Road to Happiness (1941)
No renewal found Free in the US since 1 January 1971, on the registry's reading: registration LP11180 of 1942 by Monogram Pictures Corp., Hollywood, Calif. 2123 was not renewed in the volumes searched. Record.
How this page was made
455 shots over 1:14:01, read from the Internet Archive copy road_to_happiness (road_to_happiness.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: Road to Happiness No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 455 shots judged colour), average shot 9.8s long, a frontal face detected in 48% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Released 1941 (Internet Archive); copyright registered 1942 (catalog).
218 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.
Beats
Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.
0:051 of 1 shots sampled
Model synopsis: The beat shows a title card for the 1941 film "Road to Happiness" produced by Associated Artists Productions Ltd., listing actors John Boles, Roscoe Karns, Mona Barrie, and Billy Lee. No people or actions are visible beyond the static title card.
Evidence, details and a link to share
0:151 of 1 shots sampled
Model synopsis: A man's face is superimposed over a nighttime city street scene with traffic. No dialogue or on-screen text is present in this beat.
1 person observed.
Evidence, details and a link to share
0:261 of 1 shots sampled
Model synopsis: A door with a sign identifying 'WORLD-WIDE AMUSEMENT ENTERPRISES' and 'CHARLES GRADY PRESIDENT' is shown. No people or actions are visible in the frame.
Evidence, details and a link to share
0:441 of 1 shots sampled
Model synopsis: A man in a bow tie and white shirt stands in a room with framed pictures and a baby crib, answering a door and greeting someone named Jeff and Charlie. The dialogue suggests a casual, familiar interaction with references to Europe and physical ailments.
- Charlie stands near a door and crib in a room with framed pictures [frame:1]
Named: Charlie (t:0:48), Jeff (t:0:48). 2 people observed.
“Who is it?” 0:45 · “Why, Jeff, my boy! How are you, Charlie? Oh, pizzicato, pal, pizzicato. Come on in. You're a cipher. Sore eyes. How do you feel? What's goin…” 0:48
Evidence, details and a link to share
1:141 of 1 shots sampled
Model synopsis: Two men converse in an interior space about a divorce and a woman's new marriage; the scene cuts to an exterior street view. One man is addressed as 'Chief' and another as 'Charlie'; a woman named Millie is mentioned as having divorced and remarried.
- Two men stand in an office with framed art and statues behind them. [frame:1]
- Charlie stands alone in the same office, holding a bottle. [frame:2]
- A wide street with tall buildings, cars, and pedestrians is shown. [frame:3]
Named: Charlie (t:1:39), Chief (t:1:41), Millie (t:1:45), Sam Rankin (t:2:05), Jake (t:1:45), Jeff (t:2:12), Danny (t:1:53). 7 people observed.
“Millie divorced, Jake. My...” 1:45 · “She's at the Morrison on Park Avenue.” 2:00
Evidence, details and a link to share
2:351 of 1 shots sampled
Model synopsis: A man in a dark suit walks through a hallway past a small table with a bust and a wall sconce. The setting appears to be an interior space with plain walls and minimal decoration.
- man in suit walks from doorway toward camera [frame:1]
1 person observed.
Evidence, details and a link to share
3:351 of 1 shots sampled
4:021 of 1 shots sampled
4:291 of 1 shots sampled
4:591 of 1 shots sampled
Model synopsis: Two men in dark suits walk across a large open field toward a distant line of people. A flag and trees are visible in the background, and the scene is shot in black and white with wide framing.
- Two men walk across a field toward a line of people. [frame:1]
3 people observed.
Evidence, details and a link to share
Model synopsis: A man in civilian clothes speaks with a boy in a military-style uniform inside an office; later, the boy walks on a city sidewalk past a building with a 'BARBETTA' sign. The dialogue reveals the boy is being taken home by his father after a long absence.
- A boy in uniform salutes and reports to a man in a suit. [frame:1]
- The boy walks on a city sidewalk past a building with a 'BARBETTA' sign. [frame:2]
Named: Colonel Gregory (t:5:56), Danny (t:5:14), Dad (t:5:35), Mrs. Rankin (t:5:08). 4 people observed.
“Mrs. Rankin.” 5:08 · “Dad! When did you get home? Yesterday.” 5:35
Evidence, details and a link to share
6:091 of 1 shots sampled
Model synopsis: A man and a boy walk up stone steps toward a building entrance; a voice asks 'Miss Holmes?' and another replies 'Soon find out, son.' No names are visually confirmed, and the setting appears to be an institutional or public building exterior.
- A man and a boy walk up stone steps toward a building entrance. [frame:1]
2 people observed.
“Miss Holmes?” 6:05 · “Soon find out, son.” 6:07
Evidence, details and a link to share
6:451 of 1 shots sampled
Model synopsis: A man and a boy are welcomed into a room by a woman who refers to the boy as 'son' and shows them around. The woman asks if the room looks like home and tells the boy where his bed will be, while the man explains he left some bags at an office.
- Jeff and Mrs. Price stand facing each other in a decorated room. [frame:1]
- Jeff, the boy, and Mrs. Price stand together in a doorway; the boy holds a bag. [frame:2]
Named: Jeff (t:7:19), Mrs. Price (t:7:58). 3 people observed.
“I trusted you and Millie a long time ago, Jeff.” 7:19 · “Does it look like home or don't it?” 7:41
Evidence, details and a link to share
8:411 of 1 shots sampled
Model synopsis: A man in a robe walks through a doorway into a dining room where several men are gathered around a table. One man in a suit stands at the head of the table while others are seated or standing nearby.
- A man in a robe walks through a doorway into a dining room. [frame:1]
- Several men are gathered around a dining table; one man in a suit stands at the head of the table. [frame:2]
5 people observed.
“This cow is ready.” 9:20 · “I'm going to be leaving.” 9:21
Evidence, details and a link to share
Model synopsis: A man introduces Jeff Carter and his son Danny at a dinner table; another man demonstrates something with silverware while seated guests watch. The scene takes place indoors in a decorated dining room with a chandelier and patterned wallpaper.
- A man raises his hands to his head while seated at the table. [frame:4]
Named: Jeff Carter (t:9:49), Danny (t:9:54). 7 people observed.
“Meet Jeff Carter.” 9:49 · “And the young soldier's his son Danny.” 9:54
Evidence, details and a link to share
Model synopsis: A man in a suit gestures while speaking at a dinner table; a boy in a uniform smiles; a woman serves food. The transcript includes lines about performing and ignoring 'weird characters'.
- A man gestures with a card while speaking. [frame:1]
- A boy in uniform smiles at the table. [frame:2]
- A man with a mustache looks toward the camera. [frame:3]
- 1 more under Evidence and details.
Named: ma'am (t:10:26). 4 people observed.
“Oh, that's nothing.” 10:15 · “Just eat your supper son.” 10:24
Evidence, details and a link to share
10:451 of 1 shots sampled
11:041 of 1 shots sampled
Model synopsis: A woman stands at a piano in a dimly lit room, facing a dining table where several people are seated. The setting appears to be a formal dinner in a private residence.
2 people observed.
Evidence, details and a link to share
Model synopsis: A man in a suit sits at a table in a dining room; a wider shot shows a group at a dinner table with a chandelier; a man and a girl sit at a table talking. The transcript includes lines from a song being sung.
- A man in a suit sits at a table with a glass and a pitcher. [frame:1]
- A group of people are seated around a large dinner table under a chandelier. [frame:2]
- A man and a girl sit at a table, facing each other and talking. [frame:3]
4 people observed.
“Danny boy.” 11:30 · “The pipes, the pipes are calling.” 11:32
Evidence, details and a link to share
Model synopsis: A man in a suit speaks to a young girl in uniform at a table in a patterned room; the transcript includes fragmented lines suggesting a farewell or departure. No names are spoken, and the setting appears to be an interior room with wallpaper and a framed painting.
- A man in a suit sits at a table with a bottle and glass. [frame:1]
- A man and a girl in uniform sit at a table with food and drinks. [frame:2]
- The man speaks to the girl while seated at the table. [frame:3]
- 1 more under Evidence and details.
3 people observed.
“Come along.” 11:50 · “And all the roses” 11:53
Evidence, details and a link to share
Model synopsis: A man and a woman sit at a table in a decorated room; another man in uniform speaks to a man in a suit; a bald man looks down; a group dines at a long table. The transcript includes fragmented lines, one identifying a character as 'Lance'.
- A woman and a man sit at a table, looking at each other. [frame:1]
- A woman in uniform speaks to a man in a suit across a table. [frame:2]
- A bald man in a suit looks down at the table. [frame:3]
- 1 more under Evidence and details.
Named: Lance (t:12:37). 7 people observed.
“For when the vales” 12:28 · “I'm the white one.” 12:35
Evidence, details and a link to share
Model synopsis: A young person in uniform and an adult man in a suit are seated at a table in a decorated room; the man speaks while the young person listens. The transcript contains fragmented phrases including 'Amen' and 'Oh', suggesting a prayer or emotional moment.
- A young person in uniform sits at a table, looking toward the man. [frame:1]
- The man in the suit speaks animatedly to the young person across the table. [frame:2]
- The man in the suit looks upward with a concerned expression. [frame:3]
2 people observed.
“And I'll be” 12:43 · “Amen.” 12:46
Evidence, details and a link to share
Model synopsis: A young boy in uniform speaks to an adult man at a table; the man responds. The setting is an interior room with patterned wallpaper and a framed painting.
- The boy is visible in a close-up, holding a white object. [frame:1]
- The man and woman are visible seated at a table with glasses and plates. [frame:2]
3 people observed.
“Oh,” 13:02 · “Honey boy” 13:03
Evidence, details and a link to share
13:251 of 1 shots sampled
Model synopsis: An older woman with curly hair and a patterned blouse is seated indoors. The background includes wallpaper and a framed picture, suggesting a domestic interior.
1 person observed.
Evidence, details and a link to share
Model synopsis: A man and a boy converse in a bedroom; the man reminds the boy about bedtime and school, and asks for help remembering daily tasks. The boy agrees to assist, and the man appears thoughtful at the end.
- The man and boy stand facing each other in a bedroom. [frame:1]
- The man leans down to speak closely to the boy. [frame:2]
- The man stands alone, looking upward thoughtfully, while the boy stands at attention nearby. [frame:3]
Named: Danny (t:13:50). 2 people observed.
“Danny, what time you're supposed to be in bed, son?” 13:50 · “We have lights out at 8 o'clock.” 13:52
Evidence, details and a link to share
15:061 of 1 shots sampled
15:381 of 1 shots sampled
16:311 of 1 shots sampled
Model synopsis: A man in a bowler hat and another in a suit stand before a seated man at a desk in an office; dialogue indicates they are negotiating to secure a singer named Jeff Carter for a client named Senor Pacelli. The standing men claim Carter is in high demand and threaten to take him elsewhere if not hired immediately.
- Two men stand before a seated man at a desk in an office. [frame:1]
Named: Jeff Carter (t:16:44). 3 people observed.
“Representing Mr. Jefferson Carter.” 16:22 · “He's hiring singers, ain't he?” 16:27
Evidence, details and a link to share
17:001 of 1 shots sampled
Model synopsis: A man sits at a desk in a large room with heavy drapes and another man stands in the doorway. The transcript includes fragmented phrases including 'Amen' and 'the sign of the cellar party.'
