Heartbeat (1946)

No renewal found Free in the US since 1 January 1975, on the registry's reading: registration LP368 of 1946 by New World Productions, Inc was not renewed in the volumes searched. Record.

A Parisian pickpocket story reunites Ginger Rogers and Sam Wood, carrying an Italian and French screenplay into an American romance.

The screenplay behind Heartbeat had already been filmed in Italy before it reached Hollywood.² That earlier incarnation went unmentioned in the contemporary reviews and news items documented in the production record.² Its absence complicates the description of the American film as a remake of a French comedy. The story first became Batticuore in Italy.² Henri Decoin’s Battement de cœur, starring Danielle Darrieux, was a French version of the same script.² A tale about a young woman learning to negotiate unfamiliar social rules had itself passed between countries. Its American version is another interpretation of a travelling screenplay, not simply a translation of one predecessor.

Sam Wood directed Heartbeat.¹ It was his first collaboration with Ginger Rogers since Kitty Foyle.² Here she plays Arlette Lefon, a reform-school escapee drawn into a Parisian pickpocket operation.¹⁶ The French setting belongs to an American production.¹ Joseph A. Valentine photographed the film.³ Contemporary trade listings identify it as an RKO release.⁷

Arlette’s escape is the essential complication in what might otherwise be a light apprenticeship story. She is not merely looking for excitement or an opportunity to outwit respectable people. Having left an institution meant to correct her behaviour, she enters an organisation that teaches theft.¹ The two kinds of schooling give the premise its satirical edge. Instruction and discipline are not guarantees of virtue. An orderly system can train someone to do precisely the wrong thing. Criminal expertise becomes a matter of lessons rather than instinct, something a pupil can acquire by submitting to another form of authority. For Arlette, learning how to survive and learning how to be acceptable become entangled. Romance promises a way out that neither institution can supply.

That arrangement also gives the title a purpose. Heartbeat places feeling against calculation. A young woman being schooled in the manipulation of strangers must enter relationships in which manipulation cannot be the whole answer. The pickpocket premise turns ordinary social proximity into something uncertain. An approach can be an invitation or a manoeuvre. Attention can express affection or conceal another intention. Read this way, the romantic comedy does not sit beside the criminal story as a separate attraction. Both depend on judging people at close quarters. Arlette must distinguish between the skills that keep her out of trouble and the honesty that might expose her to it.

One retrospective of Wood’s career calls Heartbeat a “failed remake” of the French comedy Battements de cœur.⁴ That is one account of its relation to a predecessor, rather than a complete description of the screenplay’s history. The judgement does not amount to a detailed account of the American film’s contemporary reception. Nor does the word “remake” convey the screenplay’s passage through Italy before its French production.

The film’s online afterlife introduces a different shorthand. A circulating screenshot carries a tag describing its source as an American film in the public domain.⁸ Such a label records how an image has been classified. It cannot substitute for evidence about registration and renewal. It also leaves unanswered how rights history affected the film’s circulation.

The record: Registration LP368 by New World Productions, Inc is dated 10 May 1946. The registry found no renewal in the renewal volumes for 1973 to 1975, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1974 and the film has been free in the US since 1 January 1975. This is a conclusion drawn from the registration and the reported renewal searches, rather than from the labels attached to circulating images. The record does not settle the status of every surviving copy or of material added to later editions.

Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.

en.wikipedia.org https://en.wikipedia.org/wiki/Heartbeat_(1946_film)
catalog.afi.com https://catalog.afi.com/Film/24813-HEARTBEAT
digitaliafilmlibrary.com https://www.digitaliafilmlibrary.com/film/87/heartbeat
britannica.com https://www.britannica.com/biography/Sam-Wood/Woods-heyday
festival-cannes.com https://www.festival-cannes.com/2018/le-jour-ou-henri-decoin-sest-empare-des-codes-dhollywood/
catalog.afi.com https://catalog.afi.com/Person/61650-Ginger-Rogers
archive.org https://archive.org/stream/motionpictureher164unse/motionpictureher164unse_djvu.txt
commons.wikimedia.org https://commons.wikimedia.org/wiki/File:Mikhail_Rasumny-Basil_Rathbone_in_Heartbeat.jpg

Inside the film

788 shots over 1:40:02 · 1566 transcript lines · JSON

Every shot, 788 frames with timestamps and on-screen text

How this page was made

788 shots over 1:40:02, read from the Internet Archive copy heartbeat (heartbeat.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Heartbeat No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 788 shots judged colour), average shot 7.6s long, a frontal face detected in 57% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1566 segments kept, 506 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

1:22 Oh, my God.
1:25 Yeah.
1:28 Come on.
1:31 Oh.
1:33 No.
1:39 Come on.
1:41 Morning.
1:42 Good morning.
1:44 - I'm sorry.
1:52 before we begin our study is...
1:55 I have some sad news to tell you.
1:58 Your fellow classmate Hector...
2:01 is no longer with us.
2:03 And do you know why?
2:05 The fool, the idiot, he got himself pinched.
2:08 They nabbed him in the subway for trying to relieve a man of his wallet. As ungracefully, may I say, as a hippopotamus. I warned him. I told him. Hector, I said. You haven't practiced enough. Your fingers are too stiff.
2:19 The sap will be lucky if he gets off with three months in the clean.
2:23 How many times do I have to remind you that I will not tolerate slang in my classroom?
2:27 Or the mention of prison either.
2:28 Go ahead.

