That Uncertain Feeling (1941) is an American romantic screwball comedy directed by Ernst Lubitsch, starring Merle Oberon, Melvyn Douglas, and Burgess Meredith. The film follows Jill Baker, a refined New York socialite who develops nervous hiccups and visits a psychoanalyst. There she meets eccentric pianist Alexander Sebastian, whose odd charm leads her to question her marriage to her practical husband, Larry.
As Jill becomes entangled with Sebastian, misunderstandings escalate into a divorce, a new engagement, and a series of comic deceptions — all culminating in Jill realizing where her heart truly lies. The film is based on the 1880 French play Divorçons by Victorien Sardou and Émile de Najac.
Film Details
Year: 1941
Genre: Romantic Comedy / Screwball
Director: Ernst Lubitsch
Screenplay: Donald Ogden Stewart, Walter Reisch; based on Divorçons (1880) by Victorien Sardou & Émile de Najac
Produced by: Ernst Lubitsch; Sol Lesser (uncredited)
Starring: Merle Oberon, Melvyn Douglas, Burgess Meredith, Alan Mowbray, Eve Arden, Harry Davenport
Cinematography: George Barnes
Edited by: William Shea
Music: Werner R. Heymann
Studios: Ernst Lubitsch Productions; Sol Lesser Productions
Distributed by: United Artists
Release Date: April 20, 1941
Runtime: 84 minutes
Country: United States
Language: English
Budget: $750,000–$1 million (approx.)
#ThatUncertainFeeling1941 #ErnstLubitsch #MerleOberon #MelvynDouglas #BurgessMeredith #ScrewballComedy #RomanticComedy #UnitedArtists #1940sCinema #LubitschTouch
As Jill becomes entangled with Sebastian, misunderstandings escalate into a divorce, a new engagement, and a series of comic deceptions — all culminating in Jill realizing where her heart truly lies. The film is based on the 1880 French play Divorçons by Victorien Sardou and Émile de Najac.
Film Details
Year: 1941
Genre: Romantic Comedy / Screwball
Director: Ernst Lubitsch
Screenplay: Donald Ogden Stewart, Walter Reisch; based on Divorçons (1880) by Victorien Sardou & Émile de Najac
Produced by: Ernst Lubitsch; Sol Lesser (uncredited)
Starring: Merle Oberon, Melvyn Douglas, Burgess Meredith, Alan Mowbray, Eve Arden, Harry Davenport
Cinematography: George Barnes
Edited by: William Shea
Music: Werner R. Heymann
Studios: Ernst Lubitsch Productions; Sol Lesser Productions
Distributed by: United Artists
Release Date: April 20, 1941
Runtime: 84 minutes
Country: United States
Language: English
Budget: $750,000–$1 million (approx.)
#ThatUncertainFeeling1941 #ErnstLubitsch #MerleOberon #MelvynDouglas #BurgessMeredith #ScrewballComedy #RomanticComedy #UnitedArtists #1940sCinema #LubitschTouch
Category
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Short filmTranscript
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00:03:39Well, it's difficult to show you the symptoms at the moment because it comes and it goes.
00:03:46Oh, it comes and it goes.
00:03:50Yes, it's so unfortunate. It's always the same whenever I see a doctor.
00:03:54When, when I come, it goes. And when I go, it comes.
00:03:59Mrs. Baker, whatever comes and whatever goes, there's no denying it worries you a lot.
00:04:05So please drop all your inhibitions, release your inner self and speak freely.
00:04:11What comes and what goes?
00:04:14Hiccups.
00:04:15Hiccups?
00:04:16Yes. Whenever I get nervous or irritated, I get the hiccups.
00:04:20It's rather unpleasant and sometimes very uncomfortable.
00:04:24Well, naturally, it's a little early to make any diagnosis.
00:04:26But you're apparently getting these hiccups because of a nervous condition.
00:04:30Let's find out what causes that condition.
00:04:32Sounds plausible.
00:04:32Thank you. Would you mind stepping into the next room?
00:04:42Uh-huh. Well, there's nothing unusual in your childhood.
00:04:46Let us examine your present life.
00:04:48Let us look at it through a magnifying glass. Let us examine every detail.
00:04:52Mrs. Baker.
00:04:55You're married, aren't you?
00:04:56Yes.
00:04:56When did you get married?
00:04:57When I was 19.
00:04:58How long have you been married?
00:04:59For six years.
00:05:00To the same husband?
00:05:01Yes.
00:05:01Aha.
00:05:02Doctor, please believe me, there's nothing wrong with my marriage.
00:05:05You could go through all Park Avenue and you wouldn't find a happier couple.
00:05:07Well, I'm sorry, but it's my duty to explore every avenue.
00:05:10Especially Park Avenue.
00:05:12How old is your husband?
00:05:13Thirty-five.
00:05:14His business?
00:05:15He's vice president of an insurance company.
00:05:16But will you please leave my marriage alone?
00:05:18Well, very well.
00:05:18Just relax.
00:05:19We'll talk about something entirely different.
00:05:22Do you suffer from headaches?
00:05:23No.
00:05:24How is your appetite?
00:05:25Good.
00:05:27How do you sleep?
00:05:29Frankly, not so well.
00:05:30How does your husband sleep?
00:05:32Very well.
00:05:33Uh-huh.
00:05:36Now, during one of these sleepless nights, when you wriggle around restlessly, and you
00:05:39look to your right, what do you see?
00:05:42My dressing table.
00:05:43And when you look to your left, what do you see?
00:05:45My husband.
00:05:45Sleeping.
00:05:46Yes.
00:05:47Uh-huh.
00:05:48What are you trying to do?
00:05:49Break up my marriage?
00:05:50No.
00:05:51Just wake up your husband.
00:05:53Well, thank you.
00:05:53That'll be all for today.
00:05:55Doctor, my husband has nothing to do with my sleeplessness.
00:05:58It's just that I'm super sensitive to noises or to the slightest sound.
00:06:01Does your husband snore?
00:06:03No.
00:06:03But I must admit, he breathes rather heavily.
00:06:06Oh, he does.
00:06:07I don't think there's anything I can do about it.
00:06:09After all, he has to breathe.
00:06:10I suppose so.
00:06:12Well, Mrs. Baker, I'm afraid your husband's ability to sleep is too big a challenge for
00:06:16you.
00:06:16It's rather like, well, have you ever been on a diet?
00:06:21Yes, a vegetable diet.
00:06:22Well, how would you feel if you had to struggle with a few raw carrots and have someone next
00:06:25you eat a big juicy steak?
00:06:26With a large baked potato?
00:06:27Yes.
00:06:28My husband, two weeks ago.
00:06:29Well, didn't it make you nervous?
00:06:31No.
00:06:32But now that you mention it, now that I think of it, it is rather irritating.
00:06:36And not very considerate.
00:06:37No, it isn't.
00:06:38After all, husbands expect their wives to keep their figures, but on the other hand...
00:06:41I would call it a complete lack of cooperation.
00:06:43It is.
00:06:44Uh-huh.
00:06:55Jill, dear.
00:06:56Hello, Margie.
00:06:57Why, haven't I heard from you?
00:06:59How are you, dear?
00:07:00All right.
00:07:01Anything wrong?
00:07:02Oh, Margie, you shouldn't have sent me to that Dr. Van God.
00:07:05Did you go back to him?
00:07:06No, and I won't.
00:07:06He's not going to break up my marriage.
00:07:08There's nothing wrong between Larry and me.
00:07:10That's what I say.
00:07:11Are people talking about us?
00:07:12They wouldn't dare in my presence.
00:07:14They know you and I are close friends.
00:07:16And I always defend you.
00:07:17I know, dear.
00:07:19Defend me against what?
00:07:21Well, now, after all, town and country called you the Happy Bakers.
00:07:23That's kind of sticking out your chin.
00:07:25Well, how many of our friends have stayed married for six years?
00:07:27Why shouldn't they call us the Happy Bakers?
00:07:29Well, why not?
00:07:30Your name is Baker, isn't it?
00:07:32Oh, Margie.
00:07:34I've been perfectly miserable for the last two weeks.
00:07:36I'm so marriage conscious.
00:07:38Whatever I look at, whatever I think of, I always find myself connecting it with my marriage.
00:07:42How I hate that Van God.
00:07:44And yet, if I'm honest, I must admit...
00:07:46What, dear?
00:07:48Well, if a wife looks at her husband through a magnifying glass, she's bound to see something.
00:07:51Yes, I should think so.
00:07:53Things I was never aware of before.
00:07:54Things I never noticed.
00:07:56For instance?
00:07:57Well, it's just an illustration, but like the other morning.
00:08:01You know how difficult it is for me to fall asleep.
00:08:03Well, finally, when I'm lucky enough to drop off, promptly at 8.15, what do I wake up to?
00:08:09A gargle.
00:08:10A gargle.
00:08:11Mm-hmm.
00:08:12That's the bugle call of marriage.
00:08:14Gargle is reveille, snore is taps.
00:08:16And what is there between?
00:08:18At 9 o'clock in the morning, he goes out of my life.
00:08:20Oh, my dear, isn't it the truth?
00:08:22Oh, I don't know what's the truth anymore.
00:08:24I'm completely confused.
00:08:27I'm so uncertain.
00:08:29I've always heard that the ideal marriage should be something of a mystery.
00:08:33Your husband should remain a kind of stranger to you.
00:08:36Someone whose acquaintance you'd like to renew every day.
00:08:38You know what I mean.
00:08:39Yes, dear.
00:08:43Don't say anything.
00:08:48Hello.
00:08:51Hello, Margie.
00:08:52Hello, Larry.
00:08:53Hello, darling.
00:08:53Hello.
00:08:56How are you?
00:08:57Fine, and you?
00:08:58Okay.
00:08:58Have a good day?
00:08:59Yes, and you?
00:09:00Good.
00:09:01Anything new?
00:09:02No.
00:09:02With you?
00:09:03Nothing.
00:09:03Good.
