Unit 1 Casablanca《卡萨布兰卡》

Subtitles (full version) (Narrative) With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully or desperately toward the freedom of the Americas. Lisbon became the great embarkation point. But not everybody could get to Lisbon directly. And so a torturous, roundabout refugee trail sprang up. Paris to Marseilles, across the Mediterranean to Oran. Then by train or auto or foot, across the rim of Africa to Casablanca in French Morocco. Here, the fortunate ones, through money or influence or luck, might obtain exit visas and scurry to Lisbon. And from Lisbon to the New World. But the others wait in Casablanca. And wait...and wait...and wait. Police: To all officers, two German couriers carrying official documents murdered on train from Oran. Murderer and possible accomplices headed for Casablanca. Round up all suspicious characters and search them for stolen document. Important. Inspector: May we see your papers? Man 1: I don’t think I have them on me. Inspector: In that case, you’ll have to come along. Man 1: Wait. It’s possible that l... Yes. Here they are. Inspector: These papers expired three weeks ago .You’ll have to come along. Halt! Halt! Old Lady: What on earth is going on there? Old Gentleman: I don’t know, my dear. Thief: Pardon, monsieur. Pardon, madame. Have you not heard? Old Gentleman: We hear very little, and we understand even less. Thief: Two German couriers were found murdered in the desert, the unoccupied desert. This is the customary roundup of refugees, liberals, and of course, a beautiful young girl for Renault, the prefect of police. Unfortunately, along with these unhappy refugees, the scum of Europe has gravitated to Casablanca. Some of them have been waiting years for a visa. I beg of you, monsieur. Watch yourself. Be on guard. This place is full of vultures. Vultures everywhere. Everywhere. Old Gentleman: Thank you. Thank you very much. Thief: Not at all. Old Gentleman: What an amusing little fellow. Waiter? How silly of me! Old Lady: What, dear? Old Gentleman: I’ve left my wallet in the hotel. Bulgarian Lady: Perhaps tomorrow we’ll be on the plane. Police: Hi, Hitler. It is good to see you again, Major Strasser. Major Strasser: Thank you. Thank you. Police: May I present Captain Renault, police prefect of Casablanca? Captain Renault: Major Strasser, unoccupied France welcomes you to Casablanca. Major Strasser: Thank you, captain, it’s very good to be here. Captain Renault: My aide, Lieutenant, Casselle. Captain: Captain Tonnelli. The Italian service at your command. Major Strasser: That is kind of you. Captain Renault: You may find the climate of Casablanca a trifle warm. Major Strasser: We Germans must get used to all climates, from Russia to the Sahara. Perhaps you’re not referring to the weather. Captain Renault: What else, Major? Major Strasser: The murder of the couriers. What’s been done? Captain Renault: We realize the importance of the case. My men are rounding up twice the usual number of suspects. Police: But we know already who the murderer is. Major Strasser: Good. Is he in custody? Captain Renault: No hurry. Tonight he’ll be at Rick’s. Everybody comes to Rick’s. Major Strasser: I’ve already heard about this cafe. Also about Mr. Rick himself. Man 2: Waiting, waiting, waiting. I’ll never get out of here. I’ll die in Casablanca. Lady Seller: But can’t you make it just a little more, please? Dealer: Sorry, but diamonds are a drag on the market. Everybody sells diamonds. There are diamonds everywhere. 2400. Lady Seller: All right. Man 3: The trucks are waiting. The men are waiting. Everything… Dealer: It’s the fishing smack Santiago. It leaves at one tomorrow night. Here from the end of the La Medina. Third boat. Man 4: Thank you. Thank you. Dealer: And bring 15000 francs in cash. Remember, in cash. Carl: Open up, La Medina. Abdul. Waiter: Yes, professor. Lady Customer 1: Waiter? Carl: Yes, madame? Lady Customer 1: Will you ask Rick if he’ll have a drink with us? Carl: Madame, he never drinks with customers. Never. I’ve never seen it. Lady Customer 2: What makes saloonkeepers so snobbish? Man 4: Perhaps if you told him I ran the second largest banking house in Amsterdam. Carl: The second largest? That wouldn’t impress Rick. The leading banker in Amsterdam is now the pastry chef in our kitchen. We have something to look forward to. And his father is the bellboy. Waiter: Excuse me. I’m sorry, sir. This is a private room. Man 5: Of all the nerve! Who do you think...? I know there is gambling in there! There is no secret. You dare not keep me out of here. Rick: Yes? What’s the trouble? Man 5: I have been in every gambling room from Honolulu to Berlin. If you think I’m going to be kept out of a saloon like this, you’re very much mistaken. Ugarte: Excuse me, please. Hello, Rick. Rick: Your cash is good at the bar. Man 5: What? Do you know who I am? Rick: I do. You’re lucky the bar is open to you. Man: This is outrageous! I shall report it to the Angriff! Ugarte: You know, watching you just now, one would think you’ve been doing this all your life. Rick: What makes you think I haven’t? Ugarte: Nothing. But when you first came to Casablanca, I thought... Rick: You thought what? Ugarte: What right do I have to think? May l? Too bad about those two German couriers. Wasn’t it? Rick: They got a lucky break. Yesterday, they were just German clerks. Today, they’re the honored dead. Ugarte: You’re a very cynical person, Rick, if you’ll forgive me for saying so. Rick: I forgive you. Ugarte: Will you have a drink with me? Rick: No. Ugarte: I forgot, you never drink with...I’ll have another, please. You despise me, don’t you? Rick: If I gave you any thought, I probably would. Ugarte: But why? You object to the kind of business I do, huh? But think of all those poor refugees, who must rot in this place if I didn’t help them. That’s not so bad. Through ways of my own, I provide them with exit visas. Rick: For a price, Ugarte. For a price. Ugarte: But think of all the poor devils who can’t meet Renault’s price. I get it for them for half. Is that so parasitic? Rick: I don’t mind a parasite. I object to a cut-rate one. Ugarte: Well, after tonight, I’ll be through with the whole business. And I’m leaving, finally, this Casablanca. Rick: Who’d you bribe for your visa? Renault or yourself? Ugarte: Myself. I found myself much more reasonable. Look, Rick. Know what this is? Something that even you have never seen. Letters of transit signed by General de Gaulle. Cannot be rescinded. Not even questioned. One moment. Tonight, I’ll be selling those for more money than even I ever dreamed of. And then, addio, Casablanca. You know, Rick, I have many a friend in Casablanca, but somehow, just because you despise me, you are the only one I trust. Will you keep these for me, please? Rick: For how long? Ugarte: Perhaps an hour. Perhaps a little longer. Rick: I don’t want them here overnight. Ugarte: Don’t be afraid of that. Please keep them for me. Thank you. I knew I could trust you. Waiter, I’ll be expecting some people. If anybody asks for me, I’ll be right here. Rick…. I hope you’re more impressed with me now. If you will forgive me, I’ll share my good luck with your roulette wheel. Rick: Just a moment. I heard a rumor those two German couriers were carrying letters of transit. Ugarte: I’ve heard that rumor too. Poor devils. Rick: You’re right, Ugarte. I am a little more impressed with you. Ferrari: Hello, Rick. Rick: Hello, Ferrari. How’s business at the Blue Parrot? Ferrari: Fine, but I’d like to buy your cafe. Rick: It’s not for sale. Ferrari: You haven’t heard my offer. Rick: It’s not for sale at any price. Ferrari: What do you want for Sam? Rick: I don’t buy or sell human beings. Ferrari: Too bad. That’s Casablanca’s leading commodity. In refugees alone we could make a fortune. If you’d work with me in the black market. Rick: Suppose you run your business and let me run mine. Ferrari: Suppose we ask Sam. Maybe he’d like to make a change. Rick: Suppose we do. Ferrari: My dear Rick, when will you realize that in this world today isolationism is no longer a practical policy? Rick: Sam. Ferrari wants you to work for him at the Blue Parrot Sam: I like it fine here. Rick: He’ll double what I pay you. Sam: But I ain’t got time to spend money I make here. Rick: Sorry. Sascha: The boss’s private stock. Because, Yvonne, I love you. Yvonne: Shut up. Sascha: All right, all right. For you, I shut up. Because, Yvonne, I love you. Mr. Rick, Mr. Rick. Some Germans gave this check. Is it all right? Yvonne: Where were you last night? Rick: That’s so long ago, I don’t remember. Yvonne: Will I see you tonight? Rick: I never make plans that far ahead. Yvonne: Give me another. Rick: Sascha. She’s had enough. Yvonne: Don’t listen to him, Sascha. Fill it up. Sascha: Yvonne, I love you, but he pays me. Yvonne: Rick. I’m tired of having you. Rick: Sascha, call a cab. We’re gonna get your coat. Yvonne: Take your hands off me. Rick: You’re going home. You’ve had a little too much to drink. Sascha: Hey, taxi Yvonne: Who do you think you are, pushing me around? What a fool I was to fall for a man like you! Rick: Go with her. Sascha. Be sure she gets home. Sascha: Yes, boss. Rick: And come right back. Waiter: Yes, boss. Captain Renault: Hello, Rick. Rick: Hello, Louis. Captain Renault: How extravagant you are, throwing away women like that. Someday, they may be scarce. I think I shall pay a call on Yvonne. Maybe get her on the rebound. Rick: When it comes to women, you’re a true democrat. Captain Renault: If he gets a word, it’ll be a major Italian victory. The plane to Lisbon. You would like to be on it? Rick: Why? What’s in Lisbon? Captain Renault: The clipper to America. I’ve often speculated on why you don’t return to America. Did you abscond with the church funds? Run off with a senator’s wife? I like to think you killed a man. It’s the romantic in me. Rick: It’s a combination of all three. Captain Renault: What in heavers name brought you to Casablanca? Rick: My health. I came to Casablanca for the waters. Captain Renault: The waters? What waters? We’re in the desert. Rick: I was misinformed. Waiter: Excuse me, Monsieur Rick. A gentleman inside has won 20,000 francs, and the cashier would like some money. Rick: I’ll get it from the safe. Waiter: I’m so upset. You know Rick: Forget it, Emil. Mistakes like that happen all the time. Waiter: I’m awfully sorry. Captain Renault: Rick, there will be some excitement here tonight. We’re gonna make an arrest in your cafe. Rick: Again? Captain Renault: This is no ordinary arrest. A murderer, no less. If you’re thinking of warning him, don’t put yourself out. He cannot possibly escape. Rick: I stick my neck out for nobody. Captain Renault: A wise foreign policy. We could have made the arrest earlier, at the Blue Parrot. Out of my high regard for you, we’re staging it here. It will amuse your customers. Rick: Our entertainment’s enough. Captain Renault: Rick, we’ll have an important guest here tonight. Major Strasser of the Third Reich. We want him to see the arrest as a demonstration of our efficiency of my administration. Rick: I see. What’s Strasser doing here? He certainly didn’t come to Casablanca to witness a demonstration of your efficiency. Captain Renault: Perhaps not. Rick: Here you are. Waiter: It shall not happen again. Rick: That’s all right. Louis, you got something on your mind. Why don’t you spill it? Captain Renault: How observant you are! As a matter of fact, I wanted to give you a word of advice. Rick: Yeah? Have a brandy? Captain Renault: Thank you. Rick, there are many exit visas sold in this café, but we know you’ve never sold one. That’s the reason we permit you to remain open. Rick: I thought it was because I let you win at roulette. Captain Renault: That is another reason. There’s a man arriving in Casablanca on his way to America. He’ll offer a fortune to anyone who’ll furnish an exit visa. Rick: What’s his name? Captain Renault: Victor Laszlo. Rick: Victor Laszlo? Captain Renault: Rick, that’s the first time I’ve seen you so impressed. Rick: He’s succeeded in impressing half the world. Captain Renault: It’s my duty to see he doesn’t impress the other half. Rick, Laszlo must never reach America. He stays in Casablanca. Rick: It’ll be interesting to see how he manages. Captain Renault: Manages what? Rick: His escape. Captain Renault: But I just told you... Rick: Stop it. He escaped from the concentration camp. Nazis have chased him all over Europe. Captain Renault: This is the end of the chase. Rick: Twenty thousand francs says it isn’t. Captain Renault: Is that a serious offer? Rick: I just paid 20, and I’d like to get it back. Captain Renault: Make it 10, I’m only a poor, corrupt official. Rick: Okay. Captain Renault: Done. No matter how clever he is, he still needs an exit visa. Or, I should say, two. Rick: Why two? Captain Renault: He is traveling with a lady. Rick: He’ll take one. Captain Renault: I think not. I’ve seen the lady. If he did not leave her in Marseilles or in Oran, he certainly won’t leave her in Casablanca. Rick: Maybe he’s not quite as romantic as you. Captain Renault: It doesn’t matter. There is no exit visa for him. Rick: What ever gave you the impression that I might be interested in helping Laszlo escape? Captain Renault: Because my dear Rick I suspect that under that cynical shell, you’re at heart a sentimentalist. Laugh if you will. I happen to be familiar with your record. Let me point out just two items. In 1935, you ran guns to Ethiopia. In 1936, you fought in Spain on the loyalist side. Rick: I got well paid for it on both occasions. Captain Renault: The winning side would’ve paid much better. Rick: Maybe. Well, it seems you’re determined to keep Laszlo here. Captain Renault: I have my orders. Rick: I see. Gestapo spank. Captain Renault: You overestimate the influence of the Gestapo. I don’t interfere with them and they don’t interfere with me. In Casablanca, I am master of my fate. I am.... Police: Major Strasser is here, sir. Rick: You were saying? Captain Renault: Excuse me. Captain Renault: Carl, see that the major gets a good table, which is close to the ladies. Carl: I’ve already given him the best, knowing he is German and would take it anyway. Captain Renault: Take him quietly. Two guards at every door. Police: Yes, sir. Everything is ready, sir. Police: Go ahead. Captain Renault: Good evening, gentlemen. Major Strasser: Good evening, captain. Won’t you join us? Captain Renault: Thank you. Waiter: It’s a pleasure to have you here, major. Major Strasser: Champagne and a tin of caviar. Captain Renault: May I recommend Veuve Clicquot ‘26? A good French wine. Major Strasser: Very well, sir. A very interesting club. Captain Renault: Especially so tonight, major. In a few minutes, you’ll see the arrest of the man who murdered your couriers. Major Strasser: I expected no less, captain. Police: Monsieur Ugarte, will you please come with us? Ugarte: Certainly. May I first please cash my chips? Very lucky. Two thousand, please. Two thousand. Thank you. Rick, help me! Rick: Don’t be a fool. You can’t get away. Ugarte: Rick, hide me! You must help me! Do something! Rick! Major Strasser: Excellent, captain. Man 6: When they come to get me, I hope you’ll be more of a help. Rick: I stick my neck out for nobody. I’m sorry there was a disturbance folks, but it’s all over now. Everything’s all right. Just sit down and have a good time. Enjoy yourselves. All right, Sam. Captain Renault: Rick, this is Major Heinrich Strasser of the Third Reich. Major Strasser: How do you do, Mr. Rick? Rick: How do you do? Major Strasser: How do you do? Captain Renault: You already know Herr Heinz of the Third Reich? Major Strasser: Please join us, Mr. Rick. Captain Renault: We are very honored tonight, Rick. Major Strasser is one of the reasons the Third Reich enjoys its reputation it has. Major Strasser: You say “Third Reich” as though you expect there to be others. Captain Renault: Personally, major, I will take what comes. Major Strasser: Do you mind if I ask a few questions? Unofficially, of course. Rick: Make it official if you like. Major Strasser: What is your nationality? Rick: I’m a drunkard. Captain Renault: That makes Rick a citizen of the world. Rick: I was born in New York City, if that will help you any. Major Strasser: I understand you came here from Paris at the time of the occupation. Rick: There seems to be no secret about that. Major Strasser: Are you one of those people who can’t imagine Germans in their beloved Paris? Rick: It’s not particularly my beloved Paris. Major Strasser: Can you imagine us in London? Rick: When you get there, ask me. Captain Renault: Diplomatist! Major Strasser: How about New York? Rick: Well, there are sections of New York, Major, I wouldn’t advise you to try to invade. Major Strasser: Who do you think will win the war? Rick: I haven’t the slightest idea. Captain Renault: Rick is completely neutral about everything. And that takes in the field of women too. Major Strasser: You weren’t always so carefully neutral. We have a complete dossier on you. Richard Blaine, American. Age, 37. Cannot return to his country. The reason is a little vague. We know what you did in Paris and also we know why you left Paris. Don’t worry, we are not going to broadcast it. Rick: Are my eyes really brown? Major Strasser: You will forgive my curiosity. Mr. Blaine, the point is, an enemy of the Reich has come to Casablanca and we are checking up on anyone who can be of any help to us. Rick: My interest in whether Laszlo stays or goes is purely a sporting one. Major Strasser: In this case, you have no sympathy for the fox? Rick: Not particularly. I understand the point of view of the hound, too. Major Strasser: Victor Laszlo published the foulest lies in the Prague newspapers until the very day we marched in. And even after that, he continued to print scandal sheets in his cellar. Captain Renault: Of course, one must admit he has great courage. Major Strasser: I admit he’s very clever. Three times he slipped through our fingers. In Paris, he continued his activities. We intend not to let it happen again. Rick: Excuse me. Your business is politics, mine is running a saloon. Major Strasser: Good evening, Mr. Blaine. Captain Renault: You see, major? You have nothing to worry about Rick. Major Strasser: Perhaps. Waiter: Yes, monsieur? Laszlo: I reserved a table, Victor Laszlo. Waiter: Yes, monsieur Laszlo. Right this way. Laszlo: Two Cointreaux, please. I saw no one of Ugarte’s description. Ilsa: Victor, I feel somehow we shouldn’t stay here. Laszlo: If we’d walk out so soon it’d only call attention to us. Perhaps Ugarte is in some other part of the café. Berger: Excuse me, but you look like a couple who are on their way to America. Laszlo: Well. Berger: You’ll find a market for this ring. I am forced to sell it at a great sacrifice. Laszlo: Thank you, but I hardly think... Berger: Perhaps for the lady. The ring is quite unique. Laszlo: Yes, I’m very interested. Good. What’s your name? Berger: Berger, Norwegian. At your service, sir. Ilsa: Victor… Laszlo: I’ll meet you in a few minutes at the bar. We don’t want the ring, but thank you for showing it to us. Berger: Such a bargain. But that is your decision? Laszlo: I’m sorry it is. Captain Renault: Monsieur Laszlo, is it not? Laszlo: Yes. Captain Renault: I am Captain Renault, prefect of police. Laszlo: Yes, what is it you want? Captain Renault: To welcome you to Casablanca and wish you a pleasant stay. It isn’t often that we have so distinguished a visitor. Laszlo: Thank you. I hope you’ll forgive me, captain. The present French administration hasn’t always been so cordial. May I present Miss llsa Lund? Captain Renault: I was informed you were the most beautiful woman ever to visit Casablanca. That was a gross understatement. Ilsa: You’re very kind. Laszlo: Won’t you join us? Captain Renault: If you’ll permit me. Emil, please. A bottle of your best champagne. Put it on my bill. Emil: Very well, sir. Captain Renault: Please, monsieur. It’s a game we play. They put it on the bill. I tear up the bill. It is very convenient. Ilsa: Captain, the boy who’s playing the piano… Somewhere I’ve seen him. Captain Renault: Sam? Ilsa: Yes. Captain Renault: He came from Paris with Rick. Ilsa: Rick? Who’s he? Captain Renault: Mademoiselle, you are in Rick’s. Rick is. . . . Ilsa: Is what? Captain Renault: Mademoiselle, he’s the kind of man that…Well, if I were a woman and I weren’t around, I should be in love with Rick. But what a fool I am talking to a beautiful woman about another man. Excuse me. Police: Major. Captain Renault: Mademoiselle and monsieur, may I present Major Strasser? Major Strasser: How do you do? This is a pleasure I’ve long looked forward to. Laszlo: I’m sure you’ll excuse me if I’m not gracious. But you see, I am a Czechoslovakian. Major Strasser: You were a Czechoslovakian. Now you’re a subject of the German Reich. Laszlo: I’ve never accepted that privilege. And I’m now on French soil. Major Strasser: I should like to discuss some matters arising from your presence on French soil. Laszlo: This is hardly the time or the place. Major Strasser: Then we’ll state another time and another place. Tomorrow at 10:00 in the prefect’s office, with mademoiselle. Laszlo: Captain Renault, I am under your authority. Is it your order that we come to your office? Captain Renault: Let us say it is my request. That is a much more pleasant word. Laszlo: Very well. Captain Renault: A very clever tactical retreat, major. Laszlo: This time, they really mean to stop me. Ilsa: Victor, I’m afraid for you. Laszlo: We’ve been in difficult places before, haven’t we? I must find out what Berger knows. Ilsa: Be careful. Laszlo: I will. Don’t worry. Mr. Berger, the ring. Could I see it again? Champagne cocktail, please. Berger: I recognize you from the news photographs, Monsieur Laszlo. Laszlo: In a concentration camp, one is apt to lose a little weight. Berger: I read five times that you were killed in five places. Laszlo: As you see, it was true every single time. Thank heaven I found you. I’m looking for a man by the name of Ugarte. He’s supposed to help me. Berger: Ugarte cannot even help himself. He’s under arrest for murder. He was arrested here tonight. Laszlo: I see. Berger: But we, who are still free, will do all we can. We are organized. Underground, like everywhere else. Tomorrow night, there is a meeting at the Caverne du Bois. If you’ll come ... Ilsa: Will you ask the piano player to come over here please? Waiter: Very well, mademoiselle. Captain Renault: How’s the jewelry business, Berger? Berger: Not so good. May I have my check, please? Captain Renault: Too bad you weren’t here earlier. We had quite a bit of excitement, didn’t we, Berger? Berger: Yes. Excuse me, gentlemen. Laszlo: My bill. Captain Renault: No. Two champagnes cocktails, please. Waiter: Yes, sir. Ilsa: Hello, Sam. Sam: Hello, Miss llsa. I never expected to see you again. Ilsa: It’s been a long time. Sam: Yes, ma’am. A lot of water under the bridge. Ilsa: Some of the old songs, Sam. Sam: Yes, ma’am. Ilsa: Where is Rick? Sam: I don’t know. I ain’t seen him all night. Ilsa: When will he be back? Sam: Not tonight no more. He ain’t coming. He went home. Ilsa: Does he always leave so early? Sam: Oh, he never… Well, he’s got a girl, to the Blue Parrot. Goes up there all the time. Ilsa: You used to be a much better liar, Sam. Sam: Leave him alone, Miss llsa. You’re bad luck to him. Ilsa: Play it once, Sam. For old time’s sake. Sam: I don’t know what you mean, Miss llsa. Ilsa: Play it, Sam. Play As Time Goes By. Sam: I can’t remember it, Miss llsa. I’m a little rusty on it. Ilsa: I’ll hum it for you. Sing it, Sam. Rick: Sam, I thought I told you never to play ... Captain Renault: Well, you were asking about Rick and here he is. May I present ... Rick: Hello, llsa. Ilsa: Hello, Rick. Captain Renault: You’ve already met Rick, mademoiselle? Then perhaps you also ... Ilsa: This is Mr. Laszlo. Rick: How do you do? Laszlo: How do you do? One hears a great deal about Rick in Casablanca. Rick: And about Victor Laszlo everywhere. Laszlo: Won’t you join us for a drink? Captain Renault: Oh no, Rick never ... Rick: Thanks, I will. Captain Renault: Well! A precedent is being broken. Emil? Laszlo: A very interesting café. I congratulate you. Rick: I congratulate you. Laszlo: What for? Rick: Your work. Laszlo: Thank you. I try. Rick: We all try. You succeed. Captain Renault: I can’t get the way you two. She was asking about you earlier in a way that made me extremely jealous. Ilsa: I wasn’t sure you were the same. Let’s see, the last time we met… Rick: Was La Belle Aurore. Ilsa: How nice! You remembered. But, of course, that was the day the Germans marched into Paris. Rick: Not an easy day to forget. I remember every detail. The Germans wore gray, you wore blue. Ilsa: Yes. I put that dress away. When the Germans march out, I’ll wear it again. Captain Renault: Rick, you’re becoming quite human. I suppose we have to thank you for that. Laszlo: Ilsa, I don’t wish to be the one to say it, but it’s late. Captain Renault: So it is. We have a curfew here in Casablanca. It would never do for the chief of police to be found drinking after hours. Laszlo: I hope we didn’t overstay our welcome. Waiter: Your check, sir. Rick: It’s my party. Captain Renault: Another precedent gone. This has been a very interesting evening. I’ll call you a cab. Gasoline rationing, time of night. Laszlo: We’ll come again. Rick: Anytime. Ilsa: Say good night to Sam for me. Rick: I will. Ilsa: There’s still nobody in the world who can play “As Time Goes By” like Sam. Rick: Yes, he hasn’t played it in a long time. Ilsa: Good night. Laszlo: Good night. Rick: Night. Laszlo: A very puzzling fellow, this Rick. What sort is he? Ilsa: I really can’t say, though I saw him quite often in Paris. Captain Renault: Tomorrow at 10:00, at the prefect office. Laszlo: We’ll be there. Captain Renault: Good night. Sam: Boss? Boss? Rick: Yeah? Sam: Ain’t you going to bed? Rick: Not right now. Sam: Ain’t you planning on going to bed in the near future? Rick: No. Sam: You ever going to bed? Rick: No! Sam: I ain’t sleepy either. Rick: Then have a drink. Sam: No, not me, boss. Well, don’t have a drink. Let’s get out of here. Rick: No, sir. I’m waiting for a lady. Sam: Please, boss. Let’s go. Ain’t nothing but trouble for you here. Rick: She’s coming back. I know she’s coming back. Sam: We’ll take the car and drive all night. We’ll get drunk. We will go fishing, stay away till she’s gone. Rick: Shut up and go home, will you? Sam: No, sir. I’m staying right here. Rick: They grab Ugarte, then she walks in. That’s the way it goes. One in, one out. Sam. Sam: Yes, boss. Rick: If it’s December 1941 in Casablanca, what time is it in New York? Sam: What? My watch stopped. Rick: I bet they’re asleep in New York. I bet they’re asleep all over America. Of all the gin joints in all the towns, all the world, she walks into mine. What’s that you are playing? Sam: A little something of my own. Rick: Well. Stop it. You know what I wanna hear. Sam: No, I don’t. Rick: You played it for her. You can play it for me. Sam: I don’t think I can remember. Rick: If she can stand it, I can. Play it! Sam: Yes, boss. Rick: Who are you really? And what were you before? What did you do and what did you think? Ilsa: We said no questions. Rick: Here’s looking at you, kid. Ilsa: A franc for your thoughts. Rick: In America they’d bring only a penny. I guess that’s about all they’re worth. Ilsa: I’m willing to be overcharged. Tell me. Rick: Well, I was wondering... Ilsa: Yes? Rick: Why I’m so lucky, why I should find you waiting for me to come along? Ilsa: Why there is no other man in my life? That’s easy. There was. He’s dead. Rick: I’m sorry for asking. I forgot we said no questions. Ilsa: Well, only one answer can take care of all our questions. Rick: Nothing can stop them now. Wednesday, Thursday at the latest, they’ll be in Paris. Ilsa: Richard, they’ll find out your record. It won’t be safe here. Rick: I’m on their blacklist already, their “roll of honor”. Henri wants us to finish this bottle and then three more. Says he’ll water his garden with champagne before he lets the Germans drink it. Sam: This sort of takes the string out of being occupied, doesn’t it, Mr. Richard? Rick: You said it. Here’s looking at you, kid. My German’s a little rusty. Ilsa: It’s the Gestapo. They say they expect to be in Paris tomorrow. They’re telling us how to act when they come marching in. With the world crumbling, we pick this time to fall in love. Rick: Yeah, it’s pretty bad timing. Where were you say 10 years ago? Ilsa: Ten years ago? Let’s see… Yes, I was having a brace put on my teeth. Where were you? Rick: Looking for a job. Ilsa: Was that cannon fire? Or is it my heart pounding? Rick: It’s the new German 77, and judging by the sound, only about 35 miles away. And getting closer every minute. Here, here, drink up. We’ll never finish the other three. Sam: Germans will be here pretty soon and they’ll come looking for you. And don’t forget. There’s a price on your head. Rick: I left a note in my apartment. They’ll know where to find me. Ilsa: It’s strange. I know so very little about you. Rick: I know very little about you. Just the fact that you had your teeth straightened. Ilsa: But be serious, darling. You’re in danger. You must leave Paris. Rick: No, we must leave. Ilsa: Yes, of course, we. Rick: The train for Marseilles leaves at 5:00. I’ll pick you up at your hotel at 4:30. Ilsa: Not at my hotel. I … I have things to do in the city before I leave. I’ll meet you at the station. Rick: All right, at a quarter to 5. Why don’t we get married in Marseilles? Ilsa: That’s too far ahead to plan. Rick: Yes, I guess it is a little too far ahead. Let’s see. What about the engineer? Why can’t he marry us on the train? Why not? The captain on a ship can. It doesn’t seem fair that. What’s wrong, kid? Ilsa: I love you so much. And I hate this war so much. It’s a crazy world. Anything can happen. If you shouldn’t get away… If something should keep us apart… wherever they put you and wherever I’ll be, I want you to know that l ...Kiss me. Kiss me as if it were the last time. Rick: Where is she？