example, the miracle of birth.
00:53:56Now, I suppose some of you lovely ladies are married, right?
00:53:58Not anymore.
00:54:00No?
00:54:01Then, the absolutely astonishing miracle of childbirth.
00:54:06With all its attendant feelings of humanity and pathos, I stand in awe of existence.
00:54:11Do you want to tie me up?
00:54:13Tie you up?
00:54:14Yeah.
00:54:16Oh, that's very funny.
00:54:18She's very funny.
00:54:19That's a nice sense of humor.
00:54:20The absurd non sequitur.
00:54:22What's your name, sweetheart?
00:54:23Martha.
00:54:24That's the same name as the ambassador's wife.
00:54:26Well, why didn't you bring the ambassador by?
00:54:29Well, he's still up on the screen.
00:54:30But do you share my sense of wonderment at the very fabric of being?
00:54:35The smell of a rose.
00:54:36Real food.
00:54:38Sensuous music.
00:54:39I've got a child.
00:54:40You do?
00:54:41Mm-hmm.
00:54:42Oh, I see.
00:54:42You're a widow.
00:54:43Oh, poor thing.
00:54:44I got two kids, and he's right about giving birth.
00:54:47It is a beautiful experience.
00:54:49I never had a baby.
00:54:51I was pregnant, but I lost it.
00:54:53I'm sorry to hear that, Emma.
00:54:56It always makes me cry to think about it.
00:54:58Oh, there, there.
00:54:59Now, you'll have another chance.
00:55:00Come on.
00:55:01I'd be surprised if all you ladies weren't married soon, especially by the way you dress.
00:55:05It's so seductive to a man.
00:55:07You like these stockings, Tom?
00:55:09Oh, they're just divine.
00:55:12Kind of a club is this, anyhow?
00:55:15God, Tom, you're a scream.
00:55:17He's terribly sweet.
00:55:19He is.
00:55:20I wouldn't mind doing him for nothing.
00:55:22Me neither, plus he's cute.
00:55:24Okay, you can count me in.
00:55:26Come on, Tom, we're going to take you into the bedroom and give you an experience you'll
00:55:29never forget.
00:55:30And it's on us.
00:55:31I came here for a new experience.
00:55:33Well, now you're going to get a champion role in the hay.
00:55:36What, there's hay in the bedroom?
00:55:38You ever been to a brothel before?
00:55:41What's a brothel?
00:55:42You must be kidding.
00:55:44A brothel, a bordello, a whorehouse.
00:55:47I'm not following.
00:55:48We go to bed with you and make love and you pay us.
00:55:52Only because you're so sweet, we want to treat you to a party.
00:55:58Really?
00:56:01Boy, this doesn't ring a bell with anything I know.
00:56:04Oh, come on, buddy.
00:56:07You know about making love, don't you?
00:56:09I can't make love with you.
00:56:11Don't tell me you don't like women.
00:56:13Or you were wounded in the war.
00:56:15No, I'm in love with someone else.
00:56:17We're not talking about in love.
00:56:19We're talking about making love.
00:56:21But I love Cecilia.
00:56:22Well, so what?
00:56:23Marry Cecilia.
00:56:24This is just for fun.
00:56:26Oh, I couldn't do that, Emma.
00:56:28Ladies, my gracious.
00:56:30I don't think I'm not appreciative of your offer.
00:56:33Though I must say the concept is totally new to me.
00:56:36But I'm just, I'm hopelessly head over heels in love with Cecilia.
00:56:41She is all I want.
00:56:42My devotion is to her.
00:56:44My loyalty is, every breath she takes makes my heart dance.
00:56:49This guy just kills me.
00:56:52Are there any other guys like you out there?
00:56:57Lawson's Music Store.
00:56:58This store has been here since I was a kid.
00:57:01Yeah.
00:57:01I wish I could play an instrument.
00:57:03That's my other ambition in life, is to be a great classical violinist.
00:57:08Houses cheering me night after night.
00:57:10I can play the ukulele.
00:57:12You can?
00:57:12Uh-huh.