- A man sits at a desk while another stands in a doorway. [frame:1]
2 people observed.
“Amen.” 16:52 · “Oh” 17:01
Evidence, details and a link to share
17:201 of 1 shots sampled
18:101 of 1 shots sampled
Model synopsis: A man in a dark suit stands at a desk holding papers, with a large gridded window behind him. The scene is lit by studio lighting and appears to be an interior office setting.
1 person observed.
Evidence, details and a link to share
Model synopsis: Two men in suits wait in an office while a third man sits at a desk; one standing man speaks about being kept waiting and demands more money for a client named Jefferson Carter. The seated man at the desk appears to be an assistant or secretary, and the standing men are likely agents or representatives.
- Two men in suits sit in an office, one holding a hat. [frame:1]
- One man stands and speaks to a seated man at a desk while another stands beside him. [frame:2]
- The standing man gestures while speaking to the seated man at the desk. [frame:3]
Named: Charlie (t:18:17), Jeff (t:18:43). 3 people observed.
“Charlie.” 18:17 · “You sure Pacelli knows you? Oh, sure, sure, come on.” 18:20
Evidence, details and a link to share
20:271 of 1 shots sampled
Model synopsis: A boy in a shirt and tie speaks in a room with patterned wallpaper; an adult man in a suit appears in the same room. The transcript includes fragmented dialogue about kids and military school.
- Boy speaks while standing in a room [frame:1]
- Boy continues speaking [frame:2]
- Man in suit appears in same room [frame:3]
2 people observed.
“Oh, nothing much.” 21:20 · “kids.” 21:23
Evidence, details and a link to share
Model synopsis: A boy in a striped tie speaks to a man in a suit in a room with patterned wallpaper; the boy mentions his mother's new husband and her wealthy lifestyle. The man listens and responds while seated or standing in the same room.
- The man responds to the boy while standing near a desk. [frame:2]
- The man sits in a chair and listens to the boy. [frame:3]
Named: Dad (t:21:45). 2 people observed.
“I guess you don't think I'm a sissy now.” 21:36 · “Have you seen Mom?” 21:46
Evidence, details and a link to share
22:211 of 1 shots sampled
Model synopsis: A man in a suit sits in an armchair speaking to a boy standing beside him in a decorated room. The transcript shows the man asking the boy if he would rather be with someone named Melvin, and the boy replies he would not if the man were not there too.
- A man sits in an armchair speaking to a boy standing beside him. [frame:1]
2 people observed.
“Son.” 22:12 · “Yes, sir. Had you rather be with Melvin?” 22:13
Evidence, details and a link to share
22:341 of 1 shots sampled
Model synopsis: A man stands at a sink in a small room with patterned wallpaper. He is seen from behind, leaning over the sink, and the transcript includes the word 'Amen.'
- man leans over sink [frame:1]
1 person observed.
“Amen.” 22:35
Evidence, details and a link to share
22:421 of 1 shots sampled
Model synopsis: A man in a suit stands with his back to the camera in a room with patterned wallpaper and curtains. No dialogue or on-screen text is present in this beat.
- A man in a suit stands facing a window with curtains. [frame:1]
1 person observed.
Evidence, details and a link to share
22:491 of 1 shots sampled
Model synopsis: A boy stands at a sink in a room with patterned wallpaper, washing his hands. The scene is lit with studio lighting and shows a towel and coat hanging nearby.
- A boy washes his hands at a sink. [frame:1]
1 person observed.
Evidence, details and a link to share
22:521 of 1 shots sampled
Model synopsis: A man in a dark suit stands in a room with patterned wallpaper and curtains. A lamp and armchair are visible, suggesting an interior setting.
1 person observed.
Evidence, details and a link to share
23:451 of 1 shots sampled
25:181 of 1 shots sampled
Model synopsis: A man in a suit sits in a room with patterned wallpaper and a bed visible behind him. No dialogue or on-screen text is present in this beat.
1 person observed.
Evidence, details and a link to share
Model synopsis: A man in a dark suit stands behind a barred window while another man in a hat walks down steps toward a parked car. No names are spoken, and the setting appears to be an exterior urban location at night or under artificial lighting.
- A man in a dark suit stands behind a barred window. [frame:1]
- A man in a hat walks down steps toward a parked car. [frame:2]
2 people observed.
“Hmm.” 25:29
Evidence, details and a link to share
26:541 of 1 shots sampled
Model synopsis: Two men are in an office; one is seated at a desk, the other stands facing him. The standing man expresses discouragement about not getting a job, and the seated man, called Charlie, responds with shared discouragement.
Named: Jeff (t:26:46), Charlie (t:26:46). 2 people observed.
“Hi, Charlie. Hi, Jeff. What's new? Oh, not a thing. I don't know. I've tried everything, but nothing seems to break.” 26:46 · “I'm all right with tap dancers and acrobat but for you.” 26:53
Evidence, details and a link to share
27:181 of 1 shots sampled
28:071 of 1 shots sampled
28:211 of 1 shots sampled
Model synopsis: A boy in a suit and hat sits on steps in front of a wooden door. No dialogue or additional context is provided in this beat.
1 person observed.
Evidence, details and a link to share
28:251 of 1 shots sampled
28:291 of 1 shots sampled
Model synopsis: A boy in a suit and hat sits on steps outside a door. No dialogue or other actions are visible in this beat.
- A boy sits on steps in front of a door. [frame:1]
1 person observed.
Evidence, details and a link to share
28:321 of 1 shots sampled
Model synopsis: A man in a hat and coat stands in a cluttered room with another person seated at a desk in the background. The room contains furniture, a telephone, and a large window with curtains.
2 people observed.
Evidence, details and a link to share
28:341 of 1 shots sampled
Model synopsis: A woman in a maid's uniform embraces a man in a living room; another man sits in an armchair nearby. A telephone and floral arrangement are visible on a side table.
- A woman in a maid's uniform embraces a man. [frame:1]
- A man sits in an armchair in the background. [frame:1]
3 people observed.
Evidence, details and a link to share
28:381 of 1 shots sampled
Model synopsis: A group of four people are in a formal interior setting; two women and two men are interacting closely, with one man holding a woman's chin. No dialogue is present in this beat.
4 people observed.
Evidence, details and a link to share
28:431 of 1 shots sampled
Model synopsis: A boy in a suit and hat sits on steps in front of a wooden door. No dialogue or on-screen text is present in this beat.
1 person observed.
Evidence, details and a link to share
28:471 of 1 shots sampled
Model synopsis: A man in a suit and hat descends steps from a building entrance while another man in a coat and hat stands on the sidewalk nearby; a car is parked in the foreground. The building has a sign above the door and a window with a figure visible inside.
- A man in a suit walks down the steps of a building. [frame:1]
- A second man stands on the sidewalk near the steps. [frame:1]
3 people observed.
Evidence, details and a link to share
28:571 of 1 shots sampled
29:061 of 1 shots sampled
Model synopsis: A boy in a hat and coat stands near stairs while a woman looks out a window of a brick building. No names or specific events are mentioned in the transcript.
- Boy stands near stairs, looking slightly downward. [frame:1]
- Woman looks out window of brick building. [frame:2]
2 people observed.
“Oh, oh.” 29:20
Evidence, details and a link to share
Model synopsis: A woman in an apron speaks to a boy in a suit and hat inside a room with wallpaper and a couch. The transcript includes a letter addressed to Johnny from his mother, saying she cannot have him visit today, and the boy reacts with disappointment.
- A woman gestures toward a boy standing in a living room. [frame:1]
- The boy looks down with a sad expression while holding a letter. [frame:2]
Named: Danny (t:29:29). 2 people observed.
“Danny child.” 29:29 · “Dear Johnny,” 29:36
Evidence, details and a link to share
30:171 of 1 shots sampled
Model synopsis: A woman in an apron stands in a room with striped wallpaper and a tufted sofa, holding a small object. No dialogue or on-screen text is present in this beat.
1 person observed.
Evidence, details and a link to share
Model synopsis: A man in a suit and fedora stands at a counter in a cluttered shop, handling an object. He then looks down with a somber expression while the transcript contains only 'Yeah.'
- A man stands at a counter and handles a dark cylindrical object. [frame:1]
- The man looks down with a somber expression. [frame:2]
1 person observed.
“Yeah.” 31:22
Evidence, details and a link to share
Model synopsis: A man in a suit and hat stands at a counter in a cluttered shop, speaking with an older man seated behind it. The standing man handles a radio while the seated man watches and responds, with dialogue indicating a transaction or borrowing of the radio.
- A man in a suit sits behind a counter in a shop. [frame:1]
- A man in a hat and suit stands at the counter holding a radio. [frame:2]
- The two men face each other across the counter with the radio between them. [frame:3]
- 1 more under Evidence and details.
2 people observed.
“Wait a minute.” 31:28 · “Wait a minute.” 31:30
Evidence, details and a link to share
32:211 of 1 shots sampled
Model synopsis: A man in a dark suit sits slumped in a high-backed chair with his eyes closed. The setting appears to be an interior room with patterned wallpaper and curtains.
1 person observed.
Evidence, details and a link to share
32:271 of 1 shots sampled
Model synopsis: A man in a dark suit stands in a dimly lit room while another person sits in a chair. The room has patterned wallpaper and a lamp on a side table.
2 people observed.
Evidence, details and a link to share
32:351 of 1 shots sampled
Model synopsis: A man in a dark suit walks away from the camera toward a wall in a dimly lit room with patterned wallpaper and a lamp on a side table. Another person is seated in a chair to the left, partially visible in shadow.
2 people observed.
Evidence, details and a link to share
32:411 of 1 shots sampled
Model synopsis: A man stands holding a white garment in a dimly lit room with patterned wallpaper; another person sits in a chair in the foreground. No dialogue or on-screen text is present in this beat.
2 people observed.
Evidence, details and a link to share
32:451 of 1 shots sampled
Model synopsis: A person is visible in bed, partially covered by a blanket, while another person's arm and torso lean over them. The setting appears to be a bedroom with patterned wallpaper and a carved headboard.
2 people observed.
Evidence, details and a link to share
Model synopsis: A man in a suit walks up steps toward a building entrance while another man in a hat stands nearby; inside, a man and a woman in an apron converse in a room with curtains and a chandelier. The transcript includes dialogue about someone sitting on steps for hours, a note arriving, and a warning about a woman named Millie near a child.
- A man in a suit walks up steps toward a building entrance. [frame:1]
- A man and a woman stand facing each other in a room with curtains and a chandelier. [frame:2]
Named: Mrs. Price (t:32:57), Jeff (t:33:22), Millie (t:33:20). 6 people observed.
“Hello, Mrs. Price.” 32:57 · “Can I get home yet?” 33:00
Evidence, details and a link to share
33:421 of 1 shots sampled
Model synopsis: Two men stand near a microphone in a studio setting while a third man works at a table in the background; instructions are given about microphone use and reading from a script. No names are spoken, and the setting appears to be a radio or film studio.
- A man holds a hat and stands near a microphone while another holds papers and speaks to him. [frame:1]
- A third man works at a table with fruit and bowls in the background. [frame:1]
3 people observed.