Have you seen her? Sam: No, Mr. Richard, I can’t find her. She checked out of the hotel. But this note came just after you left. That’s the last call, Mr. Richard. Do you hear me? Come on, Mr. Richard. Let’s get out of here. Come on. Ilsa: Rick, I have to talk to you. Rick: Well, I saved my first drink to have with you. Here. Ilsa: No, Rick. Not tonight. Rick: Especially tonight. Why did you have to come to Casablanca? There are other places. Ilsa: I wouldn’t have come if I’d known that you were here. Believe me, Rick, it’s true. I didn’t know. Rick: It’s funny how your voice hasn’t changed. I can still hear it. “Richard, dear, I’ll go with you anyplace. We’ll get on a train and never stop.” Ilsa: Don’t, Rick. I can understand how you feel. Rick: You understand how I feel? How long was it we had, honey? Ilsa: I didn’t count the days. Rick: Well, I did. Every one of them. Mostly, I remember the last one. The wild finish. A guy standing on a station platform in the rain with a comical look on his face because his insides have been kicked out. Ilsa: Can I tell you a story, Rick? Rick: Has it got a wild finish? Ilsa: I don’t know the finish, yet. Rick: Go on, tell it. Maybe one will come to you as you go along. Ilsa: It’s about a girl who’d just come to Paris from her home in Oslo. At the house of some friends, she met a man about whom she’d heard her whole life. A very great and courageous man. He opened up for her a whole beautiful world full of knowledge, thoughts and ideals. Everything she knew or ever became was because of him. She looked up to him and worshiped him with a feeling she supposed was love. Rick: Yes, that’s very pretty. I heard a story once. I’ve heard a lot of stories in my time. They went along with the sound of a tinny piano playing in the parlor downstairs. “Mister, I met a man once when I was a kid,” they’d always begin. I guess neither one of our stories is very funny. Tell me who was it you left me for? Was it Laszlo, or were there others in between or aren’t you the kind that tells? Major Strasser: I strongly suspect that Ugarte left the letters of transit with Mr. Blaine. I would suggest you search the cafe immediately. Captain Renault: If Rick has them, he’s too smart to let you find them there. Major Strasser: You give him credit for too much cleverness. My impression was that he’s just another blundering American. Captain Renault: We mustn’t underestimate American blundering. I was with them when they blundered into Berlin in 1918. Major Strasser: As to Laszlo, we want him watched 24 hours a day. Captain Renault: It may interest you to know that at this very moment he’s on his way here. Officer: There’s nothing we can do. Captain Renault: I’m delighted to see you both. Did you have a good night’s rest? Laszlo: I slept very well. Captain Renault: That’s strange. Nobody’s supposed to sleep well in Casablanca. Laszlo: May we proceed with the business? Captain Renault: With pleasure. Won’t you sit down? Major Strasser: Very well, Laszlo, we won’t mince words. You’re an escaped prisoner of the Reich. So far, you have been fortunate enough in eluding us. You have reached Casablanca. It is my duty to see that you stay here. Laszlo: Whether or not you’ll succeed is of course problematic. Major Strasser: Not at all. Captain Renault’s signature is necessary on every visa. Captain, would you think that it is possible Herr Laszlo will receive a visa? Captain Renault: I’m afraid not. My regrets, monsieur. Laszlo: Well, perhaps. I shall like it in Casablanca. Major Strasser: And mademoiselle? Ilsa: You needn’t be concerned about me. Laszlo: Is that all you wish to tell us? Major Strasser: Don’t be in such a hurry. You have all the time in the world. You may be in Casablanca indefinitely. Or you may leave for Lisbon tomorrow. On one condition. Laszlo: And that is? Major Strasser: You know the leader of the underground movement in Paris, in Prague, in Brussels, in Amsterdam, in Oslo, in Belgrade, in Athens. . . . Laszlo: Even Berlin. Major Strasser: Yes, even in Berlin. If you’ll furnish me with their names and their whereabouts, you’ll have your visa in the morning. Captain Renault: And the honor of having served the Third Reich. Laszlo: I was in a German concentration camp for a year. That’s honor enough for a lifetime. Major Strasser: You’ll give us the names? Laszlo: If I didn’t give them to you in the concentration camp, where you had more persuasive methods at your disposal, I certainly won’t give it to you now. What if you tracked these men down and kill them? What if you murdered all of us? From every corner of your pendency, hundreds, thousands would rise to take our places. Even Nazis can’t kill that fast. Major Strasser: Herr Laszlo, you have a reputation for eloquence, which I can now understand. But in one aspect you’re mistaken. You said the enemies of the Reich could be replaced. There is one exception. No one could take your place. If anything unfortunate should occur to you while you’re trying to escape… Laszlo: You won’t dare to interfere with me here. This is still unoccupied France. Any violation of neutrality would reflect on the captain Renault. Captain Renault: Monsieur, insofar as it is in my power. . . . Laszlo: Thank you. Captain Renault: By the way, Monsieur, last night you evinced an interest in Signor Ugarte. Laszlo: Yes? Captain Renault: I believe you have a message for him. Laszlo: Nothing important. May I speak to him now? Major Strasser: You would find the conversation a trifle one sided. Signor Ugarte is dead. Captain Renault: I’m making out the report now. We haven’t quite decided whether he committed suicide or died trying to escape. Laszlo: Are you quite finished with us? Major Strasser: For the time being. Laszlo: Good day. Captain Renault: Undoubtedly, their next step will be to the black market. Police: Excuse me, captain. Another visa problem has come up. Captain Renault: Show her in. Police: Yes, sir. Man: Sorry, Monsieur. We were never to handle the police. This is a job for Signor Ferrari. Dealer: Ferrari? It can be most helpful to know Ferrari. He pretty near has a monopoly on the black market here. You’ll find him at the Blue Parrot. Man: Thanks. Ferrari: Don’t be too downhearted. Perhaps you can come to terms with Capt. Renault. Couple: Thank you very much, Signor. Rick: Hello, Ferrari. Ferrari: Good morning, Rick. Rick: I see the bus is in. I’ll take my shipment with me. Ferrari: No hurry. I will have it sent over. Have a drink with me. Rick: I never drink in the morning. Every time you send my shipment over, it’s always just a little bit short. Ferrari: Carrying charges, my boy, carrying charges. Here, sit down. There’s something I want to talk over with you. The news about Ugarte upsets me very much. Rick: You’re a fat hypocrite. You don’t feel any sorrier than I do. Ferrari: Of course not. What upsets me is that Ugarte is dead and no one knows where those letters of transit are. Rick: Practically no one. Ferrari: If I had those letters, I could make a fortune. Rick: So could l, and I’m a poor businessman. Ferrari: I’ve a proposition for whoever has those letters. I’ll handle the entire transaction. Get rid of the letters, take all the risk, for a small percentage. Rick: And the carrying charges? Ferrari: Naturally, there will be a few incidental expenses. That’s my proposition for whoever has the letters. Rick: I’ll tell him when he comes in. Ferrari: Rick, I’ll put my cards out. I think you know where those letters are. Rick: You’re in good company. Renault and Strasser probably think so too. That’s why I came over here to give them a chance to ransack my place. Ferrari: Don’t be a fool. Take me into your confidence. You need a partner. Rick: Excuse me, I’ll be getting back. Good morning. Signor Ferrari is the fat gent at the table. Dealer: You won’t find a treasure like this in all Morocco, mademoiselle. Only 700 francs. Rick: You’re being cheated. Ilsa: It doesn’t matter, thank you. Dealer: The lady are friends of Nick’s. For friends of Rick’s, we have a small discount. Did I say 700 francs? You can have it for 200. Rick: I’m sorry I was in no condition to receive you when you call last night. Ilsa: It doesn’t matter. Dealer: For special friends of Rick’s, we have a special discount. One hundred francs. Rick: Your story had me a little confused, or maybe it was the Bourbon. Dealer: I have some tablecloths, some napkins... Ilsa: Thank you, I’m really not interested. Dealer: Please, one minute. Rick: Why did you come back to tell me why you ran out on me at the railway station? Ilsa: Yes. Rick: You can tell me now. I’m reasonably sober. Ilsa: I don’t think I will, Rick. Rick: Why not? After all, I got stuck with the railway ticket. I think I’m entitled to know. Ilsa: Last night I saw what has happened to you. The Rick I knew in Paris, I could tell him. He’d understand. But the one who looked at me with such hatred… I’ll be leaving Casablanca soon and we’ll never see each other again. We knew very little about each other when we were in love in Paris. If we leave it that way, maybe we’ll remember those days, and not Casablanca. Not last night. Rick: Did you run out on me because you couldn’t be sure to know what it’d be like? Hiding from the police, running away all the time? Ilsa: You can believe that if you want to. Rick: Well, I’m not running away anymore. I’m settled now. Above a saloon, it’s true, but… Walk up a flight. I’ll be expecting you. All the same, someday you’ll lie to Laszlo. You’ll be there. Ilsa: No, Rick. No. You see, Victor Laszlo is my husband, and was, even when I knew you in Paris. Ferrari: I was just telling Laszlo that, unfortunately, I’m not able to help him. Laszlo: You see, my dear. The word has gone around. Ferrari: As leader of all illegal activities in Casablanca, I’m an influential and respected man. But it would not be worth my life to do anything for Mr. Laszlo. You, however, are a different matter. Laszlo: Signor Ferrari thinks it might just be possible to get an exit visa for you. Ilsa: You mean for me to go on alone? Laszlo: And only alone. I’ll stay here and keep on trying. I’m sure in a little while ... Ferrari: Might as well be frank, monsieur. It’d take a miracle to get you out of Casablanca. The Germans have outlawed miracles. Ilsa: We’re only interested in two visas. Laszlo: Please, llsa, don’t be hasty. Ilsa: No, Victor. Ferrari: You two will want to discuss this. Excuse me, I’ll be at the bar. Laszlo: No, IIsa. I won’t let you stay here. You must get to America. Believe me. Somehow I’ll get out and join you. Ilsa: But Victor, if the situation were different, if I had to stay and there was only one visa, would you take it? Laszlo: Yes, I would. Ilsa: Yes, I see. When I had trouble getting out of Lille, why didn’t you leave me? When I was sick in Marseilles for two weeks and you were in danger every minute of that time, why didn’t you leave me then? Laszlo: I meant to. Something always held me up. I love you very much, Ilsa. Ilsa: Your secret will be safe with me. Ferrari is waiting for our answer. Ferrari: Not more than 50 francs. Laszlo: We’ve decided, Signor Ferrari. For the present we’re looking for only two visas. Thank you very much. Ferrari: Well, good luck, but be careful. You know you’re being shadowed? Laszlo: Of course, it becomes instinct. Ferrari: I observe that you, in one respect, are a very fortunate man. I am moved to make one more suggestion. Why? I do not know. Because it cannot possibly profit me. Have you heard about Signor Ugarte and the letters of transit? Laszlo: Yes, something. Ferrari: The letters were not found on Ugarte when they arrested him. Laszlo: You know where they are? Ferrari: Not for sure. But I’d guess that Ugarte left those letters with monsieur Rick. Laszlo: Rick? Ferrari: A difficult customer, that Rick. One never knows what he’ll do, or why. But it is worth a chance. Laszlo: Thank you very much. Good day. Ilsa: Bye. Thank you for your coffee. I shall miss that when we leave Casablanca. Ferrari: Gracious of you to share it with me. Good day, mademoiselle. Laszlo: Monsieur. Good day. Man1: Here’s to you, sir. Man2: Good luck. Man1: I’d better be going. Man2: My check, please. Man1: I have to warn you, sir. This is a dangerous place full of vultures. Vultures everywhere. Thanks for everything. Man2: Goodbye. Man1: It has been a pleasure to meet you. I’m sorry. Carl: Monsieur Rick, You are getting to be your best customer. Captain Renault: Well, drinking! I’m very pleased with you. You’re beginning to live like a Frenchman. Rick: That was some going-over your men gave my place. We barely got cleaned up in time to open. Captain Renault: I told Strasser he wouldn’t find the letters here. But I told my men to be especially destructive. You know how that impresses Germans. Rick, have you got those letters of transit? Rick: Louis, are you pro-Vichy or Free French? Captain Renault: Serves me right for asking a direct question. The subject is closed. Rick: It looks like you’re a little late. So Yvonne’s gone over to the enemy. Captain Renault: Who knows? In her own way, she may constitute an entire second front. I think it’s time for me to flatter Major Strasser a little. I’ll see you later, Rick. Yvonne: Sascha! German Soldier: French 75’. Yvonne: Put up a whole row of them, Sascha. Starting here and ending here. German Soldier: We will begin with two. What did you say? Would you kindly repeat it? French Soldier: What I said is not your business. German Soldier: I’ll make it my business. Rick: I don’t like disturbances in my place. Either lay off politics or get out. Major Strasser: You see, captain? The situation is not as much under control as you believe. Captain Renault: We’re trying to cooperate with your government. But we can’t regulate the feelings of our people. Major Strasser: Are you quite certain which side you’re on? Captain Renault: I have no conviction, if that’s what you mean. I blow with the wind and the prevailing wind happens to be from Vichy. Major Strasser: And if it should change? Captain Renault: Surely the Reich doesn’t admit that possibility? Major Strasser: We’re concerned about more than Casablanca. We know every French province in Africa is honeycombed with traitors waiting for their chance, waiting perhaps for a leader. Captain Renault: A leader? Like Laszlo? Major Strasser: I have been thinking. It is too dangerous to let him go. It may be too dangerous to let him stay. Captain Renault: I see what you mean. Old Gentleman: Thank you, Carl. Old Lady: Thank you, Carl. Old Gentleman: Sit down. Have a brandy with us. Old Lady: To celebrate our leaving for America tomorrow. Carl: Thank you very much. I thought you’d ask me, so I brought the good brandy and the dress glass. Old Lady: At last the day’s come! Old Gentleman: Frau Leuchtag and we are speaking nothing but English now. Old Lady: So we should feel at home when we get to America. Carl: A very nice idea. Old Gentleman: To America. Old Lady: To America. Old Gentleman: What watch? Old Lady: Ten watch. Such much? Carl: You’ll get along beautifully in America. Captain Renault: How is lady luck treating you? Oh, too bad. You’ll find him over there. Bulgarian Lady: Monsieur Rick? Rick: Yes? Bulgarian Lady: Could I speak to you? Just a few minutes, please. Rick: How’d you get in here? You’re underage. Bulgarian Lady: I came with Capt. Renault. Rick: I should’ve known. Bulgarian Lady: My husband is with me, too. Rick: He is? Captain Renault’s getting broad-minded. Sit down. Have a drink? Bulgarian Lady: Of course not. Rick: You mind if I do? Bulgarian Lady: Monsieur Rick, what kind of a man is Captain Renault? Rick: Just like any other man, only more so. Bulgarian Lady: No, I mean, is he trustworthy? Is his word… Rick: Just a moment. Who told you to ask me that? Bulgarian Lady: He did. Captain Renault did. Rick: I thought so. Where’s your husband? Bulgarian Lady: At the roulette table, trying to win enough for our exit visas. Of course he’s losing. Rick: How long have you been married? Bulgarian Lady: Eight weeks. We come from Bulgaria. Things are very bad there. The devil has the people by the throat. So Jan and l, we… We don’t want our children to grow up in such a country. Rick: So you decided to go to America. Bulgarian Lady: Yes. But we have not much money and traveling is so expensive and difficult. It was much more than we thought to get here. Then Captain Renault sees us. And he’s so kind. He wants to help us. Rick: Yes, I’ll bet. Bulgarian Lady: He tells me he can give us an exit visa. But we have no money. Rick: Does he know that? Bulgarian Lady: Yes. Rick: And he’s still willing to give you a visa? Bulgarian Lady: Yes, Monsieur. Rick: You want to know. . . . Bulgarian Lady: Will he keep his word? Rick: He always has. Bulgarian Lady: Monsieur, you are a man. If someone loved you very much, so that your happiness was the only thing she wanted in the world and she did a bad thing to make certain of it, could you forgive her? Rick: Nobody ever loved me that much. Bulgarian Lady: And he never knew, and the girl kept this bad thing locked in her heart, that would be all right, wouldn’t it? Rick: You want my advice? Bulgarian Lady: Yes, please. Rick: Go back to Bulgaria. Bulgarian Lady: But if you knew what it means to us to leave Europe, to get to America. But if Jan should find out… He is such a boy. In many ways, I am so much older than he is. Rick: Yes, everybody in Casablanca has problems. Yours may work out. You’ll excuse me. Bulgarian Lady: Thank you, monsieur. Rick: Good evening. Laszlo: Good evening. You see? Here we are again. Rick: I’ll take that as a great compliment to Sam. I suppose he means to you Paris of happier days. Ilsa: He does. Could we have a table close to him? Rick: And as far away from Strasser as possible. The geography may be a little difficult to arrange. Paul, table 30. Waiter: Yes. Right this way, if you please. Rick: I’ll have Sam play As Time Goes By. I believe that’s your favorite tune. Rick: Thank you. Laszlo: Two Cognacs, please. Waiter: Cognac. Waiter at the roulette table: Do you wish to place another bet, sir? Bulgarian Man: No, no, I guess not. Rick: Have you tried 22 tonight? I said “22”. Leave it there. Cash it in and don’t come back. Man: Are you sure this place is honest? Carl: Honest? As honest as the day is long. Rick: How are we doing tonight? Waiter: A couple of thousand less than I thought there would be. Bulgarian Lady: Monsieur Rick, I…I… Rick: He is just a lucky guy. Carl: Monsieur Rick, may I get you a cup of coffee? Rick: No, thanks, Carl. Carl: Monsieur Rick. Bulgarian Man: Captain Renault, may l ... Captain Renault: Not here, please. Come to my office in the morning. We’ll do everything businesslike. Bulgarian man: We’ll be there at 6:00. Captain Renault: I’ll be there at 10:00. I’m very happy for both of you. Still, it’s very strange that you won. Well, maybe not so strange. I’ll see you in the morning. Bulgarian Lady: Thank you so much, Captain Renault. Waiter: Boss, you’ve done a beautiful thing. Rick: Go away, you crazy Russian. Captain Renault: As I suspected, you’re a rank sentimentalist. Rick: Yeah, why? Captain Renault: Why do you interfere with my little romances? Rick: Put it down as a gesture to love. Captain Renault: I forgive you this time. But I’ll be in tomorrow night with a breathtaking blonde. And it’ll make me very happy if she loses. Laszlo: Mr. Blaine, I wonder if I could talk to you. Rick: Go ahead. Laszlo: Isn’t there some other place? It’s rather confidential, what I have to say. Rick: In my office. Laszlo: Right. You know it’s very important that I get out of Casablanca. I’m privileged to be one of the leaders of a great movement. You know what I’ve been doing. You know what it means to the work, to the lives of thousands and thousands of people that I reach America and continue my work. Rick: I’m not interested in politics. The problems of the world are not in my department. I’m a saloonkeeper. Laszlo: My friends in the underground tell me that you’ve quite a record. You ran guns to Ethiopia. You fought against the fascists in Spain. Rick: What of it? Laszlo: Isn’t it strange you are always fighting on the side of the underdog? Rick: Yes, I found that a very expensive hobby, too. But then I never was much of a businessman. Laszlo: Are you enough of a businessman to appreciate an offer of 100,000 francs? Rick: I appreciate it, but I don’t accept it. Laszlo: I’ll raise it to 200,000. Rick: My friend, you could make it a million francs or three. My answer would still be the same. Laszlo: There must be some reason why you won’t let me have them. Rick: There is. I suggest that you ask your wife. Laszlo: I beg your pardon? Rick: I said, ask your wife. Laszlo: My wife? Rick: Yes. Laszlo: Play La Marseillaise. Play it! Major Strasser: You see what I mean? If Laszlo’s presence in a café can inspire this unfortunate demonstration, what more will his presence in Casablanca bring on? I advise that this place be shut up at once. Captain Renault: But everybody’s having such a good time. Major Strasser: Yes, much too good a time. The place is to be closed. Captain Renault: But I’ve no excuse to close it. Major Strasser: Find one. Captain Renault: Everyone is to leave immediately. This cafe is closed until further notice. Clear the room at once! Rick: How can you close me up? On what grounds? Captain Renault: I’m shocked, shocked to find that gambling is going on in here. Waiter: Your winnings, sir. Captain Renault: Thank you very much. Captain Renault: Everybody out at once! Major Strasser: Mademoiselle, after this disturbance, it’s not safe for Laszlo to stay in Casablanca. Ilsa: This morning you implied it wasn’t safe for him to leave Casablanca. Major Strasser: That’s also true, except for one destination: to return to occupied France. Ilsa: Occupied France? Major Strasser: Under safe conduct from me. Ilsa: Of what value is that? You may recall what German guarantees have been worth in the past. There are only two other alternatives for him. Ilsa: What are they? Major Strasser: It’s possible that the French authorities may find a reason to put him in the concentration camp here. Ilsa: The other alternative? Major Strasser: My dear, mademoiselle, perhaps you have already observed that in Casablanca, human life is cheap. Good night, mademoiselle. Ilsa: What happened with Rick? Laszlo: We’ll discuss it later. Our faithful friend is still there. Ilsa: Victor, please don’t go to the underground meeting tonight. Laszlo: I must. Besides, it isn’t often that a man gets to display heroics before his wife. Ilsa: Don’t joke. After Major Strasser’s warning tonight, I’m frightened. Laszlo: To tell you the truth, I’m frightened, too. Shall I remain here in a hotel room, hiding? Or shall I carry on the best I can? Ilsa: Whatever I’d say, you would carry on. Victor, why don’t you tell me about Rick? What did you find out? Laszlo: Apparently he has the letters. Ilsa: Yes? Laszlo: But no intention of selling them. I would think if sentiment won’t persuade him, money would. Ilsa: Did he give you any reason? Laszlo: He suggested I ask you. Ilsa: Ask me? Laszlo: Yes. He said, “Ask your wife”. I don’t know why he said that. Well, our friend outside will think we’ve retired by now. I’ll be going in a few minutes. Ilsa, l ... Ilsa: Yes? Laszlo: When I was in the concentration camp, were you lonely in Paris? Ilsa: Yes, Victor. I was. Laszlo: I know how it is to be lonely. Is there anything you wish to tell me? Ilsa: No, Victor. There isn’t. Laszlo: I love you very much, my dear. Ilsa: Yes. Yes, I know. Victor, whatever I do, will you believe that l ... Laszlo: You don’t even have to say it. I’ll believe. Good night, dear. Ilsa: Good night. Victor… Laszlo: Yes, dear? Ilsa: Be careful. Laszlo: Of course I’ll be careful. Carl: Well, you are in pretty good shape, Herr Rick. Rick: How long can I afford to stay closed? Carl: Two weeks, maybe three. Rick: Maybe I won’t have to. A bribe has worked before. In the meantime, everybody stays on salary. Carl: Thank you, Herr Rick. Sascha will be happy to hear it. I owe him money. Rick: You finish locking up, will you, Carl? Carl: I will. Then I’m going to the meeting Rick: Don’t tell me where you are going. Carl: I won’t. Rick: Good night. Carl: Good night, Mr. Rick. Rick: How did