1546 more segments

2:30 Door the curtains. Lock the door. This unfortunate incident proves that you're not paying the proper attention to your studies.
2:35 Martin, number two, go on, you two hurry.
2:42 We start today with the inside coat pocket, the one that cost poor Hector his freedom.
2:49 All right, come on.
2:51 All right, Ollie, you try it.
2:54 Me? Yes you of course. Come on hurry. He isn't going to open his coat for you.
3:02 The right hand, the right hand.
3:04 The right hand brush is likely.
3:06 Very flat. Come on, go to it.
3:14 Well, I can see where Hector is going to have company.
3:16 Look at these fingers. When you came here, they were long and graceful.
3:19 Now they're like sausages! The trouble is I've eaten too well. Silence!
3:24 - What's he doing?
3:28 Marinette?
3:29 You come here.
3:30 I'm going to go.
3:41 I'm not sure.
3:45 Bravo, Dr. Gretchen.
3:51 Did you notice that...
3:53 The clarity of the fingers, the graceful touch.
3:55 If you were all as serious as Marinette.
3:57 If you applied yourselves and really worked hard...
4:01 - Who is it? - Professor, can you spare a moment?
4:03 - Come on.
4:05 Someone downstairs.
4:08 Continue.
4:21 - Good day, sir. - Monsieur.
4:24 Oh.
4:25 I've come in answer to the ad you're on in the paper.
4:28 Jobs with a brilliant future for hardworking serious young people, huh?
4:32 That's it.
4:33 I wish I could have a chance at it.
4:36 I have no money for fees. I take care of expenses while you're learning. In exceptional cases, my students are even housed and fed.
4:43 Oh, it's...
4:43 Sounds good. Why don't you trade?
4:47 unemployed but
4:48 I used to be a mechanic.
4:50 Identification papers.
4:52 I need
4:53 Papers?
4:54 What do you think?
4:57 Of course.
5:02 silly.
5:04 But I must have left it.
5:05 - At home. - Home? Where is your home?
5:08 - Well, it's, you know... - You have no home.
5:13 I'm afraid you're right.
5:14 No home?
5:15 No papers? I'm sorry.
5:17 But under the circumstances? Please, sir, won't you change your mind? It's no use. No home, no papers. Impossible.
5:24 Good day. But I won't do anything. I will...
5:34 What?
5:51 All right.
5:59 Good.
6:00 Good. I was afraid you'd gone.
6:02 My man?
6:03 I have reconsidered.
6:04 Well...
6:05 Oh, you have? Yes, by the way, what's your name? Yves Cadoubert. Yves Cadoubert. Well, my dear Yves Cadoubert, you may call me Professor.
6:13 And now, my dear Eve, but first give me back my 50 francs.
6:16 Over what, Sixtus?
6:18 Listen.
6:19 A short while ago, there was a 50-franc note here on this desk, and now it's in your pocket. - But I swear I... - Good.
6:25 Good, very good.
6:26 And the expression. The indignation is perfect. It could fool anybody but not me, nor the police.
6:32 Do you know what they do with a little nobody like you, without identification papers?
6:36 If a respectable gentleman like me reported that you'd stolen his 50 francs,
6:40 Professor.
6:41 Don't let me in, please.
6:43 It's the first time I ever stole anything. Excellent, simply excellent. You certainly show possibilities.
6:48 But no more nonsense. Now, give me back my few facts.
6:51 Come on, come on.
7:13 He's joined by constant practice.
7:15 Members of our profession can develop their sense of touch to the skill needed
7:19 To make a decent livelihood.
7:21 Nimble fingers are the first essential. Without them, remember Hector. All right, let's get to work on today's lesson. Hurry, hurry, take your places. Come on. That's right. He's eating too much. He's getting heavy.
7:37 Oh, Mimi, you look so beautiful.
7:40 You look adorable, Miss Maureen. Come on, take your places. Get out of there. Get moving. Come on.
7:49 - Come on.
7:55 Everybody looking! Over there! Come on, you! Next step! Come on, let's get going!
7:59 Oh
8:11 Bravo, Mother Nature!
8:12 - Freaking cash flow, that's the style. Good talk, excellent.
8:18 - What happened?
8:20 Someone downstairs.
8:29 BIRDS CHIRP
8:34 Good day, Monsieur. I, uh... I came in answer to this. Splendid.
8:44 Sit down, won't you?
8:48 - Uh, jobs with a future. - Yes, yes, I know. I...
8:51 I wrote it.
8:53 You're of age?
8:56 Do I have to be?
8:58 Of course you have to be 21.
9:01 Oh.
9:02 Well, I'm 21.
9:04 Naturally we have identification papers.
9:09 I didn't...
9:10 No, I... to have papers. Of course.
9:14 Um...
9:15 Where do you live?
9:18 Well, I, uh...
9:21 I did...
9:22 Too bad.
9:24 Too bad.
9:26 I'm afraid I shall have to, uh...
9:31 Excuse me.
9:32 I'll be back in a moment.
9:35 But, uh...
9:36 Don't be too hopeful.
9:39 No home, no papers.
9:42 I'm going to go.
10:01 Come on.
10:07 Well, my dear, I think we shall get along famously.
10:11 Really?
10:12 You think so, Monsieur? Yes.
10:14 What's your name?
10:16 All it.
10:16 Arlette Le Fon. Arlette Le Fon. Well, my dear Arlette, I...
10:20 First of all, give me back my 50 francs.
10:23 50 francs.
10:24 Yes, my 50 francs.
10:31 What are you hiding?
10:38 I'm sorry, monsieur, but I was so hungry and I...
10:43 But you will give me the job, won't you please?
10:45 I thought I could.
10:48 But you've disappointed me. But I'm a good worker. Please give me the job. I was so hungry and it... Yes, I'm just as sorry as you are not to be able to use you. You're frank and honest. I like that. But it's not enough.
10:58 Good day, Monsieur.
11:01 Wait a minute.
11:04 What's this?
11:06 - Oh, there's just a handkerchief. - Yes, a handkerchief.
11:09 Right out of a reform school. I know the kind very well.
11:13 When did you escape? So...
11:17 Hey, you're number 497, eh?
11:22 Yeah.
11:24 Yes, monsieur.
11:25 I lied to you. I'm only 18. When my parents died, I went to live with my aunt and she was mean to me. She beat me. Then she got married and there were two to beat me. That's why I ran away. They had me put in that reform school and it was just like a prison. That's why I ran away from there too. Oh, please, monsieur, don't turn me in. I'm not a bad girl. You couldn't be with those eyes.
11:40 And that expression? In the sea of hands.
11:44 Mm-mm.
11:45 With these hands and what I can teach you,
11:48 No limit to your possibilities. Come along.
11:55 All right, now that you've been caught in the act, what would you do?
12:00 Come on, what would you do?
12:03 Put it away. All right, my dear.
12:07 What would you do?
12:09 or ask forgiveness and...
12:11 Swear never to do it again.
12:13 No, no.
12:14 Brain.
12:15 Did I have anything?
12:17 Play innocent.
12:18 and deny everything.
12:19 That's right, that's right. Of course, you must deny everything.
12:24 And you, Mr. Knight, not only fervently but convincingly.
12:26 But don't align your voice alone.
12:28 Complete innocence must be written all over your face and to achieve this effectively
12:33 We'll once more run through those exercises, which are somewhat similar to those used by professional actors. We'll start with you.
12:40 Me, sir, you're mistaken, sir. It's not me, I swear it, on the head of my father.
12:43 Zero. Well, I don't even try you.
12:47 but with a little motion please.
12:50 Yes, sir.
12:51 Lisa!
12:52 You're mistaken, sir.
12:53 It's not me, it's not me, I swear it, I swear it, I swear it on the head of my father, I didn't do it! I don't blame you for laughing.
13:02 I ask you to emote in your pillow like a sick calf.
13:07 Eat you, try it.
13:08 with a little less emotion.
13:13 Me, sir?
13:14 You're mistaken, sir.
13:15 It's not me.
13:17 I swear that...
13:19 On the head of my father. You swear it on the head of your father just as if you were openly confessing your guilt. But it gives me the Jesus to swear, darling. Why? Because my old man is still alive.
13:31 He's in a poor house, but he's still alive.
13:34 The old man's still alive. That's too bad. What do you want me to do about it? Wait?
13:40 I'll let, my dear.
13:41 You try it.
13:44 Me, sir?
13:45 Oh, you're mistaken, sir.
13:47 I didn't do it. I swear on the head of my father. That's it, that's it. That's convincing. Come around here, my dear. That's right. Show them.
13:54 Here we are. That's right. Now...
13:57 Innocence.
13:59 Astonishment.
14:01 Anger.
14:02 Here.
14:03 Pleading.
14:05 Bravo, Arlette! Bravo! Bravo! That's your homework for tonight. You'll each practice that exercise diligently in front of a mirror until you can do it as Arlette does.
14:15 Dinner in the short while, light out as usual at 9 o'clock. Task dismissed. Me, sir?
14:22 You are mistaken, sir.
14:24 If that's me...
14:26 It's not me.
14:27 I...
14:28 I swear.
14:33 Once more.
14:35 Oh.
14:38 Me, sir?
14:40 You're mistaken, sir.
14:42 It's not me.