00:09:04I'll see you later.
00:09:10Well, what could he say?
00:09:12Why, of course, dear.
00:09:12There was nothing new, and he frankly admitted it.
00:09:15Jill?
00:09:17Yes, darling?
00:09:18Are the Coopers coming to dinner?
00:09:19I don't know yet, darling.
00:09:20I'll let you know as soon as they phone.
00:09:22I wish you would, because if they're coming, I'll have to shave.
00:09:24All right, darling.
00:09:25I...
00:09:28Now, I don't want to cause any trouble.
00:09:30But cold facts are cold facts.
00:09:33If Mr. and Mrs. Cooper come, that big, awful-looking Mrs. Cooper, he shaves.
00:09:38And if he has dinner alone with his wife, he doesn't shave.
00:09:40And if anybody should shave, it's Mrs. Cooper.
00:09:42I spent three and a half hours today at Elizabeth Arden's, but I don't pray to shave.
00:09:46My dear, that's the trouble with 95% of all marriages.
00:09:49Husbands don't shave.
00:09:51Don't men realize that a beard doesn't stop growing at 8 o'clock?
00:10:11Larry.
00:10:12Yes, dear?
00:10:13They're back.
00:10:14Fine.
00:10:14Have a good trip.
00:10:16Who?
00:10:17The Evans.
00:10:18Say, that reminds me.
00:10:20That son of a gun promised to call me as soon as he got back.
00:10:22I'll bet Conor Nettle's after him about his annuity.
00:10:24The Evans are still in Bermuda.
00:10:26The hiccups are back.
00:10:28Huh?
00:10:29Oh.
00:10:36The joke's on me, huh?
00:10:38That was very cute.
00:10:41Kicks.
00:10:47Larry.
00:10:48Larry.
00:10:49When you came in just now, you asked me if there was anything new.
00:10:52Oh, say, there is something new.
00:10:53And something very important, too.
00:10:55You know who's coming to dinner a week from Thursday?
00:10:57The president of Universal Mattress and the president and secretary treasurer of United Furniture and some other high executives of
00:11:02both companies.
00:11:03Oh, good grief.
00:11:06Oh, I know it's going to be one of those nights, but Universal Mattress and United Furniture have merged.
00:11:12They're reshuffling their entire insurance account.
00:11:14Now, the tough man to crack is Kafka of Universal Mattress.
00:11:18I've done a little detective work.
00:11:20He's a Hungarian.
00:11:21As a matter of fact, they're all Hungarian.
00:11:22So, let's give the dinner a kind of Hungarian touch, huh?
00:11:26Now, look, Larry.
00:11:27Oh, now, listen, darling.
00:11:27I don't expect you to behave like a gypsy, but let's hire a Hungarian cook and make him a wonderful
00:11:32goulash.
00:11:33Kafka will love it.
00:11:36I'm going to get that insurance account if I have to stuff that Hungarian like one of his own mattresses.
00:11:40Oh, and to make him feel really at home, our foreign division manager tipped me out.
00:11:45Just before they start to eat, you say,
00:11:49EGGISH EGGISH EGGISH EGGISH EGGISH EGGISH EGGERA.
00:11:53EGGISH EGGERA.
00:11:54It means to your health or something like that.
00:11:57EGGISH EGGERA.
00:11:58Mm-hmm.
00:12:00Oh, it's just a little thing, but you know how it is.
00:12:03Success in business is 50% hard work and 50% the right cigar.
00:12:08EGGISH EGGERA.
00:12:10That's great, darling.
00:12:11Swell.
00:12:12Only a little more cheerful.
00:12:14You know, EGGISH EGGERA.
00:12:16EGGISH EGGERA.
00:12:18Oh, you mean EGGISH EGGERA.
00:12:20EGGISH EGGERA.
00:12:21Yeah, that's it.
00:12:22That's it.
00:12:23That's great, darling.
00:12:24Thanks.
00:12:25KEEX.
00:12:30Larry.
00:12:31Hmm?
00:12:32Why'd you do that?
00:12:33Do what?
00:12:34KEEX.
00:12:36Why?
00:12:37I always do that.
00:12:39Why?
00:12:42Well, why does one do things?
00:12:44But when you do it, what does it mean?
00:12:46Is there some underlying thought?
00:12:50No.
00:12:51No.
00:12:51Just a habit, isn't it?
00:12:55Yes, if you want to call it that.
00:12:56Like scratching your head or patting your dog.
00:12:59Would you do it to some other woman?
00:13:03I don't know.
00:13:04I never tried.
00:13:05But you do it to me.
00:13:07Well, you're my wife.
00:13:09And that gives you the right to poke me in the stomach whenever you want to.
00:13:13Darling, don't you feel well?
00:13:15Fine.
00:13:24Fine.
00:13:24Larry.
00:13:25Please don't keeks me anymore.
00:13:45How?
00:13:46¿Qué es eso?
00:13:46Leó sí?
00:13:51No.
00:14:06Estabtiado.
00:14:08No.
00:14:09No.
00:14:12No.
00:14:13No.
00:14:14Yer.
00:14:31Move!
00:15:00That was not the dog, that was me!
00:15:12Shhh!
00:15:15Shhh!
00:15:15Shhh!
00:15:15Shhh!
00:15:21How do you do? How do you do?
00:15:23If you've baked it, Dr. Vengarde will be a little delayed.
00:15:25I hope you don't mind.
00:15:46Ugly. Ugly.
00:15:53Aren't they ugly?
00:15:55Who?
00:15:56People.
00:15:58Is there anything uglier than the human face?
00:16:01Ah!
00:16:07You mind if I smoke?
00:16:09Not at all.
00:16:11Smoke yourself?
00:16:12Yes.
00:16:18You, uh, haven't got a cigarette, eh?
00:16:20Yes.
00:16:28Haven't any without tips?
00:16:30Unfortunately not.
00:16:31Sorry.
00:16:38Pooey.
00:16:48Yes.
00:16:51Yes.
00:16:54Have you, uh, seen this doctor before?
00:16:57Yes.
00:16:57Mm-hmm.
00:16:59What must he charge?
00:17:00I really don't know.
00:17:01I haven't asked.
00:17:02Oh.
00:17:03You didn't have to.
00:17:05Dr. Vengarde just phoned.
00:17:06He'll be detained at least another half hour.
00:17:09Another half hour?
00:17:10Well, we have two alternatives.
00:17:12We can read a magazine or we can talk.
00:17:15This is a lovely day, isn't it?
00:17:16Yes.
00:17:17Yes, well, that takes care of that.
00:17:18Let's forget it.
00:17:19Do I bore you?
00:17:20No, on the contrary.
00:17:21Let me warn you that I say what I think.
00:17:23I'm a complete individualist.
00:17:24Oh, really?
00:17:25I'm against communism, capitalism, fascism, nazism.
00:17:28I'm against everything and everybody.
00:17:30I hate my fellow man and he hates me.
00:17:33Sounds rather amusing.
00:17:35So I amuse you.
00:17:36I'm a clown, eh?
00:17:37Pagliacci.
00:17:38Oh, no, I didn't say that.
00:17:39All right.
00:17:40Don't apologize.
00:17:41Is, uh, Vengarde a good doctor?
00:17:43I'm sure he'll do you a lot of good.
00:17:46Why do you say that?
00:17:48What's wrong with me?
00:17:49I really wouldn't know.
00:17:51After all, I'm not the psychoanalyst.
00:17:53Uh-huh.
00:17:53What's wrong with you?
00:17:56Nothing.
00:17:57Why are you here?
00:17:59You don't go to a psychoanalyst to have a tooth filled.
00:18:01So what's wrong?
00:18:03I think we'd better read magazines.
00:18:06All right.
00:18:15Fui.
00:18:29Fui.
00:18:37Fui.
00:18:37I hate to bother you again.
00:18:39But, uh, what does one have to do to be happy?
00:18:42I think Doctor Vengarde would know more about that than I.
00:18:45More than you, Mrs. Baker.
00:18:54Oh, that article.
00:18:55You know, Mrs. Baker, this is the first time in my life I've ever met a really happy person.
00:19:00It seems to irritate you.
00:19:01No, no.
00:19:02It makes me curious.
00:19:03I've often wondered what it would be like to be happy 24 hours a day.
00:19:07It must be wonderful.
00:19:08One gets used to it.
00:19:10In the morning, you awaken by the twitter of a little bird.
00:19:13Before breakfast, you and Mr. Baker dance a minuet.
00:19:16Then the happy breakfast starts.
00:19:18You are happy.
00:19:19Mr. Baker is happy.
00:19:21The eggs are happy.
00:19:22The hens who laid the eggs are happy.
00:19:24Now, look here.
00:19:26My presence seems to annoy you, so I think I'll leave.
00:19:28Oh, I'm sorry, Mrs. Baker.
00:19:29But if you feel that way, naturally, it is I who'll go.
00:19:32Oh, no.
00:19:32I'm afraid you need the doctor more than I.
00:19:35Are you sure, Mrs. Baker?
00:19:36You see, that's an interesting question.
00:19:39We're both here for the same reason, happiness.
00:19:41One has not enough.
00:19:43One has too much.
00:19:45Who needs the doctor more?
00:19:47Now, that's interesting, isn't it?
00:19:49Rather, but I don't like to discuss it.
00:19:51Yes, I understand, Mrs. Baker.
00:19:52Well, I'm very happy to have met you.
00:19:54I'm very sorry if I've offended you.
00:19:56Goodbye, Mrs. Baker.
00:19:57Goodbye.
00:20:01Oui.
00:20:03Oh, just a moment.
00:20:04Yes?
00:20:05May I ask you one question?
00:20:07Certainly.
00:20:08Yes.
00:20:10Yes.
00:20:10What's wrong with that picture?
00:20:12Are you really interested?
00:20:14Yes.
00:20:15You sit down.
00:20:18Now, this artist saw no more in that tree than the camera which photographed the happy Mrs. Baker.
00:20:26It's only the surface.