00:57:13My father taught me before he ran away.
00:57:19I'm Alabama-bound.
00:57:22There'll be no heebie-jeebies hanging round.
00:57:26Just gave the meanest ticket man on earth all I'm worth.
00:57:31To put my tootsies in an upper berth.
00:57:35Just hear that choo-choo sound.
00:57:37Woo-hoo!
00:57:38I know that soon we're gonna cover ground.
00:57:42And then I'll holler cause the world will know.
00:57:45Here I go.
00:57:48I'm Alabama-bound.
00:57:52I'm Alabama-bound.
00:57:55That was wonderful.
00:57:57That was wonderful.
00:57:59Oh, I never-
00:58:00That's like a dream.
00:58:01Awesome.
00:58:03I love my baby.
00:58:03My baby loves me.
00:58:05I don't know nobody
00:58:08as happy as we.
00:58:10She's only 20
00:58:12And I'm 21
00:58:14We never worry
00:58:17We're just having fun
00:58:19Sometimes we quarrel
00:58:22And maybe we fight
00:58:24But then we make up
00:58:27The following night
00:58:29When we're together
00:58:32We're great company
00:58:34I love my baby
00:58:36My baby loves me
00:58:41Oh, that was wonderful.
00:58:43Oh, that was, you know
00:58:45After the Lindbergh movie
00:58:46You should do a musical, really.
00:58:49You know, I did a one-
00:58:50I know, I saw Dancing Doughboys, sure.
00:58:53Dancing Doughboys, I remember.
00:58:55Yeah, that was great.
00:58:55I remember you turned to Ina Beasley
00:58:57And you said,
00:58:57I won't be going south with you this winter.
00:59:00That's exactly right.
00:59:01Right, I won't be going south with you this winter.
00:59:04We have a little score to settle
00:59:06On the other side of the Atlantic.
00:59:07Does this mean I won't be seen?
00:59:09Seeing you ever again?
00:59:10Oh, ever is a long time.
00:59:12When you leave, don't look back.
00:59:16You remember it perfectly.
00:59:18And then I took her in my arms
00:59:20And I kissed her
00:59:22Knowing it was for the last time.
00:59:27God, you're beautiful, Cecilia.
00:59:29Was it fun kissing Ina Beasley?
00:59:32Oh, it was just, you know, it was a movie kiss.
00:59:34We professionals, we can put that stuff on
00:59:36Just like that.
00:59:37It looked like you loved her.
00:59:49Oh, my goodness.
00:59:53Feel my heart.
00:59:55I, I, I, I, I, I, I, thank you so much for the ukulele.
01:00:00Oh, look, don't be offended.
01:00:01I didn't mean to...
01:00:02No, I'm not offended.
01:00:02I'm just, I'm confused.
01:00:05I, I'm married.
01:00:06I, I just met a wonderful new man.
01:00:08He's fictional, but you can't have everything.
01:00:10Look, can I see you later?
01:00:12No, no, I'm, I'm meeting Tom.
01:00:15My own creation plagues me.
01:00:19Anything happening out there?
01:00:20Not a thing.
01:00:21Life is amazing, isn't it?
01:00:23One little minor character takes some action
01:00:25and the whole world is turned upside down.
01:00:27What if he never comes back?
01:00:29We just drift till they shut the projector.
01:00:31Will you shut up?
01:00:32Calm down.
01:00:33He'll be back.
01:00:34I feel it.
01:00:35I don't want to sit around and wait.
01:00:36That's exactly what they want.
01:00:37Who?
01:00:38The bosses.
01:00:39Oh.
01:00:39Look at us, sitting around slaves to some stupid scenario.
01:00:44Meanwhile, the fat cats in Hollywood are getting rich on our work.
01:00:48Studio heads, writers, movie stars.
01:00:51Stop it.
01:00:52But we're the ones who sweat.
01:00:54We're the characters on the screen, not them.
01:00:56You're a red.
01:00:57I say unite, brothers.
01:00:59Unite and take action.
01:01:01Why don't you shut up and sit down?