14:44 It's not me.
14:46 I swear it from the head of my father.
14:49 I'm innocent!
14:50 I'm innocent! Oh, God! Shut up! Can't we get a little sleep around here? Ah, shut up yourself.
14:58 Who's there?
15:00 Me.
15:03 Oh.
15:05 Am I keeping you awake too? No.
15:10 That's good.
15:12 No use.
15:14 When I lie, everybody knows it.
15:18 Maybe I ought to go into politics where it doesn't matter.
15:23 Tell me.
15:24 How do you do it?
15:27 Hi.
15:28 May police?
15:29 Like an actress in a play?
15:31 But the thought of stealing...
15:36 I'll never be able to do it.
15:39 Well...
15:41 Why are you here in this place for?
15:46 Where would you go?
15:48 Back to the...
15:51 You can get a job without identification being
15:53 You know that.
15:56 see.
15:59 Have you ever thought of marriage? Why?
16:03 Naturally. That's it.
16:05 Marriage!
16:07 A white marriage.
16:09 What?
16:11 A white man.
16:13 Just a ceremony. You never see the groom again.
16:16 Perfect marriage.
16:18 No, they...
16:20 Once you are married, your husband is responsible.
16:24 They can't put you back in the reform school.
16:26 You bit it up!
16:29 Oh.
16:33 Well, who would I marry?
16:35 That's something I worry.
16:41 I'd be glad to.
16:42 held here.
16:43 I haven't got any papers either. But they know a guy who had injured marriages like that.
16:49 - Come on, what are we waiting? - Yeah, not so fast. It's got money.
16:52 How much?
16:53 - Three thousand francs. - Three thousand.
16:55 Well, where would I get...
16:56 - Money like that. - That's what you're here for.
16:59 To learn how.
17:02 Just deal.
17:05 Still to stay honest?
17:10 For that, I'll do it.
17:25 I'm going to go.
17:41 I'm not.
17:49 Come on.
17:51 Come on.
18:01 Come on.
18:08 Come on.
18:11 Come on.
18:14 Come on.
18:24 Come on.
18:28 Come on.
18:36 Come on.
18:40 Amen.
18:41 Come on.
18:44 Come on.
18:58 I told you, Hannah.
18:59 In rendering your decision,
19:01 I beg of you to be lenient.
19:03 I have listened attentively to the testimony of both sides.
19:06 And after weighing the evidence carefully...
19:09 I'm ready to end up my decision.
19:12 Whether this is the first time you have stolen or not,
19:15 It's beside the point. The undisputed fact is that you have stolen them.
19:19 The Lord has not said that when you put your hand in your neighbor's pocket,
19:23 To take his property he must apologize to you because you have never done it before.
19:27 Not as I say there is no guilt.
19:29 Because you have what seemed an important reason for stealing his property.
19:33 After all, he may have just as important a reason for keeping his property. Yes, Your Honor.
19:38 I agree.
19:39 and there is no excuse for my kind's indiscretion.
19:43 regardless of the explanation of his desperate circumstances.
19:47 But I assure you...
19:49 But now...
19:50 He realizes the seriousness of his offense.
19:53 And this linear C is shown in my account.
19:57 You will not make another mistake.
20:00 Don't let the kill us in a town to the owner.
20:02 And the prisoner has not pocketed by his...
20:05 Here are.
20:07 And if your honor will be merciful,
20:09 The prisoner will not forget his duty to society again. I swear I'll never steal again.
20:15 It was the very first time, Your Honor.
20:17 I promise it won't happen again. I hope you are right.
20:21 For the next three months I'm going to make sure that you do not do any more stealing.
20:25 Well, you are going. There will be little temptation to steal. But, Your Honor, take the prisoner away.
20:33 But, Your Honor, please. Please, Your Honor, please. Next case.
20:38 But that's you. If we go now, we'll miss the Mickey Mouse. Don't you like the Mickey Mouse?
20:50 Monsieur, what good will it do to turn me into the police? This is not the police station.
21:03 Come on.
21:04 I assure you, you're making a great mistake.
21:14 Yes, Alex, look for it.
21:22 Monsieur.
21:26 Captain.
21:29 General.
21:32 Your Excellency.
21:35 Your Highness!
21:37 Let me go! Let me go!
21:42 But I've got to. It's important. I've got a date.
21:47 Amen.
21:48 All right, you can keep me here by force if you want to, but...
21:52 I won't. I'll do something desperate. I'll...
21:55 I'll complain to the man with the stick pin!
21:59 I'm sorry.
22:05 What I want to know is how long you're going to keep me here.
22:09 Well, say something!
22:16 Oh, it isn't your conversation bores me.
22:20 It's just that I'm beginning to lose my patience.
22:29 I'm not.
22:36 If you don't let me out of here, I'll... I'll scream, I'll...
22:42 I'll count to three.
22:46 One!
22:51 Two!
22:55 Two and a half!
22:58 Look out!
23:01 Three!
23:07 Oh!
23:16 I'm not.
23:25 Oh!
23:28 - Now, Baron Borach. Here's last.
23:40 What detained you? I was with, uh, the--
23:44 With the Secretary of the Year you received your message.
23:49 A likely story.
23:51 Read it, Vorak, to thy mind. Sister is a young woman of irreproachable character, are you sure you... Now, don't get excited, Vorak, but... There he is.
23:59 Oh, no.
23:59 Besides, she's homely. But your niece isn't.
24:04 Look.
24:12 I'm not sure.
24:35 Now let's go over it once again and this time get it right.
24:39 I come from Geneva. I went to...
24:41 I attended a girls boarding house after... Boarding school!
24:45 Boardings.
24:46 I go back to Geneva tomorrow. This is my first trip to Paris. This is my first ball. This is the first time my feet hurt, too. And you are? I'm worn out.
24:56 Answer, who are you?
24:58 I am Mademoiselle Alette de Chevalier. De Chevalier. De Chevalier, pardonne-moi. Alette de Chevalier.
25:06 You are my uncle and I am your niece.
25:09 Baron, I mean uncle.
25:11 Who am I gonna tell all these lies to?
25:13 Exactly, since he hasn't confided in me, remember? You are not to utter one word that I haven't taught you.
25:19 Don't forget you're supposed to be a lady.
25:32 Come on.
25:33 Oh, my God.
25:44 Come on.
26:08 Oh,
26:19 Oh, my God.
26:22 Ah, boring.
26:24 Your excellence.
26:24 How are you, Baron?
26:26 fine.
26:27 You're eccentric.
26:28 I'm in a minute.
26:35 Mademoiselle.
26:36 the Chevy year.
26:40 My niece. Oh, delighted.
26:42 Why haven't I met this young lady before? Well, this is my first trip to Paris, and this is my first fall, and I'm going back to Geneva tomorrow. My dear.
26:50 Two girls' career is hardly a subject of integrity.
26:53 So you think.
26:53 Ah, but I am most interested.
26:56 We'll talk about this later on in the evening, huh?
26:59 Thank you, your ex.
27:01 Would your permission.
27:02 I'm.
27:12 Oh, my God.
27:18 Come on.
27:22 I'm going to go.
27:34 My dear.
27:35 Excuse me.
27:35 I must have a wisdom.
27:46 What was that?
27:47 Yes, don't you?
27:48 Oh, your exes?
27:49 How do I look?
27:51 Tommy.
27:52 I feel charming, too.
27:54 You know, this is just like a dream I want to-- I didn't bring you here to talk about your dreams.
27:59 Okay.
27:59 Come on.
28:02 I
28:03 I want you to go.
28:04 Dance with someone.
28:05 Oh?
28:06 Who?
28:07 That man over there.
28:09 The one dancer.
28:09 with Lydian Black.
28:16 Oh, here?
28:25 Very nice.
28:27 - The lady's beautiful.
28:28 Hurry.
28:35 Why do I dance with him?
28:38 I have to introduce you first.
28:41 Do I ask him right away?
28:43 He will ask you.
28:45 But suppose he doesn't.
28:47 He will.
28:49 while you're dancing with him.
28:51 You will discreetly relieve him of his watch.
28:54 - Why, they're stealing. - It's a secret mission.
28:58 I'll do it.
28:59 I must have that watch.
29:02 Well, then swipe it yourself.
29:04 I've only stolen once and I'm not the one.
29:05 to you again.
29:07 Then you'll go to jail for stealing my stick pin.
29:10 What?
29:11 You mean if I don't steal the second time, I go to jail for stealing the first time? Exactly.
29:18 And you an ambassador.
29:21 You want to be ashamed of me.
29:28 Mrs.
29:42 My dear.
29:43 Sevillers.
29:44 This is my wife.
29:45 My wife.
29:47 Baron Borac's niece.
29:51 Mr. Pierre Desroches ?
29:52 young diplomat with a very promising future.
29:56 How do you do, then?
29:59 Monsieur de Roche is a smoother dancer as he is a diplomat.
30:03 Don't believe a word of it.
30:05 This is her first ball.
30:06 You are to be her first partner.
30:12 My dear, shall we dance?
30:18 The Excellency is placing a great responsibility.
30:22 I'm afraid I'm unworthier.
30:25 Young girls first ball is a very important event.
30:29 I'm going to go.
30:32 I shall be part of your memo.
30:40 No, Borat has a job.
30:41 charming me.
30:42 Well, he didn't know it himself.
30:43 What? I mean, it needs to absent-minded that--