“Just stand there and don't talk too loudly.” 33:39 · “And when I give you the go-ahead...” 33:41
Evidence, details and a link to share
34:001 of 1 shots sampled
Model synopsis: A man in a suit stands in a room holding papers while speaking; another man is visible through a window. The transcript includes fragmented dialogue about being a 'good Indian' and a request for more feeling.
2 people observed.
“All right, go ahead.” 33:57 · “Me?” 34:00
Evidence, details and a link to share
Model synopsis: A man in a suit reads from a paper while speaking into a microphone; another man stands in a room with a window looking into a control booth. The transcript contains fragmented lines suggesting a tense or dramatic scene.
- Man p1 reads from paper into microphone. [frame:1]
- Man p2 stands in room with window; man p3 visible through window in control booth. [frame:2]
- Man p1 continues reading, looking upward. [frame:3]
3 people observed.
“Me not want to kill nobody.” 34:08 · “Never know time.” 34:10
Evidence, details and a link to share
34:511 of 1 shots sampled
Model synopsis: A man in a suit stands holding papers while another man in a suit sits at a desk with papers. The setting appears to be an office with a microphone visible.
2 people observed.
Evidence, details and a link to share
35:101 of 1 shots sampled
36:581 of 1 shots sampled
38:001 of 1 shots sampled
38:301 of 1 shots sampled
39:211 of 1 shots sampled
39:461 of 1 shots sampled
40:461 of 1 shots sampled
40:471 of 1 shots sampled
40:481 of 1 shots sampled
43:121 of 1 shots sampled
43:201 of 1 shots sampled
43:271 of 1 shots sampled
44:541 of 1 shots sampled
47:161 of 1 shots sampled
48:251 of 1 shots sampled
48:481 of 1 shots sampled
48:511 of 1 shots sampled
52:051 of 1 shots sampled
52:381 of 1 shots sampled
52:491 of 1 shots sampled
52:561 of 1 shots sampled
53:051 of 1 shots sampled
53:191 of 1 shots sampled
53:341 of 1 shots sampled
53:401 of 1 shots sampled
54:241 of 1 shots sampled
55:111 of 1 shots sampled
55:131 of 1 shots sampled
55:291 of 1 shots sampled
56:071 of 1 shots sampled
57:001 of 1 shots sampled
57:041 of 1 shots sampled
57:091 of 1 shots sampled
57:141 of 1 shots sampled
57:221 of 1 shots sampled
57:401 of 1 shots sampled
58:181 of 1 shots sampled
58:281 of 1 shots sampled
Transcript
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1320 segments kept, 237 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.
- 0:34 Yeah.
- 0:35 Yeah, just a minute.
- 0:39 Second, please.
- 0:45 Who is it?
- 0:46 Just further.
- 0:48 Why, Jeff, my boy! How are you, Charlie? Oh, pizzicato, pal, pizzicato. Come on in. You're a cipher. Sore eyes. How do you feel? What's going on in Europe anyway? Everything in an uproar, huh? Come on, tell me all about it.
- 1:00 Funny thing you know I I got my habit of doing my eating between meals had a little trouble the hotel and moved in here just get closer to business.
- 1:06 Well, how is business? Oh, sensational. But it'll get better. But let's talk about you. You know you're a stranger in these parts. You might at least have sent a guy a postal card saying have a wonderful time. Wish you were there. X marks my room. Charlie, I've been in Lisbon trying to get a boat home, but I don't want to talk about that.
- 1:19 I'm home and all have a thing not a lot of job but right now I want to know what million Danny are.
- 1:24 You'd better have a drink.
- 1:25 Charlie.
- 1:25 Queries, Millie. I expected her to meet me at the boat with Danny, but she didn't. Why not?
- 1:30 If you know, tell me, don't stop.
- 1:32 Well, how long has it been since you heard from Ellie? I heard from her right along. Not often because...
- 1:37 The mails were slow where I was.
- 1:39 What's this all about, Charlie?
- 1:41 Chief, you better take a drink. What happened?
- 1:44 Old chap.
- 1:45 Millie divorced, Jake. My...
- 1:47 What?
1300 more segments
- 1:50 She always cried out to answer my letters.
- 1:53 Not much about a step is all about Danny. Come on take a drink take a drink.
- 1:58 Any idea where she is?
- 1:59 Yes.
- 2:00 She's at the Morrison on Park Avenue.
- 2:03 Penthouse, you know Millie, she always wanted that.
- 2:05 Well, she's married again to a man named Sam Rankin.
- 2:07 A Wall Street broker.
- 2:09 You were just a step on our way up.
- 2:12 Jeff! Jeff, wait!
- 2:14 I'll take that brick for you.
- 2:20 Women. Women!
- 2:43 Yes, sir, what is it? I want to talk to Mrs. Rankin. Is she expecting you, sir? No.
- 2:51 Well, Millie...
- 2:53 - Jeff! - Don't try to act. You don't know how, you never did.
- 2:56 Charlie was right.
- 2:57 Give me what you wanted and you got it. Congratulations.
- 3:00 Where's Danny?
- 3:02 Yeah.
- 3:03 What's the matter? Doesn't your new husband want him around?
- 3:05 He wouldn't be happy here we entertained too much.
- 3:07 It's cool.
- 3:08 My husband can support him very much better than you can, ever could or ever will. That's fine.
- 3:14 Well, let him support you, Mellie, for the job.
- 3:18 Where is he?
- 3:20 I don't have to tell you. I think you'd better.
- 3:23 The court gave me complete custody now.
- 3:26 Danny has everything out.
- 3:27 Everything but a mother.
- 3:29 I'm not going to ask you again.
- 3:33 You can't bully me, Jeff. I'm not afraid of you.
- 3:35 I've done nothing wrong.
- 3:37 Maybe not according to your code.
- 3:39 But it could cause quite a scandal by reopening the divorce case. You wouldn't want that, would you?
- 3:47 Call the people who've got Danny and tell them I'm coming after him.
- 3:51 Go ahead, Millie.
- 4:01 After all, I am Danny's mother.
- 4:03 Whistler should have painted you.
- 4:16 I want to talk to Colonel Gregory, please.
- 4:20 He's at Brockton.
- 4:21 brought to the military academy.
- 4:23 Hello, Colonel Gregory.
- 4:25 This is Mrs. Samuel Rankin speaking.
- 4:28 I'm calling about Danny.
- 4:30 His father, Mr. Carter, is coming to see him. To take him home with him.
- 4:37 Go ahead, Millie, say it.
- 4:40 Yeah, to...
- 4:42 Home.
- 5:08 Mrs. Rankin.
- 5:09 boy.
- 5:10 Will you have him with you long?
- 5:11 I don't know, Colonel.
- 5:14 I haven't seen Danny for such a long time we'll sort of have to get acquainted all over again.
- 5:17 I see.
- 5:18 We like the boys.
- 5:20 I think he likes the school.
- 5:23 How are you?
- 5:29 Sergeant Carter reporting, sir.
- 5:31 At ease, Sergeant.
- 5:33 Hi, soldier.
- 5:35 Dad! When did you get home? Yesterday.
- 5:40 Oh you've been gone away so long. Yeah too long but I'm home now to stay.
- 5:44 You must get packed because you're going with me.
- 5:46 Where, Dad? - Home.
- 5:48 - Who? - Yes.
- 5:49 Say goodbye to Colonel Gregory.
- 5:53 Goodbye, son.
- 5:55 Bye, Colonel.
- 5:56 Thank you, Colonel Gregory.
- 5:59 Come on, son.
- 6:05 Miss Holmes?
- 6:07 Soon find out, son.
- 6:20 Well, Jeff Carter, of all people on this wide earth. Oh, Mrs.
- 6:24 price?
- 6:25 I wasn't sure you'd remember me. And why should I forget you?
- 6:28 And this grown-up young man in his soldier suit. This is my son Danny, Mrs. Price.
- 6:34 How do you do, Mrs. Price?
- 6:36 How do you do?
- 6:37 Well, I never would have guessed it. And look at the size of him.
- 6:40 Will you folks come to stay with me for a little while?
- 6:43 Excuse us a minute, son.
- 6:44 Yes, sir.
- 6:46 - He's a prize, sir.
- 6:50 See you all right.
- 6:51 I've been over in Europe studying voice. I just got back today and...
- 6:55 To tell you the truth, I'm flat broke.
- 6:57 Where's the wife?
- 6:59 She divorced me, remarried.
- 7:00 How'd she do?
- 7:03 She did all right.
- 7:04 Married a million.
- 7:05 Mm-hmm.
- 7:06 Now, about the room.
- 7:07 I'm ready to work.
- 7:09 I think I'll get a job in a few days.
- 7:12 Do I get passes the night you open? Oh, you bet you like you do. It's for your hair. I'll hold you to that now.
- 7:18 As for the rooms,
- 7:19 I trusted you and Millie a long time ago, Jeff.
- 7:22 And I'll trust you and the boy now. - Thank you. - Come on. Get your separate.
- 7:26 Come on, son.
- 7:29 Why, where are the rest of your bags, Jeff? Well, I left them down at Charlie Grady's office. I'll pick them up a little later. Oh, all right. This way.
- 7:40 Well?
- 7:41 Does it look like home or don't it?
- 7:43 It's very nice.
- 7:45 - Thank you very much. - He's certainly got his manners.
- 7:48 Well, when you hear the supper bell, you'll know what to do.
- 7:51 and to think.
- 7:52 When I first saw you,
- 7:54 You're no bigger than that.
- 7:58 Thank you, Mrs. Price.
- 8:00 All right.
- 8:00 Well, Danny.
- 8:03 I guess this will be your bed here, son. You might start unpacking your things now.
- 8:06 Yes, sir.
- 8:07 Shall I change that?
- 8:09 You look great, just as you are.
- 8:27 Sort of different from where you've been living, isn't it, son?
- 8:30 Yes, sir.
- 8:33 Well, you'll get to like it here. Nice people.
- 8:36 Yes, sir.
- 8:37 I mean...
- 8:38 Sure, Dad. Oh, that's better.
- 8:41 Now look.
- 8:43 As soon as we get organized, we've got a lot of big things to do together.
- 8:47 You still like the movies, don't you?
- 8:48 Oh, sure, dear.
- 8:50 A little later we'll...
- 8:51 We'll look for a car so it can...
- 8:53 So we can take trips.
- 8:54 Go fishing.
- 8:55 How does that sound?
- 8:57 Fine.
- 8:58 No.
- 8:58 for us.
- 8:59 Souljah.
- 9:00 Thanks, Dad.
- 9:20 This cow is ready.
- 9:21 I'm going to be leaving.
- 9:23 That guy can't book a knife.
- 9:25 All right, everybody. Remind me, Lens. I'll go over that number one.
- 9:33 Yeah.
- 9:34 I never thought to fail. Every time I'm a half hour late dinner is always an hour late.
- 9:42 I saw it.
- 9:45 Come in, Jim. Come right in.
- 9:49 Meet Jeff Carter.
- 9:54 And the young soldier's his son Danny.
- 9:56 Hiya, Jack. Sit down. Sit down. Sit down. Sit down.
- 10:02 Watch this, son.
- 10:07 All right.
- 10:09 Yeah, my.
- 10:11 So that's where all my good silverware goes.
- 10:15 Oh, that's nothing.
- 10:17 Get this one, boy.