01:01:03You're working my way.
01:01:04Wait a minute, wait a minute.
01:01:05Shut up, will you?
01:01:06What if all this is merely a matter of cement?
01:01:08How can it be semantics?
01:01:09Well, wait a minute.
01:01:10Let's just readjust our definitions.
01:01:12Let's redefine ourselves as the real world and them as the world of illusion and shadow.
01:01:17You see, we're reality.
01:01:19They're a dream.
01:01:21You better calm down.
01:01:22You've been up on the screen flickering too long.
01:01:28It's confirmed.
01:01:29It is?
01:01:29I was afraid this might happen.
01:01:30The Tom Baxter character tried to leave the screen in four theaters.
01:01:33St. Louis, Chicago, Denver, and Detroit, and he almost made it in Detroit.
01:01:37It looks bad.
01:01:38The movie houses in those towns are in a state of pandemonium.
01:01:41There's no way to keep the lid on it.
01:01:42I see lawsuits.
01:01:43Hundreds of laws.
01:01:44I better pull the picture out of release.
01:01:46What, in those towns?
01:01:47No, everywhere.
01:01:48Something's obviously gone very wrong here, and the best course of action is to shut down,
01:01:53take our losses, and get out of this mess before it really gets out of hand.
01:01:57Sure.
01:01:58Can you imagine hundreds of Tom Baxter's flying around wild?
01:02:00Right.
01:02:01And you responsible for every one of them.
01:02:03The best thing to do is to quit while there's only one of them out there.
01:02:07But what do we do about him?
01:02:08We've got to get him back in the picture.
01:02:10Then we turn off the projector and burn the prints.
01:02:13And the negative.
01:02:14What a shame.
01:02:14It was such a good picture.
01:02:17I missed you.
01:02:18You're late.
01:02:19I'm sorry.
01:02:19I just, I came as quickly as I could.
01:02:22I love you.
01:02:22Oh, thank you.
01:02:26Tom, my feelings are so jumbled.
01:02:29Oh, I know.
01:02:29I know.
01:02:30You're married, and you're old-fashioned, and I'm a whole new idea.
01:02:32But the truth is, you're unhappily married.
01:02:35And I'm going to take you away from all this.
01:02:37I, I know you love me.
01:02:39Cecilia, I do love you.
01:02:41Don't you share my feelings?
01:02:42Well, I, that, that's just it.
01:02:44I, I, you're, you're some kind of phantom.
01:02:47Look, I, I don't want to talk anymore about what, what's real and what's illusion.
01:02:51Life's too short to spend time thinking about life.
01:02:54Let's just live it.
01:02:55Live it how?
01:02:56Well, we'll begin with dinner.
01:02:58Oh, listen, no, we can't, I, I've only got a few dollars.
01:03:01Well, we're not going to use your money.
01:03:02But that's all we have, unless you've done something.
01:03:05Well, say no more.
01:03:06The moon will be full, the stars will be out, and we're going stepping.
01:03:09But we're broke.
01:03:10Leave that to me.
01:03:38It's him.
01:03:39Tom, you're back.
01:03:41I want you to meet my fiance, Cecilia.
01:03:43This, oh, well, you know all these people.
01:03:45It's not possible.
01:03:46Are you, I'm in the world of the possible.
01:03:48Yeah?
01:03:49Well, you better get back in the store, you little weasel.
01:03:52Ah, you anticipate me.
01:03:55Follow me.
01:03:56She ain't for service.
01:03:57Trust me.
01:03:58He just comes and goes like he pleases.
01:03:59It's a little curse.
01:04:00Come on.
01:04:02Where are we?
01:04:02But she can't be in here.
01:04:04Why not?
01:04:05Come on.
01:04:05Cecilia, my money is good up here.
01:04:07You don't have much money.
01:04:08But it upsets the balance.
01:04:10What's the difference?
01:04:10He's back, isn't he?
01:04:12I told you he'd be back.
01:04:12Can we get on with the plot now?
01:04:14How can we with her here?