00:20:28Art goes much deeper.
00:20:31You see, if I were a painter and I were to paint you, I don't know what the picture would
00:20:35look like.
00:20:37It wouldn't look like that photograph.
00:20:40Do I make sense?
00:20:42Yes.
00:20:44Quite a bit of sense.
00:21:03How do you feel?
00:21:06Hello, Sebastian.
00:21:07Hello.
00:21:08Oh, by the way, my name is Sebastian.
00:21:09Oh.
00:21:11Alexander Sebastian.
00:21:12Mm-hmm.
00:21:13And they mean anything to you?
00:21:14Be frank?
00:21:15Well, if you insist, no.
00:21:16It's all right.
00:21:17It's all right.
00:21:17Why should it?
00:21:18Let's look at the pictures.
00:21:25Number 15.
00:21:28Child with trumpet.
00:21:31No good.
00:21:32I was afraid it was.
00:21:34The artist hasn't found himself yet.
00:21:36When he does find himself, where is he?
00:21:40Child with trumpet.
00:21:41Child with trumpet.
00:21:42Child's all right.
00:21:43But he's missed very badly on the trumpet.
00:21:45Didn't he?
00:21:47That won't live.
00:21:49I hope not.
00:21:52Fui.
00:21:56That's almost great.
00:22:00Who painted it?
00:22:01A woman.
00:22:02No man could be so malicious.
00:22:0626.
00:22:07Eleanor Stroud.
00:22:10Portrait of Alexander Sebastian.
00:22:12No use denying it.
00:22:13That's me.
00:22:14That woman didn't paint me.
00:22:15She performed an autopsy.
00:22:17She saw me.
00:22:18Frankly, the whole thing looks to me like a puzzle.
00:22:21Puzzle?
00:22:21That's correct.
00:22:22Good.
00:22:24I was a puzzle to her, but she was no puzzle to me.
00:22:27And that's her revenge.
00:22:29See, when I first saw that picture, I was terribly upset.
00:22:31I don't blame you.
00:22:38What do these notes mean?
00:22:40I'm a musician, a pianist.
00:22:42Oh, a pianist.
00:22:46And this pedestal here?
00:22:47Well, that, uh...
00:22:50That indicates greatness.
00:22:53Tell me, why didn't she put your statue there?
00:22:55Is there any reason?
00:22:56There is.
00:22:57You see that little line?
00:22:59You mean this line?
00:23:00That's my whole trouble.
00:23:02Oh.
00:23:03That line sent me to Dr. Vanguard.
00:23:06Well, you might as well know that I...
00:23:08I'm inhibited.
00:23:10Artistically.
00:23:11Let's have a drink.
00:23:12Oh, just a moment.
00:23:12Just a moment.
00:23:13What about this clock?
00:23:15The clock?
00:23:16Yes.
00:23:17Oh, that.
00:23:18Never should have been there.
00:23:19Why?
00:23:20Well, I...
00:23:21That's a personal matter.
00:23:25Are you sorry that you came here?
00:23:27Oh, no.
00:23:28No, on the contrary.
00:23:29It's all so fascinating.
00:23:31It's a new world.
00:23:32I can't quite grasp it.
00:23:33Whatever you want to know about me, just ask me.
00:23:36Uh, that, uh, that clock shows 12.15.
00:23:39Is it 12.15 by accident, or does it mean something?
00:23:42It means something.
00:23:43Oh.
00:23:44Let's stop talking about myself.
00:23:46Let's talk about something else.
00:23:47When is your next concert?
00:23:49Yes, when?
00:23:50When I overcome it.
00:23:52Overcome what?
00:23:53That little line.
00:23:55Oh, you mean your inhibitions?
00:23:57Yes.
00:23:58You see, when I play...
00:23:59Tell me, uh, this, uh, 12.15, is it noon?
00:24:03Midnight.
00:24:03Any particular midnight?
00:24:05Mm-hmm.
00:24:06Oh.
00:24:07Coming back to my inhibitions.
00:24:10When I play in a drawing room...
00:24:12Oh, pardon me.
00:24:12Uh, was it, uh, Eastern Standard Time?
00:24:15Daylight saving.
00:24:16Summer?
00:24:17Yes.
00:24:18Oh.
00:24:19Well, when I play in a drawing room for just one person,
00:24:23the right person...
00:24:24I'll be perfectly frank with you.
00:24:26I don't think there's a greater pianist in the world.
00:24:29But as soon as I get in a concert hall in front of an audience...
00:24:32No.
00:24:33Something gets lost.
00:24:34Those faces staring at me.
00:24:36What right have they to come in and stare at me?
00:24:38What right have they to listen to me just because I pay $2?
00:24:41In some cases, $2.50.
00:24:43Why do I bother you with all this?
00:24:45Oh, but I'm glad you did.
00:24:46It's fascinating.
00:24:47You are a puzzler, Mr. Alexander Sebastian.
00:24:50And don't you try to solve me, Mrs. Happybaker.
00:24:53Come on.
00:25:17Mrs. Kopka.
00:25:20Mr. Januszczyk.
00:25:23Mrs. Jaroszy.
00:25:26Mr. Jones.
00:25:27Jones?
00:25:28How does a foreigner like that get in here tonight?
00:25:30He's Mr. Baker's lawyer.
00:25:32Oh.
00:25:33Well, I suppose you always have to have a lawyer with Hungarians.
00:25:44Good evening, sir.
00:25:45Good evening.
00:25:45How's the goulash coming?
00:25:47Fine, Mr. Baker.
00:25:48Did a package arrive for me?
00:25:49Not yet, sir.
00:26:03Hello, darling.
00:26:04Hello, dear.
00:26:05Anything new?
00:26:06No.
00:26:07Have a good day?
00:26:09Marvellous.
00:26:10All set for a big night?
00:26:11All set.
00:26:14Remember your word?
00:26:15Eggishigara.
00:26:16Eggishigara.
00:26:17That's it.
00:26:18Good.
00:26:20What is it?
00:26:23Your package had arrived, sir.
00:26:24Albert didn't tell me.
00:26:25Oh, fine.
00:26:26You've got to go again.
00:26:26You're welcome.
00:26:32Welcome.
00:26:48You've got to go again.
00:26:50You've got to go down here.
00:26:54You've got to go again.
00:27:06May I ask what you're doing here waiting all you're waiting tell me how soon do we have dinner dinner
00:27:14that's
00:27:15what I was invited for all I'm sorry tell me are you with Universal Mattress or United Furniture I'm not
00:27:28with anything all playing both sides are not such a bad idea to tell me how do you feel about
00:27:35Mr. Kafka indifferent I can tell you nobody's gonna put anything over on him he's pretty smart I think it's
00:27:43very clever that they've merged
00:27:45your will out want it
00:27:53yeah look you want me to enjoy this evening don't you why yes sir my command
00:28:01this vase insults me it's ugly let's put it away
00:28:07oh sure of course the customers always right
00:28:12anything else in the room you like to change lots
00:28:16I think we're gonna have a very enjoyable evening
00:28:19I'll let you in a little secret
00:28:21we've got goulash
00:28:23goulash yeah goulash
00:28:25scrambled eggs for me
00:28:29only a suggestion
00:28:33will you forgive me I must dress
00:28:36just continue to make yourself at home
00:28:47these Hungarians are certainly funny people
00:28:49have they come?
00:28:50one of them has
00:28:52look dear aren't we dressing?
00:28:54why?
00:28:54well he isn't
00:28:55oh that's Mr. Sebastian
00:28:57Sebastian
00:28:58who's he with?
00:28:59with?
00:29:00he's against everything
00:29:01he's an individualist
00:29:03is he that rich?
00:29:04oh he doesn't care anything about
00:29:07how do you know?
00:29:09dear it's Sebastian
00:29:10Alexander Sebastian
00:29:12I told you the other day but that's the trouble
00:29:14you never listen to anything I say
00:29:16makes no impression
00:29:16oh I remember now that piano player
00:29:20he's not a piano player
00:29:21he's a pianist
00:29:22and pretty soon he'll be very important
00:29:25someday you may be very happy to insure his hands
00:29:27for a hundred thousand dollars
00:29:28look darling
00:29:28I'm giving this dinner
00:29:29especially for these Hungarians
00:29:31could he pay a premium?
00:29:33I don't know and I don't care
00:29:35you know sometimes I don't understand you
00:29:37here we've got a five hundred thousand dollar
00:29:39insurance possibility tonight
00:29:41I've gone to all this trouble
00:29:42to get up a special Hungarian evening
00:29:44for the president of Universal Mattress
00:29:46and you invite this piano player
00:29:47you should know better
00:29:49musicians and mattresses don't mix
00:29:51look Larry for six years I've been living insurance
00:29:54and I'm tired of being an annuity
00:29:56can't I just myself spend one evening
00:29:58with Rimsky-Korsakov and Stravinsky
00:30:00Rimsky-Korsakov Stravinsky
00:30:02who else is coming?
00:30:03why didn't you invite the whole Philharmonic
00:30:05and have them bring Dean Taylor along as commentator
00:30:07oh all right all right
00:30:09let's drop the whole thing
00:30:10if you don't want him to play he won't play
00:30:12play?
00:30:14say that's not a bad idea
00:30:15maybe he could liven up the party huh?
00:30:17if Mr. Sebastian consents to play
00:30:19which I doubt but if he does consent
00:30:21it won't be Hungarian swing
00:30:23well what will it be?
00:30:25something you'd have to pay
00:30:26two and a half dollars to hear
00:30:27you mean like Carnegie Hall?
00:30:29exactly
00:30:31not in my house not tonight
00:30:42what's this?
00:30:44oh that's a reproduction of a painting
00:30:46I saw in an art gallery
00:30:49do you like that?
00:30:50love it
00:30:52well what is it?
00:30:54can't you see?
00:30:56now listen quit kidding me what is it?
00:30:58it's a portrait
00:30:59a portrait?
00:31:01of what?