30:45 You never thought to mention her.
30:55 The
30:59 I'm sorry.
31:10 Amen.
31:10 I'm sorry.
31:16 Oh, my God.
31:27 Come on.
31:31 - I know.
31:32 Am I boring you?
31:33 Oh, no, it's just that, uh...
31:35 I must join my uncle at 10 o'clock sharp.
31:40 Ten o'clock.
32:04 Is it 10 o'clock?
32:06 You have lots of time.
32:10 But, uh, is it...
32:12 - Pella!
32:14 It's only...
32:16 - Five past 10.
32:17 plenty of time yet.
32:19 I'm going to go.
32:24 Mmm.
32:28 Oh.
32:29 But if I let you go to your uncle, will you come back quickly?
32:31 Oh, I promise.
32:32 I'll be waiting for you in the buffet.
32:36 I finished that caviar sandwich already? Yes, Mr.
32:39 Hmm, funny.
32:41 My dear dear, it's you. What luck!
32:43 For whom? For both of us?
32:45 I have the supreme pleasure of seeing you, you have the supreme pleasure of seeing me, but your pleasure is even more supreme than mine because...
32:51 You are about to have the honor of doing me a little favor.
32:53 Oh.
32:54 We doesn't
32:55 - Oh, 28, please. - Champagne? Aren't you eating? Oh, I forgot. You've dined, haven't you?
33:00 Haven't you?
33:01 I told you, you haven't even lunched.
33:03 I wouldn't believe you. And I think I know what favor you are going to ask me.
33:07 My dear Pierre...
33:09 good as gold.
33:26 No, but I saw it.
33:27 It's not worth a thing. You'll not even get 50 francs for it. Believe me, I know.
33:30 - You kind of do it.
33:31 I told you.
33:31 I can get you much better. No. It's got diamonds. No.
33:34 Don't you worry about what is wet.
33:36 That's the one I want. I'll do as I tell you.
33:40 Mark?
33:42 All right.
33:45 You've got mighty funny tapes.
33:51 Oh, you look happy.
33:53 I am.
33:54 Anything special?
33:55 very special.
34:00 I couldn't find my uncle, so I hurried back.
34:02 Very special.
34:03 I see what you mean.
34:04 Oh.
34:05 And with a little of yield, let me introduce to you my worthless
34:08 friend.
34:08 Roland Lettus.
34:10 - I'm happy to meet you, man.
34:12 Set me down.
34:13 Here. I'll wait right here.
34:14 I'm counting on you.
34:38 Oh, my God.
34:46 I'm sorry.
35:10 Did you see that?
35:13 She does his watch.
35:38 over.
35:39 Usually at this time.
35:41 I give a most irresistible desire to leave.
35:44 I stopped hearing the music.
35:47 conversation.
35:48 All I seem to hear is
35:49 Speaking of my website,
35:50 needs them to go home.
35:57 night?
35:59 Tonight I don't even hear my voice.
36:04 Oh, there's my uncle now.
36:06 That's what... Pardon me.
36:43 I'm
36:59 This time you got it?
37:16 Are you satisfied? My dear, you did me a very great favor.
37:21 Is it that important? Well, you wouldn't understand. Naturally, it concerns a grave matter.
37:26 Well now, Your Excellency, we're even.
37:29 Not quite.
37:30 I still need your services.
37:31 Another watch? No. It's just a question of returning this one to its owner.
37:37 What did I tell him? That I picked it up off the floor? Not at all. You're going to put it back in his pocket as discreetly as you took it out.
37:44 Put it back into...
37:46 Put it back in his pocket?
37:48 That should be easy even for a beginner.
37:52 But they never taught us that.
38:04 I wasn't gone very long this time, was I?
38:07 Even longer than before.
38:09 I was getting older by the minutes.
38:11 I kept wanting to look at my watch
38:15 I must have been away at peace.
38:19 That's funny, mate. What's his gun?
38:22 Are you sure you had it?
38:24 my life.
38:24 I think so.
38:26 Yes.
38:27 Don't you remember? I showed it to you when it was five past ten.
38:30 Oh, that's right.
38:32 Well, maybe it's in another pocket?
38:35 Oh, no.
38:36 Oh, no, I never...
38:40 strange.
38:40 I never put it in that bucket.
38:45 Amen.
38:45 Well, my dear?
38:46 Where have you been all evening?
38:48 by hearing and disappearing like a magician's mind.
38:51 Well, you know what an embassy ball is for an ambassador.
38:53 I know what a bore it is for an ambassador.
38:56 I don't need a
38:57 Sorry.
38:57 But now that I'm free of a great...
38:59 I'm completely different.
39:01 - Do you, Dan?
39:02 Come on.
39:04 Come on.
39:12 - All right.
39:13 I wish to...
39:15 Borat, you are not going to take your niece away.
39:17 Just for a few minutes.
39:19 Hurry back.
39:30 Your mission is for Finland. His Excellency has asked me to tell you how completely satisfied he is.
39:37 If you...
39:40 necessarily in
39:41 We'll keep all the clothes.
39:42 Everything.
39:43 And now, Mademoiselle?
39:45 You mean you're kicking me out?
39:47 at all.
39:48 Only that your presence here is no longer desirable.
39:51 Oh, I almost forgot.
39:52 His Excellency.
39:53 past.
39:54 - You need me to remind you
39:55 content.
39:56 Scuffin.
39:57 Which we do.
39:58 and ensure you...
39:59 He's over.
40:00 And can't I go back for just a moment? No, that is impossible. But I'd like to... I'll tell Monsieur de Roche that my niece wasn't feeling well, and that she has asked me to say goodnight for her.
40:19 Come on.
40:25 Mademoiselle, you're forgetting something.
40:36 You're forgetting something else, mademoiselle.
40:38 Me? Oh, I'm sorry, but...
40:42 My uncle, uh, said it was time for me to go home and that, uh, he made my excuses. But it's so early.
40:48 I know, but, well, he thought...
40:50 my first ball and I shouldn't stay too late. Forgive me, but your uncle is a prude. I'm only one brother. I'll explain to him.
40:56 All right, all right. Then I'll take you home. But I... I can't...
41:00 Why?
41:00 You don't think I'd let you go home alone, do you? But I'll be all right. You certainly will be, because I'm going with you.
41:16 Amen.
41:18 I
41:23 I just made it.
41:24 You'll even go out seeing me. Oh, stop whining.
41:26 I'm not asking for arms, old man.
41:28 After all, I keep a record of what I owe you.
41:30 All right, then.
41:32 to the account. Oh, but
41:33 That's all I have on me. A little bit of a thing. I'll be at your house in the morning. I simply must tell my troubles to stay.
41:37 Oh, no, no, not to me again.
41:39 If you don't help me, I should be thrown out the street.
41:42 Nothing.
41:42 Another suit. Very well then, I shall sleep in a park bench.
41:46 Let that bother you.
41:52 Did you call my friend?
41:54 Eh.
41:56 leaving many bark bench there not widen.
41:59 Look, I'm leaving tomorrow night for a week or so.
42:04 Idiot.
42:05 Diplomatic mission.
42:06 You may use my house until I come back.
42:09 You are a pal.
42:22 Come on.
42:23 Well, Anne.
42:25 Thank you very much.
42:27 And good night.
42:28 Why are you in such a hurry?
42:30 Well, not at your uncles yet.
42:32 Oh.
42:34 That's right.
42:36 I always tell me
42:40 Well, um, why did you stop here?
42:45 Because I don't want to be interrupted again by your uncle coming back.
42:50 I'm...
42:52 I have something to say.
42:56 Harry?
42:58 Yes.
43:04 It's missing.
43:09 Yeah.
43:11 Is that better?
43:18 I wish I could say what I...
43:24 between you.
43:24 Somehow it's different.
43:39 You are crying.
43:41 I'm sorry.
43:44 Do you always cry?
43:45 Okay.
43:47 I don't know.
43:48 This is the first time. But you have cried.
43:53 that I'd been kissed.
43:54 First ball, first dance partner, first...
43:59 It's too good to be through.
44:01 It is.
44:03 The thing.
44:04 Why are you crying?
44:07 I always cry when I'm happy.
44:10 And...
44:11 Have you cried off?
44:14 This is the first time
44:20 This even a case.
44:29 Amen.
44:42 Oh
44:49 I'm going to go.
45:00 Come on.
45:12 - Oh, good evening, sir. - Good evening, my friend.
45:15 Don't be mad.
45:19 Never so I love your wife.
45:21 Good night.
45:24 You know him? Oh yes. And he let's you swipe flowers out of that garden?
45:31 Naturally.
45:32 It's my garden.
45:34 Oh.
45:37 That's your fault.
45:41 Beautiful.
45:42 Ah.
45:45 You live there alone?
45:47 Yes, all alone.
45:48 That is, with Flora.
45:50 Pa.
45:51 Yes.
45:52 That's her name, Flora.
45:54 She's very cute. And smart too.
45:58 One of the smartest dogs you ever saw.
46:01 Oh, a dog. What did you think?
46:04 Oh, nothing.
46:06 Well, don't think it.
46:07 Until the...
46:09 How did you learn to whistle like that?
46:11 very simple you just you just put your tongue against your lower teeth and then you put
46:17 two fingers see, and you come, like that, and you blow, see, beautiful.
46:22 *whistling*
46:23 amazing
46:25 You put your two fingers like this. And then you go.
46:34 It doesn't work.
46:42 Thank you very much and good night. Not yet.
46:51 I'm sorry.
46:55 When am I going to stay?
46:58 Au revoir.
47:00 I don't know. I...