you get in? Ilsa: The stairs from the street. Rick: I told you you’d come around, but this is ahead of schedule. Well, won’t you sit down? Ilsa: Richard, I had to see you. Rick: Well, there is “Richard” again. We’re back in Paris. Your visit isn’t connected by any chance with the letters of transit? Seems as long as I have those letters, I’ll never be lonely. Ilsa: You can ask any price you want, but you must give me those letters. Rick: I went all through that with your husband. It’s no deal. Ilsa: I know how you feel about me but please put your feelings aside for something more important. Rick: Do I have to hear again what a great man your husband is, what an important cause he’s fighting for? Ilsa: It was your cause, too. In your own way you were fighting for the same thing. Rick: I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in. Ilsa: Richard, we loved each other once. If those days meant anything at all to you… Rick: I wouldn’t bring up Paris if I were you. It’s poor salesmanship. Ilsa: Please, please listen. Listen to me. If you knew what really happened, if you knew the truth. Rick: I wouldn’t believe you no matter what you told me. You’d say anything now to get what you want. Ilsa: You want to be sorry for yourself, don’t you? With so much at stake all you can think of is your own feeling. One woman has hurt you, and you take revenge on the rest of the world. You’re a coward and a weakling! No, Richard, I’m sorry. I’m sorry, but you are our last hope. If you don’t help us, Victor Laszlo will die in Casablanca. Rick: What of it? I’m gonna die in Casablanca. It’s a good spot for it. Now, if you’ll ... Ilsa: All right. I tried to reason with you. I tried everything. Now, I want those letters. Get them for me. Rick: I don’t have to. I got them right here. Ilsa: Put them on the table. Rick: No. Ilsa: For the last time, put them on the table. Rick: If Laszlo and the cause mean so much to you, you won’t stop at anything. All right, I’ll make it easier for you. Go ahead and shoot. You’ll be doing me a favor. Ilsa: Richard, I tried to stay away. I thought I would never see you again, that you were out of my life. The day you left Paris, if you knew what I went through, if you knew how much I loved you, how much I still love you… Rick: And then? Ilsa: It wasn’t long after we were married that Victor went back to Czechoslovakia. They needed him in Prague, but the Gestapo were waiting for him. Just two lines items in the paper: “Victor Laszlo apprehended, sent to concentration camp.” I was frantic. For months I tried to get a word. Then it came, he was dead, shot, trying to escape. I was lonely. I had nothing, not even hope. Then I met you. Rick: Why weren’t you honest with me? Why did you keep your marriage a secret? Ilsa: It wasn’t my secret, Richard. Victor wanted it in that way. Not even our closest friends knew about our marriage. That was his way of protecting me. I knew so much about his work. If the Gestapo found out I was his wife, it’d be dangerous for me and for those working with us. Rick: When did you first find out he was alive? Ilsa: Just before you and I were to leave Paris together. A friend came and told me that Victor was alive. They were hiding him in a freight car in the outskirts of Paris. He was sick. He needed me. I wanted to tell you, but I didn’t dare. I knew you wouldn’t have left Paris because the Gestapo would have caught you, so l…Well, you know the rest. Rick: Well, it’s still a story without an ending. What about now? Ilsa: Now? I don’t know. I know that I’ll never have the strength to leave you again. Rick: And Laszlo? Ilsa: You’ll help him now, Richard, won’t you? You’ll see that he gets out. Then he’ll have his work, all that he’s been living for. Rick: All except one. He won’t have you. Ilsa: I can’t fight it anymore. I ran away from you once. I can’t do it again. I don’t know what’s right any longer. You have to think for both of us, for all of us. Rick: All right, I will. Here’s looking at you, kid. Ilsa: I wish I didn’t love you so much. Carl: I think we lost them. Laszlo: Yes. I’m afraid they caught some of the others. Carl: Come inside. Come, Mr. Laszlo. I will help you immediately. Laszlo: Thank you. Carl: I’ll give you some water. Rick: Carl, what happened? Carl: The police break up our meeting, Herr Rick. We escaped in the last moment. Rick: Come up here a minute. Carl: Yes, I come. Rick: I want you to turn out the light at the rear entrance. It might attract the police. Carl: But Sascha always puts out that light. Rick: Tonight he forgot. Carl: Yes, I come. I will do it. Rick: I want you to take Miss Lund home. Carl: Yes, sir. Laszlo: It’s nothing. Just a little cut. We had to get through a window. Rick: This might come in handy. Laszlo: Thank you. Rick: Had a close one, eh? Laszlo: Yes, rather. Rick: Don’t you sometimes wonder if it’s worth all this? I mean, what you’re fighting for. Laszlo: We might as well question why we breathe. If we stop breathing, we’ll die. If we stop fighting our enemies, the world will die. Rick: What of it? Then it’ll be out of its misery. Laszlo: You know how you sound, Monsieur Blaine? Like a man who’s convincing himself of something he doesn’t believe in his heart. Laszlo: Each of us has a destiny, for good or for evil. Rick: I get the point. Laszlo: I wonder if you do. I wonder if you know you’re trying to escape from yourself and that you’ll never succeed. Rick: You seem to know all about my destiny. Laszlo: I know a good deal more about you than you suspect. I know that you’re in love with a woman. It’s perhaps a strange circumstance that we both should be in love with the same woman. The first evening I came into this cafe, I knew there was something between you and llsa. Since no one is to blame, I demand no explanation. I ask only one thing. You won’t give me the letters of transit. All right. But I want my wife to be safe. I ask you as a favor to use the letters to take her away from Casablanca. Rick: You love her that much? Laszlo: Apparently, you think of me only as the leader of a cause. Well, I’m also a human being. Yes, I love her that much. Police: Mr. Laszlo? Laszlo: Yes? Police: Come with us. We have a warrant for your arrest. Laszlo: On what charge? Police: Captain Renault will discuss that with you later. Rick: It seems that destiny has taken a hand. Rick: You haven’t any actual proof, and you know it. This isn’t Germany or occupied France. All you can do is fine him a few thousand francs and give him 30 days. You might as well let him go now. Captain Renault: Rick, I advise you not to be too interested in what happens to Laszlo. If there is any chance you help him to escape… Rick: Why do you think I’d stick my neck out for Laszlo? Captain Renault: Because, one, you bet 10,000 francs he’d escape; two, you’ve got the letters of transit. Don’t bother to deny it. And you might do it simply because you don’t like Strasser’s looks. As a matter of fact, I don’t like them either. Rick: They’re all excellent reasons. Captain Renault: Don’t count too much on my friendship. In this matter, I’m powerless. Besides, I might lose 10,000 francs. Rick: You’re not very subtle, but you are effective. I get the point. Yes, I have the letters, but I intend using them myself. I’m leaving Casablanca on tonight’s plane. The last plane. I’m taking a friend with me. Oh, one you’ll appreciate. Captain Renault: What friend? Rick: Ilsa Lund. That ought to put your mind to rest about my helping Laszlo escape. The last man I want to see in America. Captain Renault: You didn’t come here to tell me this. You have the letters of transit. You can fill in your name and hers and leave anytime you please. Why are you still interested in what happens to Laszlo? Rick: I’m not. But I am interested in what happens to llsa and me. We have a legal right to go, that’s true, but people have been held in Casablanca in spite of their legal rights. Captain Renault: What makes you think we want to hold you? Rick: Ilsa is Laszlo’s wife. She probably knows things that Strasser would like to know. Louis, I’ll make a deal with you. Instead of this petty charge you have against him, you could get something really big, something that would chuck him in the concentration camp for years. Be quite a feather in your cap, wouldn’t it? Captain Renault: It certainly would. Germany Vichy would be very grateful. Rick: Then release him. You be at my place a half-hour before the plane leaves. I’ll have Laszlo come there to pick up the letters of transit. And that will give you the criminal grounds to make the arrest. You get him, and we get away. To the Germans, that last will be just a minor annoyance. Captain Renault: There’s still something about this business I don’t quite understand. Miss Lund, she is very beautiful, yes, but you were never interested in any woman. Rick: She isn’t just any woman. Captain Renault: I see. How do I know you’ll keep your bargain? I’ll make the arrangements right now with Laszlo in the visitor’s pen. Captain Renault: Ricky, I’m gonna miss you. Apparently, you’re the only one in Casablanca who has even less scruples than I. Rick: Oh, thanks. Captain Rick: Go ahead, Ricky. Rick: Call off your watchdogs when you let him go. I don’t want them around this afternoon. I’m taking no chances, Louis, not even with you. Ferrari: Should we draw up papers, or is a handshake good enough? Rick: Certainly not good enough. But since I’m in a hurry, it’ll have to do. Ferrari: Ah, to get out of Casablanca and go to America! You’re a lucky man. Rick: By the way, my agreement with Sam is that he gets 25% of the profits. That still goes. Ferrari: I happen to know he gets 10%. But he’s worth 25. Rick: Abdul, Carl and Sascha, they stay with the place or I don’t sell. Ferrari: Of course, I see. Rick’s wouldn’t be Rick’s without them. Rick: Well, so long. Don’t forget you owe Rick’s 100 cartons of American cigarettes. Ferrari: I shall remember to pay it to myself. Rick: You’re late. Captain Renault: I was informed just as when Laszlo left the hotel. So I knew I’d be on time. Rick: I said to tie up your watchdogs. Captain Renault: He won’t be followed. This place won’t never be the same without you. Rick: I know what you mean. But I’ve already spoken to Ferrari. You’ll still win at roulette. Captain Renault: Is everything ready? Rick: I have the letters right here. Captain Renault: Tell me when we searched the place, where were they? Rick: Sam’s piano. Captain Renault: Serves me right for not being musical. Rick: Here they are. You’d better wait in my office. Laszlo: Here. Ilsa: Richard, Victor thinks I’m leaving with him. Haven’t you told him? Rick: No, not yet. Ilsa: But it’s all right and you were able to arrange everything? Rick: Everything’s quite all right. We’ll tell him at the airport. The less time to think, the easier for all of us. Please trust me. Ilsa: Yes, I will. Laszlo: Mr. Blaine, I don’t know how to thank you. Rick: Save it. We still have lots of things to do. Laszlo: I brought the money, Mr. Blaine. Rick: Keep it. You’ll need it in America. Laszlo: We made a deal. Rick: Never mind that. You won’t have any trouble in Lisbon, will you? Laszlo: No. It’s all arranged. Rick: Good. I’ve got the letters here, made out in blank. All you have to do is fill in the signatures. Captain Renault: Victor Laszlo, you’re under arrest. The charge of accessory to the murder of the couriers from whom these were stolen. You’re surprised about my friend Ricky? The explanation is quite simple. Love, it seems, has triumphed over virtue. Thank ... Rick: Not so fast, Louis. Nobody’s gonna be arrested. Not for a while yet. Captain Renault: Have you taken leave of your senses? Rick: I have. Sit down. Captain Renault: Put that gun down. Rick: I don’t want to shoot you, but I will if you take one more step. Captain Renault: Under the circumstances, I will sit down. Rick: Keep your hands on the table. Captain Renault: I suppose if you know what you are doing, but I wonder if you realize what this means. Rick: I do. We’ve got time to discuss that later. Captain Renault: Call off the watchdogs, you said. Rick: Just the same, you call the airport and let me hear you tell them. And remember, this gun is pointed right at your heart. Captain Renault: That is my least vulnerable spot. Captain Renault: Hello? Is that the airport? This is Captain Renault speaking. There’ll be two letters of transit for Lisbon plane. There’s to be no trouble about them. Good. Major Strasser: Hello, hello? My car, quickly. This is Major Strasser. Have a squad of police meet me at the airport at once. At once, do you hear? Police: Hello, hello, radio tower? Lisbon plane taking off in 10 minutes, east runway. Visibility one and one half miles. Light ground fog. Depth of fog approximately 500. Ceiling unlimited. Thank you. Rick: Louis, have your man go with Laszlo and take care of his luggage. Captain Renault: Certainly, Rick, anything you say. Find Mr. Laszlo’s luggage. Put it on the plane. Police: Yes, sir. This way, please. Rick: If you don’t mind, fill in the names. That will make it even more official. Captain Renault: You think of everything, don’t you? Rick: The names are Mr. and Mrs. Victor Laszlo. Ilsa: But why my name, Richard? Rick: Because you’re getting on that plane. Ilsa: I don’t understand. But what about you? Rick: I’m staying with him till the plane gets safely away. Ilsa: No, Richard, What’s happened to you? Last night you said… Rick: Last night ... Last night we said a great many things. You said I was to do the thinking for both of us. I’ve done a lot of it since then. It all adds up to one thing: You’re getting on that plane with Victor where you belong. Now, you’ve got to listen to me. You have any idea what you’d have to look forward to staying here? Chances are we’d both wind up in a concentration camp. Isn’t that true, Louis? Captain Renault: I’m afraid. Major Strasser would insist. Ilsa: You’re saying this only to make me go. Rick: I’m saying it because it’s true. Inside of us we both know you belong with Victor. You’re part of his work, the thing that keeps him going. If that plane leaves the ground and you’re not with him, you’ll regret it. Maybe not today, maybe not tomorrow, but soon for the rest of your life. Ilsa: But what about us? Rick: We’ll always have Paris. We didn’t have ... We’d lost it until you came to Casablanca. We got it back last night. Ilsa: When I said I would never leave you. Rick: And you never will. I’ve got a job to do too. Where I’m going, you can’t follow. What I have got to do, you can’t be any part of. Ilsa, I’m no good at being noble. But it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that. Now, now, here’s looking at you, kid. Laszlo: Everything is in order. Rick: All except one thing. There’s something you should know before you leave. Laszlo: I don’t ask you to explain anything. Rick: I’m going to anyway. It may make a difference to you later on. You said you knew about llsa and me. You didn’t know she was at my place last night when you were. She came there for the letters of transit. Isn’t that true, Ilsa? Ilsa: Yes. Rick: She tried everything to get them. But nothing worked. She did her best to convince me that she was still in love with me. But that was all over long ago. For your sake, she pretended it wasn’t. And I let her pretend. Laszlo: I understand. Rick: Here it is. Laszlo: Thanks. I appreciate it. Welcome back to the fight. This time I know our side will win. Are you ready, Ilsa? Ilsa: Yes, I’m ready. Goodbye, Rick. God bless you. Rick: You’d better hurry. You’ll miss that plane. Captain Renault: Well, I was right. You are a sentimentalist. Rick: Stay where you are. I don’t know what you are talking about. Captain Renault: What you just did for Laszlo. And that fairy tale you intended to send Ilsa away with him. I know a little about women, my friend. She went, but she knew you were lying. Rick: Anyway, thanks for helping me out. Captain Renault: I suppose you know this isn’t going to be pleasant for either of us. Especially for you. I’ll have to arrest you, of course. Rick: As soon as the plane goes, Louis. Major Strasser: What was the meaning of that phone call? Police: Victor Laszlo is on that plane. Major Strasser: Why do you stand here? Why don’t you stop him? Captain Renault: Ask Monsieur Rick. Rick: Get away from that phone. Major Strasser: I advise you not interfere. Rick: I was willing to shoot Captain Renault, and I’m willing to shoot you. Shut up! Put that phone down. Major Strasser: Get me the radio tower. Rick: Put it down! Police: Major Strasser has been shot. Captain Renault: Round up the usual suspects. Well, Rick, you’re not only a sentimentalist, but you’ve become a patriot. Rick: Maybe. It seemed like a good time to start. Captain Renault: I think perhaps you’re right. It might be a good idea for you to disappear from Casablanca for a while. There’s a Free French garrison at Brazzaville. I could be included to arrange a passage. Rick: My letter of transit? I could use a trip. But it doesn’t change our bet. You still owe me 10,000 francs. Captain Renault: And that 10,000 francs should pay our expenses. Rick: “Our” expenses? Louis, I think this is the beginning of a beautiful friendship.

Unit 2 The Legend of 1900《海上钢琴师》

Subtitles (full version) Max (Narrative): I still ask myself if I did the right thing when I abandoned his floating city. And I don’t mean only for the work. Fact is, a friend like that, a real friend, you won’t meet one again. If you just decide to hang up your sea legs, if you just want to feel something more solid beneath your feet, and if then you no longer hear the music of the gods around you. But like he used to say…you’re never really done for as long as you got a good story and someone to tell it to. Trouble is, nobody believes a single word of my story. It happened every time someone would look up and see her. It’s difficult to understand there’d be more than a thousand of us on that ship, traveling rich folks, immigrants and strange people, and us. Yet there was always one, one guy alone who would see her first. Maybe he was just sitting there eating or walking on the deck. Maybe he was just fixing his pants. He’d look up for a second, a quick glance out to sea and he’d see her. Then he’d just stand there rooted to the spot, his heart racing. And every time, every damn time, I swear, he’d turn to us, towards the ship, towards everybody and scream. Man 1: America! Man 2: New York. Max (Narrative): The one who sees America first, there’s one on every ship. And don’t be thinking it’s an accident or some optical illusion. It’s destiny. Those are people who always have that precise instant stamped on their life. And when they were kids you could look into their eyes and if you looked carefully enough you’d already see her－America. And I’ve seen a few Americas. Six years on that ship, five crossings a year. Europe, America and back always soaking in the ocean. When you stepped on land you couldn’t even piss straight in the john. It was steady. The john, I mean. But you’d keep bobbing like an idiot. Or you can get off a ship all right but off the ocean.” Pops: I was just closing. What can I do for you? Max [Narrative: When I boarded, I was 24 years old and I only cared about one thing in life－playing the trumpet.] I’m selling it. Pops: Conn. Not bad. Max: Best brass money can buy. Pops: Six pounds, ten shillings. Best I can do Max: That horn’s my whole life, mister. Even just being a nobody’s has got to be worth more than twenty lousy bucks Pops: That’s how things are. I suppose it’s barely worth half a crown. Shut the door when you leave, please Max: Okay, pops, you win. You just bought yourself a piece of musical history. Pops: Now if you want my advice, go out, treat yourself to a decent meal. Max: At least let me play it one last time Pops: Young man, I don’t have time to waste. All right. Hurry up, then. I’m closing Max: Thank you Pops: Two peas in a pod, wouldn’t you say? It’s the music you were just playing. What is it? Max: It doesn’t have a name. Just a handful of people have had the privilege of hearing it. Pops: That style. I was wondering since this morning, but... I can’t work out who this amazing piano player is. Max: I don’t think you ever heard of him Pops: Who is he? Max: If I told you this pianist never existed. I wouldn’t be lying Pops: I don’t like secrets. Come on now, Yank. Who the devil is playing? Max: That’s my secret. (Narrative) It was the first year of this frigging century as defined by an unknown colored coal stoker on the Virginian Danny: Fucking rich-ass bastards can’t lose nothing but cigarette butts and dirty-ass handkerchiefs, can’t lose no watch not even a beat-up Elgin or a sorry-ass cufflink. What am I talking about? Not even a fake fucking ring. Look here. A whole cigar. Must have been somebody poor at the party. Look at this shit. Nasty fucker. Damn rich. Don’t forget nothing unless they owe you some money. What in the scuts you doing here? T.D. Lemons. How do you do there, Lemon? Coal Stoker A: Immigrant bastard. You said it. That’s the way the immigrants do it. Coal Stoker B: Have a baby on the ship and then leave on board another mouth to feed. Coal Stoker C: And, like that, avoid trouble with the immigration office. Coal Stoker D: What’s a boy like him going to be when he grows up? Coal Stoker E: Another immigrant. Danny: Don’t pay those bastards no mind Lemon. Go on, lap it up, boy. Coal Stoker A: This one they left in first class on top the piano. Coal Stoker B: They are hoping some rich guy will come and stick a silver spoon in his mouth. And who does the little ape get instead? A poor coal stoker. Coal Stoker C: Someone is taking you for a sucker, Danny. Coal Stoker D: They have the fun. You have the misery. Danny: Fuck poverty. You stinking sewer rats. T.D. was written on that box. Any of you shitheads know what that means? I forgot. You all can’t read. It means, “Thanks, Danny.” “Thanks, Danny.” They left him for me and I’m gonna keep him. Rest of you all can go fuck yourselves. Coal Stoker E: Danny, what are you going to call the nino? Danny. Danny: Hell, I ain’t thinking about that. To start off I’m going to name him after me. Danny Boodman. Then I’ll put “T.D.” in the middle as rich folks put that in the middle, don’t you think? That give it class, to put that in the middle, don’t you think? Coal Stoker C: All fucking lawyers got initials in the middle of their names. Coal Stoker D: Well, my lawyer was Jonathan PTK Wonder. Danny: My son grows up to be a lawyer. I swear I’ll kill him myself. But the boy’s name is still going to be Danny Boodman T.D. Lemon. Coal Stoker B: He ain’t the son of no fucking duke, Danny. You found him on a Tuesday, call him “Tuesday”. Danny: You ain’t as dumb as you look, colored boy. I found him the first month of the first year of this frigging new century. So I call him Nineteen Hundred. Coal Stoker B: Nineteen Hundred? But that’s a number. Danny: It was a number, now it’s a name. Danny Boodman T.D. Lemon Nineteen Hundred. Coal Stoker B: Danny, your little bambino is not so happy. Come on, hurry. Hurry up. Don’t worry, your mama’s here. Danny: Damn. How can something that small shit so much? Max (Narrative): And that’s how little Nineteen Hundred grew up inside that cradle as big as a ship. But since Danny was afraid they’d take him away on account of some business concerning documents and visas. The boy lived his early years always hiding in the belly of the Virginian. Danny: Okay, now try one for yourself. Put your finger up here against these words, so the letters can’t run off on you. 1900: Man… Danny: All right, keep going. 1900: Go… Danny: Come on. 1900: Ma… Danny: Still a little bit more… 1900: Ma… Danny: Boy, you read like a god, Lemon. Now go on, put them all together kind of like them boiler valves come on… 1900: Man... go...Mama... Danny: Mango Mama. All right. Deep going… 1900: Yank...My...Chain. Danny, why are you laughing so much? Danny: Because these are names of horses. Doesn’t that make you laugh? I’m just crazy about these horses’ names. Look at this one here… 1900: Happy Hoofers. Danny: Listen to this. 1900: Sassy Lassy. And this one. Red Hot Mama. What’s a mama, Danny? Danny: A mama? A mama’s a horse… 1900: A horse? Danny: Racehorse. Matter of fact, you know what I say, Mama’s the best horse in the world. Thoroughbred. You bet on a mama, you always win. 1900: Tano D’Amato, the King of Lemons. Dad, put your finger here and read. T.D. doesn’t mean “Thanks, Danny”. Danny: Who’s this pansy ass? That’s enough reading for tonight. Too much reading is bad for you. 1900: What else is bad, Danny? Danny: Everything off the Virginian is bad. Everything. They got sharks on the land, they eat you alive. You keep away from them, you hear? 1900: Danny, what’s an orphanage? Danny: Well, an orphanage is like a great big prison where they lock up folks that ain’t got kids. 1900: So if I wasn’t with you they would put you in an orphanage? Danny: You got that right, little Lemon. Night-night. Coal Stoker A: Watch out, Danny. Coal Stoker B: Roll over. Roll him over. Coal Stoker C: My God. Doctor. Call the doctor. Get the doctor. Coal Stoker D: Danny, you bloody cow. Talk to me. Danny: Ain’t nothing but a pat on the back, boys. 1900: Holy Shoot... and times were good, was disqualified. Saucy Bossy. Max (Narrative): It took him three days to go toes up, old Danny. He let go on the sixth race in Chicago. Drinkable Water by two lengths over Vegetable Soup and five over Blue Foundation. Priest: Yea, though I walk through the valley of the shadow of death, I will fear no evil for Thou art with me. Thy rod and Thy staff they comfort me… Thanks Danny. In the name of the Father and of the Son, and of the Holy Ghost. Amen. Woman A: Music. Max (narrative): Nineteen Hundred was eight years old then. He’d made the trip between Europe and America about fifty times, I imagine. The ocean was his home. He never set foot on dry land. Never. Though he’d seen it from the ports a hundred times. But he never got off the boat. Problem was, as far as the world was concerned, he didn’t even exist. There wasn’t a city, a parish, a hospital, jail or baseball team that had his name any place. He didn’t have a country. He didn’t even have a birth date. No family. He was eight years old but officially he had never even been born. Sailor: Captain, Captain, wake up. Woman B: What’s his name? Captain: Nineteen Hundred. Woman B: Not the song, the boy. Captain: Nineteen Hundred. Woman B: Like the song. Captain: Nineteen Hundred, all of this is entirely against the regulations. 