- 10:19 Here's one I slayed them with.
- 10:20 Never miss.
- 10:21 The boy wonder.
- 10:24 Just eat your supper son.
- 10:26 And pay no attention to these weird characters.
- 10:29 Yes, ma'am.
- 10:31 My friend.
- 10:33 As this seems to be a spectral occasion,
- 10:35 I shall now give you the reading that has made me famous.
- 10:39 My impression
- 10:40 of the immortal Booth.
- 10:42 Here we go. Boom. We are put.
- 10:46 Love.
- 10:47 "Vlogging over Africa."
- 10:51 That's enough. That's fine. That's fine.
- 10:54 about this.
- 10:55 Go on with your supper, folks.
- 11:10 Atta, girl, boy.
- 11:12 Sure can pound the ivory.
- 11:13 - Thank you very much. - Hey, Jeff.
- 11:16 How about singing one of them Italian songs you learned over in Europe?
- 11:19 - Yes, Jeff, I'd love to hear you sing something.
- 11:24 All right. I'll...
- 11:25 I'll sing my favorite song.
- 11:30 Danny boy.
- 11:32 The pipes, the pipes are calling.
- 11:38 From glen to glen and down the mountainside.
- 11:49 - Oh.
- 11:50 Come along.
- 11:53 And all the roses
- 11:58 Calling
- 12:00 It's
- 12:01 You must
- 12:04 Go
- 12:06 And I must
- 12:11 - Why?
- 12:15 But come you back when summer's in the manhole
- 12:28 For when the vales
- 12:34 Oh
- 12:35 I'm the white one.
- 12:37 Lance.
- 12:38 No.
- 12:43 And I'll be
- 12:46 Amen.
- 12:49 and
- 12:52 on
- 12:53 all in
- 12:55 Oh
- 13:02 Oh,
- 13:03 Honey boy
- 13:06 Oh, tell me boy
- 13:12 I love
- 13:15 You're welcome.
- 13:18 Oh, oh.
- 13:28 Excuse us.
- 13:30 Come along, son. I think we'd better be there.
- 13:32 Good night.
- 13:33 Good night.
- 13:43 Gee, Dad, you seem great.
- 13:45 Thanks, son.
- 13:47 That's the best review I'll ever get.
- 13:50 Danny, what time you're supposed to be in bed, son?
- 13:52 We have lights out at 8 o'clock.
- 13:53 Cool.
- 13:55 You'd better be getting undressed then.
- 13:56 Yes, sir.
- 13:59 Again?
- 14:00 Yes, sir.
- 14:02 Don't I have to go to school anymore? Why shouldn't you go to school?
- 14:06 Aww.
- 14:06 I just wondered.
- 14:08 We'll find you at school tomorrow.
- 14:10 You see, I don't want anybody to say, "Well, let a thing slip just because you're living with me now."
- 14:15 You've got to help me out now and then.
- 14:16 How?
- 14:17 Well, tell me the things to do in case I forget.
- 14:19 Oh.
- 14:20 I'll try, very hard. Oh, that's good enough for me.
- 14:26 Dan?
- 14:28 Yes, huh?
- 14:32 Could I ask you something? Oh, I don't see why not.
- 14:36 Can't mom be with us too like she used to be?
- 14:44 I'm afraid not, son.
- 14:47 Why not?
- 14:51 Things like this happen to a lot of married people.
- 14:53 You see?
- 14:54 Sometimes they find out they're happier living apart.
- 14:58 Why, Dad?
- 15:00 when you know your mother's a beautiful lady.
- 15:02 She loves beautiful things, but...
- 15:05 Daddy hasn't been able to make enough money.
- 15:08 so far.
- 15:09 to be able to buy those beautiful things for us.
- 15:12 Oh, mother.
- 15:13 wasn't happy living under those conditions.
- 15:17 You see?
- 15:19 I guess we just have to do the best we can.
- 15:23 Understand, Danny?
- 15:25 I guess so.
- 15:27 It's kind of mixed up, isn't it?
- 15:30 Saw that.
- 15:32 Dad. There are tears in your eyes. No not me son I'm I'm just.
- 15:36 Just happy to see you again, that's all.
- 15:38 Me too, Dad.
- 15:42 I did.
- 15:43 Hmm?
- 15:44 Look at things trading now how won't you bet your life will
- 15:47 You run along and get undressed.
- 15:57 You know Charlie but Charlie told me to hire me when I had enough European study on my belt.
- 16:02 I've been studying plenty don't worry about a thing leave everything to me it's a sense but telling me or just like that.
- 16:13 How do you do?
- 16:20 Read it.
- 16:22 Representing Mr. Jefferson Carter.
- 16:24 to see Senor Vachali. What about?
- 16:26 What about?
- 16:27 He's hiring singers, ain't he?
- 16:28 Well, I got one of the best.
- 16:29 Go on, tell him.
- 16:30 Signor Pacelli never interviews.
- 16:32 So now, how does he get him?
- 16:33 - What is the sense for them?
- 16:35 Well, I'll give it, Charlie.
- 16:37 I sank for Senor Pacelli a number of years ago. In the meantime, I've been in Europe studying.
- 16:41 Would you be kind enough to give my name please? Carter.
- 16:44 Jeff Carter.
- 16:45 Tell him if you don't grab Mr. Carter quick, I'll take him somewhere else. I got a dozen opera companies crazy to get my man right now.
- 16:52 Amen.
- 17:01 Oh
- 17:06 And the sign of the cellar party.
- 17:08 What is it? What is it?
- 17:10 Where is the list of singers? Oh, right here, signor Pocelli, right here. Read the names quickly. - Mini Fiore. - Has been. Guilhermo. - Never was been. Armanda. - Mi, mi, mi, mi, ho flat. Pui.
- 17:22 Why? Why? No more. No more. Please.
- 17:25 Why does this happen to me? Why? It's a conspiracy. But, Sr. Pacelli. Always the same.
- 17:30 Same, all is the same. Why are there no new voices? Somewhere on this earth there must be a man whose voice is new, but do I find him? No. Does he come to me? No. Senior Fratelli, there's a man out there. Says his name is Brady. But can he sing? I don't think so. Anyway, tell me. He represents a singer. But who? A man by the name of Jeff Carter.
- 17:50 He says you heard him sing several years ago. I do not remember. If I do not remember, he is no good. If he is no good, he is no good to me. I go to the baseball game. Oh, shall I tell Mr. Grady? Tell him to tell his singer to go get a reputation. Then Fashel will send for him.
- 18:17 Charlie.
- 18:20 You sure Pacelli knows you? Oh, sure, sure, come on.
- 18:25 Well, is Mr. Procelli ready to see us?
- 18:27 And Signor Pacelli is gone for today.
- 18:29 Con?
- 18:31 I didn't see him go. Nevertheless, he's gone.
- 18:34 A new kind of show business, huh?
- 18:36 Let me tell you something, for every 10 minutes that guy keeps me waiting, it's gonna cost him just that much more to get Mr. Jefferson Carter.
- 18:43 Come on, Jeff.
- 18:47 And don't forget it.
- 18:58 Amen.
- 19:05 Oh.
- 19:11 *throwing*
- 19:16 Right.
- 19:18 It's time we're getting home.
- 19:21 Don't tell me you didn't see Pacelli today either.
- 19:24 After two weeks?
- 19:25 Why, what's the matter with that man?
- 19:27 Let you in on a secret, Mrs.
- 19:30 Pacelli hates
- 19:31 Singers.
- 19:33 I want to pay some rent.
- 19:35 How much do I owe you, sir, Father?
- 19:36 Have I asked you for it?
- 19:38 how much pressure.
- 19:41 Well...
- 19:42 Make it $10.
- 19:45 Two weeks boarding room for two ten dollars.
- 19:47 Oh, no.
- 19:48 that to me Mrs Price is bad enough anyhow.
- 19:50 Here.
- 19:53 - Pays your watch.
- 19:56 Oh, I left it to be.
- 19:57 pack
- 19:58 Yeah?
- 20:00 Yes.
- 20:01 Put this in your pocket.
- 20:04 The time and place for pride. But this ain't it.
- 20:10 Is Danny upstairs?
- 20:20 Amen.
- 20:24 - Mm-hmm.
- 20:25 Amen.
- 20:35 Hi, Dad. Hello, son.
- 20:36 I'll take them for you Thank you
- 20:43 Did you say, Señor, for joy today?
- 20:46 Gee, Dad, what's the matter with him?
- 20:48 - Do you know who you are or what?
- 20:50 Shelly's a busy man, very busy, son.
- 20:53 He has a lot of work to do running a big opera company, hundreds
- 20:56 - Musician?
- 20:57 - Fingers.
- 20:58 and none of them would sing like you can.
- 21:00 Can they?
- 21:02 I don't know.
- 21:04 Having trouble with your homework?
- 21:06 Oh, no, sir.
- 21:07 I'm here, most.
- 21:08 in my room.
- 21:10 Yeah.
- 21:12 What happened to your coat?
- 21:14 Dad.
- 21:16 I had a fight today.
- 21:19 What about?
- 21:20 Oh, nothing much.
- 21:23 kids.
- 21:23 something about
- 21:25 Well...
- 21:26 Kids that go to military school.
- 21:29 He said they were cysts.
- 21:31 So I had to
- 21:34 Wow.
- 21:36 I guess you don't think I'm a sissy now.
- 21:45 Dad!
- 21:45 Huh?
- 21:46 Have you seen Mom?
- 21:49 I guess she's awful.
- 21:50 busy, don't you?
- 21:51 I guess so.
- 21:53 Do you know her new husband?
- 21:56 He's kind of a nice fella.
- 21:58 And he's awful rich too.
- 22:00 I know.
- 22:01 You ought to see where mom lives now.
- 22:03 What?
- 22:04 Well...
- 22:08 I'd kind of like to see Mom sometime.
- 22:12 Son.
- 22:13 Yes, sir. Had you rather be with Melvin?
- 22:15 and here with me?
- 22:17 Not if you weren't there too.
- 22:19 If you change your mind...
- 22:21 Be sure and let Dad know.
- 22:24 to run along now and wash up for Mrs.
- 22:25 The price will be ringing the dinner bell any minute now. All right, sir.
- 22:35 Amen.
- 23:07 find out if my son is here, and if he is, tell him to come and see me.
- 23:17 Amen.
- 23:28 - Oh, yes. - What is it? Have you ever given my name
- 23:31 Of course, every day. Is he ever going to see me? I'm sure I can't say. Which means no, doesn't it?
- 23:39 Doesn't he want any new singers?
- 23:40 I'm afraid I can't speak.
- 23:44 disheartening.
- 23:52 Gee, Mom.
- 23:53 You'll find
- 23:55 Are you surprised to see me?
- 23:57 Kind of.
- 23:58 I suppose your father's been telling you I didn't want to see you.
- 24:02 Dad and me don't talk about you much.
- 24:04 Almost.
- 24:06 I see, Dad's been very busy.
- 24:09 Doing what?
- 24:09 Fix him to sing at the opera.
- 24:11 Oh, gee, Mom, can't Dad sing?
- 24:14 Yes, yes, he sings very well.
- 24:17 Don't you miss military school, Danny?
- 24:20 - Some.
- 24:21 Sometimes.