47:02 I'm going back to Geneva tomorrow.
47:05 to Geneva?
47:06 Yes, I go to school there.
47:08 I can believe it.
47:11 That's marvelous!
47:13 I'm leaving for Geneva tomorrow too. We can travel together.
47:16 You are taking the night express, of course.
47:18 Well, uh... The six o'clock then? The six o'clock then?
47:21 That one is no good. It's always late.
47:23 Well, that's the one I'm taking.
47:25 It doesn't matter, I'll take it too.
47:26 It should be a delightful trip.
47:29 So,
47:30 I'll meet you at the station.
47:36 Yes.
47:37 You wouldn't care to let me make you cry again.
47:42 No.
47:46 I did too far over there.
47:49 Don't forget.
47:56 Good night.
48:04 Night.
48:05 Good night.
48:09 Amen.
48:16 *Bell rings*
48:18 I'm sorry.
48:45 I'm
48:52 Amen.
49:25 Over there.
49:38 Where on earth are you coming from with this art?
49:40 You know the rules, in by midnight.
49:42 I saw a gentleman, a very elegant gentleman, and I followed him.
49:46 Oh, he had a magnificent pearl stick pin. Oh, that's a duper. Pearl stick pin, eh? Uh-huh. I followed him and followed him until he got on the bus and then I... Never mind the details. Where's the pin?
49:55 I didn't get it.
49:57 Why not?
49:58 I got scared. You're lying.
50:01 Oh no! I swear it on the head of my father! Oh no, no, not to me!
50:06 No, not to me.
50:08 Remember, young lady, I'm not running a charitable institution here. Go on, get to bed.
50:27 Ah, good morning, J...
50:33 Hmm. I hope nothing went wrong at the Embassy Ball. Well, hope again.
50:38 You mean you didn't have much time?
50:40 Success.
50:41 Nothing.
50:48 Gentlemen, it cost me 10,000 francs to get you into that ball. I'm not in the habit of wasting 10,000 francs. I work too hard for my money.
50:54 I demand an explanation.
50:56 We demand one too. There must have been a king's ransom in jewels of that ball last night and you say that you didn't get everything. Don't tell me. We don't operate unless we have an exclusive. We don't engage in a free-for-all where somebody slips up and we might get nabbed. I tell you there was nobody.
51:14 What are you looking at?
51:16 And you said you didn't know who was there.
51:20 Then would you please explain how one of your pupils could get into the Embassy Bowl unless you had made the arrangements?
51:27 Yes, that's it.
51:29 They wanted to check a blouse. Yes. The girl.
51:36 Ah.
51:44 I'm going to go.
51:53 Bring me model number seven.
52:00 Today we are going to take up some of the problems in the social world.
52:08 Now let my dear.
52:10 Come here.
52:15 The most opportune moment.
52:18 To achieve our purpose.
52:20 It's while dancing.
52:22 Come on, pretend you're dancing.
52:30 There's the ball.
52:32 And
52:33 boss.
52:35 first case.
52:38 You wouldn't dare to let me make you cry again.
52:43 I'll meet you with her.
52:44 stations.
52:45 Okay.
52:46 Permit me to introduce...
52:48 Monsieur Pierre de Roche.
52:49 Attaché at the embassy.
52:51 I might have known it.
52:53 A face as honest as yours could only be dishonest, could only lie.
52:58 I'm not to meet you here. Get out of here, you thief! Get out! You double-crosser! Get out! Give her a chance to explain. If you don't want to be kicked out too, I advise you to shut up!
53:10 I don't want him stolen.
53:12 - But I didn't steal it. - My men saw you.
53:14 - But didn't they see me put it back? - No, they didn't.
53:16 So you put it back, eh? - My word of honor. Your word. You've just said that you didn't steal it. How could you put it back if you didn't steal it? I took it, but I put it back. Liar! Ingrate. Without me, you wouldn't know how to steal.
53:27 Now that you do, you want to keep it all. Get out of here, you crook!
53:30 Get out and stay out! - That's just what I will do. I'd rather be back in reform school than here at your filthy old school. We come here for honest jobs and you, you make things out of us.
53:37 They'll catch up with you one of these days. You'll see, you'll see. And I hope it's soon.
53:48 *phone rings*
54:04 You stay there.
54:14 What?
54:16 You know, like it.
54:18 Sir, do we trust?
54:24 Vino!
54:25 Lock it!
54:27 I don't know.
54:33 Oh, here you are.
54:34 At last.
54:35 I was beginning to get worried.
54:37 How are you?
54:38 - I haven't any. - Where is your baggage? - I haven't any. - Oh.
54:42 Come in.
54:43 You're in good to travel without baggage?
54:45 No, no, I'm...
54:46 I'm not leaving.
54:47 I just came down to say goodbye and to explain-- Goodbye? You are joking, of course.
54:51 No, no, I'm not honest. I'm not... But the fact that sir went only last night.
54:55 I know a lot of things have happened since last night. Then when are you leaving?
54:59 I'm not...
55:00 leaving at all.
55:01 Oh, my God.
55:02 Sure.
55:07 You see?
55:08 fluorized is a point too.
55:11 Then I'll see you when I get back.
55:14 No, I'm sorry.
55:17 You don't want to see me again?
55:20 Yes, I do very much, but...
55:23 But I won't be able to see you for a...
55:25 A long, long time.
55:26 for a long, long time.
55:28 Are they going to lock you up?
55:30 Yes, they are. Who? Your uncle?
55:32 My honk?
55:34 What are you trying to say?
55:36 I'm trying to tell you that I, uh...
55:39 that I ran away from a reform school
55:41 Reform school.
55:43 You don't expect me to believe that. Yes, I do.
55:48 Did the Ambassador tell you why he wanted my works?
55:50 No, he just said it was very important that I get it for him.
55:55 You did a terrible thing. I'm sorry. I must phone. Wait, you're trying to be leaving. Wait for me.
56:02 Wait for me right there.
56:07 I'm not sure.
56:10 Ah!
56:11 Ah!
56:13 Ah!
56:17 Ah! Ah!
56:22 Ah!
56:23 Ah!
56:25 Ah!
56:25 I
56:32 Hold on!
56:33 Wait a minute!
56:35 But if your husband saw my watch, he saw your picture in the back, don't you see?
56:40 What do you mean I shouldn't worry?
56:44 All right.
56:45 Of course.
56:46 Of course I do, but this is no time. What? Tell you something nice. It's when he's leaving.
57:01 What?
57:02 They found nothing in the compartment?
57:04 But that's not possible. My tables were there, my briefcase, my baguette. Did they jump out of the window?
57:10 And my dog, Flora.
57:12 If anything happened to Chlori...
57:15 It's your job to sign them, that's all.
57:29 I brought your things back.
57:34 I'd be right down.
57:44 I had to ride all the way to the next station and it was a long walk back. You shouldn't have done that.
57:50 Well, I didn't want you to lose your dog and your luggage on my account. Sorry I can't open the door. My man thought I'd gone and he locked up everything.
57:57 I have to climb through a window to get in myself.
58:01 Here's your Clara.
58:03 Well, Lord, girl.
58:09 Well...
58:11 Good night.
58:12 Where are you going?
58:14 Back to the reform school.
58:16 At this time of night?
58:17 Well, that's all right.
58:18 You can always get in.
58:20 Wait a minute!
58:23 What's the matter?
58:24 Are you homesick, Father, through foreign schools?
58:26 that's not it
58:28 It'll have to be done sooner or later.
58:32 What will they do to you?
58:35 first they'll make me account for every minute I've been away. Inquisitive, hmm?
58:40 And what are you going to tell them?
58:43 truth.
58:46 I'm going to tell them about...
58:52 I'll have to.
58:54 Well, suppose we talk this order tomorrow morning. Tomorrow morning. They won't let me have any visitors.
58:59 No, I mean you can stay here tonight. Come on, you are better. Stay here along with you? I assure you I know how to behave.
59:06 a young lady.
59:07 - Just so I'd notice.
59:10 Come on.
59:15 Oh...
59:18 What's the matter?
59:19 That stupid servant didn't make up the bed.
59:26 Yes.
59:32 Um...
59:34 Do you, uh...
59:35 Mind if I were a visitor?
59:37 I certainly do.
59:38 Put it back at once.
59:40 It belongs to my sister.
59:44 If I could suggest...
59:47 something. You have suggested enough.
59:50 Well, I was only going to suggest that you sleep in the other room and I could sleep here. I've slept without sheets before. Oh, so have I.
59:58 Here, let me help you, may I?
1:00:00 No, I don't need your help and I don't want your advice. You were very kind and I am duly grateful. Danke schön, merci beaucoup, good night. Get the idea? Good night. Buena sera, bonne nuit.
1:00:18 Well, what now?
1:00:20 Um...
1:00:21 I didn't want to leave the wrong impression with you.
1:00:24 So I'd like to finish telling you... Oh, not now. I'm sleepy.
1:00:29 Look.
1:00:30 I only stole once.
1:00:32 No, twice.
1:00:33 No.
1:00:34 Once.
1:00:35 Well, anyway, I gave them both back. So you gave it back, so you only stole once. I'll keep that in mind. And now good night.