1900: Fuck the regulations. Pops: But I don’t understand what the record has to do with any of this. Max: This record shouldn’t exist. The only existing matrix was destroyed right after it was cut. Pops: This is a matrix. Quite handy from on-the-spot recordings that sort of business. Max: How did you get your hands on this? Pops: I spend the better part of the day putting the bits and pieces together. I found them by accident. Hidden inside one of those two pianos. I bought them from a second-hand dealer. They’ve emptied out an old hospital ship at Plymouth. Worker: It’s over there, mate. Foreman: Slow down, not so fast with that pulley. Easy, up there, easy. Watch that! These aren’t bananas, you know. Manager: Where are you from? Worker A: Liverpool. Manager: What do you do? Worker A: I’m a barber. Manager: Sign him on. Worker A: Thanks very much. Manager: Next. What’s your trade? Worker B: I’m a carpenter. A good mechanic… Manager: Get out. What do you do? Max: I play the trumpet. Manager: We’ve already got musicians on board. Next. Where the hell is he going? What’s that? Max: I don’t know. Manager: When you don’t know what it is, it’s jazz. Max (Narrative): It was the happiest day in my life. All those people, hope in their eyes. The goodbyes, the sirens. And that big floating world starting to move. It felt like one big party. A huge bash just for me. But just three days later the ocean got tired of the festivities. 1900: Hey, Conn? What’s the matter? Lose your sea legs? You’re the new trumpet man, aren’t you? And you blow a Conn. Come with me. I have a cure for your misery. Follow me. Take the brakes off, please. Max: That’s crazy. 1900: Trust me. Just take the brakes off. Hop on next to me. Max: What are you, some kind of nut case? 1900: You better get on now or you never will. Tell me something. Do you have children? They’ll lock you up in the orphanage one of these days. Max: He’s nuts. Oh, mama. 1900: I see you know your horses. Max: Just a little. 1900: Good man. Good evening, Captain! Care for a ride? Max: Tell me again how big the fucking window was. 1900: It was a big fucking window. We’re going to be shoveling coal on this ship till eternity. Max: No shit. 1900: Least you know what you’ll be doing when you grow up. Hey, Conn. Max: What? 1900: You’re from New Orleans, right? Max: How’d you know that? 1900: I love that town. Max: Really? I haven’t been there in a while. 1900: In winter, it’s beautiful. And in March you can always count on one afternoon when you least expect it, the fog slides in. A milky barrier hangs just below the street lamps. It cuts everything off like a white blade. And it’s magic. Houses lose their top floors. Trees lose their branches. St. Louis Cathedral loses its spires. People passing by, they lose their heads. So from the neck up everything disappears. All you can see in Jackson Square is a bunch of decapitated bodies stumbling around, bumping into each other, saying, “How’s your mama and them?” Max: That’s it. Too bad, it doesn’t last long. How do you know all these things? You know, ever since I came on board, I have been hearing a lot of talk about a guy. He’s supposed to have been born on this ship and never been off it since. Crazy story. Twenty years without ever setting foot on land? 1900: Twenty-seven. Max: They say this guy makes music that’s never been heard before. 1900: I’ve heard of him too. Max: First off I thought you were the guy. But then something didn’t add up. 1900: Of course. Max: I figured, if he’s Nineteen Hundred, how could he know New Orleans so well? Because you’ve been to New Orleans. 1900: If I told you I’d never set foot in that town, would you believe me? Max: Whoever you are, Max Tooney. Glad to meet you. Foreman: How we doing? We’re supposed to blow it up, not wait for it to be eaten by that fishes. Max: You’re not going to blow up a goddamn thing because my best friend is on this ship. You’ll all be responsible for murder. Manager: Get him out of here! Do whatever you want, but get him off my case. Max: I’m not making this up and I’m not crazy, if I tell you there’s a man aboard the Virginian, Jesus Christ, it means there’s a man aboard the Virginian. Manager: We cleaned that scuttle from stem to stern. Not even doorknobs were left. Only dynamite. Dynamite. How can you be so sure that’s a man on board? If you’ve any proof, out with it. Because I’m the horse’s arise who has to throw that switch. Max: I’m sure he’s there. I spent the best years of my life on the Virginian. Conductor: End of line, boys. Max: All right! Run it down. What the hell do you think about when you’re playing? Where does your mind go when you hit the keys? 1900: Last night I was in a beautiful country. Women had perfume in their hair. Everything glowed. And it was full of tigers Max (Narrative): He traveled. And each time he ended up someplace different. In the heart of London, on a train in the middle of the country, on the edge of a giant volcano, in the biggest church in the world, counting the columns and staring up at the crucifixes. He traveled. Passenger 1: (Italian) Hey, Kid, give us a good tarantella. Passenger 2: (Italian) And you show me how a tarantella goes, paisa. Crowd: America! Max: Why the hell don’t you get off? Just once? One time? See the world for yourself with your own eyes? You ever think about it? You could do anything you wanted to. People would go crazy for you. You could make beaucoup bucks, man. Get yourself the finest house. Get yourself a wife. Why not? God knows you can’t spend the rest of your life traveling back and forth like some yo-yo. The world is out there. Nothing but a gangplank to cross. And what’s a gangplank? A few stupid steps. Christ, everything is waiting at the bottom of those steps. Why don’t you just do it? One time. Why don’t you just get off? 1900: Why? Why? Why… I think land people waste a lot of time wondering why. Winter comes and you can’t wait for summer. Summer comes and you live in dread of winter. That’s why you’re never tired of traveling. Always chasing someplace far away where it’s always summer. Doesn’t sound like a good bet to me. Foreman: Hold it! Stop everything Old Man: Forgive me for allowing myself to your music was so strong. 1900: You don’t look too happy to be going to America. Old Man: It’s not America. It’s everything I leave behind. Until a few years ago I know only my field. The world for me started and ended there in that little piece of the land. I never walked down the main street of a city. Maybe you can’t understand, but… 1900: I understand perfectly. I know someone who went through something very very similar. Old Man: And one fine day did his field go dry too? And did his wife also run off with a priest? And did the fever take his five children? 1900: No. But he ended up alone, too. Old Man: Then he is more lucky than me. I still have a daughter. The young one, she survived. And it’s for her that I decide one day to fight against my bad luck and travel all over without a destination. And then one day when I go through one of the many towns I never see before I come to a hill. And then I see the most beautiful thing in my life, the sea. 1900: The sea? Old Man: I never see it before. It was like lightning hit me, because I hear the voice. 1900: The voice of the sea? Old Man: Yeah, the voice of the sea. 1900: I never heard it. Old Man: The voice of the sea, it is like a shout. A shout big and strong, screaming and screaming. And the thing it was screaming was: You… with shit instead brains. Life is immense. Can you understand that? Immense. I never think of it that way. A revolution was in my head. That’s how I suddenly decide to change my life to start fresh. Change life. Start fresh. Tell that to your friend. Max: Nineteen Hundred. Nineteen Hundred. It’s Max Tooney, your friend. Foreman: Come on out, Nineteen Hundred! I’m your friend, too. Even if we never met. Don’t worry, no cops. Manager: You said something about a piano. Where was it exactly? Foreman: We found it over there. Max: Nineteen Hundred. Violin A: On the violin yours truly Bill Douglas. Tuba and bass, Freddie Loycano. Max Tooney on trumpet. And finally, on piano Danny Boodman T.D. Lemon Nineteen Hundred the greatest. For the last time Nineteen Hundred, just... 1900: Just the normal notes. Violin B: End of the line. Max: Where do you get it? 1900: What? Max: The music. 1900: I don’t know. You see that woman over there. She looks like someone who’s killed her husband with the help of her lover. And now she’s running off with the family jewels. Don’t you think this music is her? Max: Damn, it’s true 1900: You see that guy over there? He can’t forget a thing. Listen to his music. His head bursts with memories and there’s nothing he can do about it. And look at that one there. She looks like a prostitute who’s thinking of becoming a nun. Max: That’s incredible. 1900: Now, look at this one. See how he walks? I’d say he’s in someone else’s suit, judging by the way he wears it. I’d say he’s a stowaway slipped into first class, looking for an amorous adventure. This one’s got America stamped on his eyes and he’d be the first one to see it. I can already hear him screaming. Man A: America! Man B: I’m going to get my money back. Man C: That’ll be the day. Woman in the phone: Hello? 1900: You don’t know me. But I was wondering if we could have a little chat. Woman in the phone: A little chat? What about? 1900: About anything you like, weather conditions? Anything you pick or chuck the subject. Woman in the phone: Is this an obscene phone call? 1900: Christ. Player A: You the fish with the twenty-dollar name? Man, where you going? Come on. We got to talk. That way. Wait, we just want to talk to you. Where the hell are we, man? Hold still you little son of a bitch. Come on out! We don’t want to hurt you. We’re players, man! Sidemen. Player B: Bon appetie (French). 1900: You can say that again, brother. You can say that again Player A: You are the one that plays ten kinds of jazz rolled into one? 1900: I’ve never counted them. I’m just a piano player. Player A: Better start counting, buddy. The man who invented jazz sent us here. 1900: Really? What does he want with me? Player A: He challenges you to a piano duel. Reporter: Jelly Roll, what’s the reason for a trip to Europe on a steamer when you’ve never been on anything bigger than a Mississippi riverboat? Jelly: I don’t give a damn about Europe. The only reason I’m hopping this crappy tub is because there’s a gentleman I want to meet. They say he plays a hot piano. But I hear he has a little thing about setting foot on land. 1900: Is he talking about me? Max: You bet he’s talking about you. Jelly: He say, “Hey, Jelly. Someone plays better piano than you.” So I say to myself, “how can this cat play so well when he don’t even have the balls to get off the goddamn ship? Hey, hot damn, Jelly. You invented jazz.” What I said, Goddamn you can afford a first-class ticket to Europe and the boat that’s going to take you just by lifting a finger. Get a shot of this, boys, get a shot. Max: Tell the truth. Are you scared? 1900: I don’t know. Why a duel? What happens when you have a duel? Man: I hope this Jelly Roll Morton guy is as good as they say. Heard a lot about him back in the States. Woman: He’s a Negro. Jelly: I believe you’re sitting in my seat. 1900: You’re the one who invented jazz, right? Jelly: That’s what they say. And you’re the one who can’t play unless you have the ocean under your ass? Right? 1900: That’s what I say. Jelly: Excuse me, please. (French) Max (Narrative): Jelly Roll Morton did not play. He caressed those notes. It sounded like a silk slip, sliding down a woman’s body. His hands were butterflies, so light. He got his start in the famed tenderloin districts of New Orleans until he’d learn to stroke the keyboard in those whorehouses. People doing the deed upstairs didn’t want any uproar. They wanted music to slip behind the curtains and under the beds without disturbing the passion. That’s the kind of music he played. And in that he truly was the best. Man: Bravo! Jelly: Your turn, sailor. Max: Come on! Man A: What’s he doing? Man B: Silent Night? Woman A: Isn’t that a Christmas carol? Woman B: Does he understand it’s a contest? Silent Night is jazz? Woman C: Is it Christmas already? Man C: Come on, Jelly Roll show us what jazz is all about. Max: What is wrong with you? 1900: I can’t help it. Music makes me cry. Max: The whole crew bet on you. I put a year’s pay on the line. Now you cut that out and start thinking your music. 1900: Can I bet too? Max: No! It’s bad luck to bet on yourself. 1900: I don’t want to bet on me. I want to bet on him. He’s the greatest. Max: You are crazy, you know that? 1900: That way, if you lose you’ll get your money back. Man D: It’s exactly the same piece of music, darling. Man E: This is really the end of the line. Man F: Unbelievable. Man G: Come on, you can do better than that. Jelly, show them how to sink a ship. Jelly: You stick this up your ass. 1900: Hey, Max. Give me a cigarette, will you? Max: You’re not handling this well. 1900: Just give me a cigarette. Max: You don’t smoke. What is the matter with you? You could lick this guy with one hand. Come on. 1900: Are you going to give me a cigarette? Max: We’ll be chucking coal a couple of hundred years and all you can say is... 1900: Give me a fucking cigarette, will you? You asked for it, asshole. You smoke it. I don’t know how. Max (Narrative): Jelly Roll Morton spent the rest of that trip locked in his cabin. When we got to Southampton he got off the Virginian and went back to America. I remember Nineteen Hundred watched him as he walked off down the deserted dock and all he said was “Fuck jazz too”. And that’s just what he said, “Fuck jazz too”. Manager: This is an incredible story. Incredible. Foreman: Did I miss anything important? Manager: You could say that. Foreman: Damn. Manager: Don’t worry, our friend will fill you in later. Won’t you? Max: You can count on it. Foreman: Thanks. Manager: He’s so good at telling tales. Max: This is no tale, sir. Manager: There’s nobody here. Max: Because there’s too many of us we scared him. Manager: You leave this ship or I’ll have to have you arrested. Get back to work. Quickly. Max: Give me another chance. Manager: Piss off, friend. Noon tomorrow this ship is history. Pops: Stop or I’ll shoot. Gotcha. Max: Pops, easy, it’s me. Pops: You again? Max: Yes, lower that cannon, will you? Pops: See your instrument and then steal it back again. That’s an old trick. I should have guessed that you were a thief. Max: I was looking for this. Pops: And what do you need that for? Max: It’s a matter of life and death. And I need a phonograph too. Pops: A thief and a liar. Max: Pops I don’t have a whole lot of time Pops: Well, I do! Seeing as I have a gun. And now that I think of it since when were records made on board steamships. If that music was played by your friend it means that at some time in his life he got off that ship! Correct? Max: Not a chance, Pops. He cut this passionate recording personally. I think it’s his best work. But he didn’t jump ship to do it not even for a second. Record Label A: The sky’s the limit, Mr. Nineteen Hundred. If this record sells like hotcakes and we think it will, you’ll go far, Mr. Nineteen. Do you mind if I call you Nineteen? 1900: This is going to hurt, isn’t it? Record Label B: Ready now, gentlemen. On the count. And one, two, three… Record Label A: Oh, Nineteen. That is one amazing piece of music. What is it called? It’s going to have people crying buckets. It’s got to have the right title though, something catchy like “Swinging in the Breeze” or... Max: Great, as usual. Record Label A: “Sweet Nineteen”, that’s it. Max: You are going to be bigtime. And all you got to do is taking that big step. 1900: What big step? Max: Getting off. Getting off these lousy planks of wood and going after...going after your fame and fortune. Record Label A: I don’t mean to butt in fellas, but with this you can have anything you want, and never have to set foot off this boat. We’ll print millions of copies, so that people all over the world can hear your wonderful music, Nineteen, Mr. Nineteen? 1900: I won’t let my music go anywhere without me. Record Label B: No! Don’t touch. Record Label A: What are you doing? You can’t do that. We have a contract. You can’t go back now. 1900: I always go back. Miss，I’d be pleased if... Miss. I’d be thrilled if you accept this small token. Man: Miss Padoan, what are you doing here all alone? Counting the waves? Padoan: The captain said we’d be passing the Tropic of Cancer soon. Man: Great! At least we’ll have something to look at. You ever notice how the sea changes colors? Ten times a day. Padoan: Even more. I could look at the sea all day long. Man: You know, farmers don’t ever look at the sea. It scares them. At least that’s what I heard. Padoan: That’s not true. Once, my father told me he heard the ocean’s voice. Man: Really? What did it say? Padoan: I can’t tell you. It’s a secret. And secrets should be kept. Man: Gosh, it’s really coming down now. Let’s get back inside. 1900: Excuse me. Excuse me. Excuse me. Please, miss, I have to talk to you. You’re meeting your father, aren’t you? Padoan: Yes. How did you know? 1900: I think I’ve met him. On this ship, quite a few years ago. Padoan: I don’t know if he took this same ship. 1900: I’m sure of it. He has a musette. I think we played together. I don’t know if he’d remember, but say hello to him. Padoan: I will. But how did you know who I was? It’s very strange, no? 1900: It’s a secret. And secrets should be kept. Although I think your father felt differently back then. Please accept this small musical token. Padoan: I’m sorry, but I can’t hear you. 1900: I want you to accept this small token. Padoan: I can’t hear you. 1900: Good luck. Padoan: Thank you. Good luck to you too. Why don’t you come and visit us some day? We live on Mott Street. Number 27. My father has a fish shop. 1900: Maybe. Sailor: Padoan, okay. Next. Next. Max (Narrative): He never mentioned her to me again. And I never asked. At least not for the next twelve crossings. Besides, he was happy just like always. His popularity was at its peak. Then, one evening in spring halfway between Genoa and New York right it the middle of the ocean. 1900: In three days when we get to New York. I’m getting off this ship. Cat got your tongue? Max: No, I’m glad. But all of a sudden? My man... That’s aces. 1900: I’ve got to see something down there. Max: What? 1900: The ocean. Max: You’re pulling my leg. You’ve seen nothing but the ocean since the day you were born. 1900: But from here. I want to see it from there. It’s not the same thing at all. Max: Wait till we dock lean over the side, take a good look. It’s the same thing. 1900: No, it’s not. From land, you can hear its voice. You don’t hear that from a ship. Max: What do you mean its voice? 1900: Its voice. It’s like a big scream telling you that life is immense. Once you’ve heard it, then you know what you have to do to go on living. I could stay here forever. But the ocean would never tell me a thing. But if I get off, live on land for a couple of years then I’ll be normal just like the others. Then maybe one day I’ll make it to the coast, look up, see the ocean and hear it scream. Max: I don’t know who’s been telling you this bullshit or if you’re just making it up. But you want to know what I think? I think the real reason you want off this ship is the girl. It’s always the girl. But even if it’s not the reason, that suits me just fine, because I’ve always wanted you to leave this ship and play for the people on land, and marry a nice woman and have children, and all those things in life which are not immense, but are worth the effort. 1900: You’ll come visit me, won’t you, Max? On land? Max: Of course. That way, you’ll introduce me to the mother of your children. And invite me for Sunday dinner. I’ll bring the dessert and a bottle of wine and you’ll tell me I shouldn’t have and while you’re showing me around your house shaped like a ship, your wife will be cooking a turkey. And then we’ll sit at the table and I’ll tell her she’s an excellent cook and she’ll say how you talk about me all the time. You know I’m going to give you my camel coat. You’ll cut a fine figure when you get down there. Max: (Narrative) How many people I have seen saying goodbye on the docks without giving a damn. But when I said goodbye to Nineteen Hundred it was a real blow. We laughed and kept saying ‘See you soon’. But inside, we both knew we’d never see each other again. Man A: Goodbye, Nineteen Hundred! Take care. Man B: Good luck. Have a good time. Man C: Take care, Nineteen Hundred, take care. Man D: Write us a letter sometimes. Man E: Give my regards to Broadway. Man A: What’d he do, step in shit? Man B: Maybe he just forgot something. Man C: Maybe he’s forgotten why he’s getting off. Max: What do you want? (Narrative) He was strange for a long time after that. He wouldn’t talk to anyone. He preferred keeping to himself for days and days. He seemed taken by very personal matters. Then one day while I was sitting at the bar. 1900: Thanks for the coat, Max. Fit like a glove. It was a real shame. I’m much better now. I’m done with all that. Conductor: Just like old times. Max (Narrative): I left the Virginian on August 21st, 1933 with my leave papers and back pay everything in order. I knew that sooner or later, I’d have been through with the ocean, so that’s what I did. I heard no more about Nineteen Hundred or the Virginian. Not that I ever forgot them. On the contrary, during the war I’d always ask myself who knows what Nineteen Hundred would do if he were here? Who knows what he’d say? “Fuck war”, he’d say. But said by me, it wasn’t the same thing. Foreman: A lot of time’s gone by, you know. Who’s to say he really didn’t leave? Maybe he actually went to the fish shop and asked for that woman. Max: Maybe. 1900: What’s the matter? You lose your sea legs? Where the hell did you find that record? Max: What have you been up to all these years? 1900: Making music. Max: Even during the war? 1900: Even when no one was dancing anymore. Even when the bombs were falling. And I kept playing till the ship got here. Max: Call this a ship? It’s more like a mountain of dynamite about to explode. A bit dangerous, don’t you think? 1900: And you, Max? Where’s your trumpet? Max: I gave it up as well, as while back. But, you know, now I’m in the mood for starting again. I’m busting with new ideas. Let’s start a duo. You and me. Or our own band. The Danny Boodman. T.D. Lemon Nineteen Hundred Big Band. It gets the blood going. We’d be a smash. Come on, Nineteen Hundred. Come with me. Let’s get off. We’ll watch the fireworks from the pier and then we’ll start from scratch. Sometimes that’s the way you have to do it. You go right back to the beginning. You’re never really done for as long as you’ve got a good story and someone to tell it to. Remember? You told me that. Well, what a stack of stories you got now. The world would be hanging on your every word, and they’d go crazy for your music. Believe me. 1900: All that city. You just couldn’t see an end to it. The end... please? You please just show me where it ends? It was all very fine on that gangway. And I was grand too in my overcoat. I cut quite a figure. And I was getting off. Guaranteed. That wasn’t the problem. It wasn’t what I saw that stopped me, Max. It was what I didn’t see. You understand? What I didn’t see. In all that scrawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end, the end of the world. You take a piano. Keys begin, keys end. You know there are 88 of them, but nobody can tell you any different. They are not infinite. You are infinite. And on those keys the music that you can make is infinite. I like that. That I can live by. You get me up on that gangway and you roll out in front of me a keyboard of millions and billions of keys that never end, and that’s the truth, Max, that they never end. That keyboard is infinite. And if that keyboard is infinite then there is no music you can play. You’re sitting on the wrong bench. That’s God’s piano. Christ, did you see the streets? Just the streets. There were thousands of them. How do you do it down there? How do you choose just one? One woman, one house, one piece of land to call your own, one landscape to look at, one way to die. All that world just weighing down on you. You don’t even know where it comes to an end. I mean, aren’t you ever just scared of breaking apart at the thought of it? At the enormity of living it? I was born on this ship. And the world passed me by. But two thousand people at a time. And there were wishes here. But never more than fit between prow and stern. You played out your happiness but on a piano that was not infinite. I learned to live that way. Land? Land is a ship too big for me. It’s a woman too beautiful. It’s a voyage too long, perfume too strong. It’s music I don’t know how to make. I could never get off this ship. At best I can step off my life. After all, I don’t exist for anyone. You’re the exception, Max. You’re the only one who knows I’m here. You’re a minority. And you’d better get used to it. Forgive me, my friend, but I’m not getting off. Hey, Max. Picture the scene at the Golden Gates. Some guy searching a list trying to find my name, not finding it. --“What did you say your name was again? Nineteen Hundred. Niemann, Nightingale, Ninestock... Nittledeen?” --“Well, you see, sir, I was born on a ship.” --“Beg your pardon?” --“Born, raised, and died on a ship. Maybe I’m not registered there.” --“Shipwreck?” --“Six and a half tons of dynamite--boom.” -- “Feeling better now?” --“Yeah, I’m fine except I lost an arm.” --“An arm?” --“Yes, in the explosion.” --“Well, you should be able to find one over there. Which one did you say you were missing?” --“Left, sir.” --“I’m dreadfully sorry, we only seem to have two rights.” --“Two right arms?” “Afraid so. Would you mind awfully if...” --“If I what?” --“Well, if you take a right arm instead of a left?” --“Well, all things considered better a right arm than nothing, I suppose.” --“Couldn’t agree more.” No laughing matter, Max. What a cock-up. Spend eternity with two right arms? I mean, how would you make the sign of the cross? Hey, Max. Imagine the music I could play with two right arms. Hope I can find a piano up there. Max: What would you have done in my shoes? Pops: I don’t know. I wouldn’t probably have felt quite useless. Max: Sooner or later, all stories end and there’s nothing left to add. Anyhow, thanks, pops. Pops: Conn, there’s just one thing I don’t get. Who hid the broken record inside the piano? Max: You’re looking at him. Pops: So you weren’t so useless after all. Conn. Here, take your trumpet. Well, you’ll be needing it. Never mind the money. A good story’s worth more than an old trumpet. Max: Okay, pops. Unit 3 Roman Holiday《罗马假日》

Subtitles (full version) News Flash: Paramount News brings you a special coverage of Princess Ann's visit to London. The first stop on her much publicised goodwill tour of European capitals. She gets a royal welcome. Thousands cheer a young member of one of Europe's oldest ruling families. After three days of continuous activity and a visit to Buckingham Palace, Ann flew to Amsterdam, where her royal Highness dedicated the new International Aid Building and an ocean liner. Then she went to Paris, attending many official functions to cement trade relations between her country and the Western European nations. And so to Rome, the Eternal City, where the princess's visit was marked by a spectacular military parade, highlighted by the band of the crack bersaglieri regiment. The smiling young princess showed no sign of the strain of the week's continuous public appearances. At her country's embassy that evening, a formal reception and ball in her honour was given by her country's ambassador to Italy.