00:31:02of a man
00:31:04listen I know I'm just a poor ignorant insurance dope
00:31:07and I don't know anything about Stravinsky
00:31:08but we've been married for six years
00:31:10and I think I've made you a pretty good husband
00:31:12when I ask you a question
00:31:13you still ought to do me the courtesy of answering
00:31:15you don't have to make fun of me
00:31:20you know what this is?
00:31:22the Grand Canyon
00:31:37you sit here Mrs. Kafka
00:31:39thank you
00:31:39and that's why Mr. Kafka
00:31:41we're the only company for you
00:31:42sounds very reasonable
00:31:43let's talk about it after dinner
00:31:44yes indeed
00:31:45after dinner we'll have a good long talk
00:31:46right here Mr. Kafka
00:31:47all right
00:31:48thank you Mr. Kafka
00:31:49thank you Mr. Kafka
00:31:51thank you
00:31:54thank you
00:31:54thank you
00:31:54thank you
00:31:54thank you
00:31:57you mean not even Lohengrin?
00:31:58especially not Lohengrin
00:31:59I gave you all a Vardner
00:32:01except one passage in Tristan
00:32:03that's really good but you never hear it played right
00:32:05perhaps someday I could hear you play it as it should be played
00:32:07perhaps
00:32:09I don't eat strawberries
00:32:11I don't eat strawberries
00:32:11oh I'm sorry
00:32:12all right
00:32:28everything all right Mr. Kafka?
00:32:57thank you
00:32:58hopefully
00:32:59thank you
00:32:59thank you
00:32:59thank you
00:32:59thank you
00:32:59for a great work
00:32:59You make one feel at home.
00:33:01That's what I call hospitality, Mr. Baker.
00:33:04I didn't know she knew it.
00:33:05I wonder why she picked that up.
00:33:06What does it mean?
00:33:07To your head.
00:33:08Oh, isn't that nice?
00:33:09And she pronounced it so well.
00:33:11Igen.
00:33:13Igen, Sivan.
00:33:14Oh, you're me, and you're my fucking water rule.
00:33:16Igen, no, you know.
00:33:18No, you're.
00:33:18No, you're.
00:33:19No, you're.
00:33:19No, you're.
00:33:20No, you're.
00:33:21No, you're.
00:33:22No, you're.
00:33:23No, you're.
00:33:24No, you're.
00:33:28No, you're.
00:33:29Oh, how come do you speak Hungarian?
00:33:32Were you born in Hungary?
00:33:34No, I studied music in Budapest.
00:33:38I lived at, what's the name of the street?
00:33:42Andorusiak.
00:33:43Andrasi.
00:33:45Andrasi.
00:33:46Andrasi.
00:33:47Andrasi.
00:33:47Andrasi.
00:33:47Andrasi.
00:33:48Andrasi.
00:33:49Andrasi.
00:33:50Andrasi.
00:33:51Andrasi.
00:33:51Andrasi.
00:33:51Andrasi.
00:33:52Andrasi.
00:33:54Andrasi.
00:33:57Andrasi.
00:33:58Andrasi.
00:33:59Andrasi.
00:34:00Andrasi.
00:34:01Andrasi.
00:34:07Andrasi.
00:34:10Andrasi.
00:34:13Andrasi.
00:34:14Andrasi.
00:34:14Andrasi.
00:34:15Andrasi.
00:34:15Andrasi.
00:34:16Andrasi.
00:34:17Andrasi.
00:34:18Andrasi.
00:34:19Andrasi.
00:34:21Andrasi.
00:34:22Andrasi.
00:34:24Andrasi.
00:34:26Andrasi.
00:34:45I just got a call.
00:34:46Kafka's launching with the Hudson Insurance people tomorrow.
00:34:49It's tonight or never.
00:34:50What about the legal aim?
00:34:51My office is working over time drawing up the contract.
00:34:54All right, I'll go right after them.
00:34:56Well, enjoy the goulash, Mr. Kafka.
00:34:58Good goulash, very good goulash.
00:35:00If your firm is as good as your cook, we might get together.
00:35:03Well, I'm glad you brought that up.
00:35:04Now, here are the details.
00:35:06Yarosheen, Roslo.
00:35:07Come here a minute.
00:35:08After all, we are partners.
00:35:09I want you to listen to Mr. Baker's proposition.
00:35:12Well, gentlemen, here it is in a nutshell.
00:35:13Everybody, please, I have a treat for you.
00:35:16Mr. Sebastian, you know, is a very well-known pianist,
00:35:18and he's kindly consented to play for us.
00:35:20So if you'll all be seated.
00:35:27Does he have to play?
00:35:29Don't worry.
00:35:38Mrs. Baker.
00:35:39Yes, Mr. Sebastian.
00:35:45Would you mind moving from here, please?
00:35:48Yes.
00:35:48Yes.
00:35:51Go ahead and show you a little bit.
00:35:53It's all right.
00:36:01This is locked.
00:36:03That's odd.
00:36:05It's the key.
00:36:07It's two silver words.
00:36:09Who could have locked the piano?
00:36:10Where's the key?
00:36:11I don't know.
00:36:11It's a funny idea.
00:36:12Why should anybody lock the piano?
00:36:13It's too ridiculous.
00:36:14Why should anyone lock the piano?
00:36:16Where's the key?
00:36:20As I was saying, Mr. Coughlin,
00:36:22my proposition is a very simple one,
00:36:23but a very sound one.
00:36:26I broke it.
00:36:27Don't you worry.
00:36:27I won't.
00:36:28Now, Mr. Sebastian, please tell us.
00:36:31What are you going to play?
00:36:33Well, first I'm going to play...
00:36:37Mrs. Baker.
00:36:39Yes, Mr. Sebastian.
00:36:42All right.
00:36:51I shall begin with a sonata pathetique by Beethoven.
00:36:54A sonata in three movements.
00:36:57And afterwards, if I feel like it,
00:37:00I shall play Hoff's 11 variations
00:37:02on the second theme of the first movement,
00:37:04followed by my own variation
00:37:06and Hoff's 11 variations
00:37:08on the second theme of the first movement.
00:37:16Listen, how long is a sonata?
00:37:17The only one I ever heard lasted three cigars.
00:37:20It's a catastrophe.
00:37:20It's a disaster.
00:37:21Jones, we're sunk.
00:38:02The only one I ever heard
00:38:45Alexander, stop it.
00:38:54Please, don't.
00:39:01No. No.
00:39:12No.
00:39:28No.
00:39:40You know Jones I'm glad you got that close my contract it saved our next another.
00:39:49But I'm going to have some fun.
00:39:55How do you do how do you do sir about that picture in the wind is very good don't you
00:39:58think.
00:39:58No fooling what is it it's a portrait of a man.
00:40:03Oh well certainly what else could it be excuse me sir not everybody understands modern art.
00:40:09Well thanks.
00:40:10If you're interested it's only five hundred dollars.
00:40:12Five hundred dollars must be quite a man.
00:40:14Well it's not the man he happens to be rather an obscure musician.
00:40:18Musician what kind of a musician.
00:40:20A pianist I think.
00:40:21Is it by any chance Alexander Sebastian.
00:40:24Well that's who it is.
00:40:25You recognized him.
00:40:27He seems to be a friend of yours.
00:40:29Wouldn't it be amusing to have him in your home permanently.
00:40:33Not very amusing.
00:40:44Cheap guy like that.
00:40:46Who.
00:40:47Him.
00:41:06to have a heart.
00:41:07Good luck.
00:41:07Good luck.
00:41:07Good luck.
00:41:07Good luck.
00:41:07Good luck.
00:41:14Good luck.
00:41:17Isn't this a nice surprise for you?
00:41:19Yes, very nice.
00:41:21A merry farmer.
00:41:24What's he so merry about?
00:41:26Oh, darling, you don't begrudge me a little music, do you?
00:41:29Oh, no.
00:41:30Anything new?
00:41:31Well, this, isn't it enough?
00:41:33Yeah, plenty.
00:41:34Have a good day?
00:41:36Fine.
00:41:37You seem to be feeling better these days.
00:41:39Oh, yes. I slept 10 hours last night.
00:41:41And, Larry, the hiccups have completely disappeared.
00:41:43Isn't that good news?
00:41:45Yeah, very good news.
00:41:47Are you still going to Dr. Vanguard?
00:41:49Oh, no. I don't need Dr. Vanguard anymore.
00:41:52I'm so busy with my music and visiting art galleries
00:41:55that I haven't even time to think of any doctor.
00:41:58Oh.
00:41:59Isn't that wonderful?
00:42:02You know, I'm beginning to see something in this.
00:42:05Yeah, it starts to look like a man.
00:42:09Huh?
00:42:12Why did you say that?
00:42:13Well, the other night.
00:42:14Oh, you did that seriously.
00:42:16I was only kidding.
00:42:17How could that be a man?
00:42:18I was nervous about the dinner party,
00:42:20and I said whatever came into my mind.
00:42:22I'm sorry, darling.
00:42:23No, dear, no.
00:42:24I don't agree with you.
00:42:25It does look like a man.
00:42:26Now, don't be stubborn.
00:42:27Can't you take a joke?
00:42:29Well, then, what is it?
00:42:32It's, uh, it's a meadow.
00:42:34It's called Meadow in Spring.
00:42:36Oh.
00:42:37Oh, in Spring.
00:42:38Yeah.
00:42:40And, uh, those little notes of music, what do they mean?
00:42:43Oh, that's, uh, that's the shepherd playing his pipe.
00:42:47Shepherds play pipes, don't they?
00:42:48Oh, oh, oh, sure, yeah.
00:42:50And the clock at 12.15?
00:42:52Oh, I, I don't know exactly what that means,
00:42:55but, but I guess it's probably lunch.
00:42:57The shepherd eats, and then he plays his pipe.
00:42:59Really, darling, you talk as though you've never been in a meadow.
00:43:02You see, in modern art, they're trying to break down the conventional forms.
00:43:05They're trying to get away from what you expect.
00:43:08It's all done by indication.