1:00:41 Good night.
1:00:46 You know why, so?
1:00:47 No.
1:00:49 And frankly I don't get... - Because I wanted to get married.
1:00:52 You stole because you wanted to get married?
1:00:54 Yes, I wanted to buy a husband.
1:00:56 To buy what?
1:00:58 You know, like a marriage in name only.
1:01:01 Can you guess why?
1:01:03 And I'm not going to guess, you'll tell me anyway.
1:01:08 Because...
1:01:09 If I was married, I wouldn't have to go back to the reform school. What? Yes, that's the law. Once you're married, you're free.
1:01:16 Eve's told me so.
1:01:17 And who is this Eves?
1:01:19 who knows so much about the law?
1:01:21 Oh, he's my friend.
1:01:22 My only friend. He could have gotten me a husband, only I'd have to pay for him.
1:01:26 That's why I stole.
1:01:28 Once I was married, I could start a new life. And you and I?
1:01:32 Now do you see?
1:01:33 Not very clearly. Well, let me explain it to you. It's very simple. Oh, no, not now. It's really too late. You can finish telling me about your life tomorrow morning. And now,
1:01:41 To bed. And sweet dreams. And if I hear another word out of you tonight,
1:01:47 I want answer for the consequences.
1:01:53 Buona sera. Buona noche.
1:01:55 Ben oui.
1:01:55 Gutenacht.
1:02:03 Well, if it is in the chirol... Oh, there's your hand. How is it, sir?
1:02:06 Hello.
1:02:07 You still here?
1:02:09 No.
1:02:09 I mean, yes.
1:02:12 For the love of...
1:02:14 I completely forgot I offered you my house. What?
1:02:17 Don't you say I can't stay here?
1:02:19 Why, I've checked out of my hotel. It'll be a calamity.
1:02:22 Well, you see, it's like this. I...
1:02:25 That is...
1:02:27 I will manage somehow. I have to pay the cat fare.
1:02:30 - Well, go ahead. - Yeah, well, the fact is I, uh...
1:02:34 Who?
1:02:35 I guess it's...
1:02:36 Mm-hmm. Ian.
1:02:38 Uh-uh.
1:02:41 And...
1:02:42 Bring me the change.
1:02:43 The snowman.
1:02:45 My affair's in a terrible state. I want to end it once and for all. It's my service board without a bother.
1:02:51 Would you like Marie Volda? Oh, not at all, no. I wouldn't end it that way. A man like me doesn't give up the ship. He...
1:02:56 He fights courageously.
1:02:58 And how much do you need?
1:02:59 to fight courageously? About 10,000 francs.
1:03:03 Yes, with 10,000 I could settle everything. I could go to the colonies and start a new life. A new life? You too. What do you mean, me too?
1:03:11 Penelope.
1:03:13 Are you quite sure that with 10,000 francs you can... Oh, positively.
1:03:17 Of course, with 15,000, I can start a really new life. First class! I think I have a way for you to earn the 10,000. 15,000? 10. Look, my old friend, a really first class, new life. Do you remember the girl I was dancing with?
1:03:30 - At the embassy ball? - Yes, that's the one.
1:03:32 Only she's not Borat's niece. - Oh, she's not his niece, huh? - She's going to get married.
1:03:37 Really? Do you?
1:03:38 No, to you. To me? Yes, to you. And believe me, you'll never find a nicer or more charming girl.
1:03:54 - Good morning. - Good morning.
1:03:56 - You take coffee in the morning? - Yes. No, that is no.
1:04:00 I mean, this morning.
1:04:15 From what you said last night,
1:04:18 I gather everything would be fine if only you were married.
1:04:22 Yeah.
1:04:24 Everything.
1:04:26 I've given it a lot of thought.
1:04:30 After all, you...
1:04:32 did me a favor and I'm returning it.
1:04:36 - Oh, you don't have to. - Not really. My friend Roland would only marry you under certain...
1:04:41 conditions
1:04:43 Rowland?
1:04:44 Yes.
1:04:46 Yes, I will.
1:04:51 The marriage would be perfectly legal.
1:04:54 Although
1:04:55 It wouldn't tie either of you down.
1:04:57 Immediately after the ceremony, you would each be free to go your own way.
1:05:03 It don't seem very enthusiastic.
1:05:06 Wasn't this what you wanted?
1:05:08 Don't you like the idea?
1:05:11 Yes, of course.
1:05:12 Well then...
1:05:13 What's the matter with you all of a sudden?
1:05:15 Nothing.
1:05:17 Nothing at all.
1:05:24 What are you thinking about?
1:05:26 What happened after the ball?
1:05:29 One new kiss.
1:05:32 Let's not talk about that.
1:05:46 I can understand who wrong is nobody to get excited about.
1:05:50 This might work out very well.
1:05:53 Isn't it bad fellow when you get to know him?
1:05:58 The marriage fence can be published
1:06:01 and the whole thing completed within a week.
1:06:04 And during that time, of course, you can stay here.
1:06:10 Then I accept.
1:06:12 Monsieur, the car is waiting to take you to the station. I'm coming.
1:06:17 You're leaving?
1:06:18 What, yes?
1:06:19 Where are you going?
1:06:21 To Tini, of course.
1:06:24 Oh.
1:07:11 Come in. Monsieur, they are waiting for you in the conference room.
1:07:18 Tell them...
1:07:19 I'm sorry, but I'm not going back to Paris immediately.
1:07:29 Hello, John.
1:07:31 What can I do for you, sir?
1:07:32 Who the...
1:07:34 Who are you? I'm the bottler.
1:07:36 Where's Butler?
1:07:37 - Monsieur Bartlett. - Monsieur who?
1:07:38 Mr. Paderos.
1:07:41 Ah.
1:07:42 You are Monsieur Pierre de Roche's butler? Yes, sir.
1:07:45 That I am.
1:07:47 - Did you say that? - No, sir.
1:07:50 Monsieur Pédaroche is in Geneva, and he probably won't be home until the end of the week. What is it I hear?
1:07:56 Those Monsieur are two friends of the boss.
1:07:59 Gentlemen.
1:08:00 and the lady.
1:08:02 Uh-huh.
1:08:03 And could I speak to these friends?
1:08:06 Of your bus? I'll see if they're in, sir.
1:08:08 Whom shall I announce, sir?
1:08:10 Mr. Pierre Desroches, the boss.
1:08:12 Yes, sir. Oh, I beg your pardon, boss. Welcome home, sir.
1:08:19 Would you mind getting my bags into that? Yes, sir. Of course.
1:08:22 Radio...
1:08:24 Come in, please, sir.
1:08:29 I love him, mom. I can't believe why I'm
1:08:39 Though the moon is climbing
1:08:43 from the sun.
1:08:45 I believe in you if I hear angels
1:08:50 When the night wind murmurs us
1:08:55 Oh
1:08:57 If it pauses you just a little, here's a hint that will help you start. You will find the key to my riddle when you find the key to my heart.
1:09:10 Do you feel that you're getting near now? Is it not clear now?
1:09:18 We'll start again.
1:09:22 Can you guess why I'm all a-tremble?
1:09:29 Why I walk around in a mist
1:09:35 And the girl
1:09:36 But I'm most resembled
1:09:41 The girl who wants to be kissed
1:09:46 Can you kiss the rhythm I'm reeling?
1:09:51 I touched it.
1:09:52 Stay away.
1:09:54 Of stars above
1:10:00 Must I confess?
1:10:04 What it is I'm feeling
1:10:07 Oh, can you get?
1:10:14 Oh, my God.
1:10:18 Bravo, bravo!
1:10:22 What a pleasant surprise.
1:10:25 We hadn't expected you quite so soon. Hope I'm looking through it.
1:10:28 Oh, how perfectly silly. Of course not.
1:10:33 Ahem.
1:10:34 Oh.
1:10:39 Won't you win?
1:10:40 Sit down.
1:10:42 You are very kind.
1:10:48 Pierre, Pierre. Hello, good old Pierre. How come you're back so soon?
1:10:53 Am I disturbing you too? Oh, not at all, not at all. He doesn't have any idea.
1:11:03 Bryce and Sherry.
1:11:05 Who would have thought it?
1:11:06 What conduct, what ease, what savoir faire. A real little woman of the world, eh?
1:11:11 You must have given her some lessons. Oh, yes, I did, I did.
1:11:14 I thought of much.
1:11:15 What do you mean?
1:11:16 Tell us about your trip.
1:11:18 What are they doing in Geneva?
1:11:20 Well, for one thing, they are not showing their legs.
1:11:24 the way they are in Paris this year
1:11:27 Thank you so much for telling me.
1:11:29 Oh, by the way, who is the new butler?
1:11:31 Oh, he's a...
1:11:33 schoolmate of mine.
1:11:34 A schoolmate.
1:11:36 From that girl's boarding school in Geneva, no doubt.
1:11:39 Has he any identification papers?
1:11:41 Oh no, but I can answer for him. He's so anxious to start a new life.
1:11:46 A new life.
1:11:47 He too.
1:11:49 It certainly looks as if my house had turned into a home for reformed characters.
1:11:57 You are leaving?
1:12:00 Yes, I'm going to get dressed.
1:12:02 If you don't mind.
1:12:03 You know, like they do in Geneva.
1:12:07 Ah, she's enchanting.
1:12:09 Mind you, that girl has brains as well as beauty.
1:12:13 Let me show you something of the snap-trots I took of her with your camera.
1:12:16 Not bad for an amateur, eh?
1:12:20 Oh, very well. It's your loss.
1:12:22 Well, in that case, you better get down to serious business.
1:12:25 - Not money by any chance? - Yes, sir, not for me. You realize, of course, I had to buy her something decent to wear? - A bathing suit? - Sun suit. Naturally, one of two other little things. Can't expect a man like you to marry a woman in rags. Here are the bills.