01:04:16But she's here with me, and I'll sock any man in the jaw who makes her feel unwanted.
01:04:20Well, it's about time you get back here.
01:04:22Right, now we finally go to the Copacabana.
01:04:24None of us have eaten and ate.
01:04:26Good, I'm bringing a guest.
01:04:28Won't Kitty Haynes be surprised?
01:04:34Table for seven, please, Arturo.
01:04:36Yes, sir.
01:04:38Seven.
01:04:38Seven.
01:04:39That's impossible.
01:04:40It's always six.
01:04:42We have an extra.
01:04:43Seven, Arturo.
01:04:47This person.
01:04:50So let's not speak of love sublime, because time brings on a breakup.
01:05:01There'll be no tears and no emotional scenes to spoil my makeup.
01:05:12And when the end comes, I'll take up the slime.
01:05:17Would you like some more champagne?
01:05:18Oh, thank you.
01:05:20Listen, Tom, I don't know what they're charging you, but those champagne bottles are filled with
01:05:24ginger ale.
01:05:25That's the movies, kid.
01:05:26I don't care.
01:05:28I love every minute of it.
01:05:29I'm waiting, domesticating, every Sunday, Monday, one day at a time.
01:05:47Let's take it one day at a time.
01:05:54Let's take it one day at a time.
01:06:07Bravo!
01:06:09Bravo!
01:06:12Bravo!
01:06:14Bravo!
01:06:15Thank you.
01:06:17Who are you?
01:06:18Oh, I'm, I just, I came with Tom.
01:06:21You sing so beautifully.
01:06:24What the hell is this?
01:06:26We're supposed to meet and marry.
01:06:27C'est qui ?
01:06:28C'est ma chante.
01:06:30C'est ma chante.
01:06:31C'est ma chante.
01:06:32C'est quoi ?
01:06:33C'est ça ?
01:06:33C'est vrai.
01:06:35C'est vrai.
01:06:40C'est vrai !
01:06:41C'est vrai !
01:06:41Paul Gidrevo.
01:06:43C'est vrai ?
01:06:44C'est tout le plus.
01:06:44C'est rien, Arco.
01:06:46Nous sommes juste venus.
01:06:47Venus ?
01:06:48Venus où ?
01:06:49Je vais me montrer la chante.
01:06:52Je vais vous montrer la chante.
01:06:53Nous sommes juste en train de voir les pluts.
01:06:55Exactement.
01:06:55C'est tout le monde pour lui.
01:06:58Je ne peux pas voir les gens.
01:06:59Je peux faire ce que j'ai toujours voulu faire.
01:07:02C'est quoi ?
01:07:03C'est ça ?
01:07:03C'est ça, les gars !
01:07:25C'est ça ?
01:07:29C'est ça ?
01:07:30C'est ça ?
01:07:30Il y a tout !
01:08:33It's so beautiful here
01:08:38The white telephone, oh
01:08:42I've dreamed of having a white telephone
01:08:44Your dreams are my dreams
01:08:46My whole life I've wondered what it would be like to be this side of the screen
01:08:50You see that city out there waking up
01:08:53That's yours for the asking
01:08:56My heart's beating so fast
01:09:05Cecilia
01:09:07Gil, what are you doing here?
01:09:10I came in here to think
01:09:12What are you doing here?
01:09:13I took her on a date
01:09:15Alright, can't you just leave us alone?
01:09:18No, I can't leave her alone
01:09:20I'm jealous
01:09:21You're jealous?
01:09:23Well, what do you want me to say?
01:09:25I can't get Cecilia out of my mind
01:09:27It's just...
01:09:27Gil, do you mean that?
01:09:29Oh, for God's sake
01:09:30Would you go back to Hollywood?
01:09:32Please
01:09:33I'm embarrassed to admit it, Cecilia
01:09:35I...
01:09:36You know, you said I had a magical glow
01:09:38But that's...
01:09:39It's you
01:09:39You're the one that has one
01:09:42And even though we've just met
01:09:43I just...