00:43:14What are you doing?
00:43:16Oh, just putting a mustache on the shepherd.
00:43:25Knock that guy right through his piano.
00:43:27Now, that'd be the worst thing you could do.
00:43:29You'd just make her feel sorry for her.
00:43:32Don't make a martyr of him.
00:43:34You've got to look at this thing from a woman's angle.
00:43:37Now, wait a minute.
00:43:41Miss Aikens, will you come in, please?
00:43:51Miss Aikens, we want a woman's point of view on a certain situation.
00:43:55Now, Mr. Baker has a friend, and he's in trouble.
00:43:59Who, Mr. Baker?
00:44:00No, the friend.
00:44:01Oh, Mr. Baker.
00:44:03Oh, shh, shh, shh.
00:44:04Now, Mr. Baker has nothing whatever to do with it.
00:44:06Let's call the friend Mr. Mr. Brown.
00:44:09Now, Mr. Brown has a wife.
00:44:11Mrs. Brown.
00:44:12Exactly.
00:44:13Mr. and Mrs. Brown have been married for, uh, how long?
00:44:16Well, I'll say six years.
00:44:19They live in Toledo.
00:44:20Six years in Toledo.
00:44:21That's bad.
00:44:22All right, then.
00:44:23Let's say New York.
00:44:24Now, Mr. Brown is worried about his marriage.
00:44:27Things are not going along as well as they used to.
00:44:29What kind of a man is this, Mr. Brown?
00:44:31Very nice.
00:44:32Well, wouldn't you say so?
00:44:34Yes, very nice.
00:44:35Is he attractive?
00:44:36Very attractive.
00:44:37Don't you think so?
00:44:38Yes.
00:44:39Yes.
00:44:39And yet she's complaining.
00:44:41Well, she's drifting away from him.
00:44:43Yes.
00:44:44And he wants to get things back on the old basis.
00:44:46Who doesn't?
00:44:47Yes.
00:44:48Now, Miss Higgins, as a woman, I'm asking you, what is the right approach?
00:44:53Well, I should say a mink coat would do the trick.
00:44:57She has a mink coat.
00:44:58Then what's she complaining about?
00:45:01Thank you, Miss Higgins.
00:45:02That's all.
00:45:02Well, gentlemen, you wanted to get a woman's point of view.
00:45:05Just a moment.
00:45:07Now, look here.
00:45:08Mrs. Brown is interested in another man.
00:45:10Oh.
00:45:11Does Mr. Brown know?
00:45:12Yes.
00:45:13Has he any proof?
00:45:13Too much.
00:45:14Has he any witnesses?
00:45:15No.
00:45:15Then he's sunk.
00:45:16Thank you, Miss Higgins.
00:45:17Well, I'm sorry, Mr. Baker, but if there aren't any witnesses, she's going to deny it,
00:45:21if you want the woman's angle.
00:45:22Miss Higgins, we're thoroughly satisfied.
00:45:25Well, I'm afraid I'm not the right person to give you any advice.
00:45:27I probably have too much sympathy for Mr. Brown and not enough patience with Mrs. Brown.
00:45:32We get cases like that every day.
00:45:34The wife is bored, marriage is just a habit.
00:45:37But on the other hand, she accepts everything her husband gives her.
00:45:40I think she ought to be kicked out.
00:45:42Do I sound old-fashioned?
00:45:43We'll let you know, Miss Higgins.
00:45:45Well, anyway, I think Mr. Brown is a pretty swell guy.
00:45:48I've always thought so.
00:45:51Some woman.
00:45:52Yeah.
00:45:52She certainly had a couple of interesting angles.
00:45:54I didn't notice them.
00:45:55Good.
00:45:56Now, Larry, you still love your wife, don't you?
00:45:59Yeah.
00:45:59Well, where are you going from here?
00:46:01I have a dinner appointment with old C.K. Higgins at his club.
00:46:04How can I sell insurance with this in my mind?
00:46:06It's a big deal, too.
00:46:07Now, listen.
00:46:08Forget Higgins.
00:46:09Forget insurance.
00:46:10Go home.
00:46:11There's only one thing you have to sell.
00:46:14Yourself.
00:46:15The most important client you ever had in your life is waiting for you.
00:46:18And her name is Mrs. Baker.
00:46:20Now, you're the best salesman in the business.
00:46:23There's nothing wrong with your marriage.
00:46:24You just have to resell it once in a while.
00:46:28Not so easy.
00:46:29Well, who said it was?
00:46:31Was it easy to sell Hale insurance in Southern California?
00:46:35Just find the right slant.
00:46:36A new one.
00:46:37Selling marriage with a new slant, huh?
00:46:40A new slant.
00:46:41That's not a bad idea.
00:46:43But what is that new slant?
00:46:44That's what I'd like to know.
00:46:45What is it?
00:46:46What is it?
00:46:47Selling marriage with a new slant.
00:47:13Oh, nice surprise, eh?
00:47:18Hello, my genius.
00:47:21Who are you going to be this evening?
00:47:23Come, tell your little cadenza.
00:47:26Are you Mozart, playful, tender?
00:47:29Or are you the thundering Beethoven, strong, fiery, unyielding?
00:47:35Come, darling, tell your little cadenza.
00:47:53It is Volton, the god of gods, coming down to her...
00:48:00Anything serious?
00:48:01No, she just fainted.
00:48:03Oh, well, women are always fainted.
00:48:06Any particular reason?
00:48:08No, no. She just thought I was a genius.
00:48:11Then she found out I wasn't and it was too much for her.
00:48:14Please make yourself at home. I'll be right back.
00:48:15I want to get some smelling salts.
00:48:35I'll be right back.
00:48:36Now look, Vicka, let's get this straight.
00:48:37There's going to be a very heated discussion.
00:48:39We're going to insult each other. It can't be avoided.
00:48:42You're going to accuse me of something which I'm going to deny
00:48:44and you're not going to believe.
00:48:45So before this battle starts, let's get one thing straight.
00:48:49I'm not going to fight.
00:48:50My hands are my only livelihood
00:48:52and I'm not going to risk them on your children.
00:48:53Look at you all. Here, Mozart, wake up your little cadenza.
00:49:09What's happened?
00:49:10Well, I... I...
00:49:12You!
00:49:16That's very funny. You know what I thought?
00:49:19Look, I think I...
00:49:26What?
00:49:43Hello?
00:49:45Hello, Jones.
00:49:46I'm still selling.
00:49:47You were right. It needed an entirely new slant.
00:49:50I think I've got a new one.
00:49:53okay.
00:49:54All right.
00:49:54As soon as he comes, I probably went up and out.
00:49:56Okay.
00:50:21All right.
00:50:21So I will try that?
00:50:21Hey, I caught up and I like the Greek text,
00:50:21In fact, all of a sudden,
00:50:35Baker, I don't trust you.
00:50:36Oh, come on, have a cigar.
00:50:39Either you have something in the back of your mind or that cigar stinks.
00:50:42No, no, that's the same cigar I give my customers.
00:50:45How old are you, Sebastian?
00:50:48Not as old as you.
00:50:50Right in the prime of life, huh?
00:50:52You in good health?
00:50:54Good enough, even better after I've had dinner.
00:50:56But I'm not going to fight.
00:50:58No, no, no, I don't want to fight.
00:51:00But you might run into a husband sometime who hasn't my respect for great music.
00:51:04Where would you be then?
00:51:06Come on, Sebastian.
00:51:08I'm going to do something for you whether you like it or not.
00:51:11I'm going to insure your hands.
00:51:13That'll give you complete freedom of action.
00:51:15It'll give me 5%.
00:51:17Then we'll both be happy.
00:51:19I'm not going to fight.
00:51:20No, I know.
00:51:21I understand.
00:51:22You're an isolationist.
00:51:26Isolate yourself over there.
00:51:30You know, the best part of this whole thing is that we...
00:51:32Sit down.
00:51:35We can write this hand insurance as a subclause to your life insurance.
00:51:39Life insurance?
00:51:40What do I want with life insurance?
00:51:42I'm generally dependents.
00:51:43Any relatives?
00:51:44Relatives.
00:51:44Fui.
00:51:45I'll tell you.
00:51:46You can leave it to my wife.
00:51:48She can buy herself a beautiful brooch.
00:51:50In the shape of a piano with little diamond keys.
00:51:53And every time she pins it on, she'll think of poor dear Sebastian.
00:51:57Believe me, if anybody should insure his life, it's you.
00:52:00And right now.
00:52:16Well then, where were you born?
00:52:18I'm not going to fight.
00:52:21So you love my wife, don't you?
00:52:27I love your wife, Baker.
00:52:29Oh, so that's what you've been driving at.
00:52:32Oh, now, I understand the whole thing.
00:52:35Oh, really, Baker, you should be a little ashamed of yourself.
00:52:38Great big insurance man like you.
00:52:41Deals so successfully with human nature.
00:52:46You should know better than that.
00:52:48Naturally, I think he was very attractive and very charming.
00:52:51She likes music.
00:52:53What's that thing loaded?
00:52:55Yeah.
00:52:56Oh, now, look, Baker.
00:52:58Get it out of your mind.
00:53:00I don't love your wife.
00:53:02Well, it's going to be a great day in the musical heaven.
00:53:05I can just see Beethoven calling over to Mozart.
00:53:08Hey, Mozart, dust off the piano.
00:53:09Look who's coming, the little genius.
00:53:11That's not funny.
00:53:12This isn't funny either.
00:53:13I love my wife.
00:53:14I've loved her for six years.
00:53:15For six years, we've been together.
00:53:17And along comes a guy like you and breaks everything up
00:53:19just because you've nothing else to do.
00:53:22You're not going to get away with it.
00:53:25If you've loved my wife earnestly and sincerely
00:53:27and you'd come to me and told me about it,
00:53:30well, that would have been one of those things.
00:53:32I'm not old-fashioned.
00:53:34If you both felt that you would have been happier without me,
00:53:36what could I have done?