- 24:22 but it's more fun than
- 24:23 dead.
- 24:25 - Mom.
- 24:26 Why won't you get mad if I ask you something?
- 24:28 something.
- 24:30 Well, what?
- 24:31 Do you suppose maybe there's any chance of you and Dad and all of us could be back? Ah, divorced, Danny.
- 24:41 You're not mad 'cause I ask you, are you, Mom?
- 24:46 How did you tear your coat?
- 24:48 Oh, I got nothing.
- 24:49 Why, that's cool.
- 24:50 Mrs. Price fixed it.
- 24:52 fight.
- 24:52 Danny.
- 24:55 Arthur, to Seven, you please.
- 24:58 We're going shopping.
- 25:00 But what?
- 25:01 I'm going to buy you some nice clothes.
- 25:03 Oh, yeah.
- 25:29 Hmm.
- 25:45 Hi, Dad. Hi, soldier.
- 25:47 What's all this?
- 25:48 Presents from Mom.
- 25:50 We've been shopping all afternoon, all over.
- 25:52 You must have quite a day. We had a great time.
- 25:56 Mom got me a new suit and...
- 25:57 some shoes and all kinds of stuff.
- 26:01 I wish Mama had known your home. You know what, Dad? Mom's got a new car. Limousine.
- 26:06 Goes like that.
- 26:07 How is your mother?
- 26:08 Oh, but the
- 26:09 same
- 26:10 You know what, Dad?
- 26:12 Mom's sitting in the chauffeur with a car to get me Saturday.
- 26:14 and I get to go over to her house and we're gonna have a party.
- 26:17 Just for me.
- 26:18 Saturday.
- 26:20 My birthday, did you forget Dad? Of course not son.
- 26:23 I think that's fine of your mother.
- 26:25 Only I wish you'd be there too, Dad.
- 26:28 Oh, you'll have a wonderful time and Dad will be thinking of you.
- 26:33 I think it's great son I think it's great well come on let's see what you got.
- 26:46 Hi, Charlie. Hi, Jeff. What's new? Oh, not a thing. I don't know. I've tried everything, but nothing seems to break.
- 26:53 I'm all right with tap dancers and acrobat but for you.
- 26:56 Well, I guess I'm just not the man.
- 26:58 If you can't get me a job, nobody else can, Charlie. I know that.
- 27:01 I'm glad you feel that way about it, but...
- 27:03 For once in my life, I'm just about ready to quit.
- 27:05 Well, I'm getting sort of discouraged myself.
- 27:08 Charlie.
- 27:13 I want to ask you a question that I should be able to answer myself.
- 27:17 Do you think I should let the boy go back with his mother?
- 27:20 Better put him back in military school.
- 27:23 You're gonna get mad if I say yes.
- 27:24 No.
- 27:25 Well then, Jeff, that's it.
- 27:26 Look, a fella in your place can't afford to carry any extra weight.
- 27:29 I know it hurts to give the boy up.
- 27:31 But I know and you know
- 27:33 that you're in no spot to do the things for him she can.
- 27:36 That's right.
- 27:39 This is his birthday.
- 27:40 that's all
- 27:42 His mother is having him over for the day. She's giving him a party.
- 27:46 For us, there'll be presents.
- 27:49 Well...
- 27:50 I asked you.
- 27:51 You told me.
- 27:53 That's that.
- 27:55 Now, wait a minute, Jeff.
- 27:56 You got a great voice there's a market for this simply got to be.
- 28:00 I'm not quitting I don't want you to quit either.
- 28:02 Come on let's just keep plugging a few days long and see what happens.
- 28:06 Is that okay with you?
- 28:08 OK, Charlie.
- 28:54 Where's my mother? She sent you this note.
- 29:20 Oh, oh.
- 29:29 Danny child.
- 29:31 What is it?
- 29:36 Dear Johnny,
- 29:38 Mother is very sorry.
- 29:39 but she won't be able to have you come to see
- 29:42 here today.
- 29:43 Oh,
- 29:44 Oh, Danny.
- 29:49 What a mother.
- 29:51 something wrong Mrs. Price?
- 29:57 I can't believe a mother would do such a thing.
- 30:00 She would.
- 30:01 And she did.
- 30:03 call it.
- 30:04 fellow.
- 30:05 All he gets for his birthday is a broken heart. I'll go upstairs and see if I can cheer him up
- 30:11 I doubt if anyone can do that.
- 30:13 At least I can try.
- 30:22 - Oh, so you're back here again, huh? - Yes, I want to borrow some money on my music.
- 30:27 My friend, I'd like to do business with you, but what good to me is music?
- 30:31 - You've got my watch, you've got a suitcase full of money.
- 30:33 close and
- 30:34 My overcoat, you might get stuck with those, but...
- 30:37 - This music was so good.
- 30:37 This means everything in the world to me.
- 30:39 I couldn't get a job without this.
- 30:42 I sang this role in Europe.
- 30:44 This one too.
- 30:45 Classics, huh?
- 30:46 Well, I'm sorry. There ain't no market for that stuff.
- 30:52 How much is that radio?
- 30:54 - With one?
- 30:55 $10 practically new my music's worth a lot more than that look at the
- 31:00 Hold my music and let me have the radio.
- 31:02 What do you want with a radio?
- 31:04 I have a son 11 years old.
- 31:05 birthday
- 31:07 I've got to take him something.
- 31:09 How are you going to make a living if you haven't got your music?
- 31:12 There's a lot more music in that radio than there is in me now.
- 31:14 Well, I'm sorry. Can't do business like that.
- 31:22 Yeah.
- 31:28 Wait a minute.
- 31:30 Wait a minute.
- 31:36 Take the boys' radio.
- 31:39 I don't know.
- 31:44 Oh, I'll be back for it, don't worry.
- 31:56 Count, count, count, count the bullets in your bandolier. If your eyes drop, they'll get atop of you.
- 32:09 Roots moving up and down again. There's no discharge in the war.
- 32:52 Oh, my God.
- 32:56 Amen.
- 32:57 Hello, Mrs. Price.
- 33:00 Can I get home yet?
- 33:02 Why, he never left.
- 33:04 What do you mean?
- 33:06 He sat out there on the steps for hours, all dressed up.
- 33:09 and his shoes polished so you could see your face in them.
- 33:12 And then this note came.
- 33:20 I think Millie would pull a thing like that.
- 33:22 Jeff, don't you ever let that woman get near the child again after what she did to him today. It's something he'll never forget as long as he lives.
- 33:32 Referred to you by his price.
- 33:34 Oh, yes, I know.
- 33:36 Have you had any microphone experience and I'm afraid not.
- 33:39 Just stand there and don't talk too loudly.
- 33:41 And when I give you the go-ahead...
- 33:44 Read this.
- 33:57 All right, go ahead.
- 34:00 Me?
- 34:01 Red deer.
- 34:03 Me, good Indian.
- 34:04 With more feeling, please.
- 34:08 Me not want to kill nobody.
- 34:10 Never know time.
- 34:12 But you heard laughing cowboy.
- 34:15 Red deer.
- 34:16 He have to kill you.
- 34:17 That's enough.
- 34:18 That's enough.
- 34:23 You'll do.
- 34:25 Rehearsal Thursday 11.
- 34:26 First performance Saturday.
- 34:29 $50 a show.
- 34:32 Don't you want to hear me sing this isn't a singing job you're the new red deer.
- 34:36 I'm what?
- 34:38 You're playing the part of Red Deer in the Laughing Cowboy program, the American Stoveout. But look, I'm a singer. I don't get this Indian business.
- 34:45 Do you want the job or don't you?
- 34:50 I want it.
- 34:59 Hi Dad. Hi son. Gee you're home early.
- 35:02 You seem as to
- 35:03 - Did you show it today?
- 35:04 No.
- 35:06 Mom called?
- 35:08 Did she?
- 35:09 Yeah, she's expecting me Saturday.
- 35:10 I could just come and stay the whole day.
- 35:12 Isn't that swell? Oh, that's wonderful.
- 35:15 Looks like Saturday is going to be a great day for both of us.
- 35:18 Hi, Dad.
- 35:19 Sunday, did you ever hear of a radio program called
- 35:22 Red deer, laughing cowboy.
- 35:24 What?
- 35:25 Why sure, Dad. Lots of times. All the time when I was at military school, we had a radio. Do you like it?
- 35:31 Oh, it's great.
- 35:32 Do you like red deer?
- 35:33 Roger the brave Indian. Why if it wasn't for Redger the laughing cowboy never get out of anything. Oh a handy fella.
- 35:40 Oh, he's very handy.
- 35:42 Well...
- 35:44 Danny?
- 35:47 There's going to be a new Red Deer.
- 35:49 He isn't gonna be killed, is he?
- 35:53 Son?
- 35:55 Meet the new red deer.
- 35:56 Huh?
- 35:57 - You rat, dear? - Mm-hmm. Look here, son.
- 36:00 You know...
- 36:02 Your dad used to be an actor before he tried to be an opera singer. So he's just going back to acting a while, playing the part of Red Deer the Brave Indian.
- 36:09 For death.
- 36:10 - Amos? - Amos?
- 36:12 On the radio all the time? On the radio all the time. I hope. - When do you start being Red Deer? - Saturday.
- 36:19 Can I tell the kids at school? Sure.
- 36:21 Is Red you're gonna sing now? No, just going to be an Indian.
- 36:29 What kind of a fellow is this Reddy?
- 36:31 Oh, he's a wonderful fella. I know, but...
- 36:33 How does he talk? How does he sound?
- 36:35 You're a red deer expert.
- 36:37 I never heard him.
- 36:38 I did.
- 36:41 Want to be anything, cowboy?
- 36:43 Me? Sure.
- 36:46 But she's an actor. So are you.
- 36:50 If you're not there a lot of generations have gone to waste.
- 36:53 You know, your granddad...
- 36:55 played Shakespeare 30 seasons.
- 36:57 Sometimes good, sometimes bad.
- 37:01 As a matter of fact, your dad wasn't the worst actor in the world.
- 37:03 Your mom acted too.
- 37:06 Mom was a dancer. She told me.
- 37:08 Hector's blood just the same. Come on.
- 37:12 You're right there.
- 37:13 Now...
- 37:14 I talk.
- 37:15 You talk.
- 37:16 And I talk and...
- 37:17 Maybe I got set for the rehearsal.
- 37:21 Horses who, spading on. Yeah, now wait a minute. You don't play all the parts, you know.
- 37:26 You just read the lines where the Latin cowboy talks.
- 37:29 Oh.
- 37:30 Laughing cowboy, coldly.
- 37:32 Stand where you are. Don't nobody move a finger.
- 37:35 I got you covered. Drop those guys.
- 37:38 Hey.
- 37:39 You want to smile when you say that, partner.
- 37:43 I'm sorry, son.
- 37:44 Guess I'd better stick with it.
- 37:46 Go on.
- 37:47 - Up.
- 37:49 Sound, oncoming hoops.
- 37:50 Here comes Red Gear now. Come on, Dad. You talk now.
- 37:54 Oh, yeah.
- 38:01 What's the matter?
- 38:02 That isn't a very good war.
- 38:04 Well, what's wrong with my Wahoo?
- 38:06 It didn't scare me.
- 38:08 Whoa.
- 38:09 Look, sir.