1:12:43 French I don't get it.
1:12:45 Was it really necessary to buy all this?
1:12:48 For a girl you'll see for five minutes at a marriage ceremony.
1:12:51 The fact is, I think you need to wonder if our marriage really will be one in their name only.
1:12:57 You know, I firmly believe that the root of all my past troubles has been sheer loneliness.
1:13:03 If I could feel someone by my side, always ready to advise, to sympathize, to feel the tender touch of a feminine hand. You are joking, of course. Oh, not at all. I'll let an eye.
1:13:14 Get on like a house of fire.
1:13:16 And you see the way she snaps up any little hints I happen to drop. Surely you notice a change in her deportment.
1:13:22 Not to mention her grammar.
1:13:25 Now look, Roland.
1:13:28 Just because a girl catches on quickly and...
1:13:32 and has beautiful legs.
1:13:34 That's not enough to build a permanent marriage on.
1:13:37 Do you mean to say that charm and grace and femininity aren't important? Yes, they are.
1:13:42 What do you know about her?
1:13:45 - Your family? - Oh, we'll go to the colonies. Anybody who plays bridge has accepted.
1:13:49 I'll teach you the strong note, sir.
1:13:52 And what will you live on?
1:13:54 Your money first?
1:13:56 It won't go very far.
1:13:58 Tahiti?
1:13:59 You live on seafood?
1:14:01 coconuts, bananas. Ah, those South seas are simply enchanting.
1:14:05 Canoes, gardens of flowers, lovely native songs, and at night
1:14:10 Bridge.
1:14:40 I'm going to go.
1:15:08 I'm going to go.
1:15:22 I'm not sure.
1:15:30 I'm going to go.
1:15:34 Amen.
1:16:03 Who's in there?
1:16:04 Oh.
1:16:05 Someone or other.
1:16:07 Male or female?
1:16:10 Why should you care?
1:16:12 Look, Eve.
1:16:13 You're not playing fair with me.
1:16:15 Don't be a fool.
1:16:16 I just don't want you to get mixed up in something that's none of your business.
1:16:22 Are we pals? Yes and no.
1:16:24 Of course we are.
1:16:25 You know that.
1:16:27 But I'm also the sort of servant you approve of.
1:16:31 Is script?
1:16:34 Look for yourself.
1:16:39 Are you afraid, Pierre?
1:16:41 Of course I'm not afraid.
1:16:44 But it's not exactly comfortable when your husband knows I had your picture in my watch. But he doesn't know.
1:16:50 when his jealousy is terrible, and he has never been sweeter and more considerate than he is right now.
1:16:55 Not so loud, I beg of you.
1:16:57 Is there someone else in the house?
1:17:00 No.
1:17:01 But the servants might hear.
1:17:03 Or your secretary?
1:17:05 What will you think up next?
1:17:08 First of all, she only comes on Wednesday.
1:17:10 Pretty.
1:17:11 Hideous.
1:17:13 Thick glasses and pigeon toad. What do you think of this one for the wedding tomorrow?
1:17:18 Oh, I beg your pardon.
1:17:21 My, what a pleasant surprise! And how is His Excellency? Very well, I hope.
1:17:26 Fine.
1:17:28 And how is your uncle? Fine, fine. I'm afraid I've neglected him a little of late. And now if you'll excuse me, the dressmaker's waiting. It's fitting, you know. Such a deadly bore. See you soon, I hope.
1:17:44 - Let me explain to you. - Oh, it's quite clear. I understand perfectly.
1:17:48 No.
1:17:49 No, it isn't clear at all. You are completely mistaken. Oh, stop lying and give me back my picture.
1:17:54 Now I understand why you invented that silly story which didn't make sense. This girl means nothing to me. You'll soon be convinced.
1:18:02 Of course not.
1:18:03 You're just buying her pretty clothes because you're sorry for her.
1:18:06 Here, I want my picture back. I already told you your husband took it.
1:18:10 Look for yourself.
1:19:05 I
1:19:25 Amen.
1:19:30 Come on.
1:19:32 You can be irritating beyond words. What do you want?
1:19:39 Haven't I got enough trouble?
1:19:42 Fine, fine.
1:19:45 Always under your feet or in your hair.
1:19:49 nothing but trouble.
1:19:50 I've got heart in mind to trade you in for a male dog.
1:19:58 Get away. Get away.
1:20:00 What? What?
1:20:20 Poor old fanny face.
1:20:22 I know I take it out on you, but I don't really mean it.
1:20:32 What shall I do about it?
1:20:36 Yeah, where are you?
1:20:38 Oh, there you are. Listen, old man, I've come hot from the courthouse. Everything is in order. The bans are published.
1:20:42 I must say he gave me quite a kick to see my name right alongside our list.
1:20:45 Oh, by the way, that reminds me, you owe me 300 francs to cover the cost of the license.
1:20:49 Here's the itemized account.
1:20:51 Let's not be hasty. Oh no, this has to be fate at once. You see, these papers are essential to the marriage and the big days tomorrow, don't forget.
1:20:58 There's not going to be any marriage. No, there's not...
1:21:02 What are you talking about? I refuse to be a party to this farce.
1:21:05 That's rather a sudden switch, isn't it? Sudden?
1:21:09 For the last two nights, I haven't set a wink.
1:21:11 Why?
1:21:12 Because...
1:21:16 Because he's on my mind constantly.
1:21:19 It's an account of her I rushed back from Geneva.
1:21:23 and see it around and see it
1:21:25 I have a terrible desire to take her in my arms.
1:21:28 And all I do is to be rude and I'm kind to her. The whole thing is insane.
1:21:33 But I can't fight against it any longer. You're right, Roland. Career, social position,
1:21:40 What do they matter compared to love? Who's talking now? Oh, come on, let's put yourself together. It's quite different with me.
1:21:47 I could marry Alette because...
1:21:49 I blotted my social copy book ages ago.
1:21:51 You'd be amazed at the number of houses I'm not invited to. But you, you have a brilliant future, a real career.
1:21:57 For you to marry Owlette is out of the question. Definitely out. As for anything else, Rose.
1:22:01 Believe me, Pierre.
1:22:02 It is her one chance to lead an honest life.
1:22:04 Don't take it away, fella.
1:22:06 Don't make a fool of yourself either.
1:22:07 Look at me.
1:22:09 through a series of
1:22:10 Just such brainstorms that I landed where I am now.
1:22:14 with a ticket to Tahiti.
1:22:16 One market.
1:22:18 She didn't want to come.
1:22:19 I asked her, she turned me down.
1:22:21 It's up to you, Pierre.
1:22:25 Let her go.
1:22:29 All right.
1:22:30 All right, all right. Go on. Hurry up.
1:22:32 Do it quickly, as quickly as possible.
1:22:41 Come on.
1:22:47 Article 122.
1:22:50 Husband and wife, oh, one and other mutual fidelity, mutual sympathy, and mutual assistance.
1:22:56 Article 230.
1:22:59 The husband as head of the family has a right to designate the place of mutual residence.
1:23:04 The wife is obligated to live there with him and the husband in turn to receive her.
1:23:11 Will the bride and groom please rise?
1:23:21 - Mr. Roland Latour.
1:23:23 Do you think for your wife, Mademoiselle Arlette Lapin?
1:23:27 Present here.
1:23:28 Yes, Your Honor. Yes, I do.
1:23:32 - Mlle Harley-Tlappon.
1:23:33 Do you take as your husband, Monsieur Roland Latour?
1:23:39 Present here.
1:23:48 Excuse me.
1:23:50 Would you please read Article 213?
1:23:53 Again?
1:23:56 The husband, head of the family, has the right to designate the place of mutual residence.
1:24:02 The wife is obligated to live with him there?
1:24:06 and to the husband in turn to receive her.
1:24:09 Oh.
1:24:11 You mustn't say "Oh", say "Yes".
1:24:14 I know.
1:24:16 Mrs. Arley Tlaffont.
1:24:18 Do you take as your husband, Monsieur Roland Latou?
1:24:22 Present here.
1:24:24 Uh...
1:24:26 No.
1:24:33 Excuse us, Your Honor.
1:24:35 My fiance is a little upset. We'll be back another day.
1:24:39 I hope.
1:24:41 Just a moment, madame.
1:24:42 Oh, pardon me, mademoiselle.
1:24:45 I congratulate you.
1:24:47 For 30 years now, I have had a monotonous job.
1:24:51 I've been marrying coffee after coffee.
1:24:53 Ask them all the same questions.
1:24:56 and they all give me the same answer.
1:24:58 It just...
1:24:59 Benefels.
1:25:00 For today.
1:25:01 You come along and have the courage to say no.
1:25:05 Bravo, mademoiselle!
1:25:08 Believe me, it is much better for a marriage not to come over at all... ...than for it to end in divorce. Bravo!
1:25:19 Thank you very much, Anna.
1:25:28 I'm going to go.
1:25:32 Why are you dressed like that?
1:25:33 If you should ever think of me.
1:25:36 I want this.
1:25:39 I will.
1:25:42 That first dance meant so much to me.
1:25:48 Pierre.
1:25:51 One last dance.
1:25:55 Am I delay?
1:25:56 But it will be a memory to put away with the first one.
1:26:01 Please.
1:26:04 I think it would be better not to.