00:53:38Packed my suitcase.
00:53:39And I wouldn't have to do this.
00:53:41Oh, you know, Baker,
00:53:45you kind of had me worried there for a minute.
00:53:47When you pulled out that revolver, I thought,
00:53:50he is a conventional citizen.
00:53:52No sense telling the truth to a man like that.
00:53:55But now I see the real Baker,
00:53:58modern and up-to-date.
00:54:00Baker,
00:54:01I'm going to open up to you.
00:54:03Of course I love your wife.
00:54:05You're sure?
00:54:06Positive.
00:54:08Well, then I won't have to shoot you.
00:54:09I don't think it'll be necessary.
00:54:12Well, we've got a clean-cut situation on our hands.
00:54:15You love my wife,
00:54:16and my wife loves you.
00:54:17Well...
00:54:18Oh, yes, she does.
00:54:18I've seen it with my own eyes.
00:54:21Well, there's only one thing left for me to do.
00:54:22Mm-hmm.
00:54:31Hello?
00:54:32Oh, hello, Jonesy.
00:54:33I'm still selling.
00:54:47Did I hit back?
00:54:48No.
00:54:49Good.
00:54:50Shouldn't have done that, Baker.
00:54:51I know, and I'm sorry.
00:54:52I shouldn't have done it.
00:54:54I slipped back into the old-fashioned, Baker.
00:54:56I probably won't do it again.
00:54:57I'm not going to fight.
00:55:01Hello.
00:55:02This is Lawrence Baker.
00:55:04I want to reserve a room for tonight.
00:55:05I'll be right over.
00:55:07Thanks.
00:55:11Baker.
00:55:14Are you really moving out?
00:55:16Well, yes, certainly.
00:55:17I think I should leave the apartment to her.
00:55:19You do?
00:55:20Well, yes.
00:55:21This is only fair, don't you think so?
00:55:24Yes.
00:55:24I think that seems to be the best approach.
00:55:27Well, I'm glad you think so.
00:55:28No, no.
00:55:29I don't want there to be any bitterness.
00:55:32No.
00:55:32Fortunately, I'm in a position to give her security,
00:55:34to take care of her future.
00:55:35Well, why not?
00:55:37She deserves it, don't you think so?
00:55:39Yes, yes.
00:55:40Yes, I do.
00:55:41After all, she's given me the best years of her life.
00:55:44Yes, I'll take some wonderful memories with me.
00:55:48She's a nice girl, isn't she?
00:55:49Yes, yes.
00:55:50Very nice.
00:55:51Of course, she has her faults.
00:55:53Well, who hasn't?
00:55:54That's true.
00:55:55That's true.
00:55:55Uh, as of a Sebastian, if, uh, you should ever run into one of her bad moods,
00:56:00all you have to do is, oh, no, perhaps I better not tell you.
00:56:05Come on, now.
00:56:06Don't act like a little boy.
00:56:07What is it?
00:56:07Oh, well, it's kind of personal.
00:56:10Come on, come on.
00:56:11What is it?
00:56:12Well, if you ever should run into one of her bad moods,
00:56:14you just want to snap her right out of it.
00:56:17There's only one way to do it.
00:56:19What's that?
00:56:20Just keek, sir.
00:56:22Keek, sir?
00:56:24How do you do that?
00:56:26Just keek.
00:56:30She like that?
00:56:31Insane about it.
00:56:33Thanks, Vic.
00:56:36Keek, sir.
00:56:40Oh, no.
00:56:45Now, about the cause for divorce.
00:56:48According to the New York state law,
00:56:50one of the parties must have a correspondent.
00:56:52Oh, there must be some less embarrassing way.
00:56:55Not in New York.
00:56:56Well, you don't have to do it.
00:56:56I'll get the correspondent.
00:56:58Oh, no.
00:56:58I wouldn't like to put you in that position.
00:57:00Oh, that's all right.
00:57:01But why should you take the blame?
00:57:02Well, it's okay.
00:57:03It's quick and painless.
00:57:04Very wise of you, Baker.
00:57:05Thanks, Sebastian.
00:57:06That leaves the property settlement.
00:57:08The following agreement has been reached between Lawrence Baker,
00:57:11herein after referred to as the party of the first part,
00:57:13and Jill Baker, herein after referred to as the party of the second part.
00:57:16It is understood that the party of the first part
00:57:19transfers title to the apartment at 685 Park Avenue
00:57:22to the party of the second part.
00:57:24Well, what about the furnishings?
00:57:26Yes, what about them?
00:57:27Well, I didn't understand that you were...
00:57:28Oh, yes.
00:57:28I want everything transferred to, uh, to the party of the second part.
00:57:34Can't we take that up later?
00:57:35No, let's get everything settled now.
00:57:36You're entitled to it.
00:57:37Oh, now, look.
00:57:38Now, he's only trying to be fair.
00:57:40You're too generous.
00:57:41No, that's fair.
00:57:42That's all.
00:57:44Well, if there's anything you want...
00:57:46Oh, I don't need anything.
00:57:47What would I do with it?
00:57:48But Larry...
00:57:49Well, he lives in a hotel.
00:57:50Where would he put it?
00:57:51He'd only have to pay storage.
00:57:52That's right.
00:57:53Well, I'd better change this.
00:58:02What's his name?
00:58:03Jones.
00:58:03I don't trust him.
00:58:09Well, here we are.
00:58:11Mm-hmm.
00:58:11Baker versus Baker.
00:58:13Sounds awful, doesn't it?
00:58:14Everything legal does.
00:58:15Oh, about this correspondent.
00:58:18Yes.
00:58:18Who's it going to be?
00:58:20Oh, I don't know.
00:58:21Anyone in mind?
00:58:22Mm-hmm.
00:58:23I have several promising prospects.
00:58:24Oh, you have?
00:58:26Mm-hmm.
00:58:27Yes, I think we can clear up the whole matter in about four weeks.
00:58:29Sounds pretty good.
00:58:30Mm-hmm.
00:58:31Tell me, it isn't Mary Logan?
00:58:33Mary Logan is a good friend.
00:58:34Mr. Correspondent?
00:58:35Oh, I think I can do better than that.
00:58:38After everything's straightened out, I think I'll take a trip to South America.
00:58:41Is it one of my friends?
00:58:43No, you know I never cared very much for your friends.
00:58:45Someone I know?
00:58:46Darling, this is a divorce, not 20 questions.
00:58:49Oh, I'm just curious.
00:58:51Oh, don't worry.
00:58:51You can rely on me.
00:58:53I won't disgrace the family name.
00:58:59Larry, do you really want this divorce?
00:59:01Oh, absolutely, don't you?
00:59:03Well...
00:59:04Oh, don't tell me you don't want it.
00:59:06That'd be a great disappointment.
00:59:07After all, you're seriously in love with Sebastian.
00:59:10Otherwise, you wouldn't have...
00:59:12Well, we wouldn't be here.
00:59:15You're too fine a person, Jill, to have done all this just to fill out your day.
00:59:20I've always believed that you're sincere.
00:59:23I still do.
00:59:26I'd like to take that memory with me.
00:59:29I'm sorry if I hurt you.
00:59:31You couldn't help it.
00:59:34Don't worry.
00:59:34There'll be no bitterness.
00:59:36Honey, isn't it?
00:59:38For six years you were my husband.
00:59:40And now you're the party of the first part.
00:59:43I used to be your Jill.
00:59:45And now I'm here enough to refer to him.
00:59:48That's all.
00:59:55Well, everything's taken care of.
00:59:57What's the matter?
01:00:01What did you do?
01:00:02Nothing.
01:00:03Just went over some of the details.
01:00:04I don't trust you, Baker.
01:00:07Darling, there's nothing to worry about.
01:00:08It's a very clean cut agreement.
01:00:10Alexander, please.
01:00:11I'm so nervous.
01:00:12Can't you understand?
01:00:12Of course.
01:00:13We all have our little moods.
01:00:16Kick!
01:00:26Now let's read this again.
01:00:28The following agreement has been reached.
01:00:30It's unnecessary unless we can agree on the correspondent.
01:00:32Well, it's none of your business.
01:00:33Darling, it isn't.
01:00:34Keep quiet.
01:00:34It is my business.
01:00:35You're not going to make me the laughing stock of the whole town with some girl.
01:00:37A girl I don't even know.
01:00:39Oh, no.
01:00:39You're not going to have that triumph, Mr. Baker.
01:00:41Goodbye.
01:00:47Kick!
01:00:48Don't do that, Baker.
01:00:49Jill!
01:00:50Jill!
01:00:52Jill!
01:00:53And that, my dear Mr. Jones, is what is known as protecting your original investment.
01:00:57Let's get a drink.
01:00:58I think you've softened her.
01:01:00Softened her?
01:01:01Destroyed her.
01:01:01She's going to come back and eat out of my hand.
01:01:03And what I'm going to do to Mrs. Jill Baker.
01:01:05Here and after referred to as Jill Lamb Baker.
01:01:09If you want to buy a good piano cheap, Jones, you can have it.
01:01:11Oh, am I going to be difficult.
01:01:13I'm going to be the mad dog of 685 Park Avenue.
01:01:17Heil Baker!
01:01:19Mr. Jones!
01:01:22Yes, Mrs. Baker.
01:01:23About this correspondent, what does the law require?
01:01:26Well, she...
01:01:27No, in case I have the correspondent.
01:01:29Oh.
01:01:30Well, you have to be found alone with him in your apartment.
01:01:33And he with his coat off.
01:01:34I see.
01:01:36Alexander?
01:01:36Yes, darling.
01:01:37Are you willing to take your coat off for me?
01:01:39Anything you say, darling.
01:01:41Oh, no.
01:01:41No, no.
01:01:42Oh, yes.
01:01:43You mean you really want to do that?
01:01:44I do.
01:01:45You want to compromise me with that guy?
01:01:47Ha, ha.
01:01:47You seem to forget, Baker, that she's in love with that guy.
01:01:49Kids!
01:01:52You brute!