- 38:11 As actor to actor, I'll tell you a secret.
- 38:13 Only ham actors resent criticism.
- 38:16 It's a hound.
- 38:17 or what I do.
- 38:18 I certainly hope I'm not one.
- 38:20 You see?
- 38:21 Acting is just pretending.
- 38:23 for example.
- 38:24 You pretend to be somebody you aren't or.
- 38:27 to mean something that you don't mean at all, really.
- 38:30 The audience believes you?
- 38:32 They don't believe you.
- 38:33 Then you're not an actor.
- 38:34 That's the secret.
- 38:36 - You understand?
- 38:37 Yes, sir.
- 38:38 But if you act whether you need to act or not,
- 38:41 Then you're a ham.
- 38:43 Yes, sir.
- 38:45 Listen.
- 38:46 If you ever catch me being a ham, you let me know, and I'll let you know too. Oh, all right.
- 38:52 It's your turn.
- 38:53 Oh.
- 38:54 Stand where you are. Don't nobody move. I got you coming.
- 38:58 Drop them guns and don't hesitate.
- 39:03 *crying*
- 39:05 We're surrounded now.
- 39:10 What's the matter?
- 39:13 You don't sound like Red Deer.
- 39:15 Why not?
- 39:16 What?
- 39:17 Well, Red, you're kind of scared.
- 39:18 Scared.
- 39:19 Well,
- 39:21 Give me a rough idea.
- 39:24 Me too.
- 39:26 The critics no like.
- 39:28 Red deer, no eat.
- 39:29 Come on, give me that war hoop. Come on.
- 39:34 All right.
- 39:40 I see what you mean, all right.
- 39:50 For mercy's sake, what's going on here? Oh, it's all right, Miss Price.
- 39:53 Just a couple of actors rehearsing that's all. Rehearsing for what? For my job.
- 39:58 Did you get it? We're all set.
- 40:00 We'll be back in a minute, Sam. Come on, I'll tell you all about it.
- 40:08 Mrs. Price, I finally quit kidding myself about Pacelli.
- 40:11 From now on I'm going to be an actor again.
- 40:13 I'm going to play the part of Red in the Laughing Cowboy program.
- 40:16 What do you mean? I sent you over there so they could hear you sing.
- 40:19 They'll never hear me sing on this program.
- 40:21 After all,
- 40:23 It's a job and that's what I need.
- 40:25 Does that mean you're going to give up your career? What career?
- 40:28 After all you've gone through to get to be an opera singer look.
- 40:32 I lost my wife.
- 40:33 I almost lost my son trying to be a singer.
- 40:36 From now on, all I want is a job.
- 40:38 a steady job so I can keep my son.
- 40:41 Don't worry, everything will be fine.
- 40:50 - Oh, I beg your pardon, sir. - Well, what is the pick? Aren't you Raffaele Almonte? Yes, I am Almonte. What do you want? My own breath.
- 40:57 Wait, please.
- 40:58 They're waiting for me.
- 41:00 The orchestra every night. I just wanted to meet you, senor. I've heard so much about you.
- 41:04 I used to listen to your records a lot while I was studying.
- 41:07 - You're singing? - Yes, I...
- 41:08 Well, that is, I did. The greatest voice in opera for Celli's crazy to get him. The kind of voice they ought to have in opera instead of some of those has-beens they've been hiring me. You're speaking to a monkey.
- 41:19 Well, so what? Meet a real singer. No, no. Chime in, sorter. Go away. Senor. Go away. Go away. I'm terribly...
- 41:26 What's the matter with you?
- 41:28 Nice work, Charlie. For what I do.
- 41:30 Almonte only gets a thousand a week on the air.
- 41:33 Read in the paper this morning, Pichelli signed him up for another season.
- 41:36 What do you mean, that guy? That guy. You mean that's the kind of opposition you're up against?
- 41:39 Mister, you're a cinch. No, Charlie.
- 41:42 Alamont is still a big name and he's got the job.
- 41:45 You're not going to worry about that for a year. Nope. I just wish I was him. That's all.
- 41:49 Forget about it.
- 41:50 Look, son.
- 41:51 Mr. Great will get a cab and take you over your mother's I've got to get inside this rehearsal is going to be planted tough.
- 41:56 To tell you the truth, I'm not a stage fright.
- 41:59 5:15 is going to be a big minute for me.
- 42:02 You'll be all right.
- 42:04 I'll bet you're gonna be the best red deer they ever had. I studied with a great teacher.
- 42:09 Thanks, Dad. I'm going to listen to the program
- 42:11 I'm gonna ask Mama. She won't listen, too.
- 42:13 Have a good time, sir.
- 42:14 I will, dear. I'll see you at home tonight, huh?
- 42:16 Yes, Ren.
- 42:17 Good luck. That's my sentiments too. If you've got to be an Indian
- 42:21 Be a good Indian and I know you will be. Thanks Charlie. Goodbye. So long Jim.
- 42:27 Come in.
- 42:31 Sam, what are you doing home?
- 42:33 I decided to take the day off. Thank you, Marie.
- 42:36 Did a little shopping on the way home. Oh.
- 42:39 Darling, now don't tell me you've been buying more things for me. Really, you shouldn't.
- 42:43 No, these are for Danny. For his birthday.
- 42:47 Sorry I'm a week late, but you didn't tell me.
- 42:49 Sam, I think you're pretty foolish of you.
- 42:51 I don't think so.
- 42:53 I like that boy.
- 42:54 Wish he liked me.
- 42:56 Incidentally, he's due here any minute. Shouldn't you be dressed and ready when he gets here?
- 43:00 I'll dress in a minute.
- 43:02 Marie.
- 43:03 I'll try that dark nail polish tonight.
- 43:24 Oh, how do you do, Master Derry? Come in.
- 43:30 Hello, Danny.
- 43:31 Good afternoon, sir.
- 43:34 Is my mother... She'll be with us in a few minutes.
- 43:38 How are you?
- 43:42 Let's go sit down.
- 43:44 All right.
- 43:45 What are you doing with yourself these days?
- 43:47 Nothing much.
- 43:49 Here we are.
- 43:52 How schooled.
- 43:55 Playing any baseball?
- 43:56 No, sir.
- 43:57 Why not? Don't you like baseball?
- 44:00 Well...
- 44:01 You see, I don't have much time.
- 44:03 Right after school, I go home and help my dad.
- 44:06 Help your father do what, Annie?
- 44:08 Well, he says I'm a very good audience.
- 44:10 For what?
- 44:11 From today on, Dad's Red Deer on the radio.
- 44:15 He's what?
- 44:16 He's an actress.
- 44:17 I thought your father was a singer.
- 44:19 Oh, he gave that up. This is much better.
- 44:22 He's a red deer now.
- 44:24 Red deer's a brave Indian.
- 44:28 He, uh, Dad and me rehearse together, so he'll do Red Deer just right.
- 44:32 and
- 44:33 I'm learning to act too.
- 44:34 It says I got actor's blood in my veins.
- 44:37 Don't you ever listen to the laughing cowboy?
- 44:39 No, I don't think so, Danny. What is it?
- 44:42 Well, it's a big, swell radio program.
- 44:45 It's on every Saturday afternoon at 5:15.
- 44:47 Today's Dad's first time on the show.
- 44:51 It'll be all right if I listen to 5:15, Mr. Rankin.
- 44:54 I don't see why not.
- 44:56 Well, you see, Dad's the brave Indian that's always rescuing the laughing cowboy.
- 45:01 And everybody. You don't want to kill anybody, but sometimes it has to just to save people.
- 45:06 Hello, Danny.
- 45:07 Mom! You're just in time, Millie.
- 45:10 Now we can open the presents.
- 45:11 - Presents? - Yes. Your mother and I thought better late than never.
- 45:15 didn't we Millie?
- 45:16 Yes, of course.
- 45:17 Amen.
- 45:18 You sit over there, Danny.
- 45:20 Right there.
- 45:21 Now, you open this one and I'll open this one.
- 45:27 There.
- 45:28 No.
- 45:30 What do you suppose all this stuff is?
- 45:33 Oh.
- 45:34 - Cheese!
- 45:37 Huh?
- 45:38 Oh, yeah.
- 45:39 Thank you, Mr. Rankin.
- 45:41 Thank you very, very much. Oh, forget it.
- 45:44 Now, uh...
- 45:45 Let's see what else we have here, eh?
- 45:53 Oh, my God.
- 46:00 That fellow's a real actor.
- 46:03 Oh, chap. Hey, you back?
- 46:05 Yeah, and with money on the mine.
- 46:07 A fellow with a touring opera company was waiting my office when I got back there. Look Charlie the big boss Mr. Trimble just listen to the rehearsal he thinks I'm OK so he's going to give me a contract for 39 weeks.
- 46:16 And they pay every Wednesday.
- 46:18 So that takes care of the touring opera company. Yes and it takes care of you Jeff the wrong way.
- 46:22 You want to be in Indian all your life?
- 46:24 You don't.
- 46:25 I've got this fella steamed up to where he wants you. You and nobody else.
- 46:29 He's got to give his decision between now and Monday.
- 46:31 But I'm going to get somebody else now wait a minute you're giving up the greatest chance you'll ever have and for what.
- 46:36 the most important thing in my life.
- 46:38 No, you're wrong, Jeff.
- 46:40 Now if you've seen that boy when he went over to his mother's how tickled he was.
- 46:43 He'll come home with his arms full of presents, you know that.
- 46:46 Now suppose you do get 50 bucks a week for playing Indians the rest of your life.
- 46:50 You can't do much for the boy with that.
- 46:53 I think we can get along all right, Charlie.
- 46:55 Come on, I'm thirsty. But, Jeff, please.
- 46:57 No, this is the chancellor.
- 47:01 Here's where I spend a month fishing every summer. You and I can have a lot of fun up there.
- 47:07 Yes, sir.
- 47:10 Mr. Rankin?
- 47:12 Yes?
- 47:13 What time is it?
- 47:16 512. Why?
- 47:19 Oh, that's right.
- 47:20 You want to listen to that radio program didn't you I'm glad you remind you have to listen to you to one mr. Rankin.
- 47:25 but I'm anxious to hear your father.
- 47:27 I'll get your mother.
- 47:28 Now you tune in the station and I'll be right back.
- 47:30 But Mom said she had a headache. Well, perhaps she's feeling better now. I've all seen. No, but it's getting late and I thought someone might drop in.
- 47:37 Already have a guest, you know.
- 47:40 Well, it's time for Danny to go home.
- 47:42 Does it bother you having your son around?
- 47:44 What's the matter with you, Sam?
- 47:46 As far as I know, nothing. I'm trying to understand what's the matter with you.
- 47:50 I don't know what you mean.
- 47:51 I don't know.
- 47:53 Well, I think it's a little ridiculous for us to argue about my son.
- 47:56 worse than ridiculous my having to entertain the boy alone while you spend the afternoon in your room.
- 48:01 He wants to listen to his father on the radio.
- 48:03 Well, I don't.
- 48:04 It won't hurt you, Annie.
- 48:06 It might make the boy feel better.
- 48:08 I think you'd better join us.
- 48:11 All right, Sam.
- 48:14 if you insist upon making an issue of it.
- 48:27 - Heavens, we're not at home to anyone. - Very good, sir.