Ambassador: Her Royal Highness. His Excellency, the Papal Nuncio, Monsignor Altomonte. Sir Hugo Macey de Farmington. Ann: Good evening, Sir Hugo. Hugo: Good evening, Your Highness. Ambassador: His Highness, the Maharajah of Khanipur, and the Raikuuari. Ann: I'm so glad you could come. Lady: Thank you, madam. Ambassador: Friherre Erick af Massinsjarna-Bergenskiold. Prince Istvar Barlossy Nagayavaros. Ann: How do you do? Ambassador: Der Furst und die Furstin von und zu Lucktenstichenholz. Sir Hari Singh and Kmark Singh. The Count and Countess von Marstrand. Ann: Good evening, Countess. Countess: Good evening. Ambassador: Senhor e senhora Joao de Camoes. Ann: Good evening. Ambassador: Hassan El Din Pasha. Ann: How do you do? Ann: I hate this nightgown. I hate all my nightgowns, and I hate all my underwear too. Countess: My dear, you have lovely things. Ann: But I'm not 200 years old. Why can't I sleep in pyjamas? Countess: Pyjamas! Ann: Just the top part. Did you know there are people who sleep with absolutely nothing on at all? Countess: I rejoice to say that I did not. Ann: Listen. Countess: Oh, and your slippers. Please put on your slippers and come away from the window. Your milk and crackers. Ann: Everything we do is so wholesome. Countess: They'll help you to go to sleep. Ann: I'm too tired to sleep. I shan't sleep a wink. Countess: Now, my dear, if you don't mind, tomorrow's schedule, if that's your preferred pronunciation, both are correct. 8:30, breakfast with the embassy staff. 9 o'clock, leave for the Polinari Automotive Works, to be presented with a small car. Ann: Thank you. Countess: Which you won't accept. Ann: No, thank you. Countess: 10: 35, inspect agriculture organization, who'll present you with an olive tree. Ann: No, thank you. Countess: Which you will accept. Ann: Thank you. Countess: 10:55, the new Foundling Home for orphans. Laying of cornerstone, same speech as last Monday. Ann: Trade relations. Countess: Yes. Ann: For the orphans? Countess: Oh no, the other one. Ann: Youth and progress. Countess: Precisely. 11:45, back here to rest. No, that's wrong. 11:45, conference here with the press. Ann: Sweetness and decency. Countess: One o'clock sharp, lunch with foreign ministry. You'll wear white lace and carry a bouquet of very small pink roses. 3:05, presentation of a plaque. Ann: Thank you. Countess: 4:10, review special guard of police. Ann: No, thank you. Countess: 4:45, back here to change... Ann: How do you do? Charmed... Stop! Stop, stop! Countess: It's all right, dear, it didn't spill. Ann: I don't care if it spilled or not. Countess: Oh dear, you're ill. I'll send for Doctor Bannochhoven. Ann: I don't want him. Please let me die in peace. Countess: You're not dying. Ann: Leave me! Countess: It's nerves. Control yourself, Ann. Ann: I don't want to. Countess: Your Highness! Countess: I'll get Doctor Bannochhoven. Ann: It's no use. I'll be dead before he gets here. Doctor: She's asleep. Countess: She was in hysterics 3 minutes ago, doctor. Doctor: Are you asleep, ma'am? Ann: No. Doctor: I'll only disturb Your Royal Highness a moment. Ann: I'm very ashamed, Doctor. Suddenly I was crying. Doctor: To cry is perfectly normal. General: It's important she be calm and relaxed for the press conference. Ann: Don't worry, Doctor. I'll be calm and relaxed. I'll bow and I'll smile. I'll improve trade relations and I'll... Countess: There she goes again. Give her something, please. Doctor: Uncover her arm, please. Ann: What's that? Doctor: Sleep and calm. This will relax you and make you feel a little happy. It's a new drug, quite harmless. There. Ann: I don't feel any different. Doctor: You will. It may take a little time to take hold. Just now, lie back. Ann: Can I keep just one light on? Doctor: Of course. The best thing I know is to do exactly what you wish for a while. Ann: Thank you, Doctor. Countess: Oh, the General! Doctor, quick. General: I'm perfectly all right. Doctor: Goodnight, ma'am. Ann: Good night, Doctor. Man: Bet five hundred. Joe: Five hundred. How many? Irving: One. Joe: I'll take one. Man: Three. Man: Four. Joe: Two for Papa. Man: 500 more. Joe: Without looking. Irving: 500, and I'll raise you 1,000. Man: Two pairs. Joe: I've got three shy little sevens. Irving: A nervous straight. Come home, you fools. Look at that, 6,500. Not bad, that's ten bucks. One more round and I'm gonna throw you gents right out in the snow. I gotta get up early. A date with Her Highness, who'll graciously pose for some pictures. Joe: What do you mean early? My personal invitation says 11:45. Man: Could it be because you're ahead? Irving: It could. Joe: Works out fine for me. This is my last 5,000 and you hyenas are not gonna get it. Thanks, Irving. See you at Ann's in the morning. Irving: Ciao, Joe. Stay sober. Man: All right, a little seven-card stud. Ann: So happy. How are you this evening? Joe: Hey, hey. Wake up. Ann: Thank you very much. Joe: Wake up. Ann: No, thank you. Charmed. Joe: Charmed too. Ann: You may sit down. Joe: I think you'd better sit up, or you'll get picked up by the police. Ann: Police? Joe: Yes. Ann: 2:15 and back here to change. 2:45... Joe: You know, people who can't handle liquor shouldn't drink it. Ann: "If I were dead and buried and I heard your voice, beneath the sod my heart of dust would still rejoice." Do you know that poem? Joe: Whadda ya know? You're well read, well dressed, snoozing away in a public street. Would you care to make a statement? Ann: What the world needs is a return to sweetness and decency in the souls of its young men and... Joe: Yeah, I couldn't agree with you more, but... Get yourself some coffee, you'll be all right. Look, you take the cab. Come on, climb in the cab and go home. Ann: So happy. Joe: Got any money? Ann: Never carry money. Joe: That's a bad habit. All right. I'll drop you off. Come on. Ann: It's a taxi! Joe: It's not the Super Chief. Cab Driver: Where are we going? Joe: Where do you live? Ann: Colosseum. Joe: Come on, you're not that drunk. Ann: You're so smart, I'm not drunk at all. I'm just being very happy. Joe: Hey, don't go to sleep again. Cab Driver: Where are we going? Where do you want to go? Joe: Where do you live? Come on. Where do you live? Come on, where do you live? Ann: Colosseum. Joe: She lives in the Colosseum. Cab Driver: It's the wrong address. Look, for me it is very late night. My wife... I have three bambino, you know bambino? My taxi go home, we go home together. Joe: Via Margutta 51. Cab Driver: Via Margutta 51! Here is Via Margutta 51. I am very happy. Joe: A thousand lire. Cab Driver: Mila lire, one, two, three, four mila. Joe: OK. Cab Driver: For me? Joe: Now, look, take a little bit of that. Take her wherever she wants to go. Goodnight. Cab Driver: Oh! No, no. Momento. Joe: All right. Look, as she wakes up, she'll tell you where to go. Cab Driver: Momento. My taxi is not for sleep. My taxi is not for sleep. You understand? Joe: Look, pal, this is not my problem. I never see her before. OK. Cab Driver: It’s not your problem. It’s not my problem. What you want? You don't want girl. Me don't want girl. Police. Maybe she want girl! Joe: Stay calm, stay calm. OK. Ann: So happy. So happy. Joe: I ought to have my head examined. Ann: Is this the elevator? Joe: It's my room! Ann: I'm terribly sorry to mention it, but the dizziness is getting worse. Can I sleep here? Joe: That's the general idea. Ann: Can I have a silk nightgown with rosebuds on it? Joe: I'm afraid you'll have to rough it tonight in these. Ann: Pyjamas. Joe: Sorry, honey, I haven't worn a nightgown in years. Ann: Will you help me get undressed, please? Joe: OK. There you are. You can handle the rest. Ann: May I have some? Joe: No! Ann: Now, look! This is very unusual. I've never been alone with a man before, even with my dress on. With my dress off, it's most unusual. I don't seem to mind, do you? Joe: I think I'll go out for a cup of coffee. You'd better get to sleep. Oh, no, on this one. Ann: You're terribly nice. Joe: Hey, come here. These are pyjamas, they're to sleep in. You're to climb into them. Understand? Ann: Thank you. Joe: And you sleep on the couch. Not on the bed, on the couch. Is that clear? Ann: Do you know my favorite poem? Joe: You've already recited it. Ann: "Arethusa arose from her couch of snows. In the Acroceraunian Mountains." Keats. Joe: Shelley. Keep your mind off the poetry and on the pyjamas. Everything will be right. Ann: Keats. Joe: Shelley. I'll be back in about ten minutes. Ann: Keats. You have my permission to withdraw. Joe: Thank you very much. Solder: Well? No trace. Royal Man: Did you search the grounds? From attics to cellar. You must swear not to speak of this to anyone. I must remind you that the princess is the direct heir to the throne. This must be classified as top crisis secret. Have I your pledge? Solder: Yes, sir. Royal Man: Very well. Now we must notify Their Majesties. Ann: So happy. Joe: The pleasure's mine. Screwball! Holy smoke, the princess's interview! Eleven forty-five! Oh, sh! Man: Hi, Joe. Woman: Morning, Joe. Joe: Hello, honey. Woman: Mr. Hennessy has been looking for you. Joe: Uh-oh.Thanks a lot, honey. Mr. Hennessy: Come in. Joe: You are looking for me? Mr. Hennessy: Just coming to work? Joe: Who, me? Mr. Hennessy: We start at 8.30 in this office. We pick up our assignments... Joe: I got mine last night. Mr. Hennessy: What assignment was that? Joe: The princess, 11:45. Mr. Hennessy: You've already been to the interview? Joe: Sure. I just got back. Mr. Hennessy: Well, well. All my apologies. Joe: It's all right. Mr. Hennessy: This is very interesting. Joe: No, just routine. Mr. Hennessy: Did she answer all the questions on the list? Joe: Of course. I've got 'em right here somewhere. Mr. Hennessy: Don't disturb yourself. I have a copy here. How did Her Highness react to the idea of a European Federation? Joe: She thought it was just fine. Mr. Hennessy: She did? Joe: She thought there'd be two effects. Mr. Hennessy: Two? Joe: The direct and the indirect. Mr. Hennessy: Remarkable. Joe: Naturally, she thought that the indirect would not be as direct as the direct. Mr. Hennessy: That is, not right away. Joe: No. Later on, of course, nobody knows. Mr. Hennessy: Well, well. That was a shrewd observation. They fool you, these royal kids. They're smarter than we all suspect. How did she feel about the future friendship of nations? Joe: Youth. She felt that the youth of the world must lead the way to a better world. Mr. Hennessy: Original. By the way, what was she wearing? Joe: You mean what did she have on? Mr. Hennessy: That's usually what it means. What’s about it? Is it too warm for you? Joe: No, I just hurried over here. Mr. Hennessy: Naturally, with a story of these dimensions. Did you say she was wearing grey? Joe: No, I didn't. Mr. Hennessy: She usually wears grey. Joe: Well, it was a kind of a grey. Mr. Hennessy: I think I know the dress. It has a gold collar... Joe: That's the one. I didn't know exactly how to describe it. But that’s it. Mr. Hennessy: I think you described it very well. In view of the fact that she was taken violently ill at 3 a.m., put to bed with a high fever, and has had all her appointments for today cancelled in toto! Joe: In toto? Mr. Hennessy: Yes, Mr Bradley, in toto. Joe: That's pretty hard to swallow. Mr. Hennessy: In view of the fact you just left her. Joe: Of course. Mr. Hennessy: Here it is, Mr Bradley, all over the front page of every newspaper in Rome. Joe: All right, I overslept. It can happen to anybody. Mr. Hennessy: If you ever got up and read a morning paper, you might discover little news events, little items of general interest, that might prevent you getting immersed in such a gold-plated, triple-decked, star-spangled lie as you have just told me. If I were you, I'd try some other business, like mattress testing! Joe: Is this the princess? Mr. Hennessy: Yes, Mr Bradley. It isn't Annie Oakley, Dorothy Lamour or Madame Chiang Kai-Shek. Take a good look. You might interview her again some day. Joe: Am I fired? Mr. Hennessy: No, you are not fired. When I want to fire you, you won't have to ask. You'll know you're fired. The man's mad. Joe: Giovanni, it's Joe Bradley. Now listen carefully. I want you hurry up to my place and see if there's somebody there, asleep. Giovanni: Aha. Si, Mr Joe. I look, you wait. Mr Joe? Joe: Yeah. Tell me. Giovanni, I love you! Now listen. Giovanni: Yes, Mr Joe. A gun? No. Joe: Yes, a gun, a knife, anything. But nobody goes in and nobody goes out. Giovanni: OK. Mr. Hennessy: You still here? Joe: What would a real interview with this dame be worth? Mr. Hennessy: Are you referring to Her Highness? Joe: I'm not referring to Annie Oakley... How much? Mr. Hennessy: What do you care? You've got no chance... Joe: If I did, how much? Mr. Hennessy: Just a plain talk on world conditions might be worth 250. Her views on clothes, a lot more. Maybe 1,000. Mr. Hennessy: Dollars? Joe: I'm talking about her views on everything. The private and secret longings of a princess. Her innermost thoughts, as revealed to your own correspondent, in a private, personal, exclusive interview. Can't use it, huh? I didn't think you'd like it. Mr. Hennessy: Come here. Love angle too, I suppose? Joe: Practically all love angle. Mr. Hennessy: With pictures? Joe: Could be. How much? Mr. Hennessy: That particular story would be worth five grand to any news service. But tell me, Mr Bradley, if you are sober, just how you are going to obtain this fantastic interview. Joe: I'll enter her sick room disguised as a thermometer. You said five grand? I want you to shake on that. Mr. Hennessy: You realise Her Highness is in bed and leaves for Athens tomorrow? Joe: Yes. Mr. Hennessy: I'd like to make a little side bet. Five hundred says you don't come up with the story. What are you looking at that for? Joe: Just want to see what day it is. It's a deal. Mr. Hennessy: Now I'd like you to shake. Let’s see, you're into me for about $500 now. When you lose this bet, you'll owe me $1,000. You poor sucker, I'll practically own you. Joe: You practically have for a couple of years but that's all over. I'm going to win that money and buy a one-way ticket back to New York. Mr. Hennessy: Go on, I love to hear you whine. Joe: When I'm back in a real newsroom, I'll enjoy thinking of you, sitting here with an empty leash and nobody to twitch for you. Mr. Hennessy: So long, pigeon. Giovanni: Signor Bradley. Joe: Everything OK, Giovanni? Giovanni: Si Signor Joe. Nobody come, nobody go. Absolutely nobody. Joe: So well, thanks a lot. Oh... Giovanni... How'd you like to make some money? Giovanni: Money? Joe: Yeah. That's the stuff. I've got a sure thing. Double your money back in two days. Giovanni: Double my money? Joe: I need a little investment capital to swing the deal. Now if you'll lend me a little cash... Giovanni: You owe me two months' rent and you want me to lend you money? No. Joe: Tomorrow you'll be sorry. Your Highness? Your Royal Highness? Ann: Yes, what is it? Dear Dr. Bannochhoven... Joe: Oh, sure, yes, well... You're fine, much better. Is there anything you want? Ann: So many things. Joe: Yes? Well, tell the doctor. Tell the good doctor everything. Ann: I dreamt and I dreamt... Joe: Yes? Well, what did you dream? Ann: I dreamt I was asleep in the street, and a young man came, he was tall and strong. He was so mean to me. Joe: He was? Ann: It was wonderful. Joe: Good morning. Ann: Where's Dr. Bannochhoven? Joe: I'm afraid I don't know him about anything. Ann: Wasn't I talking to him just now? Joe: Afraid not. Ann: Have I had an accident? Joe: No. Ann: Quite safe for me to sit up, huh? Joe: Perfectly. Ann: Thank you. Are these yours? Joe: Did you lose something? Ann: No. Would you be so kind as to tell me where I am? Joe: This is what is laughingly known as my apartment. Ann: Did you bring me here by force? Joe: No, no. Quite the contrary. Ann: Have I been here all night... alone? Joe: If you don't count me, yes. Ann: So I've spent the night here with you? Joe: Well, I don't know that I'd use those words exactly, but from a certain angle, yes. Ann: How do you do? Joe: How do you do? Ann: And you are? Joe: Bradley, Joe Bradley. Ann: Delighted. Joe: You don't know how delighted I am. Ann: You may sit down. Joe: Thank you very much. What's your name? Ann: You may call me Anya. Joe: Thank you, Anya. Would you like a cup of coffee? Ann: What time is it? Joe: About one-thirty. Ann: One-thirty! I must get dressed and go! Joe: Why the hurry? There's lots of time. Ann: No, there isn't, and I've been enough trouble as it is. Joe: Trouble? You're not what I'd call trouble. Ann: I'm not? Joe: I'll run a bath for you. There you are. Irving: Here we go now. There you are, that does it. All right. Give me a little slack, will you? Joe: Irving! Why don't you answer? It's Joe. Can you get here in five minutes? Irving: No, I can't come now, Joe, I'm busy. Oh, no. Joe, I'm up to my ears in work. Go and get into your next outfit. What kind of a scoop, Joe? Joe: I can't talk over the phone. It’s not a thing around the corner. This whole thing might easily blow sky-high. It's front-page stuff, that's all I can say. It might be political or a sentational scandal, I don't know, but it's a big story. Let’s get some pictures. Irving: But I can't come now, Joe, I'm busy. And I'm meeting Francesca at Rocca's in half an hour. Ann: Don't understand. Woman: Don't understand? Joe: There you are. Ann: I was looking at all the people here. It must be fun to live in a place like this. Joe: It has its moments. I can give you a commentary on each apartment. Ann: I must go. I only waited to say goodbye. Joe: Goodbye? But we've only just met! How about breakfast? Ann: Sorry! I haven't time. Joe: It must be a pretty important date to run off without eating. Ann: It is. Joe: I'll go along with you. Ann: That's all right. I can find the place. Thank you for letting me sleep in your bed. Joe: That's all right. Think nothing of it. Ann: It was very considerate of you. You must've been awfully uncomfortable on that couch. Joe: No, I do it all the time. Ann: Goodbye, Mr. Bradley. Joe: Goodbye. Go right through there, and down all the steps. Ann: Thank you. Joe: Well... Small world! Ann: Yeah. I almost forgot. Can you lend me some money? Joe: Oh, yeah. That's right, you didn't have any, did you? How much, how much was it you wanted? Ann: I don't know. How much have you got? Joe: Suppose we just split this fifty-fifty. Here's a thousand lire. Ann: A thousand! Can you really spare all that? Joe: It's about a dollar and a half. Ann: Oh. I'll arrange for it to be sent back to you. What is your address? Joe: Via Margutta 51. Ann: Via Margutta 51. Joe Bradley. Goodbye. Thank you. Giovanni: Double my money, eh? You tell me how? Joe: Tomorrow. Yes, tomorrow. Barber: What a wonderful hair you have. Ann: Just cut, thank you. Barber: Just cut? Well, then... Cut so? Ann: Higher. Barber: Higher? Here? Ann: More. Barber: Here! Ann: Even more. Barber: Where? Ann: There. Barber: There. Are you sure, Miss? Ann: I'm quite sure, thank you. Barbet: All off? Ann: All off. Barber: Off! Are you sure? Ann: Yes! Barber: Yes! Off! Off! Off! Off! Joe: That's a nice camera you have there. Nice... You don't mind if I just borrow it? Child: Miss Webber. Joe: Just for a couple of minutes. Child: No. Go, it's my camera. Barber: You musician, maybe? You artist, huh? Painter? I know. You model. Model, huh? Ann: Thank you. Barber: It's perfect. You're nice without long hair. Now it's cool, huh? Cool. Ann: It's just what I wanted. Barber: Now, why you not come dancing tonight with me? You should see, it's so nice. It's on a boat, on the Tiber, the river, by Sant'Angelo. Moonlight, music, romantic. It's very, very... Please, you come? Ann: I wish I could. Barber: But your friends, I don't think they'll recognize you. Ann: No, I don't think they will. Thank you very much. Thank you. Barber: After nine o’clock I'll be there, dancing on the river. Remember Sant'Angelo. All my friends... If you come, you will be most pretty of all girls. Ann: Thank you. Goodbye. Barber: Goodbye. Ann: Gelati? Seller: Gelati. Ann: Thank you. Seller: A thousand lire. Ann: No money. Seller: No? Ann: No. I'm sorry. I've really no money. Look. I'm sorry. Joe: Well, it's you! Ann: Yes, Mr. Bradley. Joe: Or is it? Ann: Do you like it? Joe: Very much. So that was your mysterious appointment. Ann: Mr. Bradly, I have a confession to make. Joe: A confession? Ann: Yes, I ran away last night... from school. Joe: Oh, what was the matter? Trouble with the teacher? Ann: No, nothing like that. Joe: You wouldn't run away from school for nothing. Ann: It was only meant to be for an hour or two. They gave me something last night to make me sleep. Joe: Oh, I see. Ann: Now I'd better get a taxi and go back. Joe: Look, before you do, why not take a little time for yourself? Ann: Maybe another one hour. Joe: Live dangerously, take the whole day. Ann: I could do some things I've always wanted to. Joe: Like what? Ann: You can't imagine. I'd like to do whatever I liked, the whole day long. Joe: Like having your hair cut and eating gelati? Ann: Yes, and I'd like to sit at a sidewalk cafe, look in shop windows, walk in the rain. Have fun, and maybe some excitement. It doesn't seem much to you, does it? Joe: It's great. Tell you what. Why don't we do all those things... together? Ann: Don't you have to work? Joe: No. Today will be a holiday. Ann: You don't want to do a lot of silly things. Joe: Don't I? First wish, one sidewalk cafe. Coming right up. I know just the place. What will they say in school about your hair? Ann: They'll have a fit. What would they say if they knew I'd slept in your room? Joe: Tell you what, you don't tell your folks and I won't tell mine. Ann: It's a pact. Waiter: Now, what would you like to drink? Ann: Champagne, please. Joe: Champagne? Well, champagne, and cold coffee for me. Must be quite a school, champagne for lunch. Ann: Only on special occasions. Joe: For instance? Ann: The last time was my father's anniversary. Joe: Wedding? Ann: No. The fortieth anniversary of... the day he got his job. Joe: Forty years on the job. What do you know about that? What does he do? Ann: Well, mostly you might call it public relations. Joe: Oh, well, that's hard work. Ann: I wouldn't care for it. Joe: Does he? Ann: I've heard him complain about it. Joe: Why doesn't he quit? Ann: People in that line of work almost never do quit, unless it's actually unhealthy for them to continue. Joe: Well, here's to his health then. Ann: You know, that's what everybody says. Joe: It's all right? Ann: Yes, thank you. What is your work? Joe: Oh, I'm in the selling game. Ann: Really? How interesting! What do you sell? Joe: Fertiliser. Chemicals, you know, chemicals, stuff like that. Irving! Am I glad to see you! Irving: Why, did you forget your wallet? Joe: Sit down. Irving: Aren't you going to introduce me? Joe: Yes. This is a very good friend of mine, Irving Radovich. Anya, Irving. Irving: Anya? Ann: Smith. Irving: Oh. Hiya, Smitty. Ann: Charmed. Irving: Hey, did anybody ever tell you you're a dead ringer for... Well, I guess I'll be going. Joe: No, don't do that, join us. Join us… Irving: Well, just till Francesca gets here. Ann: Tell me Mr. Radovich, what is a ringer? Irving: Oh, waiter! Joe: It's an American term. It means anyone who has a great deal of charm. Ann: Oh, thank you. Irving: You're welcome. Cousins. Ann: Mr. Bradley's just been telling me all about his work. Irving: I'd like to hear that. Ann: What do you do? Irving: I'm in the same racket as Joe, only… Joe: I'm a... I'm awfully sorry, Irving. Irving: What are you…? Joe: I'm sorry. Irving: I can take a hint. I'll see you around. Ann: But your drink's just here. Please sit down. Joe: Yeah, Irving, take it easy. I'm sorry about that. Sit down, that's a good fellow. That's the boy. Irving: You're... You're twisting my arm, you know. Joe: Just be a little more careful not to spill. Irving: Spill? Who's been spilling? Joe: You. Irving: Me? Joe: Yeah. Irving: Where did you find this loony? You're OK. Here's to you, huh? Here's hoping for the best. If it wasn't for that hair, I'd swear that you... Thanks. Joe: You slipped, you almost hurt yourself. Irving: I slipped? Joe: Yes, you did. Irving: I didn't slip. Joe: A bad sprain... Never mind! You'd better get it fixed up. Would you excuse us? Ann: Of course, I'm so sorry. Irving: Joe, what are you trying to do? Take your hands off me. Joe: Got your lighter? Irving: What? Joe: Have you? Irving: Yeah. Joe: Listen, what would you do for five grand? Irving: Five grand? Joe: Look... She doesn't know who I am, what I do. This is my story. I gotta protect it. Irving: She's really the... Joe: Your pictures will make this twice as valuable. Irving: The princess goes slumming. Joe: You're in for 25%. Irving: Of 5,000? Joe: Minimum, Hennessy shook on it. Irving: That's $1,500! Joe: It's $1,250. Now you shake. OK, now lend me 30,000. Irving: That's $50! Are you gonna buy the crown jewels? Joe: She's drinking champagne. I can’t pay for it. We gotta entertain her. Irving: We can't go running around with a hot princess! Joe: Do you want in on this deal or don't you? Irving: This, I want back Saturday. Joe: OK. Now where's your lighter? Let's go to work. Ann: Better now? Irving: Huh? Ann: Your ear. Irving: My ear? Oh, yeah, Joe fixed it. Would you care for a cigarette? Ann: Yes, please. You won't believe it, but it's my very first. Joe: Your very first? No smoking in school? Irving: Your first cigarette. There, the gismo works. Joe: Well, what's the verdict, OK? Ann: Nothing to it. Irving: That's right, nothing to it. I'll stretch my legs a little. Joe: I'll pick this one up, Irving. Irving: Yeah, you can afford it. Joe: Well, what shall we do next? Shall we make a little schedule? Ann: Oh, not that word, please. Joe: Oh, I didn't mean a work schedule... a school schedule, I meant a fun schedule. Ann: Oh, yes. Let's just go, huh? Joe: How about you, Irving, are you ready? Irving: Yeah. Let's go. Francesca. Oh, this is... Joe: Smitty. She's a grand girl, Irving. Five grand. Irving: Joe, where are you going now? Irving: Honey, I gotta work. I'll call you tonight. Royal man: Look at those men! They were supposed to be inconspicuous. Royal man1: You asked for plain clothes. Irving: I'm going straight from now on. Ann: American News Service? What did he mean? Joe: Oh, you say you're with the press and you can get away with anything. Irving: Going to church to get married on a scooter! Joe's a wonderful liar. Crowd: Congratulations! Ann: Don't look so worried, I won't hold you to it. Joe: Thank you very much. Ann: Don't be too grateful. Joe: OK, I won't. Ann: I'm a good liar too, aren't I? Joe: The best I ever met. Ann: Thank you very much. Joe: Say... Come with me. Ann: The Mouth of Truth. Joe: The legend is, if you're a liar and you put your hand in there, it'll be bitten off. Ann: What a horrid idea. Joe: Let's see you do it. Ann: Let's see you do it. Joe: Sure. Hello! Ann: You beast, you're all right! Joe: I'm sorry. It was just a joke. Ann: You never hurt your hand. Joe: I'm sorry. OK? Ann: Yes. Joe: All right, let's go. Look out! Irving: I'll park at the corner. Ann: What do they mean, all these inscriptions? Joe: Each one represents a wish fulfilled. It started during the war, in an air raid right out there. A man with his four children was caught in the street. He ran against that wall for shelter and prayed for the safety. Bombs fell very close but no one was hurt. Later, he came back and put up the first tablet. Since then it's become a sort of shrine. People come, and when their wishes are granted, they put up another plaque. Ann: Lovely story. Joe: Read some of the inscriptions. Make a wish? Tell the doctor? Ann: Anyway, the chances of it being granted are very slight. Joe: Well, what now? Ann: I've heard you can dance on a boat. Joe: You mean Sant'Angelo. Ann: Yes, couldn't we go tonight? Joe: Why not? Anything you wish. Ann: At midnight I'll turn into a pumpkin and drive away in my glass slipper. That'll be the end of the fairytale. Joe: I guess Irving has to go now. Irving: I do? Joe: Yes, you know, that big business development you have to attend to? Irving: That development. Joe: Can't afford not to. Irving: Yeah. See you later, Smitty. Ann: Good luck with the big development. Irving: Thanks. Ann: Hello. Joe: Hello. Ann: Mr. Bradley, if you don't mind my saying so, I think you're a ringer. Joe: A what? Oh, thanks very much. Ann: You've spent the whole day doing things I've always wanted to. Why? Joe: It seemed the thing to do. Ann: I've never heard of anybody so kind. Joe: It wasn't any trouble. Ann: Or so completely unselfish. Joe: Let's have a drink at the bar. Barber: There you are. I look for you a long time. I think maybe you not come. Off, all off! Ann: It's nice without, isn't it? Cool. Barber: Very very good. Ann: This is Mr Bradley. Barber: I Mario Delani. Joe: Old friends? Ann: Yes, he cut my hair this afternoon. He invited me here tonight. Joe: What did you say the name was? Barber: Mario Delani. Joe: Mario Delani. I'm very glad to know you. Barber: Me too. Oh, may I enjoy myself the pleasure? You mind? Joe: No. No. Go right ahead. Barber: I thank you. Irving: Did I miss anything? Joe: You're just in time. Irving: Who's Smitty dancing with? Joe: Her barber. He cut her hair this afternoon, made a date for tonight. Irving: The princess and the barber? Ann: What is it? Barber: Momento. Royal Spy: August! Barber: Thank you. Ann: Bye. Royal Spy: Your Highness. Dance quietly towards the entrance. It is a car waiting. Ann: No. Royal Spy: Your Highness, please! Ann: You've made a mistake. Let me go! Will you let me go? Mr. Bradley! Let me go! Mr. Bradley! Irving: Hit him again, Smitty! Here are my car keys. Ann: Police! The other side of the bridge. Joe: All right? Ann: Fine, how are you? Joe: Oh, fine. You know, you were great back there. Ann: You weren't so bad yourself. Joe: I... I guess we'd better get Irving’s car and get out of here. Radio: This is the American Hour, continuing our programme of musical selections. Joe: Everything ruined? Ann: No. They'll be dry in a minute. Joe: Suits you. You should always wear my clothes. Ann: Seems I do. Joe: I thought a little wine might be good. Ann: Shall I cook something? Joe: No kitchen. I always eat out. Ann: Do you like that? Joe: Well, life isn't always what one likes. Is it? Ann: No, it isn't. Joe: Tired? Ann: A little. Joe: You've had quite a day. Ann: A wonderful day. Radio: This is the American Hour broadcasting a special news bulletin in English and Intalian. Tonight, there is no further word from the bedside of Princess Ann in Rome, where she was taken ill yesterday on the last leg of her European goodwill tour. This is given rumours that suggest her condition may be serious, causing alarm and anxiety among the people in her country… Ann: The news can wait until tomorrow. Joe: Yes. Ann: May I have a little more wine? I'm sorry I couldn't cook us some dinner. Joe: Did you learn how in school? Ann: I'm a good cook. I could earn my living at it. I can sew too, clean a house, and iron. I learned to do all those things. I just haven't had the chance to do it for anyone. Joe: Well, looks like I'll have to move and get a place with a kitchen. Ann: Yes. I shall have to go now. Joe: Anya...there's something I want to tell you. Ann: No, please. Nothing. I must go and get dressed. Stop at the next corner, please. Joe: OK. Here? Ann: Yes. I have to leave you now. I'm going to that corner there and turn. You stay in the car and drive away. Promise not to watch me go beyond the corner. Just drive away and leave me as I leave you. Joe: All right. Ann: I don't know how to say goodbye. I can't think of any words. Joe: Don't try. Royal Man: Your Royal Highness, twenty-four hours, they can't all be blank. Ann: They are not. Royal Man: What explanation am I to offer Their Majesties? Ann: I was indisposed. I am better. Royal Man: Ma'am, you must appreciate that I have my duty to perform, just as Your Royal Highness has her duty. Ann: Your Excellency, I trust you will not find it necessary to use that word again. Were I not completely aware of my duty to my family and my country, I would not have come back tonight. Or indeed, ever again. And now, since I understand we have a very full schedule today, you have my permission to withdraw. No milk and crackers. That will be all, thank you, Countess. Mr. Hennessy: Did you really get it? Joe: Get what? Mr. Hennessy: The princess exclusive. Did you get it? Joe: No, no, I didn't. Mr. Hennessy: What? That's impossible. Joe: Shall I get you coffee or something? Mr. Hennessy: Joe, don't hold out on me. Joe: Who's holding out? Mr. Hennessy: You are. I know too much. First you come in my office and ask about an exclusive on the princess, next you disappear. Then I hear a rumour from the embassy that the pricenss is out on the town. Joe: There’s a lot of rumor. Do you believe every rumour that comes your way? Mr. Hennessy: There's a lot of other rumours. About a shindig down by the river, and the arrest of eight secret service men from a certain country. Then comes the news that she makes a miraculous recovery. It all adds up. Don't think you'll raise the price, a deal's a deal. Now come on. Where is that story? Joe: I have no story. Mr. Hennessy: Now what was the idea... Irving: Joe. Man, wait till you see these. Joe: Irving. Irving: Hi, Mr. Hennessy. Joe: Irving! Irving: What's the idea? Joe: You charge in, spilling things over my bed! Irving: Me? Joe: I warned you before. Don’t you remember? Irving: Look at my pants. Joe: Come and dry them off. Nuts to that. Irving: Did you tell him about Smitty? Mr. Hennessy: Who? Irving: Wait till you... Joe: Irving! There you go again, Irving. Irving: Joe... Save that till later. Joe: Why don't you go home and shave? Irving: Shave? Joe: Yeah. Or else keep quiet till we're finished talking. Mr. Hennessy: What kind of routine is that? What are you guys up to? Who's Smitty? Joe: He’s a guy we met. Mr. Hennessy: What do I suppose to look at? Joe: Just some of Irving's dames. You wouldn't like them. Maybe you would. Mr. Hennessy: Don't change the subject. When you came back to my office yesterday, you said... Joe: I had a good lead. But I was wrong. That's all there is to it. There is no story. Mr. Hennessy: OK. She's holding the press interview today. Same time. Same place. Maybe you can get that story. And you owe me $500. Joe: Take it from my salary, $50 a week. Mr. Hennessy: Don't think I won't. Irving: What gives? Have we had a better offer? Joe: Irving... I don't know just how to tell you this, but... Irving: Wait till I sit down. Joe: Well, in regard to the story that goes with these, there is no story. Irving: Why not? Joe: I mean, not as far as I'm concerned. Irving: The pictures came out pretty well. Want to have a look at them? How about a blow-up from a negative that size? Joe: Her first cigarette! Irving: Yeah. The Mouth of Truth. I had a caption in mind: "Barber cuts in." Joe: Here's the key shot for the whole layout. "The Wall Where Wishes Come True." Irving: Joe, that's good. Lead off with that, then follow up with the wishes? I got that from the file. "Princess Inspects Police." Joe: Yeah... Irving: I got a topper for you. "Police Inspects Princess." How about that? Joe: Pretty good. Wow! Irving: Is that a shot, Joe? "Bodyguard Gets Body Blow." Joe: No, how about this? "Crowned Head?" Huh? Irving: Oh, I get it. Joe, you got... She's fair game, Joe. It's always open season on princesses. You must be out of your mind. Joe: I know, but... Look, I can't prevent you from selling the pictures, if you want to. You'll get a good price for them. Irving: Yeah. Are you going to the interview? Joe: You go? Yeah. It's an assignment, isn't it? Irving: Yeah. I'll see you. It ain't much, but it's home. Royal Man: Ladies and gentlemen, please approach. Her Royal Highness. Your Royal Highness, the ladies and gentlemen of the press. Ladies and gentlemen, Her Royal Highness will now answer your questions. Journalist 1: I believe at the outset, Your Highness, that I should express the pleasure of all of us, at your recovery from the recent illness. Ann: Thank you. Journalist 1: Does Your Highness believe that federation could be a solution to Europe's economic problems? Ann: I am in favour of any measure which would lead to closer cooperation in Europe. Journalist 2: And what, in the opinion of Your Highness, is the outlook for friendship among nations? Ann: I have every faith in it...... as I have faith in relations between people. Joe: May I say, speaking for my own press service...... we believe that Your Highness's faith will not be unjustified. Ann: I am so glad to hear you say it. Journaslit 3: Which of the cities visited did Your Highness enjoy the most? Ann: Each in its own way was unforgettable. It would be difficult to... Rome! By all means, Rome. I will cherish my visit here in memory, as long as I live. Journaslit: Despite your indisposition, Your Highness? Ann: Despite that. Royal Man: Photographs may now be taken. Thank you, ladies and gentlemen. Thank you very much. Ann: I would now like to meet some of the ladies and gentlemen of the press. Man 1: Hitchcock, "Chicago Daily News". Ann: I'm so happy to see you here. Man1: Thank you. Man2: Scanziani, "La Suisse". Man3: Klinger, Deutsche Presse Agentur. Man4: Maurice Montabre, "Le Figaro". Lady1: Sytske Galema, "De Linie", Amsterdam. Man4: Jacques Ferrier, "Ici Paris". Man5: Gross, "Davar Tel Aviv". Man6: Cortes Cavanillas, "ABC Madrid". Man7: Lampe, "New York Herald Tribune". Ann: Good afternoon. Man7: Good afternoon. Irving: Irving Radovich, CR Photo Service. CR Ann: How do you do? Irving: May I present Your Highness with some commemorative photos of your visit to Rome? Ann: Thank you so very much. Joe: Joe Bradley, American News Service. Ann: So happy, Mr Bradley. Man8: Moriones, "La Vanguardia", Barcelona. Man9: Stephen House, of the "London Exchange Telegraph". Ann: Good afternoon. Man10: De Aldisio, Agence Press.