01:01:54Alexander!
01:01:55Alexander!
01:01:56Alexander!
01:01:58Snoogee!
01:01:59Snoogee?
01:02:00Calling that Snoogee?
01:02:02Come on, darling.
01:02:03There you are.
01:02:04You'll be all right.
01:02:06Sit down here.
01:02:07There.
01:02:08For six years I've been married to a brute and I didn't know it.
01:02:10A divorce, yes.
01:02:11That's the only solution.
01:02:12All right.
01:02:13Why don't you go to Reno?
01:02:14Yes, Reno.
01:02:14I don't want to go west.
01:02:15Oh, darling.
01:02:16How are you?
01:02:18Unshaken.
01:02:18Would you establish residence in Pennsylvania?
01:02:20Pennsylvania?
01:02:21That's around Philadelphia, isn't it?
01:02:22In the neighborhood, yes.
01:02:23That's not bad.
01:02:24They've got a good orchestra.
01:02:25It'd be easy to communicate with New York.
01:02:27Very well.
01:02:27Shall we say Pennsylvania?
01:02:28All right.
01:02:29Pennsylvania.
01:02:29China.
01:02:30Anywhere.
01:02:30Only let's get it over with.
01:02:31Okay.
01:02:32Let's look up Pennsylvania.
01:02:34Pennsylvania.
01:02:35There.
01:02:38That's...
01:02:40Snoogee.
01:02:42You're going to get your divorce if it's the last thing I do.
01:02:45Section 10.
01:02:46Innocent spouse may get divorced provided the other spouse shall have, by cruel and barbarous treatment, rendered life intolerable and
01:02:54burdensome to said innocent spouse.
01:02:56Sounds promising.
01:02:57Shouldn't be difficult for you to be barbarous.
01:02:59No, my innocent spouse.
01:03:01What do I have to do?
01:03:02Well, let's call in a witness.
01:03:04Let's say, my secretary.
01:03:06And first, you two start a quarrel.
01:03:08Pleasure.
01:03:09And then I'd say, maybe you slap her face.
01:03:12Slap her face?
01:03:13Oh, no.
01:03:14So, you can hit a man, but you don't dare strike a woman.
01:03:16You coward, you.
01:03:18All right.
01:03:18I'll do it.
01:03:19Very well.
01:03:19Now, let's rehearse the whole thing.
01:03:22Now, here's the plan.
01:03:26Miss Akins, will you come in, please?
01:03:28Right away, Mr. Jones.
01:03:31Now, remember, I start to dictate a letter.
01:03:34As soon as I snap my finger, you start the argument.
01:03:36And when you say...
01:03:37You cheap second-rate insurance peddler.
01:03:39When I hit you.
01:03:40Now, Baker, don't let us down.
01:03:41Miss Akins!
01:03:42Miss Akins!
01:03:44Coming, Mr. Jones.
01:03:45Sit down, please.
01:03:48Take this.
01:03:50To Walter K. Dovenmull.
01:03:52Capital City Bank and Trust Company, Columbus, Ohio.
01:03:56My dear Mr. Dovenmull.
01:03:58Now, let me see.
01:04:03So, you won't tell me?
01:04:05I wasn't there.
01:04:08My mother saw you.
01:04:10Your mother gives me a pain in the neck.
01:04:13How dare you say that about my beloved mother?
01:04:16Your beloved mother, poo!
01:04:20So, you won't tell me, huh?
01:04:22I wasn't there.
01:04:23But my mother saw you.
01:04:25Your mother gives me a pain in the neck.
01:04:27How dare you say that about my beloved mother?
01:04:30Your beloved mother, poo!
01:04:32Who are you to poo my mother?
01:04:33Your mother.
01:04:34Do you know what your mother reminds me of?
01:04:35Hey, hey, stop!
01:04:36Stop!
01:04:37Just a minute.
01:04:38Miss Akins!
01:04:39I didn't tell you to leave.
01:04:40Yes, for heaven's sakes, Miss Akins.
01:04:42Sit down.
01:04:45Now, read that back to me.
01:04:46Mr. Walter K. Dovenmull.
01:04:48Capital City Bank and Trust Company, Columbus, Ohio.
01:04:51My dear Mr. Dovenmull.
01:04:53So, you don't like my mother?
01:04:54No, I don't like your whole family.
01:04:55Oh, you don't?
01:04:56No, I don't like your father.
01:04:57I don't like your brother.
01:04:58Do you know what your mother reminds me of?
01:04:59What?
01:05:00Of you.
01:05:00That'll give you a rough idea of what I think of your mother.
01:05:02You cheap, second-rate insurance peddler.
01:05:14Come on.
01:05:16You're what she called your cheap, second-rate insurance peddler.
01:05:19Yes!
01:05:27Now look, man.
01:05:28Our whole happiness is at stake.
01:05:30One good sock.
01:05:31Here.
01:05:32Have another cognac.
01:05:35Now, give it everything.
01:05:38Read it back to me.
01:05:39Walter K. Dovermull, Capital City Bank and Trust Company,
01:05:42Columbus, Ohio.
01:05:43My dear Mr. Dovermull.
01:05:44Yeah, my dear Missy.
01:05:46Everything I said about your mother still goes.
01:05:49And doubled.
01:05:49Oh, it does.
01:05:50Yes, it does.
01:05:51Well, I still say you're a cheap, second-rate insurance peddler.
01:05:55Oh.
01:05:56So I'm a cheap, second-rate insurance peddler, am I?
01:05:59Yes, you are.
01:06:02Say it again.
01:06:03You cheap, second-rate insurance peddler.
01:06:12Phooey.
01:06:17Come on, Baker. Pull yourself together. You can do it.
01:06:19Swell guy like you.
01:06:21Read it back to me.
01:06:23Walter K. Dovermull, Capital City Bank and Trust Company,
01:06:26Columbus, Ohio.
01:06:27My dear Mr. Dovermull.
01:06:35Did you see that, Miss Higgins?
01:06:36A husband slapping his wife?
01:06:38Yes, did you see it?
01:06:39Mrs. Baker, I'm very sorry this happened in my office.
01:06:42So am I.
01:06:42Imagine that, a husband hitting his wife.
01:06:46He had to get drunk to do it.
01:06:49Goodbye, Mr. Jones.
01:06:51Goodbye, Mrs. Baker.
01:06:51I'll take him.
01:07:01What about Walter K. Dovermull?
01:07:03Tell him I'm out.
01:07:15Thank you, sir.
01:07:17Come in.
01:07:22Hello, Albert.
01:07:24Good morning, sir.
01:07:25I hope you'll forgive me for disturbing you on Sunday.
01:07:29It's all right, Albert.
01:07:30Have a late night, sir?
01:07:32Yes, I've had a series of late nights.
01:07:34I guess I'm not as young as I used to be.
01:07:35Oh, I think you look very fit, sir.
01:07:37Oh, thanks, Albert.
01:07:38How's everything going?
01:07:39Oh, not so well, sir.
01:07:41I came to ask if in your future plans you'd have any use for me.
01:07:44Have you left, Miss Baker?
01:07:46Yes, sir.
01:07:47I had to.
01:07:48On account of that musical gentleman.
01:07:52Oh.
01:07:52In fact, we all left, except Emma.
01:07:55But then she fortunately is quite deaf.
01:07:57How is Miss Baker?
01:07:59As charming as ever, sir.
01:08:01Happy, I suppose.
01:08:03If you'll pardon me for saying so, I think she shows great courage.
01:08:38Hello.
01:08:39Hello.
01:08:40Where's Mrs Baker?
01:08:50Jill, dear.
01:08:51Margie, darling.
01:08:52Oh, I got such a thrill when you called me.
01:08:53Why shouldn't I, old friends like us?
01:08:55Sit down, Margie.
01:08:56How are you, Jill?
01:08:57Oh, I'm fine.
01:08:58I hear you're going to Philadelphia.
01:09:00Oh, did you meet Alexander?
01:09:01Yes, but I didn't want to bother you.
01:09:03He's practicing for his new concert.
01:09:04I understand.
01:09:06Does it disturb you?
01:09:07No, no, no, no.
01:09:08I love music.
01:09:09Oh, yes, I'm going to Philadelphia.
01:09:11And you're happy to sing for his new concert.
01:09:12Oh, yes, very.
01:09:13Of course, I'm still a little bewildered.
01:09:15It's all so new.
01:09:16I guess it's all very exciting.
01:09:18Oh, yes, very exciting.
01:09:19Being transferred from the business world
01:09:21into the world of art.
01:09:22Nothing but Bach and Tchaikovsky.
01:09:25That's Bach.
01:09:25He's practicing.
01:09:26Oh, yes.
01:09:27You sure it doesn't disturb you?
01:09:29Oh, no, no, no.
01:09:29I love it.
01:09:30You don't have to be ashamed.
01:09:31Not everybody likes Bach,
01:09:33so if you want him to start...
01:09:34My dear, I wouldn't think of it.
01:09:35The whole thing sounds so very romantic.
01:09:37Yes, very romantic.
01:09:39Oh, by the way, have you seen Larry?
01:09:41Yes, yes, I saw him last night at the Monte Carlo.
01:09:44Larry at the Monte Carlo?
01:09:46Yes.
01:09:47Imagine.
01:09:49Just a moment.
01:10:05Please forgive me.
01:10:06Of course.
01:10:07Well, now, what were we talking about?
01:10:11So, you don't like my music, Annie.
01:10:13Well, Alexander...
01:10:14I make nothing but a lot of noise.
01:10:16All right.
01:10:26Isn't he original?
01:10:28Oh, very.
01:10:29I hope you don't mind.
01:10:31No, not at all.
01:10:32I love to make him angry.
01:10:34He turns into a big, grizzly bear.
01:10:36It must be fascinating.
01:10:39Jill.
01:10:42The bear.
01:10:50What is it?
01:10:51Jill, there'll be no more music here today.
01:10:53Oh, no?
01:10:54No, and don't coax me.