1:26:08 You don't know how much it would mean to me.
1:26:14 I'd rather not.
1:26:16 Just one last dance?
1:26:26 Come on.
1:26:39 Well, I...
1:26:41 Guess I'll get my things together.
1:26:43 Giving up?
1:26:44 Hmm?
1:26:46 If I thought it was any use, I'd never give up.
1:26:49 About as things aren't. About as things aren't.
1:26:53 It's a good thing you gave up being a crook.
1:26:56 There was no feature in it for you.
1:26:59 You haven't enough insight.
1:27:01 Enough.
1:27:02 Observation.
1:27:04 enough understanding of human nature, enough...
1:27:07 I don't know.
1:27:08 To be quite frank here on that...
1:27:11 Bright enough.
1:27:13 Look.
1:27:15 Why does a man pay back and forth like this for hours?
1:27:20 To exercise?
1:27:21 No.
1:27:23 Another question.
1:27:24 Why does a man stand in front of a mirror like this?
1:27:28 staring like this to admire himself
1:27:31 - To catch a glimpse of his neck, Ty? - No.
1:27:34 Still another question.
1:27:36 Why does a man refuse to dance with a pretty girl?
1:27:39 Is it such a big thing?
1:27:41 No!
1:27:42 It's nothing.
1:27:43 Unless...
1:27:45 Unless he's in love.
1:27:47 then a dance is a big thing.
1:27:50 Then he has to fight him.
1:27:51 because it can lead to
1:27:54 Believe me, it can lead.
1:27:56 Well, all right, all right then. Why shouldn't it lead?
1:27:59 Why should he have to fight it?
1:28:00 If he loves me, why doesn't he just...
1:28:02 Just say so.
1:28:04 It'll be so easy.
1:28:07 And so nice.
1:28:09 Because, my poor child, it's not true that a man in love forgets everything.
1:28:14 75% positive.
1:28:16 a certain emotional type like me,
1:28:19 Even eighty.
1:28:21 But never everything.
1:28:22 And with what is left over...
1:28:26 Now the boss.
1:28:28 Perhaps he's thinking of this
1:28:30 Ten years he started to be a diplomat.
1:28:33 Even to marry you, it's not so easy to toss those penniers out of the window.
1:28:37 Why should he have to toss him out of the window?
1:28:41 Listen.
1:28:43 What do you think?
1:28:45 He's on his way to the embassy reception.
1:28:48 Could he take you with him?
1:28:50 And why not? Why should he be ashamed of me?
1:28:53 Oh.
1:28:54 We should maybe be proud of you.
1:28:57 We should maybe present you to the ambassador like this. Do you remember this little girl, Your Excellency?
1:29:03 She steals watches.
1:29:05 Yeah?
1:29:08 You mean...
1:29:09 I'm not good enough, maybe.
1:29:12 than an ambassador who gets somebody to steal for him.
1:29:15 Or his wife, who...
1:29:18 Who doesn't love him?
1:29:19 Or the Baron who's an accomplice to a crime just to keep his own bread buttered.
1:29:22 They think I'm not good enough to associate with them, huh?
1:29:25 Well, I'll just show Monsieur Pierre de Roche that I can handle a whole mess of 'em.
1:29:29 and make them like it.
1:29:36 Ease.
1:29:38 Are you sure?
1:29:40 You're very sure that Pierre loves me?
1:29:42 I swear it.
1:29:43 I swear it on the head of my father.
1:29:49 I'm going to go.
1:30:08 Liner?
1:30:12 Lylas?
1:30:14 Oh!
1:30:24 All of them.
1:30:33 Oh.
1:30:41 All right.
1:30:44 - Have mercy.
1:30:47 Shit.
1:30:48 She's gone.
1:30:50 God.
1:30:52 Did she know where she was going?
1:30:54 No, sir.
1:30:57 But she asked where you were going.
1:30:59 I'm sorry.
1:31:01 Did you tell her? Yes, sir. I told her you are going to the...
1:31:05 to the embassy reception.
1:31:08 Good.
1:31:08 Sir?
1:31:09 Yes, sir.
1:31:11 Shall I put those in water?
1:31:13 Oh.
1:31:24 Hmm.
1:31:33 I'm sorry.
1:31:34 Amen.
1:31:35 underlying principle that must guide our negotiations is that
1:31:40 Infect!
1:31:41 The situation must be handled.
1:31:42 with three kids.
1:31:58 You've got nothing.
1:32:00 You said "ooh".
1:32:01 Who be?
1:32:02 Yes, you will.
1:32:03 Why did you say "oh"?
1:32:05 In the first place, I didn't say "ooh", I said "oh".
1:32:08 My dear husband, I'm not deaf.
1:32:10 I heard you distinctly say...
1:32:12 Ooh. My dear.
1:32:13 I had no reason to say "oh". I simply said "oh".
1:32:20 Pond baron.
1:32:21 Your knees, I can't.
1:32:22 Uncle?
1:32:23 Hello, Uncle.
1:32:26 Oh, you're excellent.
1:32:28 This is a pleasure, Mademoiselle.
1:32:30 You didn't tell me your charming niece was coming.
1:32:33 Come and sit with me, my dear. You don't get gay. Now, all four accidents.
1:32:38 He's introducing her as my niece.
1:32:40 Well...
1:32:41 Isn't she? - Naturally.
1:32:43 Explain to me, my dear, why you disappeared so early from the embassy ball the other night.
1:32:49 Oh, uh... Well, uh...
1:32:54 My uncle, the Baron.
1:32:57 - I don't think that
1:32:58 Since it was my first ball, I shouldn't stay too late.
1:33:01 He's an old foggy.
1:33:07 Even now he's beginning to get that you-better-go-home-early look.
1:33:13 Blade?
1:33:14 Is it?
1:33:14 No, of course not.
1:33:16 Besides you when you just arrived.
1:33:17 My, what a lovely barge.
1:33:21 It's...
1:33:22 That's beautiful.
1:33:23 You're curious.
1:33:24 What is my weakness?
1:33:27 Oh.
1:33:29 Mine too.
1:33:31 Really?
1:33:40 What was that?
1:33:42 May I have the pleasure?
1:33:52 My pleasure.
1:33:53 See me on the date.
1:34:00 trouble with seniority.
1:34:02 But it's always...
1:34:03 in the old.
1:34:04 Good evening.
1:34:05 I'm not going to be a good one.
1:34:08 Darling.
1:34:10 - I'm just so anxious.
1:34:11 I like her.
1:34:19 Here.
1:34:32 Come on.
1:34:46 Oh
1:34:51 Oh, my God.
1:34:56 Come on.
1:34:57 You're waiting for me.
1:34:59 Amen.
1:35:02 Your Excellency.
1:35:03 Good evening, Pierre. Good evening, sir.
1:35:06 I'm sorry.
1:35:17 I'm glad.
1:35:20 Oh, my God.
1:35:24 I have a state secret to tell you...
1:35:26 My shoes, bitch.
1:35:43 She's dancing with the horse.
1:35:45 - I saw them. - She's captivated him. Oh, this is terrible.
1:35:49 Do you realize our responsibility?
1:35:51 Our responsibility.
1:35:53 Yes, ours.
1:35:54 Excellent.
1:35:55 It was really huge. No, no, no, no, no. Don't be technical. This could have serious complications.
1:35:59 Think of something.
1:36:00 Come on, think, think, think.
1:36:02 I am your expert.
1:36:02 Yeah, yeah. Oh, come on.
1:36:04 You've made a conquest.
1:36:06 The minister seems to find you a resistance.
1:36:10 Ridiculous.
1:36:11 Who's next?
1:36:13 He's a man of excellent taste.
1:36:16 Spare me your sarcasm.
1:36:18 Amen.
1:36:21 spare me your charms.
1:36:22 I'll live.
1:36:24 I was very happy.
1:36:25 Anyway.
1:36:26 No.
1:36:29 Did you come to the mall to quarrel with him?
1:36:32 You wanted to dance.
1:36:33 At least enjoy it.
1:36:35 Well, gentlemen.
1:36:35 about you?
1:36:37 Did you notice?
1:36:37 The ambassador and his wife?
1:36:39 How nicely they danced.
1:36:41 How she smiles at him.
1:36:43 I wonder how charmingly they would smile at me.
1:36:46 You hadn't taken that picture out of my watch.
1:36:49 I told you.
1:36:50 Oh, no.
1:36:52 Yes.
1:36:57 I must say it to you.
1:36:57 long time.
1:37:01 I don't think...
1:37:01 you have much.
1:37:03 United Corps?
1:37:04 No.
1:37:05 - You're having me now?
1:37:07 Enough bugs.
1:37:09 of human nature.
1:37:11 Enough.
1:37:13 I know you are right completely.
1:37:19 I need someone to help.
1:37:21 someone.
1:37:23 Clever.
1:37:24 with, uh,
1:37:26 Look, you're there.
1:37:29 someone like a
1:37:30 Secretary?
1:37:32 No, not the case.
1:37:35 someone more like your wife.
1:37:40 I don't suppose
1:37:42 I don't suppose you'd be interested.
1:37:46 It doesn't sound like much.
1:37:48 future
1:37:49 What was getting you out of space with women and...
1:37:51 recovering all the luggage that you lose
1:37:54 Being gracious to...
1:37:56 A lot of high-class crooks like the ambassador.
1:37:58 - I don't think you're a little bit old,
1:38:00 Stephen, watch it.
1:38:03 No, it...
1:38:05 It doesn't sound very appealing.
1:38:10 I don't even know why I would consider it.
1:38:15 No.
1:38:16 Oh, no, I...
1:38:19 Well, why should I?
1:38:21 Because I was your first partner.
1:38:23 At your first ball?
1:38:25 Because a young girl's first ball is a very important event.
1:38:28 which she should remember all her life.
1:38:30 because
1:38:32 I want no one else in your thoughts.
1:38:35 in your men.
1:38:37 because I love you.
1:38:47 That's it.
1:38:48 You'll have one.
1:38:49 No, of course not.
1:38:51 I have.
1:38:53 - You're lying.
1:38:55 The doctor.
1:38:57 Becquemire?
1:38:59 What do you want?
1:39:00 An ugly black scandal?
1:39:02 for a lovely young niece.
1:39:04 Oh, oh.
1:39:38 Oh, let me die.
1:39:40 Aren't you happy?
1:39:42 He is very happy.
1:39:44 Well...
1:39:47 Why don't you cry?
1:39:48 But I am, darling.