Unit 4 Forrest Gump《阿甘正传》

Subtitles (full version) Forrest: Hello. My name’s Forrest－Forrest Gump. Do you want a chocolate? I could eat about a million and a half of these. My mama always said, “Life was like a box of chocolates. You never know what you’re going to get.” Those must be comfortable shoes. I bet you could walk all day in shoes like that and not feel a thing. I wish I had shoes like that. Woman: My feet hurt. Forrest (narrative): Mama always said there’s an awful lot you can tell about a person by their shoes: Where they’re going, where they’ve been. I’ve worn lots of shoes. I bet if I think about it real hard, I could remember my first pair of shoes. Mama said they’d take me anywhere. She said they were my magic shoes. Doctor: All right, Forrest, open your eyes now. Let’s take a little walk around. How do you feel? His legs are strong, Mrs. Gump, as strong as I’ve ever seen. But his back’s as crooked as a politician. But we’re going to straighten him right up, aren’t we, Forrest? Mrs. Gump: Forrest! Forrest (narrative): Now, when I was a baby, Mama named me after the great Civil War hero, General Nathan Bedford Forrest. She said we were related to him in some way. What he did was, he started up this club called the Ku Klux Klan. They’d all dress up in their robes and their bed sheets and act like a bunch of ghosts or spooks or something. They’d even put bed sheets on their horses and ride around. And, anyway, that’ how I got my name... Forrest Gump. Mama said the Forrest part was to remind me that sometimes we all do things that, well, that just don’t make no sense. Mrs. Gump: This way. Hold on. Ugh! All right. What are you all staring at? Haven’t you ever seen a little boy with braces on his legs before? Don’t ever let anybody tell you that they’re better than you, Forrest. If God intended everybody to be the same, he’d have given us all braces on our legs. Forrest (narrative): Mama always had a way of explaining things so I could understand them. We lived about a quarter mile off Route 17, about a half mile from the town of Greenbow, Alabama. That’s in the county of Greenbow. Our house had been in Mama’s family since her grandpa’s grandpa’s grandpa had come across the ocean about a thousand years ago. Since it was just me and Mama and we had all these empty rooms, Mama decided to let those rooms out, mostly to people passing through, like from, oh, Mobile, Montgomery, places like that. That’s how me and Mama got money. Mama was a real smart lady. Mrs. Gump: Remember what I told you, Forrest. You’re no different than anybody else is. Did you hear what I said, Forrest? You’re the same as everybody else. You are no different. Hancock: Your boy’s... different, Mrs. Gump. His IQ is 75. Mrs. Gump: Well, we’re all different, Mr. Hancock. Forrest (narrative): She wanted me to have the finest education, so she took me to the Greenbow County Central School. I met the principal and all. Hancock: I want to show you something, Mrs. Gump. Now, this is normal. Forrest is right here. The state requires a minimum IQ of 80 to attend public school. Mrs. Gump, he’s going to have to go to a special school. Now, he’ll be just fine. Mrs. Gump: What does normal mean anyway? He might be... a bit on the slow side, but my boy Forrest is going to get the same opportunities as everyone else. He’s not going to some special school to learn how to retread tires. We’re talking about five little points here. There must be something that can be done. Hancock: We’re a progressive school system. We don’t want to see anybody left behind. Is there a Mr. Gump, Mrs. Gump? Mrs. Gump: He’s on vacation. Hancock: Well, your mama sure does care about your schooling, son. You don’t say much, do you? Mrs. Gump: “Finally, he had to try. It looked easy, but... oh, what happened. First they...” Forrest: Mama, what a vacation means? Mrs. Gump: Vacation? Forrest: Where Daddy went? Mrs. Gump: Vacation’s when you go somewhere... and you don’t ever come back. Forrest (narrative): Anyway, I guess you could say me and Mama was on our own. But we didn’t mind. Our house was never empty. There was always folks coming and going. Mrs. Gump: Supper! It’s supper, everyone! Tenant A: That sure looks special. Forrest (narrative): Sometimes, we had so many people staying with us that every room was filled, with travelers, you know, folks living out of their suit case and hat cases and sample cases. One time a young man was staying with us. Mrs. Gump: Forrest Gump, it’s suppertime! Forrest? Forrest (narrative): One time, a young man was staying with us, and he had him a guitar case. Tenant B: “Well, you ain’t never caught a rabbit.” “And you ain’t no”. “Friend of mine”. Mrs. Gump: Forrest, I told you not to bother this nice young man. Tenant B: No, that’s all right, ma’ am. I was showing him a thing or two on the guitar. Mrs. Gump: All right. Supper’s ready if you all want to eat. Tenant B: Yeah, that sounds good. Thank you, ma’am. Say, man, show me that crazy little walk you did there. Slow it down some. “You ain’t nothing but... ” Forrest: I liked that guitar. It sounded good. I started moving around to the music, swinging my hips. Tenant B: “Cryin’ all the time…” Forrest (narrative): This one night, me and Mama was out shopping, and we walked by Vincy’s Furniture and Appliance Store, and guess what? Elvis: “You ain’t nothing but a hound dog.” “Cryin’ all the time.” “You ain’t nothing but a hound dog.” Mrs. Gump: This is not for children’s eyes. Elvis: “Cryin’ all the time.” Forrest (narrative): Some years later, that handsome young man who they called the King, well, he sung too many songs. Had himself a heart attack or something. It must be hard being a king, you know. It’s funny how you remember some things, but some things you can’t. Mrs. Gump: You do your very best now, Forrest. Forrest: I sure will, Mama. I remember the bus ride on the first day of school very well. Dorothy: Are you coming along? Forrest: Mama said not to be taking rides from strangers. Dorothy: This is the bus to school. Forrest: I’m Forrest... Forrest Gump. Dorothy: I’m Dorothy Harris. Forrest: Well, now we ain’t strangers anymore. Boy A: This seat’s taken. Boy B: It’s taken. Boy C: You can’t sit here. Forrest (narrative): You know, it’s funny what a young man recollects, cause I don’t remember being born. I don’t recall what I got for my first Christmas, and I don’t know when I went on my first outdoor picnic, but I do remember the first time I heard the sweetest voice in the wide world. Jenny: You can sit here if you want. Forrest (narrative): I had never seen anything so beautiful in my life. She was like an angel. Jenny: Well, are you going to sit down or aren’t you? What’s wrong with your legs? Forrest: Um, nothing at all, thank you. My legs are just fine and dandy. (Narrative) I just sat next to her on that bus and had a conversation all the way to school. My back’s crooked like a question mark. Next to Mama, no one ever talked to me or asked me questions. Jenny: Are you stupid or something? Forrest: Mama says, “Stupid is as stupid does.” Jenny: I’m Jenny. Forrest: I’m Forrest... Forrest Gump. (Narrative) From that day on, we were always together. Jenny and me was like peas and carrots. She taught me how to climb. Jenny: Come on, Forrest, you can do it. Forrest (narrative): I showed her how to dangle. “A good little...” She helped me learn how to read, and I showed her how to swing. Sometimes, we’d just sit out and wait for the stars. Mama’s going to worry about me. Jenny: Just stay a little longer. Forrest (narrative): For some reason, Jenny didn’t never want to go home. O.K., Jenny, I’ll stay. (Narrative) She was my most special friend. My only friend. Now, my mama always told me that miracles happen every day. Some people don’t think so, but they do. Boy A: Hey, dummy! Boy B: Are you dumb, or just plain stupid? Boy C: Look, I’m Forrest Gimp. Jenny: Just run away, Forrest. Run, Forrest! Run away! Hurry! Boy B: Get the bikes! Boy C: Hurry up, let’s get him! Come on! Boy B: Look out, Gump! We’re going to get you! Jenny: Run, Forrest, run! Run, Forrest! Boy A: Come back here, you! Jenny: Run, Forrest! Run! Forrest (narrative): Now, you wouldn’t believe if I told you...but I could run like the wind blows. From that day on, if I was going somewhere, I was running. Old Man: That boy sure is a running fool. Forrest: (Narrative) Now, remember how I told you that Jenny never seemed to want to go home? She lived in a house that was as old as Alabama. Her mama had gone to heaven when she was 5, and her daddy was some kind of a farmer. Jenny? He was a very loving man. He was always kissing and touching her and her sisters. And then this one time, Jenny wasn’t on the bus to go to school. Jenny, why didn’t you come to school today? Jenny: Sh-h. Daddy’s taking a nap. Jenny’s father: Jenny! Jenny: Come on! Jenny’s father: Jenny, where’d you run to? You better get back here, girl! Where you at? Jenny! Jenny, where you at? Jenny! Jenny: Pray with me, Forrest. Pray with me. Jenny’s father: Jenny! Jenny: Dear God, make me a bird so I can fly far, far, far away from here. Dear God, make me a bird so I can fly far… Forrest: Mama always said God is mysterious. Jenny’s father: Jenny! Forrest (narrative): He didn’t turn Jenny into a bird that day. Instead, he had the police say Jenny didn’t have to stay in that house no more. She was to live with her grandma, just over on Creek more Avenue, which made me happy, because she was so close. Some nights, Jenny’d sneak out and come on over to my house, just cause she said she was scared. Scared of what, I don’t know. But I think it was her grandma’s dog. He was a mean dog. Anyway, Jenny and me was best friends all the way up through high school. Bully boy A: Hey, stupid! Jenny: Quit it! Run, Forrest, run! Bully boy A: Didn’t you hear me, stupid? Jenny: Run, Forrest! Bully boy B: Get in the truck! Come on! He’s getting away! Move it! Jenny: Run, Forrest! Run! Bully boy A: Move it! Move it! You better be running! Whoo——hoo! Go! Jenny: Run, Forrest! Forrest: Now, it used to be I ran to get where I was going. I never thought it would take me anywhere. Football Coach: Who in the hell is that? Assistant Coach: That there is Forrest Gump, Coach. Just a local idiot. Forrest: And can you believe it? I got to go to college, too. Football Player: Forrest, move it! Run! Forrest: O.K.! Football Player: Run! Coach: Run, you stupid son of a bitch! Run! Run, son of a bitch, run! Go! Run! Run! Run! Go! He must be the stupidest son of a bitch alive, but he sure is fast. Forrest (narrative): Now, maybe it’s just me, but college was very confusing times. Chet Huntley: Federal troops, enforcing a court order, integrated the University of Alabama today. Two Negroes were admitted, but only after Governor George Wallace had carried out his symbolic threat to stand in the school house door. Governor Wallace: I take it from that statement... Forrest: Earl, what’s going on? Earl: Coons are trying to get into school. Forrest: Coons? When raccoons tried getting on our back porch, Mama just chased them off with a broom. Earl: Not raccoons, you idiot. Niggers. And they want to go to school with us. Forrest: With us? They do? Newsman: Shortly after Governor Wallace had carried out his promise to block the doorway, Kennedy ordered these secretary of defense to use military force. Here, by video tape, is the encounter by General Graham, commander of the National Guard, and Governor Wallace. Governor Wallace: Because these National Guards men are here today as federal soldiers for Alabama, and they live within our borders. They are our brothers. We are winning in this fight, because we are awakening the American people to the dangers that we have spoken about so many times that is so evident today...A trend toward military dictatorship in this country. Newsman: And so, at day’s end, the University of Alabama in Tuscaloosa had been desegregated, and students Jimmy Hood and Vivian Malone had been signed up for summer classes. Forrest: Ma’am, you dropped your book. Ma’am. Chet Huntley: Governor Wallace did what he promised. By being on the Tuscaloosa campus, he kept the mob... Coach A: Say, wasn’t that Gump? Coach B: Now, that couldn’t be. Coach C: It sure as hell was. Forrest (narrative): A few years later, that angry little man at the school house door thought it’d be a good idea and ran for president. But somebody thought that it wasn’t. But he didn’t die. Black Woman: My bus is here. Forrest: Is it the No.9? Black Woman: No, it’s the No.4. Forrest: It was nice talking to you. White Woman: I remember when that happened. When Wallace got shot, I was in college. Forrest: Did you go to a girls’ college or a girls’ and boys’ together college? White Woman: It was coed. Forrest: Cause Jenny went to a college I couldn’t go to. It was a college just for girls. But I’d go and visit her every chance I got. Jenny: Forrest! Forrest! Forrest, stop it! Stop it! What are you doing? Forrest: He was hurting you. Jenny: No, he wasn’t! Get over there! Billy, I’m sorry. Billy: Just keep away from me. Jenny: Don’t be such... Don’t go. Billy, wait a second. He doesn’t know any better. Forrest, why’d you do that? Forrest: I brought you some chocolate. I’m sorry. I’ll go back to my college now. Jenny: Forrest...Look at you. Come on. Come on. Forrest: Is this your own room? Jenny: Shh… Do you ever dream, Forrest...about who you’re going to be? Forrest: Who I’m going to be? Jenny: Yeah. Forrest: Aren’t I going to be me? Jenny: You’ll always be you, just another kind of you. You know? I want to be famous. I want to be a singer like Joan Baez. I just want to be... on an empty stage with my guitar, my voice. Just me. And I want to reach people on a personal level. I want to be able to say things, just one to one. Have you ever been with a girl, Forrest? Forrest: I sit next to them in my home economics class all the time. Oh, I’m sorry. Jenny: It’s O.K. Forrest: Sorry. Jenny: It’s all right. It’s O.K. Forrest: Oh, I’m dizzy. Jenny: I’ll bet that never happened in home eco. Forrest: No. I think I ruined your roommate’s bathrobe. Jenny: I don’t care. I don’t like her anyway. Audience: Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Run! Stop! Stop! Stop! Forrest (narrative): College ran by real fast because I played so much football. They even put me on a thing called the all-America team where you get to meet the president of the United States. Newsman: President Kennedy met with the collegiate all-American football team at the Oval Office today. Forrest (narrative): Now the really good thing about meeting the president of the United States is the food. They put you in this little room with just about anything you’d want to eat or drink. But since, number one, I wasn’t hungry but thirsty, and number two, they were free, I must have drank me about 15 Dr. Peppers. Kennedy: Congratulations! How does it feel to be an All-American? Athlete A: It’s an honor, sir. Kennedy: Congratulations! How does it feel to be an All-American? Athlete B: Very good, sir. Kennedy: Congratulations! How does it feel to be an All-American? Athlete C: Very good, sir. Kennedy: Congratulations. How do you feel? Forrest: I got to pee. Kennedy: I believe he said he had to pee. Forrest (narrative): Some time later, for no particular reason, somebody shot that nice young president when he was riding in his car. And a few years after that, somebody shot his little brother, too, only he was in a hotel kitchen. Must be hard being brothers. I wouldn’t know. Master of Ceremony: Forrest Gump. Forrest: Now can you believe it? After only five years of playing football, I got a college degree. Master of Ceremony: Congratulations, son. Forrest: Mama was so proud. Mrs. Gump: Forrest, I’m so proud of you. I’ll hold this for you. Recruiting Officer: Congratulations, son. Have you given any thought to your future? Forrest: Thought? Hello. I’m Forrest. Forrest Gump. Bus Driver: Nobody gives a horse’s shit who you are, pus ball! You’re not even a lowlife, scum—sucking maggot! Get your maggoty ass on the bus! You’re in the army now! Soldier A: Seat’s taken. Soldier B: Taken. Forrest (narrative): At first it seemed like I made a mistake. It was only my induction day, and I was already getting yelled at. Bubba: Sit down if you want to. Forrest (narrative): I didn’t know who I might meet or what they might ask. Bubba: You’ve ever been on a real shrimp boat? Forrest: No. But I’ve been on a real big boat. Bubba: I’m talking about a shrimp catching boat. I’ve been working on shrimp boats all my life. I started out on my uncle’s boat when I was about maybe 9. I was just looking into buying my own boat and got drafted. My given name is Benjamin Buford Blue. People call me Bubba, just like one of them old red neck boys. Can you believe that? Forrest (narrative): My name’s Forrest Gump. People call me Forrest Gump. So Bubba was from Bayou La Batre, Alabama, and his mama cooked shrimp. And her mama before her cooked shrimp, and her mama before her mama cooked shrimp, too. Bubba’s family knew everything there was to know about the shrimping business. Bubba: I know everything there is to know about the shrimping business. I’m going into the shrimping business for myself after I get out of the army. Forrest: O.K. Drill Sergeant: Gump! What’s your sole purpose in this army? Forrest: To do whatever you tell me, Drill Sergeant! Drill Sergeant: God damn it, Gump, you’re a goddamn genius. That’s the most outstanding answer I’ve ever heard. You must have a goddamn IQ Of 160.You are goddamn gifted, Private Gump. Listen up, people! Forrest (narrative): Now for some reason, I fit in the army like one of them round pegs. It’s not really hard. You just make your bed neat, remember to stand up straight, and always answer every question with “Yes, Drill Sergeant”. Drill Sergeant: Is that clear? Soldiers: Yes, Drill Sergeant! Bubba: What you do is dragging your nets along the bottom. On a good day, you can catch over a hundred pounds of shrimp. Everything goes all right, two men shrimping ten hours, less what you spends on gas... Forrest: Done, Drill Sergeant! Drill Sergeant: Gump! Why did you put that weapon together so quickly? Forrest: You told me to, Drill Sergeant. Drill Sergeant: Jesus H. Christ. This is a new company record. If it wasn’t a waste of a fine enlisted man, I’d recommend you for O.C.S., Private Gump. You’re going to be a general someday! Now disassemble your weapon and continue! Bubba: Anyway, like I was saying, shrimp is the fruit of the sea. You can barbecue it, boil it, broil it, bake it, saute it. They’re, uh, shrimp kabobs, shrimp creole, shrimp gumbo, pan fried, deep fried, stir fried. There’s pineapple shrimp and lemon shrimp, coconut shrimp, pepper shrimp, shrimp soup, shrimp stew, shrimp salad, shrimp in potatoes, shrimp burger, shrimp sandwich. That...That’s about it. Forrest (narrative): Night time in the army is a lonely time. We’d lay there in our bunks, and I’d miss my mama, and I’d miss Jenny. Soldier: Hey, Gump. Get a load of the tits on her. Forrest (narrative): Turns out...Jenny had gotten into some trouble over some photos of her in her college sweater. And she was thrown out of school. Singer: “My baby does the hanky panky”. Forrest (narrative): But that wasn’t a bad thing, because a man who owns a theater in Memphis, Tennessee, saw those photos and offered Jenny a job singing in a show. The first chance I got, I took the bus up to Memphis to see her perform in that show. Host: That was Amber, Amber Flame. Give her a big hand. And now, for your listening and viewing pleasure, direct from Hollywood, California, our very own beatnik beauty. Let’s give a big round of applause to the luscious Bobbie Dylan. Jenny: (singing) How many roads must a man walk down Before you can call him a man Yes, and how many seas must the white dove sail… Forrest (narrative): Her dream had come true. Jenny: (singing) Before she sleeps in the sand Forrest: She was a folk singer. Jenny: (singing) Yes, and how many times Must the cannon balls fly Before they’re forever banned Man A: Shake it up now. Man B: Somebody get her a harmonica. Jenny: (singing) The answer, my friend is blowin’ in the wind Man C: This ain’t Captain Kangaroo. Man D: Hey, honey, I got something here for you. Man E: Hey! God damn it! Jenny: Hey, you stupid jerk! I’m singing a song here. Polly, get out here! Shut up yourself! Just shut up! Forrest! What are you doing here? What are you doing? What are you doing, Forrest? Let me down! You can’t keep doing this, Forrest. You can’t keep trying to rescue me. Forrest: They were trying to grab you. Jenny: A lot of people try to grab me. Just... You can’t keep doing this all the time. Forrest: I can’t help it. I love you. Jenny: Forrest...You don’t know what love is. You remember that time we prayed, Forrest? We prayed for God to turn me into a bird so I could fly far, far away. Forrest: Yes, I do. Jenny: You think I could fly off this bridge? Forrest: What do you mean, Jenny? Jenny: Nothing. I got to get out of here. Forrest: Wait, Jenny. Jenny: Forrest, you stay away from me, O.K.? You stay away from me, please. Can I have a ride? Driver: Where are you going? Jenny: I don’t care. Driver: Get in the truck. Forrest: So bye-bye, Jenny. They’re sending me to Vietnam. This is a whole other country. Jenny: Just hang on a minute. Listen, you promise me something, ok? Just if you’re ever in trouble, don’t be brave. You just run, ok? Just run away. Forrest: Ok, Jenny. I’ll write you all the time. (Narrative) And just like that, she was gone. Mrs. Gump: You come back safe to me. Did you hear? Forrest (narrative): Now they told us that Vietnam was going to be very different from the United States of America. Except for all the beer cans and barbecues, it was. Bubba: Hey, I’ll bet there’s shrimp all in these waters. They tell me these Vietnams is good shrimp. After we win this war and we take over everything, we can get American shrimpers out here and shrimp these waters. Just shrimp all the time, man. Lieutenant Dan: You must be my FNGs. Forrest and Bubba: Morning, sir. Dan: Oh, get your hands down. Lieutenant Dan: Do not salute me. There are goddamn snipers all around this area, who’d love to grease an officer. I’m Lieutenant Dan Taylor. Welcome to Fort Platoon. What’s wrong with your lip? Bubba: I was born with big gums, sir. Lieutenant Dan: Well, you better tuck that in. Gonna get that caught on a trip wire. Where are you boys from in the world? Bubba and Gump: Alabama, sir! Alabama, sir! Lieutenant Dan: You twins? Forrest: No. We are not relations, sir. Lieutenant Dan: Look, it’s pretty basic here. You stick with me, and learn from the guys, who’ve been in country a while, you’ll be all right. There is one item of G.I. gear that can be the difference between life and death... Socks. Cushioned sole, O.D. green. Try and keep your feet dry. When we’re out humping, just remember to change your socks. Whenever we stop, the Mekong will eat a grunt’s feet, right off his legs. Sergeant Sims. God damn it, where’s that sling rope I told you to order? Sergeant Sims: I put in the requisitions. Lieutenant Dan: Well, you call those sons of bitches... Forrest (narrative): Lieutenant Dan sure knew his stuff. I felt real lucky he was my lieutenant. He was from a long, great military tradition. Somebody in his family had fought... and died... in every... American war. Lieutenant Dan: God damn it, kick some ass. Get on it! Forrest (narrative): I guess you could say he had a lot to live up to. Lieutenant Dan: So, you boys from Arkansas, huh? Well, I’ve been through there. Little Rock’s a fine town. Now, shake down your gear. See the platoon sergeant. Draw what you need for the field. If you boys are hungry, we got steaks burning right over here. Two standing orders in this platoon: 1. take good care of your feet; 2. try not to do anything stupid, like getting yourself killed. Forrest (narrative): I sure hope I don’t let him down. I got to see a lot of the country side. We would take these real long walks. And we were always looking for this guy named Charlie. Lieutenant Dan: Hold it up! Soldier A: Hold up, boys! Forrest (narrative): It wasn’t always fun. Lieutenant Dan was always getting these funny feelings about a rock or a trail or the road, so he’d tell us to get down, shut up. Lieutenant Dan: Get down! Shut up! Forrest (narrative): So we did. Now I don’t know much about anything, but I think some of America’s best young men served in this war. There was Dallas from Phoenix. Cleveland... he was from Detroit. Cleveland: Hey, Tex. Hey, Tex. What the hell’s going on? Forrest (narrative): And Tex was... Well, I don’t remember where Tex comes from... Lieutenant Dan: Ah, nothing. Fourth platoon, on your feet. You have all got 10 clicks to go to that river. Move out. All: 1, 2! Hup! Lieutenant Dan: Step it up! Look alive out there. Forrest (narrative): The good thing about Vietnam is there was always someplace to go. Lieutenant Dan: Fire in the hole! Gump, check out that hole. Forrest (narrative): And there was always something to do. Lieutenant Dan: Mount them up! Spread out! Cover his back! Forrest: One day it started raining, and it didn’t quit for four months. We’ve been through every kind of rain there is...little bitty stinging rain, and big old fat rain, rain that flew in sideways, and sometimes rain even seemed to come straight up from underneath. Shoot, it even rained at night. Bubba: Hey, Forrest. Forrest: Hey, Bubba. Bubba: I’m going to lean up against you. You lean up against me. This way we don’t have to sleep with our heads in the mud. You know why we’re a good partnership, Forrest? Because we be watching out for