- 48:36 Hi, Evan. I'm, uh, David. Who happened? Oh, David. All right, that's all about a drink. Yes, sir. I get a flock of drinks. Very good, sir, yes.
- 48:42 So he's an expecting guest.
- 48:53 Quite occasion finding you home, Sam. Yeah, what is the girl have to do to get a drink or already told Evans to get us some. I'm quite sure Evans will take good old Evans.
- 49:02 - Mmm. - Huh?
- 49:04 This requires the hands of an expert. Indeed, yes, sir. I'll take out this. An expert, he says.
- 49:08 Uh, that's a bit of fun.
- 49:12 Terrific.
- 49:13 I'll take one.
- 49:17 I know what you want, Millie.
- 49:22 The finest machine is in town.
- 49:24 Oh, I tell you what. Did you get your station, Danny?
- 49:28 Yes, sir.
- 49:39 Right here.
- 49:42 It's on the air. Well, there's another radio in the kitchen, Danny.
- 49:45 He'll listen right here.
- 49:46 Millie, is this your little boy?
- 49:48 Cute.
- 49:49 - Hi, fella. - Hello, little boy. What's your name, honey?
- 49:52 Danny, say, how do you do?
- 49:55 How do you do?
- 49:57 Danny wants to listen to a program called The Laughing Cowboy.
- 50:01 And so do I.
- 50:04 All right.
- 50:04 Laughing what?
- 50:05 The laughing cowboy.
- 50:07 My dad's Red Deer, the brave Indians.
- 50:09 Now, wait a second. Let me get it straight. Your dad is an Indian?
- 50:12 No, Danny's father is an actor.
- 50:13 He plays Red Deer on the program he wants to hear.
- 50:16 I helped my dad rehearse.
- 50:18 Today's the day Red Deer rescues the drowning girl.
- 50:23 Her father owns a lazy W ranch, but their gold mine...
- 50:27 and um,
- 50:28 - It's Nick Long and his game off the ranch.
- 50:30 So they walk on us.
- 50:31 stole or kidnapped, Nancy Lakin took her a prisoner.
- 50:36 But she jumped in the river trying to get away.
- 50:39 She can't swim.
- 50:40 And the Laughing Cowboy can't...
- 50:43 A rescuer because they guarded him tied up in dead man's cave.
- 50:46 The Red Deer comes to the rescue.
- 50:48 Listen.
- 50:51 And the American Stove Hour presents
- 50:53 The Laughing Cowboy and his friend Red Deer.
- 50:56 The brave Indians.
- 50:57 Hey!
- 50:58 Look out!
- 50:59 Scatter.
- 50:59 Take cover. There comes the engine.
- 51:01 Don't let him get the girl.
- 51:02 start you'll kill that in here goes my dad.
- 51:05 Me.
- 51:06 Red Deer.
- 51:08 That's awful.
- 51:14 We have to listen to that.
- 51:16 Get the engine.
- 51:17 Turn it off. Get some music. We want to dance.
- 51:22 I don't know about the rest of you, but I'm not drunk enough for this.
- 51:25 Ye not want to kill nobody.
- 51:30 Yeah.
- 51:33 more, amen.
- 51:35 I am.
- 51:41 I have another big problem.
- 51:48 Oh, my God. After all, I had a day in a...
- 51:54 I don't know, but more in there.
- 51:56 Yeah, I'm not going to let you. I'm not going to let you. I'm not going to let you. I am.
- 52:08 Get up.
- 52:10 Hey.
- 52:11 What did you say?
- 52:12 I said get out.
- 52:14 Get out before I throw you out.
- 52:16 And don't come back.
- 52:18 Sam, you're talking to my friends.
- 52:19 Yes, I know.
- 52:21 But I'm also thinking about your son.
- 52:23 Well, then.
- 52:24 If that's the way you feel about it,
- 52:26 We'll go.
- 52:27 Come on, dear.
- 52:32 Where are you going?
- 52:34 To talk to Danny.
- 52:35 If you talk to me.
- 52:36 After what's happened?
- 53:01 Danny!
- 53:13 Where are you going?
- 53:15 Mr. Rankin.
- 53:17 going home.
- 53:18 I want to
- 53:19 - She's dead.
- 53:20 Long walk to your house, Danny.
- 53:23 Hadn't you better get in the cab and...
- 53:24 Let me take you home?
- 53:26 There's a radio.
- 53:27 We can listen to Red Deer on the way if you want to.
- 53:32 I just as soon walked.
- 53:35 - I'm red.
- 53:58 Hi, Dad. Hi, soldier. Home rather late, aren't you?
- 54:02 Is it late?
- 54:03 It's almost dinner time.
- 54:06 I guess I was enjoying myself so much, I didn't notice the time.
- 54:10 Have a good time.
- 54:12 Oh, great.
- 54:13 fine.
- 54:15 Did you...
- 54:17 Did you hear the program today?
- 54:19 Yes, sir.
- 54:21 You're swell.
- 54:29 Hi, Jas. - Charlie.
- 54:30 Hi, Danny. Hello, Mr. Grady.
- 54:33 I gotta see your dad on business.
- 54:38 Now what?
- 54:39 Well, that, uh...
- 54:41 That opera company fellow was over to see me again.
- 54:43 Look Charlie I told you I'm not interested and I'm not but you will be knowledge to this now.
- 54:48 deposit four weeks
- 54:49 pay in advance.
- 54:50 and if we're sending it on the tape.
- 54:51 Why he'll star you Jeff. Photos, billing and everything. Guarantee a build up. Let's pick your own roles. It's a chance for your life. You'll never get another one like it. Jeff.
- 54:59 Be what you was born to be. Take this job and go places.
- 55:02 - It's for your own sake. - Yeah.
- 55:03 And for the boys' sake, good.
- 55:06 Charlie.
- 55:19 Dad?
- 55:20 Hmm?
- 55:22 Do you like being red, dear?
- 55:25 What?
- 55:25 Do you really like being red deer?
- 55:28 Good job, son.
- 55:30 Easy working.
- 55:31 The checks don't bounce back.
- 55:33 But do you like it, Dad?
- 55:35 Why?
- 55:36 Oh yeah.
- 55:38 I guess I'm not as interested in the laughing cowboy as much as I used to be.
- 55:43 wives
- 55:45 Boys, you heard Charlie. Grady talking to me just now.
- 55:48 Does talk pretty loud, doesn't he, son?
- 55:50 Well...
- 55:52 Danny.
- 55:54 You know that job that Charlie was talking about?
- 55:57 That's not for me.
- 55:58 You know what I'd have to do?
- 56:00 I have to travel all the time.
- 56:02 Sleep in hotels.
- 56:04 Mean nothing but strange people.
- 56:06 And I'd have to stand out on the stage with grease paint all over my face and
- 56:11 light shining in my eyes.
- 56:13 I have to sing my silly head off whether I liked it or not.
- 56:17 Stand out there and...
- 56:18 Bowels like a jack in the box.
- 56:21 waiting for the people to applaud.
- 56:23 Oh, gee, Dad, wouldn't that be fun?
- 56:25 Fun.
- 56:27 That's hard work.
- 56:28 for what?
- 56:30 Mr. Grady says $100 a week.
- 56:32 That's a lot of money, isn't it, Dad?
- 56:34 More than you get for being red, dear.
- 56:37 Expenses would eat it all up.
- 56:39 But you'd rather be a singer than an actor, wouldn't you?
- 56:44 I'd rather be red.
- 56:46 Take my word for it, Sam.
- 56:48 I'd rather be red, dear.
- 56:49 Now don't you worry about anything. Everything is going to be all right.
- 56:54 Hey, there's a dinner bell. You better get dressed. Now hurry up.
- 57:30 Amen.
- 57:55 Carter? Yes?
- 57:56 My name is Rankin.
- 57:57 Sam Rankin.
- 57:58 We got some presents for your boy today. He forgot and left him.
- 58:01 my home.
- 58:02 I thought I'd bring them over.
- 58:04 Very kind of you.
- 58:06 Mr. Carter, I'd like to talk to you about it.
- 58:12 Alright.
- 58:13 a second.
- 58:35 What is it, Mr. Rankin?
- 58:37 Danny's a fine boy. I think so.
- 58:39 I haven't known him very long and I haven't had the opportunity to
- 58:42 You know him very well, but...
- 58:44 I've grown to like him as much as if he were my own son.
- 58:47 Very good to Danny and I.
- 58:50 I hope you're...
- 58:53 I have nothing.
- 58:56 I trust you won't mind my saying so but...
- 58:58 I believe Danny's future matters as much to me as...
- 59:01 as it does to you.
- 59:04 He is my son.
- 59:05 Granted.
- 59:06 that I
- 59:07 I wondered if we couldn't make some arrangements
- 59:10 Make things better for everyone concerned.
- 59:12 especially for Danny.
- 59:15 What sort of arrangement?
- 59:16 I can give the boy everything he wants and needs.
- 59:19 the finest education money can buy.
- 59:21 A real start
- 59:25 that his mother sent.
- 59:26 No.
- 59:27 She doesn't even know I'm here.
- 59:29 This is just between you and me.
- 59:32 I'd like to adopt Danny legally.
- 59:34 I think the boy will be better off and...
- 59:36 You'll be free to follow your career.
- 59:39 I don't think the arrangement will work, Mr. Ratkin.
- 59:42 As a matter of fact, I know it won't.
- 59:43 But I can't believe that you'd ever have left Danny to go to Europe and study if singing wasn't the most...
- 59:48 in your life.
- 59:50 I admire you very much, Mr.
- 59:53 or sacrificing a career,
- 59:55 and playing an Indian on a mediocre radio program.
- 59:58 in order to support your family.
- 1:00:02 Well, I...
- 1:00:03 I appreciate your interest in my son, Mr. Rankin, but...
- 1:00:07 I have made plans for Danny and me.
- 1:00:10 I have a feeling they're going to work out somehow.
- 1:00:17 If you ever need any help,
- 1:00:19 Don't hesitate to call them.
- 1:00:23 Good night, Miss.
- 1:00:25 Good night.
- 1:00:57 Oh, hi, dear.
- 1:00:58 Hi, soldier.
- 1:01:01 I thought I heard somebody talking. Mr. Rankin was here and he left the presents you found.
- 1:01:05 - You can open them in the morning. - I'd rather now.
- 1:01:16 Okay.
- 1:01:19 Oh!
- 1:01:20 - What is it? - A uniform.
- 1:01:25 camera to take pictures with him.
- 1:01:28 Oh, and some roller skates.
- 1:01:32 Oh, excuse me.
- 1:01:33 socks and the gloves and
- 1:01:35 Oh.
- 1:01:35 And there's some sweaters out there.
- 1:01:37 Well, next time's a beer.
- 1:01:42 Look at these.
- 1:01:43 I'm sorry.
- 1:01:44 - I will.
- 1:01:45 Yeah.
- 1:01:50 - Mr. Reagan's sure doing it in the prison.
- 1:01:52 didn't he?
- 1:01:53 Good.
- 1:01:54 Oh, look at these things.
- 1:01:55 What is this?
- 1:01:56 Pope Behring's in everything.
- 1:01:58 It's in your closet. I want all the lights on so you can see everything.
- 1:02:05 You shouldn't get so excited.