01:09:44I know that this is the real thing
01:09:45You can't be in love with Cecilia
01:09:47She's in love with me
01:09:48Tell you what
01:09:49Why don't you turn around
01:09:50And re-enter the film
01:09:51I'm never going back
01:09:52I can't believe it
01:09:53They're at it again
01:09:54Tom, will you get back up here?
01:09:56See, there you go, Tom
01:09:58You're ruining everything
01:09:59You are
01:09:59You're the one who's ruining everything
01:10:00You know, if it wasn't for me
01:10:01There wouldn't be any you
01:10:02Don't be so sure
01:10:03I could have been played by
01:10:04Frederick March or Leslie Howard
01:10:05You're wrong
01:10:06The part's too insignificant
01:10:08To attract a major star
01:10:09Insignificant?
01:10:10The hell it is
01:10:11What are you talking about?
01:10:12Minor character
01:10:13What do you mean a minor character?
01:10:13I'm not a minor character
01:10:15Jeez
01:10:16You know, I haven't been able to think
01:10:17Of anything since we met
01:10:18I have to have some time with you
01:10:20To show you what real life can be like
01:10:22If two people really care for each other
01:10:26Last week I was unloved
01:10:28Now two people love me
01:10:30And it's the same two people
01:10:32Go with the real guy, honey
01:10:34We're limited
01:10:34Go with Tom
01:10:35He's got no flaws
01:10:36Go with somebody, child
01:10:38Because I'm getting bored
01:10:39She's going to marry me
01:10:40You're just
01:10:40You're wasting your time
01:10:41Will you get back on the screen?
01:10:44I'm trying to tell Cecilia
01:10:45I'm in love with her
01:10:46I love you
01:10:47I'm honest
01:10:48Dependable
01:10:49Courageous
01:10:50Romantic
01:10:50And a great kisser
01:10:51And I'm real
01:10:52Let's go, Cecilia
01:10:54Choose one of them
01:10:55So we can settle this thing
01:10:57The most human of all attributes
01:10:59Is your ability to choose
01:11:00Wait a minute
01:11:01Wait a minute
01:11:02If she chooses Tom
01:11:03How are we going to end the story?
01:11:04We'll be stuck here forever
01:11:06Father Donnelly can marry us
01:11:07Right here in the movie house
01:11:08No, that won't stand up in court
01:11:09The priest has to be human
01:11:11The Bible never says
01:11:12A priest can't be on film
01:11:14I'm already married
01:11:15Come away with me to Hollywood
01:11:17Just like that?
01:11:19Just like that
01:11:20Do something impulsive
01:11:21For once in your life
01:11:23Just throw your stuff
01:11:24On a police
01:11:25And come away with me
01:11:26Really
01:11:26And don't forget that ukulele
01:11:28What ukulele?
01:11:30Look, I love you
01:11:31I know that it only happens
01:11:33In movies
01:11:34But I do
01:11:41Tom
01:11:44Cecilia, you're throwing away perfection
01:11:46Don't tell her that
01:11:47We need Tom back
01:11:48It's so romantic
01:11:50Women
01:11:55I'm crushed
01:11:56I'm devastated
01:11:59Tom, try to understand
01:12:03You'll be fine
01:12:04In your world
01:12:05Things have a way
01:12:06Of always working out right
01:12:07See, I'm a real person
01:12:09No matter how tempted I am
01:12:12I have to choose
01:12:13The real world
01:12:16I loved every minute
01:12:17With you
01:12:19And I'll never forget
01:12:20Our night on the tap
01:12:26Goodbye
01:12:39You're better off without
01:12:41Goldsport
01:12:41You really are
01:12:43Can we get on with
01:12:44The purple rose of Cairo, please?
01:12:45If anyone wants me
01:12:46I'll be in real six
01:12:47Kitty's waiting for you
01:12:49Blood and mess
01:12:50What a day
01:12:52What a day
01:12:53Look
01:12:54...
01:12:55...
01:12:57...
01:12:58...
01:13:02...
01:13:08...
01:13:09...
01:13:09...
01:13:11...
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