one another, like brothers and stuff. Hey, Forrest, something I been thinking about. I got a very important question to ask you. How would you like to go into the shrimping business with me? Forrest: O.K. Bubba: Man, I tell you what. I got it all figured out, too. So many pounds of shrimp will pay off the boat. So many pounds for gas. We’ll just live right on the boat. We are got to pay no rent. We can just work it together, split everything right down the middle. Man, I’m telling you, 50-50. Hey, Forrest, all the shrimp you can eat. Forrest: That’s a fine idea. (Narrative) Bubba did have a fine idea. I even wrote Jenny and told her all about it. I sent her letters... Not every day, but almost. I told her what I was doing and asked her what she was doing and told her how I thought about her always. And how I was looking forward to getting a letter from her just as soon as she had the time. I’d always let her know that I was O.K. Then I’d sign each letter “Love, Forrest Gump”. This one day, we was out walking like always, and then, just like that, somebody turned off the rain, and the sun came out. Lieutenant Dan: Ambush! Take cover! Get that pig up here, god damn it! Bubba: Forrest! You okay? Lieutenant Dan: Strong-arm, Strong-arm! Bubba: Hey! We got a man down! Lieutenant Dan: Strong-arm, this is Leg Lima 6! Over! Roger, Strong-arm! Be advised we have incoming from the tree line at point blue plus two! A.K.s and rockets! We’re getting it hard! Soldier B: Misfire! Misfire! Lieutenant Dan: God damn it! Get that pig unfucked and on the treeline! They got us, and it hurt. We’re going to move back to the blue line. Pull back! Pull back! Bubba: Forrest! Run, Forrest! Lieutenant Dan: Pull back! Bubba: Forrest, run! Run, man! Run! Lieutenant Dan: Pull back, Gump! Run, God damn it! Run! Forrest: (Narrative) I ran and ran just like Jenny told me to. I ran so far so fast that pretty soon I was all by myself, which was a bad thing. Bubba. (Narrative) Bubba was my best good friend. I had to make sure he was O.K. Where the hell are you? Bubba! (Narrative) And on my way back to find Bubba, well, there was this boy laying on the ground. Tex. O.K. I couldn’t let him lay there all alone, scared the way he was, so I grabbed him up and run him out of there. Every time I went back looking for Bubba, somebody else was saying, “Help me, Forrest, help me!” O.K. Here. Here. Soldier C: No sweat, man. Lay back. You’ll be O.K. Forrest (narrative): I started to get scared that I might never find Bubba. Lieutenant Dan: I know my position is danger close! We got Charlie all over this area. I got to have those fast movers in here now. Over. Forrest: Lieutenant Dan, Coleman’s dead! Lieutenant Dan: I know he’s dead! My whole goddamn platoon is wiped out! God damn it! What are you doing? You leave me here! Get away. Just leave me here! Get out! Ah! God, I said “leave me here”. God damn it! Strong-arm: Leg Lima, this is Strong-arm. Be advised your fast movers are in bound. Over. Forrest (narrative): Then it felt like something just jumped up and bit me. Ah! Something bit me! Lieutenant Dan: You damn son of a bitch! I can’t leave the platoon. I told you to leave me there, Gump. Forget about me. Get yourself out! Did you hear what I said? Gump, damn it, put me down. Get your ass out of here. I didn’t ask you to pull me out of there. God damn you! Where the hell do you think you’re going? Forrest: To get Bubba. Lieutenant Dan: I got an air strike in bound right now. They’re going to nape the whole area. Stay here! That’s an order. Forrest: I gotta find Bubba! Lieutenant Dan: Forrest. Forrest: Bubba. Bubba: I’m O.K., Forrest. I’m O.K. Forrest: O-Oh, Bubba, no. Bubba: I’ll be all right. Forrest: Come on. Come on. Come on. Bubba: Ugh. I’m O.K., Forrest. I’m O.K. I’m fine. Lieutenant Dan: Top smoke. Get it up there. Forrest: (Narrative) If I’d have known this was going to be the last time me and Bubba was gonna talk, I’d thought of something better to say. Hey, Bubba. Bubba: Hey, Forrest. Forrest, why did this happen? Forrest: You got shot. (Narrative) Then Bubba said something I won’t ever forget. Bubba: I want to go home. Forrest (narrative): Bubba was my best good friend. And even I know that are not something you can find just around the corner. Bubba was going to be a shrimping boat captain, but instead, he died right there by that river in Vietnam. That’s all I have to say about that. Man: It was a bullet, wasn’t it? Forrest: A bullet? Man: That jumped up and bit you. Forrest: Oh. Yes, sir. Bit me directly in the buttocks. They said it was a million dollar wound, but... the army must keep that money, because I still have not seen a nickel of that million dollars. The only good thing about being wounded in the but-tocks is the ice cream. They gave me all the ice cream I could eat. And guess what? A good friend of mine was in the bed right next door. Lieutenant Dan, I got you some ice cream. Lieutenant Dan, ice cream! Paramedic: It’s time for your bath, Lieutenant. Harper! Cooper. Larson. Webster. Gump. Gump! Forrest: I’m Forrest Gump. Postman: Kyle. Nichols. McMill. Johnson. Wounded soldier A: Surprise, surprise, surprise! Wounded soldier B: Gump, how can you watch that stupid shit? Turn it off. Television: You are tuned to the American forces Vietnam network. This is channel 6, Saigon. Wounded soldier C: Good catch, Gump. You know how to play this? Come on. Let me show you. Now, the secret to this game is no matter what happens, never, ever take your eye off the ball. All right. Forrest: For some reason, Ping-Pong came very natural to me. Wounded soldier C: See? Any idiot can play. Forrest (narrative): So I started playing it all the time. I played Ping-Pong even when I didn’t have anyone to play Ping-Pong with. The hospital’s people said it made me look like a duck in water...Whatever that means. Even Lieutenant Dan would come and watch me play. I played Ping-Pong so much. I even played it in my sleep. Lieutenant Dan: Now... you listen to me. We all have a destiny. Nothing just happens. It’s all part of a plan! I should have died out there with my men, but now... I’m nothing but a god damn cripple, a legless freak! Look. Look! Look at me! You see that? Do you know what it’s like not to be able to use your legs? Forrest: Y—Y —Yes, sir, I do. Lieutenant Dan: Did you hear what I said? You cheated me! I had a destiny. I was supposed to die in the field with honor! That was my destiny, and you... cheated me out of it! You understand what I’m saying, Gump? This wasn’t supposed to happen... Not to me. I had a destiny. I was... Lieutenant... Dan Taylor. Forrest: Y…You still Lieutenant Dan. Lieutenant Dan: Look at me. What am I going to do now? What am I going to do now? Officer: PFC Gump? Forrest: Yes, sir! Officer: As you were. Son, you’ve been awarded the Medal of Honor. Forrest: Guess what, Lieutenant Dan? They want to give me a medal... Madam. What did they do with Lieutenant Dan? Nurse: They sent him home. Forrest (narrative): Two weeks later, I left Vietnam. Journalist: The ceremony was kicked off with a candid speech by the president, regarding the need for further escalation of the war in Vietnam. Johnson awarded 4 Medals of Honor to men from each of the armed services. President Johnson: America owes you a debt of gratitude, son. I understand you were wounded. Where were you hit? Forrest: In the buttocks, sir. President Johnson: Well, that must be a sight. I’d kinda like to see that. God damn, son! Forrest (narrative): After that, Mama went to the hotel to lay down, so I went out for a walk to see our nation’s capital. Mrs. Gump: Hilary! I got the vets. What do you want to do with them? Forrest (narrative): It’s a good thing Mama was resting, because the streets was awful crowded with people looking at all the statues and monuments, and some of them people were loud and pushy. Woman: O.K., follow me! Forrest (narrative): Everywhere I went, I had to stand in line. Woman: Come on. Go! Queuer: Hey, you’re a good man for doing this. Good. Forrest (narrative): O.K. There was this man giving a little talk. And for some reason, he was wearing an American flag for a shirt. And he liked to say the F word... a lot. F this and F that. And every time he said the F word, people, for some reason, well, they cheered. Speaker: Yeah! Yeah! Come on, man. Come up here, man. Woman: Come on. Come on. Yeah, you! Come on. Move, move! Queuer: Go on. Let’s get up there. Speaker: Tell us a little bit about the war, man. Forrest: The war in Vietnam? Speaker: The war in Viet—fucking—nam! Forrest: Well...There was only one thing I could say about the war in Vietnam. There’s only one thing I can say about... the war in Vietnam. In Vietnam... Woman: What the hell are you doing... I’ll beat your head in, you goddamn oinker! Jesus Christ! What did they do with this? Audience: Can’t hear you! Audience: Can’t hear anything! Woman: This... This one! Give me that! Audience: Speak up! Forrest: And that’s all I have to say about that. Speaker: That’s so right on, man. You said it all. What’s your name, man? Forrest: My name is Forrest, Forrest Gump. Speaker: Forrest Gump. Audience: Gump! Gump! Jenny: Forrest! Forrest! Forrest: Jenny! Jenny: Forrest! Forrest (narrative): It was the happiest moment of my life. Jenny and me were just like peas and carrots again. She showed me around and even introduced me to some of her new friends. Man: Shut that blind, man! And get your white ass away from that window. Don’t you know we’re in a war here? Jenny: He’s cool. He’s one of us. Man: Let me tell you about us. Our purpose here is to protect our black leaders from the racial on slaught of the pig, who wishes to brutalize our black leaders, rape our women, and destroy our black communities. Wesley: Who’s the baby killer? Jenny: This is my good friend I told you about. This is Forrest Gump. Forrest, this is Wesley. Wesley and I lived together in Berkeley, and he’s the president of the Berkeley chapter of SDS. Man: Let me tell you something. We are here to offer protection and help for all those who need our help, because we, the Black Panthers, are against the war in Vietnam. We are against any war where black soldiers are sent to the front line to die for a country that hates them. Yes, we are against any war where black soldiers go to fight and come to be brutalized and killed in their own communities. Yes, we are against these racist and imperial acts... Jenny: Forrest! Stop it! Stop it! Forrest! Stop it! Stop it! Wesley: I shouldn’t have brought you here. I should have known it was going to be some bullshit hassle! Forrest: He should not be hitting you, Jenny. Jenny: Come on, Forrest. Forrest: Sorry I had a fight in the middle of your Black Panther party. Jenny: He doesn’t mean it when he does things like this. He doesn’t. Forrest: I would never hurt you, Jenny. Jenny: I know you wouldn’t, Forrest. Forrest: I wanted to be your boyfriend. Jenny: That uniform is a trip, Forrest. You look handsome in it. You do. Forrest: You know what? Jenny: What? Forrest: I’m glad we were here together in our nation’s capital. Jenny: Me, too, Forrest. Forrest (narrative): We walked around all night, Jenny and me, just talking. She told me about all the traveling she’d done and how she discovered ways to expand her mind, and learn how to live in harmony... which must be out west somewhere, because she made it all the way to California. Wesley: Anybody want to go to San Francisco? Jenny: I’ll go. Wesley: Far out! Forrest: It was a very special night for the two of us. I didn’t want it to end. Wish you wouldn’t go, Jenny. Jenny: I have to, Forrest. Wesley: Jenny? Things got a little out of hand. It’s just this war and that lying son of a bitch Johnson and... I would never hurt you. You know that. Forrest: Know what I think? I think... you should go home to Greenbow, Alabama! Jenny: Forrest, we have very different lives, you know. Forrest: I want you... to have this. Jenny: Forrest, I can’t keep this. Forrest: I got it... just by doing what you told me to do. Jenny: Why are you so good to me? Forrest: You’re my girl. Jenny: And I’ll always be your girl. Forrest (narrative): And just like that, she was gone out of my life again. Television: That’s one small step for man, one giant leap for mankind. Forrest (narrative): I thought I was going back to Vietnam, but instead they decided the best way for me to fight the Communists was to play Ping-Pong, so I was in the special Services, traveling around the country, cheering up wounded veterans and showing’ em how to play Ping-Pong. I was so good that some years later, the army decided I should be on the All-American Ping-Pong team. We were the first Americans to visit the land of China like in a million years or something. Somebody said world peace was in our hands, but all I did was playing Ping-Pong. When I got home, I was a national celebrity, more famous even than Captain Kangaroo. Compere: Here he is, Forrest Gump. Right here. Gump, have a seat. Forrest Gump, John Lennon. John Lennon: Welcome home. Compere: Can you tell us, um, what was China like? Forrest: In the land of China... people hardly got nothing at all. John Lennon: No possessions? Forrest: And in China, they never go to church. John Lennon: No religion, too? Compere: Hard to imagine. John Lennon: Well, it’s easy if you try, Dick. Forrest (narrative): Some years later, that nice young man from England was on his way home to see his little boy, and was signing some autographs. For no particular reason at all, somebody shot him. Lieutenant Dan: They gave you... the Congressional Medal of Honor. Forrest: Now, that’s Lieutenant Dan. Lieutenant Dan! Lieutenant Dan: They gave you... the Congressional Medal of Honor. Forrest: Yes, sir. They surely did. Lieutenant Dan: They gave you, an imbecile, a moron who goes on television, and makes a fool out of himself in front of the whole damn country, the Congressional Medal of Honor. Forrest: Yes, sir. Lieutenant Dan: Well... that... that’s just perfect! Yeah, well, I just got one thing to say to that... Goddamn bless America. Oh, God, whoa! Ow! Oh! Oh, God! Forrest: Lieutenant Dan! (Narrative) Lieutenant Dan said he was living in a hotel and because he didn’t have no legs, he spent most of his time exercising his arms. Lieutenant Dan: Make a right. Take a right! Forrest: What do you do here in New York, Lieutenant Dan? Lieutenant Dan: I’m living off the government relief. Hey, hey, hey, are you blind? I’m walking here! Ah, get out! Come on. Go, go, go! Forrest (narrative): I stayed with Lieutenant Dan and celebrated the holidays. Television: You have a great year, and hurry home. God bless you. Lieutenant Dan: Have you found Jesus yet, Gump? Forrest: I didn’t know I was supposed to be looking for Him, sir. Lieutenant Dan: That’s all these cripples down at the V. A... That’s all they ever talk about. Jesus this and Jesus that. Ha. Have I... found Jesus? They even had a priest come and talk to me. He said God is listening, but I have to help myself. Now, if I accept Jesus into my heart, I’ll get to walk beside Him in the kingdom of heaven. Did you hear what I said? Walk...beside Him in the kingdom of heaven. Well... kiss my crippled ass. God is listening? What a crock of shit! Forrest: I’m going to heaven, Lieutenant Dan. Lieutenant Dan: Oh? Well... before you go... why don’t you get your ass down to the corner and get us more Ripple? Forrest: Yes, sir. Journalist: We’re at approximately 45th Street in New York City at One Astor Plaza. This is the site of the old... Lieutenant Dan: What the hell is in Bayou La Batre? Forrest: Shrimping boats. Lieutenant Dan: Shrimping boats? Who gives a shit about shrimping boats? Forrest: I got to buy me one soon as I have some money. I promised Bubba in Vietnam that as soon as the war was over, we’d be partners. He’d be the captain and I’d be his first mate. But now that he’s dead, I got to be the captain. Lieutenant Dan: A shrimp boat captain. Forrest: Yes, sir. A promise is a promise, Lieutenant Dan. Lieutenant Dan: Now hear this! Private Gump here is gonna be a shrimp boat captain. Well, I tell you what, Gilligan. The day that you are a shrimp boat captain, I will come and be your first mate. If you’re ever a shrimp boat captain, that’s the day I’m an astronaut! Lenore: Danny, what are you complaining about? Danny, how you doing, huh? Carla: Mr. Hot Wheels! Lenore: Who’s your friend? Forrest: My name is Forrest. Forrest Gump. Lieutenant Dan: This is cunning Carla and long——limbs Lenore. Carla: So where you been, baby cakes, huh? Haven’t seen you around lately. You should have been here for Christmas, because Tommy bought a free round and gave everybody a turkey sandwich. Lieutenant Dan: Well, well, I had, uh... company. Lenore: Hey! Hey, we was just there! That’s like Times Square. Don’t you just love New Year’s? You can start all over. Everybody gets a second chance. Forrest: It’s funny... but in the middle of all that fun, I began to think about Jenny, wondering how she was spending her New Year’s night out in California. Television: 9... 8... 7... 6... 5... 4... 3... 2... 1! All: Happy New Year! Forrest: Happy New Year, Lieutenant Dan! All: Happy New Year! Lenore: Oh! What are you, stupid or something? What’s your problem? What’s his problem? Did you lose your packet in the war or something? Carla: Is your friend stupid or something? Lieutenant Dan: What did you say? Carla: I said “is your friend stupid or something”? Lieutenant Dan: Don’t call him stupid! Lenore: Hey, don’t push her! Lieutenant Dan: You shut up! Don’t you ever call him stupid! Carla: Come on, baby, why you being so upset, huh? Lieutenant Dan: Get your goddamned clothes and get the hell out of here! Carla: You should be in a sideshow. Lenore: You’re so pathetic! Lieutenant Dan: Get out of here! Carla: You big guy! Lenore: Loser. You freak! Lieutenant Dan: Oh, no. No. Forrest: I’m sorry I ruined your New Year’s Eve party, Lieutenant Dan. She tastes like cigarettes. (Narrative) I guess Lieutenant Dan figured there’s some things you just can’t change. He didn’t want to be called crippled just like I didn’t want to be called stupid. Lieutenant Dan: Happy New Year, Gump. Reporter: The U.S. Ping-Pong team met with President Nixon today... Forrest (narrative): Wouldn’t you know it? A few months later, they invited me and the Ping-Pong team to visit the White House. So I went...again. And I met the president of the United States again. Only this time, they didn’t get us rooms in a real fancy hotel. Nixon: Are you enjoying yourself in our nation’s capital, young man? Where are you staying? Forrest: It’s called the Hotel Ebbott. Nixon: Oh, no, no, no. I know a much nicer hotel. It’s brand-new. Very modern. I’ll have my people take care of it. Security: Security. Forrest: Yeah. Sir, you might want to send a maintenance man over to that office across the way. The lights are off and they must be looking for a fuse box, cause them flashlights, they’re keeping me awake. Security: O.K., sir. I’ll check it out. Forrest: Thank you. Good night. Nixon: Therefore...I shall resign the presidency effective at noon tomorrow. Vice President Ford will be sworn in as president at that hour in this office. Sir: Forrest Gump. Forrest: Yes, sir! Sir: As you were. I have your discharge papers. Service is up, son. Forrest: Does this mean I can’t play Ping-Pong no more? Sir: For the army, it does. Forrest: (Narrative) And just like that, my service in the United States Army was over. So I went home. I’m home, Mama. Mrs. Gump: I know. I know. Louise, he’s here. Forrest (narrative): Now, when I got home, I had no idea, but Mama had all sorts of visitors. Mrs. Gump: We’ve had all sorts of visitors. Everybody wants you to use their Ping-Pong stuff. One man even left a check for $25,000 if you’d be agreeable to saying you like using their paddle. Forrest: I only like using my own paddle. Hi, Miss Louise. Louise: Hey, Forrest. Mrs. Gump: I know that, but it’s $25,000, Forrest. I thought maybe you could hold it for a while, see if it grows on you. Forrest: That Mama, she sure was right. It’s funny how things work out. I didn’t stay home for long because I’d made promise to Bubba, and I always try to keep my promise, so I went on down to Bayou La Batre to meet Bubba’s family. Mrs. Blue: Are you crazy or just plain stupid? Forrest: Stupid is as stupid does, Mrs. Blue. Mrs. Blue: I guess. Forrest: (Narrative) And, of course, I paid my respect to Bubba himself. Hey, Bubba. It’s me, Forrest Gump. I remember everything you said, and I got it all figured out. I’m taking $24,562.47 that I got, that’s left after a new haircut and a new suit and took Mama out to a real fancy dinner, and I bought a bus ticket, then three Dr. Peppers. Old Man: Tell me something. Are you stupid or something? Forrest: Stupid is as stupid does, sir. That’s what’s left after me saying, "When I was in China on the All-America Ping-Pong team,I just loved playing Ping——Pong" with my Flex-O-Lite Ping-Pong paddle," which everybody knows isn’t true, but Mama said it was just a little white lie, so it wasn’t hurting nobody. So anyway, I’m putting all that on gas, ropes, and new nets and a brand——new shrimping boat. Now Bubba told me everything he knew about shrimping, but you know what I found out? Shrimping is tough. I only caught five. Old Man: A couple more, you can have yourself a cocktail. Hey, you ever think about naming this old boat? It’s bad luck to have a boat without a name. Forrest (narrative): I’d never named a boat before, but there was only one I could think of, the most beautiful name in the wide world. Now, I hadn’t heard from Jenny in a long while, but I thought about her a lot. I hoped whatever she was doing made her happy. I thought about Jenny all the time. Lieutenant Dan, what are you doing here? Lieutenant Dan: Well, thought I’d try out my sea legs. Forrest: Well, you ain’t got no legs, Lieutenant Dan. Lieutenant Dan: Yes, I know that. You wrote me a letter, you idiot. Well, well. Captain Forrest Gump. I had to see this for myself... and... I told you if you were ever a shrimp boat captain, that I’d be your first mate. Well, here I am. I’m a man of my word. Forrest: O.K. Lieutenant Dan: But don’t you be thinking that I’m going to be calling you "sir." Forrest: No, sir. It’s my boat. Lieutenant Dan: I have a feeling if we head due east, we’ll find some shrimp, so take a left. Take a left! Forrest: Which way? Lieutenant Dan: Over there! They’re over there! Get on the wheel and take a left. Forrest: O.K. Lieutenant Dan: Gump, what are you doing? Take a left! Left! That’s where we’re going to find those shrimp, my boy! That’s where we’ll find them. Forrest: Still no shrimp, Lieutenant Dan. Lieutenant Dan: O.K., so I was wrong. Forrest: Well, how are we going to find them? Lieutenant Dan: Maybe you should just pray for shrimp. Forrest (narrative): So I went to church every Sunday. Sometimes Lieutenant Dan came, too, though I think he left the praying up to me. No shrimp. Lieutenant Dan: Where the hell’s this God of yours? Forrest (narrative): It’s funny Lieutenant Dan said that cause right then God showed up. Lieutenant Dan: You’ll never sink this boat! Forrest (narrative): Now, me, I was scared, but Lieutenant Dan, he was mad. Lieutenant Dan: Come on! You call this a storm? Come on, you son of a bitch! It’s time for a show down! You and me! I’m right here! Come and get me! You’ll never sink... this... boat! Reporter: Hurricane Carmen came through here yesterday, destroying nearly everything in its path. And as in other towns up and down the coast, Bayou La Batre’s entire shrimping industry has fallen victim to Carmen and has been left in utter ruin. This reporter has learned, in fact, only one shrimping boat actually survived the storm. Mrs. Gump: Louise. Louise, there’s Forrest. Forrest: After that, shrimping was easy. Since people still needed them shrimps for shrimp cocktails and barbecues and all and we were the only boat left standing, Bubba Gump shrimp’s what they got. We got a whole bunch of boats, 12 Jennys, big old warehouse. We even have hats that say “Bubba Gump”on them. Bubba Gump Shrimp. It’s a household name. Old Man: Hold on there, boy. Are you telling me you’re the owner of the Bubba Gump Shrimp Corporation? Forrest: Yes. We got more money than Davy Crockett. Old man: Boy, I heard some whoppers in my time, but that tops them all. We were sitting next to a millionaire. Old Woman: Well, I thought it was a very lovely story, and you tell it so well, with such enthusiasm. Forrest: Would you like to see what Lieutenant Dan looks like? Old woman: Yes, I would. Forrest: That’s him right there. Let me tell you something about Lieutenant Dan. Lieutenant Dan: Forrest... I never thanked you for saving my life. Forrest (narrative): He never actually said so, but I think he made his peace with God. Reporter: For the second time in 17 days, President Ford escaped possible assassination today. Receptionist: Base to Jenny 1. Base to Jenny 1. Lieutenant Dan: Jenny 1. Go, Margo. Receptionist: Forrest has a phone call. Lieutenant Dan: Yeah, well, you’ll have to tell them to call him back. He is indisposed at the moment. Receptionist: His mama’s sick. Forrest: Where’s Mama? Louise: She’s upstairs. Mrs. Gump: Hi, Forrest. Doctor: I’ll see you tomorrow. Mrs. Gump: Oh, all right. Doctor: Sure got you straightened out, didn’t we, boy? Forrest: What’s the matter, Mama? Mrs. Gump: I’m dying, Forrest. Come on in, sit down over here. Forrest: Why are you dying, Mama? Mrs. Gump: It’s my time. It’s just my time. Oh, now...don’t you be afraid, sweet heart. Death is just a part of life. Something we’re all destined to do. I didn’t know it, but I was destined to