- 1:02:07 Why, get help being excited, dear?
- 1:02:09 You know what Mr. Rankin said to me?
- 1:02:12 He said if I was his boy and lived at his place with him,
- 1:02:15 He took me cabin way out west.
- 1:02:17 and he'd buy me a motorboat all on my own.
- 1:02:20 Aunt Adam McCartan!
- 1:02:22 And it'd be all my own, all of that.
- 1:02:25 I can go to college when I grew up and...
- 1:02:28 And the...
- 1:02:29 And he has a big house way out in the country.
- 1:02:32 And I could have horses and all the dogs I want to.
- 1:02:35 And everything.
- 1:02:36 and look.
- 1:02:38 It's all right. It all sounds fine.
- 1:02:42 Just talk things over again.
- 1:02:43 Sit down.
- 1:02:46 Now, there's one thing between you and me.
- 1:02:48 Now and always.
- 1:02:50 We're always going to be on the level with each other.
- 1:02:54 have something on our minds, we're going to come right out with it.
- 1:02:57 Man to man.
- 1:02:58 That's right.
- 1:03:00 Sure, kid.
- 1:03:01 All right.
- 1:03:02 I want to ask you a question.
- 1:03:05 I want you to answer me right out.
- 1:03:07 Don't worry about hurting Daddy's feelings because...
- 1:03:10 The only way you could hurt them would be to...
- 1:03:12 - You want something and hate the truth.
- 1:03:16 Would you...
- 1:03:18 Rather go into the woods.
- 1:03:19 Mr. Rankin and your mother?
- 1:03:23 She did?
- 1:03:27 Would you?
- 1:03:28 If you can, if you want to.
- 1:03:31 Well, it isn't much fun around here.
- 1:03:34 Mr. Rankin's got a big place to live in
- 1:03:37 and how do you have a room all the time?
- 1:03:39 She'll...
- 1:03:39 You're right, it's.
- 1:03:40 I'd just push a button if I wanted something.
- 1:03:43 to wait on me?
- 1:03:45 Of course I'd like it there.
- 1:03:47 I'd like it much better.
- 1:03:49 Who wouldn't?
- 1:03:51 I like it.
- 1:03:57 And I cried, I cried.
- 1:03:59 Yes, son.
- 1:04:01 You try.
- 1:04:07 You said you can't ask so people believe you.
- 1:04:12 You're no good. You're just a ham-etcher.
- 1:04:18 Well, I guess I'm just a ham.
- 1:04:20 No, son.
- 1:04:23 The greatest acts in the world.
- 1:04:25 rehearses a long time before he plays the biggest scene in his life.
- 1:04:30 Didn't you know that?
- 1:04:31 Everything takes time.
- 1:04:34 But we're all right.
- 1:04:35 You and I.
- 1:04:38 Oh, Dad, I love you so.
- 1:04:48 Well, it is bad news for Latin cowboys.
- 1:04:50 Red Deer see Killer Regan Wade in ambush.
- 1:04:53 I've been cowboy stay away from last chance river.
- 1:04:56 Oh, gee, Dad, you're getting it better all the time.
- 1:04:58 No wonder. Look who's coaching you.
- 1:05:00 Look, sir.
- 1:05:02 As soon as the broadcast is over.
- 1:05:03 Red deer and small papoos go places.
- 1:05:05 Mm-hmm.
- 1:05:05 I always did want to go to Corny Island. That's where you'll be less than an hour from now.
- 1:05:09 Well, I gotta get in here now. Can't hold up rehearsals. That's very wrong when an actor holds up rehearsals, isn't it?
- 1:05:14 - You bet it is. - Yes.
- 1:05:15 Red Deer go.
- 1:05:16 The red deer better come back.
- 1:05:18 - Okay, so it's good.
- 1:05:22 You have to worry, you know, we'll go in the air in five minutes.
- 1:05:26 What's the matter? Don't you see? I'm sick.
- 1:05:28 I've been...
- 1:05:29 I was here for the whole day.
- 1:05:32 I might feel better, but...
- 1:05:33 It's no use. You've got to call off to shore.
- 1:05:36 I cannot sing.
- 1:05:37 I must lie down, please.
- 1:05:41 - Please. - Hey, wait a minute, almighty. You've got to sing.
- 1:05:47 Hey, Mister, my dad can take his place. He's our greatest thing in the world. How close he is. Run along.
- 1:05:53 What do we do now?
- 1:05:55 I'm going in and talk to him. He's got to go on. That's all there is to it.
- 1:05:58 Only one thing to do, men. Kill the laughing cowboy.
- 1:06:02 That's what I've been saying all along.
- 1:06:05 We gotta get that engine too.
- 1:06:06 Bad medicine, that red deer.
- 1:06:09 I'll take care of him.
- 1:06:10 - Leave them to me. - Wait a minute, folks.
- 1:06:13 Let me see that last line.
- 1:06:17 Let's take a...
- 1:06:18 - We'll do it again in this next rehearsal, and the next time, cut it down. - And Dad! - And projector brushes. - Son, you know you shouldn't come in disturbing.
- 1:06:25 - Rehearsals like that. - But Dad, I gotta talk to you. I got it. It's terribly important. It's awful important.
- 1:06:31 Mr. Trimble, excuse me. I'll be right back.
- 1:06:33 Okay, make a stopping.
- 1:06:34 All right, shall we go again?
- 1:06:36 What is it, son? Senor Armani's sick, so we can't sing on the air.
- 1:06:40 But you can take his place. You can sing better than your Armani ever could. But wait a minute, I... You haven't got a minute to wait, Dad.
- 1:06:46 Just as you said.
- 1:06:47 The show must go on.
- 1:06:49 It doesn't know about you, that's all.
- 1:06:53 Well?
- 1:06:53 Don't go. You'll have to make an announcement.
- 1:06:55 Hey, mister! Mister, I got a single for you, better than your almighty ever was.
- 1:07:00 What are you talking about, little boy? Oh, my dad!
- 1:07:02 He's our great singer. He's singing Italy, France, and all over.
- 1:07:06 Is that right?
- 1:07:07 Well, I...
- 1:07:08 sing the usual baritone repertoire.
- 1:07:11 Have you ever sung Herodian many times.
- 1:07:14 I'll take a chance.
- 1:07:16 Come on.
- 1:07:16 I'll be listening, Dad. I'll be listening.
- 1:07:50 Hello.
- 1:07:55 What?
- 1:07:56 Yeah.
- 1:07:56 I'm running sick so I can't go in the air.
- 1:07:59 And Ned's gonna take his place right away. Okay, okay, I'll take care of it, Shelley.
- 1:08:02 Yes, sir. Go on.
- 1:08:14 One minute.
- 1:08:18 Oh, we're on the air in one minute.
- 1:08:20 I'm counting on you, Carter.
- 1:08:22 Good luck.
- 1:08:23 Thank you very much.
- 1:08:34 Good evening, ladies and gentlemen.
- 1:08:36 Five o'clock, and once again, gold and silver music hour.
- 1:08:39 On the air.
- 1:08:49 This is enough for you to take America from me.
- 1:08:59 Esperanza trop brave, que vinha a ver-se em mocar.
- 1:09:06 It's troubling my reason.
- 1:09:13 Oh
- 1:09:15 ...ne t'en t'y pas.
- 1:09:19 Mmm.
- 1:09:23 He lives in all.
- 1:09:29 Come on.
- 1:09:30 I tell her.
- 1:09:31 I've got to see for Chelly.
- 1:09:32 My man's on the air, he's got to listen. - Antonio Pacelli's gone home. - Look, fella, once and for all, I'm gonna find out if there is a Pacelli.
- 1:09:39 You can't go in there. I'm going in if I have to carry you on my back.
- 1:09:43 Ladies and gentlemen, two on, two out. Yankee's leading, two to one. Madik at battle. Is the wind up? Get out! Get out! Listen! Get down and listen! My singer's on the air!
- 1:09:55 Don't touch it! Look down! It's funny, it's nice!
- 1:10:01 Oh,
- 1:10:01 Who is this man? He's my boy. Who has it been all this time?
- 1:10:06 Right outside your door and he couldn't get in.
- 1:10:08 Why'd you do this to me?
- 1:10:10 I'll fire somebody. I'll do something. Right now, I'll listen. That's a good idea.
- 1:10:40 Toi, c'est un fort pour cette plame, sans remords et sans plaintes.
- 1:10:52 # Je donnerai mon âme pour toi. #
- 1:10:59 Mon amour.
- 1:11:04 Monastery
- 1:11:06 What is your city like?
- 1:11:15 But who are you? Marl, my name is Marl. You are my friend.
- 1:11:22 Come on, let's go.
- 1:11:24 We sat on.
- 1:11:32 Oh, Namur!
- 1:11:36 When will fall on the moon?
- 1:11:45 Morn as the one.
- 1:12:08 Oh gee, Dad. Sound all right? All right?
- 1:12:13 - I think you're a dynamite.
- 1:12:15 sensational as Mr. Gritty says.
- 1:12:17 All the time.
- 1:12:18 - He did, you were great. - Thanks, John.
- 1:12:21 You're going to sing some more in here, aren't you? I've got it. Al Monte will be back for the next program.
- 1:12:26 After you?
- 1:12:27 Son, your dad has just begun and finished the shortest singing radio career in history.
- 1:12:32 I've got to get back to Red, dear, now.
- 1:12:33 I can't be fixed.
- 1:12:34 - Is there a cancer you could see now?
- 1:12:36 The laughing cowboy's public probably isn't ready for that yet, sir. Say, Clark, you did a great job.
- 1:12:41 Hey, Cap!
- 1:12:43 Wait for me! Wait for me! This is him! This is Pacelli! I am Pacelli!
- 1:12:47 And you, you are? Yes, I've been telling you, Jeff, you're the guy that couldn't get in, but now they're coming to you. It makes a lot of difference when you've got an agent like me.
- 1:12:54 Please, do not talk money. Now, we talk about art. All the time I look for you and you are not there. Now I find you. I discover you. As a matter of fact, Pichelli, I discovered him. You discover him? Come on.
- 1:13:03 Let's get out of here. Because of my office, I make you famous.
- 1:13:06 Charlie my poker. Oh forget it I'll get him another red deer in five minutes.
- 1:13:10 Goodbye, have a good time. Say, what about his village?
- 1:13:12 How much for the pain, huh?
- 1:13:18 Well, then, Will!
- 1:13:20 contract with senior for jelly can you believe it sure he is but I tell you when I discover a guy he's in goes right to
- 1:13:29 No, Charlie, here's my decision.
- 1:13:31 Oh, soldier.
- 1:13:33 From now on we're going to do everything with Dawn.
- 1:13:35 and have a lot of fun doing it too.
- 1:13:37 No more red beers.
- 1:13:38 Pichelli's fixing it up for the radio people.
- 1:13:40 Oh, gosh, Dad, that's wonderful.
- 1:13:43 Now can we go to Cooney Island? Can we?
- 1:13:45 Come on, Charlie. We're going to call the island. Yes, Jeff. Do you mind if we eat first? I haven't had anything to eat.
Also from 1941
Every free film of 1941 with a copy
Also from Monogram Pictures Corp., Hollywood, Calif. 2123
Similar frames
By the average clip vector of the keyframes; a measurement, not a judgement
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