01:10:55And don't shush me.
01:10:57As a matter of fact, there'll be no more Sebastian here today.
01:10:59At least not for lunch.
01:11:02And dinner is very uncertain.
01:11:04Well, if that's the way you feel about it.
01:11:05It is.
01:11:06Jill, I can be very impossible.
01:11:09Goodbye.
01:11:10Bye.
01:11:18What fun.
01:11:19I only hope poor Larry has as good a time as I.
01:11:22Well, when I saw him at the Monte Carlo.
01:11:23Oh, yes.
01:11:24I suppose that was another one of those dull business evenings.
01:11:27Was it a large party?
01:11:28No.
01:11:29I'd say she was about your size.
01:11:32Oh.
01:11:33Was she attractive?
01:11:34No, I didn't think so.
01:11:36But George and Freddy thought she was terrific.
01:11:39You know George and Freddy.
01:11:41But what do you care?
01:11:43That's right.
01:11:44What do I care?
01:11:45Larry's entitled to have a little fun.
01:11:48That's the kind of life he likes.
01:12:02Hello.
01:12:04Hello, Sally darling.
01:12:07I feel pretty good considering.
01:12:09What about you?
01:12:11Mm-hmm.
01:12:14That's right.
01:12:15Huh?
01:12:17Well, no, I'm sure you took it with you when we left for the Monte Carlo.
01:12:20I'm sure you took it with you when we left for the Monte Carlo.
01:12:21Wait a minute.
01:12:30Hello?
01:12:31Yes, it is.
01:12:34Bye.
01:12:35Bye.
01:12:44Hello.
01:12:47Hello.
01:12:48Are you going to throw me out?
01:12:51Jill, you shouldn't have come up here.
01:12:53It's rather embarrassing.
01:12:55Well, I was just passing by.
01:12:57But after all, if Sebastian finds out...
01:12:59Oh, don't worry about that.
01:13:00But I do.
01:13:01A girl engaged to be married,
01:13:04coming to a bachelor's apartment,
01:13:05and unannounced.
01:13:09Just a moment.
01:13:18Well?
01:13:19I seem to be intruding.
01:13:21Look, Jill, what do you want to see me about?
01:13:23Someone here.
01:13:24What do you want, Jill?
01:13:26Well, I was driving by.
01:13:28Oh, right on the 31st floor?
01:13:30Well, you said you wanted some kind of remembrance,
01:13:33and I'm on my way to Cynthia Knox's tea,
01:13:35and I had to pass by,
01:13:37so I picked up a few things.
01:13:39Well, you said you wanted some kind of remembrance,
01:13:40some snapshots of us taken together.
01:13:42Mm-hmm.
01:13:42Thought you might be interested.
01:13:45Aren't you going to look at them?
01:13:46Oh, oh, oh, yeah.
01:13:48Mm-hmm.
01:13:50Well, that's the first time we met.
01:13:51There's one of you sitting in my lap.
01:13:53Our wedding.
01:13:54Our honeymoon.
01:13:54That's very nice.
01:13:55Thanks.
01:13:56Anything else?
01:13:58I heard you were at the Monte Carlo last night.
01:14:01Yeah.
01:14:02Sleepy, huh?
01:14:04Yes.
01:14:05Well, give my regards to Cynthia Knox.
01:14:08Who?
01:14:08You were on your way to Cynthia Knox's tea, remember?
01:14:11Oh.
01:14:11Oh, yes, yes.
01:14:12I like your apartment, Larry.
01:14:14It's lovely.
01:14:16Charming.
01:14:17Yes.
01:14:18Very, very charming.
01:14:23In such good taste.
01:14:25Pretty.
01:14:26So cozy.
01:14:27Lovely curtains.
01:14:29And such a beautiful view.
01:14:32Yes.
01:14:33Such a beautiful view.
01:14:36I'm sorry.
01:14:37Larry.
01:14:38That was rather foolish.
01:14:40Please forgive me.
01:14:43Oh, Larry, I did make quite a mess of things.
01:14:45Oh, everything turns out for the best.
01:14:48You can't mean that, Larry.
01:14:49I can, and I do.
01:14:51Larry, please don't make me go to Philadelphia.
01:14:54Please don't.
01:14:54Oh, madam has changed her mind.
01:14:57She gets a little tired of marriage and she walks out just like that.
01:15:01What does she care if she makes a fool of her husband?
01:15:03Or how much she hurts him?
01:15:05Then she gets a little tired of piano music and she comes back and says,
01:15:08Oh, it was just a little whim of mine, so please trot back to the old homestead.
01:15:12You break up a whole life and then think you can put it back together again in one afternoon.
01:15:16Oh, no, it's not that easy.
01:15:19I didn't expect it to be easy.
01:15:21To tell you what I think of you would take more than just one afternoon.
01:15:26How about dinner?
01:15:28Dinner?
01:15:29Couldn't we just have dinner together tonight?
01:15:32I'm sorry.
01:15:32I'm engaged for dinner.
01:15:34Oh, that girl.
01:15:36Yes, that girl.
01:15:37I don't like your tone.
01:15:38I'm sorry.
01:15:40First you're trying to mess up my life.
01:15:42Now you want to spoil that girl's Sunday.
01:15:44Sally doesn't get every day off, you know.
01:15:46Sally works hard.
01:15:47Oh, she does.
01:15:48Now what's wrong with that?
01:15:50Nothing.
01:15:52She doesn't have everything dumped in her lap like you.
01:15:55She hasn't time to go to crazy art galleries,
01:15:57play around with second-rate musicians or go to psychoanalysts.
01:16:00She hasn't a husband to pay for her complexes.
01:16:03Sally's a mighty fine girl, much finer than your Mr. Sebastian.
01:16:06She doesn't wear your shirts, either.
01:16:09Did he take?
01:16:10Oh, skip it.
01:16:11Here.
01:16:12You promised to love, honor, and obey.
01:16:16And here.
01:16:19That's the first time we met.
01:16:20That's an awful picture of me.
01:16:22But you were a fine girl.
01:16:23I didn't bore you with my insurance then.
01:16:26You listened to everything.
01:16:27You wanted to know everything about me and my work.
01:16:29You wanted to help.
01:16:30Oh, Larry.
01:16:31And here.
01:16:33I remember everything you said to me.
01:16:35I'd love to say it again, Larry, if you'd only give me the chance.
01:16:38Hmm.
01:16:39Just to forget it again?
01:16:40No, Larry.
01:16:41Never again.
01:16:42I swear.
01:16:43There's no use pretending.
01:16:45I'm defeated.
01:16:48Hmm.
01:16:50Seemed to be there.
01:16:54Gee.
01:16:56I'll always remember that tree in front of our hotel window.
01:16:59And that funny old Italian waiter?
01:17:00Oh, that wasn't here.
01:17:01Oh, yes.
01:17:01No.
01:17:02No, no, it wasn't.
01:17:03No, no, here.
01:17:05Oh, that's right.
01:17:06That's that front porch.
01:17:08Our first breakfast.
01:17:10Yes.
01:17:11Oh, Larry, couldn't we have dinner together?
01:17:14Not tonight.
01:17:15Why not?
01:17:16Sally.
01:17:17Let me talk to her.
01:17:18Oh, no.
01:17:19Woman to woman.
01:17:20She'll understand.
01:17:21No, no.
01:17:22Please, Larry.
01:17:24Well, you don't deserve it, but I'll see what I can do.
01:17:28Thank you, darling.
01:17:29You stay right here.
01:17:34It's going to be very tough.
01:17:55Sally Aikens.
01:17:58Aikens.
01:18:00That girl.
01:18:02Oh!
01:18:07Oh!
01:18:13Oh!
01:18:22Kinks!
01:18:33How'd you do, Miss Aikens?
01:18:35Oh, hello, Mrs. Baker.
01:18:36Nice to see you.
01:18:41Mr. Baker would have loved to have seen you, but unfortunately he's busy.
01:18:45Oh, he asked me to give you your handbag.
01:18:47Oh, yes, I forgot it.
01:18:49I was doing some secretarial work for Mr. Baker.
01:18:52Oh, secretaries work on Saturday night.
01:18:55Oh, well, I'm a notary public, too.
01:18:58Oh, I see.
01:18:59And you brought your seal?
01:19:00Oh, yes.
01:19:01A trained seal.
01:19:02Goodbye, Miss Aikens.
01:19:05Goodbye, Mrs. Baker.
01:19:06Okay.
01:19:27Sweet.
01:19:29Sweet.
01:19:42Looks hopeless.
01:19:43Oh.
01:19:46It's much more serious than I thought.
01:19:49That girl's really in love with me.
01:19:51She adores me.
01:19:52I don't blame her.
01:19:53She says she can't live without me.
01:19:55And I believe her.
01:19:56And I, too.
01:19:57It's understandable.
01:19:58You're very wonderful.
01:20:00Oh.
01:20:01Oh, yes.
01:20:02Yes, you are.
01:20:04How about dinner?
01:20:05But you know I can't.
01:20:07How about after dinner?
01:20:08Yeah.
01:20:08Do you want a suicide in your conscience?
01:20:10Oh, no.
01:20:10No, no, not that.
01:20:11Well, there you are.
01:20:13You're right.
01:20:14It's hopeless.
01:20:15It's too bad, Jill.
01:20:17Everything could have been so marvelous.
01:20:19Yes.
01:20:19There's no reason we couldn't really have been happy.
01:20:22Yes.
01:20:22But it's too late now.
01:20:24Yeah.
01:20:24It looks like the end.
01:20:26Goodbye, Larry.
01:20:27And good luck.
01:20:30Good luck.
01:20:43I'll talk to her again.
01:20:59Mrs. Baker home?
01:21:00Never mind.
01:21:02Guess who is back?
01:21:15It's Bolton, the god of gods, coming back to Earth.
01:21:52A little bit softer, please.
01:22:14Good luck.
01:22:29I'll talk to her again.
01:22:35Boy!
01:23:09THE END
01:23:30THE END
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