be your mama. I did the best I could. Forrest: You did good. Mrs. Gump: Well... I happen to believe you make your own destiny. You have to do the best with what God gave you. Forrest: What’s my destiny, Mama? Mrs. Gump: You’re going to have to figure that out for yourself. Life is a box of chocolates, Forrest. You never know what you’re going to get. Forrest (narrative): Mama always had a way of explaining things so I could understand them. Mrs. Gump: I will miss you, Forrest. Forrest: (Narrative)She had got the cancer and died on a Tuesday. I bought her a new hat with little flowers on it. And that’s all I have to say about that. Didn’t you say you were waiting for the No.7 bus? Old woman: There’ll be another one along shortly. Forrest (narrative): Now, because I had been a football star and war hero and national celebrity and a shrimping boat captain and a college graduate, the city fathers of Greenbow, Alabama, decided to get together and offered me a fine job, so I never went back to work for Lieutenant Dan, though he did take care of my Bubba Gump money. He got me invested in some kind of fruit company. So then I got a call from him saying we don’t have to worry about money no more, and I said, “That’s good. One less thing.” Forrest: Now Mama said there’s only so much fortune a man really needs, and the rest is just for showing off. So I gave a whole bunch of it to the Four square Gospel Church... and I gave a whole bunch to the Bayou La Batre Fishing Hospital... and even though Bubba was dead and Lieutenant Dan said I was nuts, I gave Bubba’s mama Bubba’s share. You know what? She didn’t have to work in nobody’s kitchen no more. Bubba’s Mum: That smells wonderful. Forrest (narrative): And because I was a billionaire and I liked doing it so much, I cut that grass for free. But at night time when there was nothing to do and the house was all empty, I’d always think of Jenny. And then... she was there. Jenny: Hello, Forrest. Forrest: Hello, Jenny. (Narrative) Jenny came back and stayed with me. Maybe it was because she had nowhere else to go, or maybe it was because she was so tired cause she went to bed and slept and slept like she hadn’t slept in years. It was wonderful having her home. Every day we’d take a walk, and I’d jabber on like a monkey in a tree, and she’d listen about Ping-Ponging and shrimping, and Mama making a trip up to heaven. I did all the talking. Jenny most of the time was real quiet. Jenny: How could you do this? Forrest (narrative): Sometimes I guess there just aren’t enough rocks. I never really knew why she came back, but I didn’t care. It was like olden times. We was like peas and carrots again. Every day, I’d pick pretty flowers and put them in her room for her, and she gave me the best gift anyone could ever get in the wide world. They’re made just for running. And she even showed me how to dance. Well, we were like family, Jenny and me... and it was the happiest time in my life. Jenny: You done watching it? Forrest: Will you marry me? I’d make a good husband, Jenny. Jenny: You would, Forrest. Forrest: But you won’t marry me. Jenny: You don’t want to marry me. Forrest: Why don’t you love me, Jenny? I’m not a smart man, but I know what love is. Jenny... Jenny: Forrest, I do love you. Taxi driver: Where are you running off to? Jenny: I’m not running. Forrest (narrative): That day, for no particular reason, I decided to go for a little run. So I ran to the end of the road, and when I got there, I thought maybe I’d run to the end of town. Reporter: President Carter, suffering from heat exhaustion... Forrest (narrative): And when I got there, I thought maybe I’d just run across Greenbow County. Now, I figured since I’d run this far, maybe I’d just run across the great state of Alabama. And that’s what I did. I ran clear across Alabama. No particular reason. I just kept on going. I ran clear to the ocean. And when I got there, I figured since I’d gone this far, might as well turn around, just keep on going. And when I got to another ocean, I figured since I’d gone this far... I might as well just turn back and keep right on going. When I got tired, I slept. When I got hungry, I ate. When I had to go... you know... I went. Old woman: And so... you just ran? Forrest: Yeah. Forrest (narrative): I’d think a lot... about Mama and Bubba and Lieutenant Dan. But most of all, I thought about Jenny. I thought about her a lot. Reporter: For more than two years, a man named Forrest Gump, a gardener from Greenbow, Alabama, stopping only to sleep, has been running across America. Charles Cooper brings you this report. For the fourth time on his journey across America, Forrest Gump, the gardener from Greenbow, Alabama, is about to cross the Mississippi River again today. Jenny: I’ll be damned. Forrest? Reporters: Sir, where are you running? Are you doing this for world peace? Are you doing this for the homeless? Are you running for women’s rights? Or for the environment? Or for animal? Forrest (narrative): They just couldn’t believe that somebody would do all that running for no particular reason. Reporter: Why are you doing this? Forrest: I just felt like running. I just felt like runnin’. Runner: That’s you. I can’t believe it’s really you. Forrest (narrative): Now... for some reason, what I was doing seemed to... make sense to people. Runner: It was like an alarm went off in my head. I said, “Here’s a guy that’s got his act together. Here’s somebody who got all figured out. Here’s someone who has the answer.” I’ll follow you anywhere, Mr. Gump. Forrest (narrative): So I got company. And after that, I got more company. And then, even more people joined in. Somebody later told me it gave people hope. Now... Now, I don’t know anything about that, but some of those people asked me if I could help them out. Runner2: Hi, man. Hey, listen, I was wondering if you might help me. I’m in the bumper sticker business. I’ve been trying to think of a good slogan. And since you’ve been so inspirational for people around you, I thought you might be able to help me... trying to…Whoa, man! You just ran through a big pile of dog shit! Forrest: It happens. Runner2: What, shit? Forrest (narrative): Sometimes. And some years later, I heard that that fella did come up with a bumper sticker slogan and made a lot of money off of it. Another time, I was running along. Somebody who’d lost all his money in the T-shirt business, he wanted to put my face on a T-shirt, but he couldn’t draw that well, and he didn’t have a camera. Runner3: Here, use this one. Nobody likes that color anyway. Forrest: Have a nice day! (Narrative) Some years later, I found out that that man did come up with an idea for a T-shirt. He made a lot of money. Anyway, like I was saying, I had a lot of company. My mama always said, “You got to put the past behind you before you can move on.” And I think that’s what my running was all about. I had run for three years... two months... 14 days, and 16 hours. Runner4: Quiet. Quiet. He’s going to say something. Forrest: I’m pretty tired. Think I’ll go home now. Runner4: Now what are we supposed to do? Forrest (narrative): And just like that... my runnin’ days was over. So I went home to Alabama. Reporter: Moments ago, at 2:25 P.M., as President Reagan was leaving the... Five or six gunshots were fired by an unknown, would-be assassin. The president was shot in the chest... Louise: I picked up the mail. Forrest: And one day, out of the blue clear sky, I got a letter from Jenny wondering if I could come down to Savannah and see her, and that’s what I’m doing here. She saw me on TV... running. I’m supposed to go on the No. 9 bus to Richmond Street and get off and go one block left to 1947 Henry Street... Apartment 4. Old woman: Why, you don’t need to take a bus. Henry Street is just five or six blocks... down that way. Forrest: Down that way? Old woman: Down that way. Forrest: It was nice talking to you. Old woman: I hope everything works out for you! Jenny: Hey, Forrest! How you doin’? Come in! Come in! Forrest: I got your letter. Jenny: Oh, I was wondering about that. Forrest: This your house? Jenny: Yeah. It’s messy right now. I just got off work. Forrest: It’s nice. You got air-conditioning. Jenny: Thank you. Forrest: I ate some. Jenny: I, uh, kept... kept a scrap book of... of your clippings and... everything. There you are. Yes, I got you running. Forrest: I ran a long way. It’s a long time. Jenny: There... Listen, Forrest, I don’t know how to say this. I just... I want to apologize for anything that I ever did to you cause... I was messed up... for a long time, and...Hey, you. This is my old friend from Alabama. Jenny’s Friend: How do you do? Jenny: Next week my schedule changes, so I can... Jenny’s Friend: No problem. Got to go. I’m double-parked. Jenny: O.K. Thanks. This is my very good friend Mr. Gump. Can you say “hi”? Little Forrest: Hello, Mr. Gump. Forrest: Hello. Little Forrest: Can I go watch TV now? Jenny: Yes. Just keep it low. Forrest: You’re a mama, Jenny. Jenny: I’m a mama. His name’s Forrest. Forrest: Like me! Jenny: I named him after his daddy. Forrest: He got a daddy named Forrest, too? Jenny: You’re his daddy, Forrest. Forrest, look at me. Look at me, Forrest. There’s nothing you need to do. You didn’t do anything wrong, ok? Isn’t he beautiful? Gump: He’s the most beautiful thing I’ve ever seen. But... is... is he s… smart? Like, can he... Jenny: He’s very smart. He’s one of the smartest in his class. Yeah, it’s O.K. Go talk to him. Forrest: What are you watching? Little Forrest: Bert and Ernie. Jenny: Forrest... I’m sick. Forrest: What, do you have a cough due to a cold? Jenny: I have some kind of virus, and the doctors, they don’t know what it is, and there isn’t anything they can do about it. Forrest: You could come home with me. Jenny, you and... little Forrest could come stay at my house in Greenbow. I’ll take care of you if you’re sick. Jenny: Would you marry me, Forrest? Forrest: O.K. Louise: Forrest? It’s time to start. Jenny: Your tie. Forrest: Lieutenant Dan. Lieutenant Dan. Lieutenant Dan: Hello, Forrest. Forrest: You got new legs. New legs! Lieutenant Dan: Yeah. I got new legs. Custom-made. Titanium alloy. It’s what they use on the space shuttle. Forrest: Magic legs. Lieutenant Dan: This... is my fiancée, Susan. Forrest: Lieutenant Dan. Susan: Hi, Forrest. Forrest: Lieutenant Dan... This is my Jenny. Jenny: Hi. It’s nice to meet you finally. Priest: Do you, Forrest, take Jenny to be your wife? Do you, Jenny, take Forrest to be your husband? And so I pronounce you man and wife. Jenny: Hey, Forrest... were you scared in Vietnam? Forrest: Yes. Well, I... I don’t know. Sometimes it would stop raining long enough for the stars to come out... and then it was nice. It was like just before the sun goes to bed down on the bayou, there was always a million sparkles on the water... like that mountain lake. It was so clear, Jenny, it looked like there were two skies one on top of the other. And then in the desert, when the sun comes up... I couldn’t tell where heaven stopped and the earth began. It’s so beautiful. Jenny: I wish I could’ve been there with you. Forrest: You were. Jenny: I love you. Forrest: You died on a Saturday morning. And I had you placed here under our tree. And I had that house of your father’s bulldozed to the ground. Mama... always said that dying was a part of life. I sure wish it wasn’t. Little Forrest is... doing just fine. But... About to start school again so on, and... I make his breakfast, lunch, and dinner every day. I make sure he... combs his hair and brushes his teeth every day, teaching him how to play Pin-Pong. He’s really good. Uh, Forrest, you go. We fish a lot. And every night, we read a book. He’s so smart, Jenny. You’d be so proud of him. I am. He, uh, wrote you a... a letter. And he says I can’t read it. I’m not supposed to, so I’ll just leave it here for you. Jenny... I don’t know if Mama was right or if it... it’s Lieutenant Dan. I don’t know... if we each have a... destiny... or if we’re all just floating around accidental-like on a breeze... but I... I think... maybe it’s both. Maybe both get happening at the same time. But I miss you, Jenny. If there’s anything you need... I won’t be far away. Forrest: Here’s your bus. O.K. Hey... Little Forrest: I know this. I’m gonna share that for show-and-tell because Grandma used to read it to you. Forrest: My favorite book. Here we are. Hey... here you go. Hey, Forrest... don’t... I want to tell you I love you. Little Forrest: I love you, too, Daddy. Forrest: I’ll be right here when you get back. Drive: You understand this is the bus to school, now, don’t you? Little Forrest: Of course, and you’re Dorothy Harris, and I’m Forrest Gump.

Unit 5 Dead Poets Society《死亡诗社》

Subtitles (full version) MOTHER: Now remember, keep your shoulders back. MAN 1: Okay. Put your arm around your brother. That’s it. Right, and breathe in. Okay, one more. HABER: Now, just to review, you'll follow along with the procession until you get to the headmaster. At that point, he will indicate to you to light the candles of the boys'. MAN 2: All right, boys. Let's settle down. MAN 3: Banners up! MR. NOLAN: Ladies and gentlemen, boys, the light of the knowledge. One hundred years ago, in 1859, forty-one boys sat in this room and were asked the same question that now greets you at the start of each semester. Gentlemen, what are the four pillars? BOYS: Tradition! Honor! Discipline! Excellence! MR. NOLAN: In her first year, Welton Academy graduated five students. Last year we graduated fifty-one and more than seventy-five percent of those went on to the Ivy League. This, this kind of accomplishment is the result … of fervent dedication to the principles taught here. This is why you parents have been sending your sons. This is why we are the best preparatory school in the United States. As you know, our beloved Mr. Portius of the English Department retired last term. You will have the opportunity later to meet his replacement Mr. John Keating, himself an honor's graduate of this school and who, for the past several years, has been teaching at the highly regarded Chester School in London. MR. ANDERSON: Thrilling ceremony as usual, Dr. Nolan. MR. NOLAN: You've been away too long. MRS. ANDERSON: Hello, Dr. Nolan. MR. NOLAN: Good to have you. MRS. ANDERSON: This is our youngest, Todd. MR. NOLAN: Mr. Anderson, you have some big shoes to fill, young man. Your brother was one of our finest. TODD: Thank you. MRS. PERRY: Lovely ceremony. MR. NOLAN: Thank you. I'm so glad you liked it. MR. PERRY: Gale. MR. NOLAN: Tom. MR. PERRY: Good to see you again. NEIL: Hello, Mr. Nolan. MR. NOLAN: Neil, we expect great things from you this year. NEIL: Thank you, sir. MR. PERRY: Well, he won't disappoint us. Right, Neil? NEIL: I'll do my best, sir. FATHER 1: Come on, son. MOTHER 1: Chin up. BOY 1: Okay. MOTHER 1: Chin up. FATHER 1: No tears now. BOY 2: I don't want to go here. MOTHER 2: Honey, I love you. FATHER 1: I'll walk you over. MOTHER 2: Do your lessons. NEIL: Hey. I hear we're gonna be roommates. I'm Neil Perry. TODD: I'm Todd Anderson. NEIL: Why'd you leave Balincrest? TODD: My brother went here. NEIL: Oh, so you're that Anderson! FATHER: This is for his sinuses. And, oh, if he, if he can't, uh, swallow, you give him one of these. And if he has trouble breathing, you give him-- HABER: All right, fine. FATHER: And, oh, did you remember your vaporizer? And the vapor… BOY: Hey, how's it going, Neil? CAMERON: Neil? Study group tonight? NEIL: Yeah, sure. CAMERON: Business as usual, huh? Hey, I heard you got the new kid. Looks like a stiff. Oops. NEIL: Listen. Don't mind, Cameron. He's, uh, born with his foot in his mouth. Know what I mean? CHARLIE: Rumor has it …you did summer school. NEIL: Yep. Chemistry. My father thought I should get ahead. How was your summer, Slick? CHARLIE: Keen. Meeks, door, close. MEEKS: Yes, sir. CHARLIE: Gentlemen, what are the four pillars? BOYS: Travesty! Horror! Decadence! Excrement! CHARLIE: Okay, study group. Meeks aced Latin. I didn't quite flunk English. So if you want, we got our study group. NEIL: Sure. Cameron asked me too. Anyone mind including him? CHARLIE: What's his specialty? Boot licking? NEIL: Uh, he's your roommate. CHARLIE: That's not my fault. MEEKS: Uh, I'm sorry. My name is Stephen Meeks. NEIL: Oh, this is Todd Anderson. TODD: Nice to meet you. MEEKS: Nice to meet you. CHARLIE: Charlie Dalton. KNOX: Knox Overstreet. NEIL: Todd's brother was Jeffrey Anderson. CHARLIE: Oh, yeah, sure. Valedictorian, National Merit Scholar. MEEKS: Oh, well! Welcome to Hellton. CHARLIE: It's every bit as tough as they say. Unless you're a genius like Meeks. MEEKS: He flatters me. That's why I'll help him with Latin. CHARLIE: And English, and trig. NEIL: It's open. Father, I thought you'd gone. CHARLIE: Mr. Perry, sir. MR. PERRY: Keep your seats, fellas. Keep your seats. Neil, I've just spoken to Mr. Nolan. I think that you're taking too many extracurricular activities this semester. And I've decided that you should drop school annual. NEIL: But I'm the assistant editor this year. MR. PERRY: Well, I'm sorry, Neil. NEIL: But, father, I can't. It wouldn't be fair. MR. PERRY: Fellas? Would you excuse us for a moment? Don't you ever dispute me in public! Do you understand? NEIL: Father, I wasn't disputing you- MR. PERRY: After you've finished medical school and you're on your own, then you can do as you damn well please. But until then, you do as I tell you. Is that clear? NEIL: Yes, sir. I'm sorry. MR. PERRY: You know how much this means to your mother, don't you? NEIL: Yes, sir. You know me. I'm always taking on too much. MR. PERRY: Well, that's my boy. Now, listen. You need anything, you let us know, huh? NEIL: Yes, sir. CHARLIE: Why doesn't he let you do what you want? KNOX: Yeah. Neil, tell him off. It couldn't get any worse. NEIL: Oh, that's rich! Like you guys tell your parents off, Mr. Future Lawyer and Mr. Future Banker? KNOX: Okay, so I don't like it any more than you do. NEIL: Well, stop telling me how to talk to my father. You guys are the same way. KNOX: All right, all right. Jesus. So what are you gonna do, then? NEIL: What I have to do. Drop the annual. CHARLIE: Well, I wouldn't lose too much sleep over it. It's just a bunch of jerks trying to impress Nolan. NEIL: I don't care. I don't give a damn about any of it. MEEKS: Well, uh, Latin, eight o'clock in my room? NEIL: Yeah. KNOX: I guess so. MEEKS: Todd, you're welcome to join us. CHARLIE: Yeah, come along, pal. TODD: Thanks. McALLISTER: Slow down, boys! Slow down, you horrible phalanx of pubescence! SCIENCE TEACHER: Pick three laboratory experiments from the project list and report on them every five weeks. The first twenty questions at the end of Chapter One are due tomorrow. McALLISTER: Agricolam. BOYS: Agricolam. McALLISTER: Agricola. BOYS: Agricola. McALLISTER: Agricolae. BOYS: Agricolae. McALLISTER: Agricolarum. BOYS: Agricolarum. McALLISTER: Agricolis. BOYS: Agricolis. McALLISTER: Agricolas. BOYS: Agricolas. McALLISTER: Agricolis. BOYS: Agricolis. McALLISTER: Again, please. Agricola. BOYS: Agricola. HABER: Your study of trigonometry requires absolute precision. Anyone failing to turn in any homework assignment will be penalized one point off their final grade. Let me urge you now not to test me on this point. BOY 1: Hey, Spaz! Spaz! BOY 2: Brain damaged. KEATING: Well, come on! BOY: Let's go. Let's go, guys. KEATING: "O Captain! My Captain!" Who knows where that comes from? Anybody. Not a clue? It's from a poem by Walt Whitman about Mr. Abraham Lincoln. Now in this class, you can either call me Mr. Keating, or, if you're slightly more daring, "O Captain! My Captain." Now let me dispel a few rumors, so they don't fester into facts. Yes, I, too, attended Hellton and have survived. And no, at that time, I was not the mental giant you see before you. I was the intellectual quivalent of a ninety-eight-pound weakling. I would go to the beach, and people would kick copies of Byron in my face. Now, Mr. Pitts. That's rather unfortunate name. Mr. Pitts, where are you? Mr. Pitts, will you open your hymnal to page 542? Read the first stanza of the poem you find there. PITTS: "To the Virgins, to Make Much of Time"? KEATING: Yes. That's the one. Somewhat appropriate, isn't it? PITTS: “Gather ye rosebuds while ye may, Old time is still a-flying. And this same flowers that smiles today, Tomorrow will be dying.” KEATING: Thank you, Mr. Pitts. "Gather ye rosebuds while ye may." The Latin term for that sentiment is "Carpe diem". Now who knows what that means? MEEKS: Carpe diem. That's "seize the day." KEATING: Very good, Mr. … MEEKS: Meeks. KEATING: Meeks. Another unusual name. Seize the day. "Gather ye rosebuds while ye may." Why does the writer use these lines? CHARLIE: Because he's in a hurry. KEATING: No! Ding! Thank you for playing anyway. Because we are food for worms, lads. Because, believe it or not, each and every one of us in this room is, one day, gonna stop breathing, turn cold, and die. I would like you to step forward over here and peruse some of the faces from the past. You've walked past them many times, but I don't think you've really looked at them. They're not that different from you, are they? Same haircuts, full of hormones just like you. Invincible just like you feel. The world is their oyster. They believe they're destined for great things, just like many of you. Their eyes are full of hope, just like you. Did they wait until it was too late to make from their lives even one iota of what they were capable? Because, you see, gentlemen, those boys are now fertilizing daffodils. But if you listen real close, you can hear them whisper their legacy to you. Go on, lean in. Listen. Do you hear it? Carpe. Hear it? Carpe. Carpe diem. Seize the day, boys. Make your lives extraordinary. PITTS: That was weird. NEIL: But different. KNOX: Spooky if you ask me. CAMERON: He'll test us on that stuff? CHARLIE: Oh, come on, Cameron. Don't you get anything? CAMERON: What? What? TEACHER: Let's go, boys. Hustle up in here. That means you, Dalton. MEEKS: All right, who's up for our study group tonight, guys? BOY 1: Sure. BOY 2: Me. BOY 3: Me, me, me. KNOX: Well, I can't make it, guys. I have to have dinner at the Danburrys' house tonight. CHARLIE: Ooh, the Danburrys? NEIL: Who are the Danburrys? CHARLIE: Big alums! How'd you swing that? KNOX: Friends of my dad's. They're probably in their nineties or something. Sounds great, doesn't it? NEIL: Anything's better than Hellton hash. CHARLIE: I'll second that. MEEKS: Yeah, well, we'll see. NEIL: Hey! You coming to the study group tonight? TODD: Uh, no. No. I've, I-I've got some history I wanna do. NEIL: Suit yourself. HABER: Ready, Overstreet? KNOX: Ready to go, sir. MRS. DANBURRY: Chet, can you get that? CHET: I can't, Mom. CHRIS: I'll get it. CHRIS: Can I help you? KNOX: Hi. K-Knox Overstreet. Uh, Dr. Hager. CHRIS: Hi. KNOX: This is the Danburrys', right? CHRIS: Are, are you here to see Chet? KNOX: Mrs. Danburry? CHRIS: No. MRS. DANBURRY: I'm sorry. Thank you, Chris. I'm Mrs. Danburry. You must be Knox. KNOX: Yes. MRS. DANBURRY: Back by nine? Please, come on in. CHET: Chris, come on. What are you doing? CHRIS: Chet, I'm coming. MR. DANBURRY: Knox! How are you? Joe Danburry. KNOX: Nice to meet you, sir. MR. DANBURRY: Well, he's the spitting image of his father, isn't he? How is he? Come on in. KNOX: He's great. He just did a big case for G.M. CHRIS: I’m coming. MR. DANBURRY: Yeah, I know where you're headed. Like father, like son, huh? BOY 1: Yes! Psych! BOY 2: Oh, sacrifice bishop to queen six. BOY 1: Another game? BOY 2: What do you mean? PITTS: Boo! CAMERON: Replace, uh, just replace these numbers here with X-For X and Y. NEIL: Of course. CAMERON: Of course. So what's the problem? CHARLIE: How was dinner? KNOX: Huh? CHARLIE: How was dinner? KNOX: Terrible. Awful. CHARLIE: What? What happened? KNOX: Tonight I met the most beautiful girl I have ever seen in my entire life. NEIL: Are you crazy? What's wrong with that? KNOX: She's practically engaged. To Chet Danburry. CHARLIE: The guy could eat a football. PITTS: Too bad. KNOX: Too bad? It's worse than “too bad”, Pitts. It's a tragedy. A girl this beautiful in love with such a jerk? PITTS: All the good ones go for jerks, you know that. CAMERON: Yeah, forget her. Open your trig book and try and figure out problem five. KNOX: I can't just forget her, Cameron. And I certainly can't think about trig! PITTS: We got it! HABER: All right, gentlemen, five minutes. Let's go. CHARLIE: Did you see her naked? KNOX: Very funny, Dalton. HABER: That wouldn't be a, uh, radio in your lap, wouldn't it, Mr. Pitts? PITTS: No, sir. A science experiment. Radar. KEATING: Gentlemen, open your texts to page 21 of this introduction. Mr. Perry, will you read the opening paragraph of the preface entitled "Understanding Poetry"? NEIL: "Understanding Poetry,” by Dr. J. Evans Pritchard, Ph.D. To fully understand poetry, we must first be fluent with its meter, rhyme and figures of speech, then ask two questions: 1) How artfully has the objective of the poem been rendered and 2) How important is that objective? Question 1 rates the poem's perfection; question 2 rates its importance. And once these questions have been answered, determining the poem's greatness becomes a relatively simple matter. If the poem's score for perfection is plotted on the horizontal of a graph and its importance is plotted on the vertical, then calculating the total area of the poem yields the measure of its greatness. A sonnet by Byron might score high on the vertical but only average on the horizontal. A Shakespearean sonnet, on the other hand, would score high both horizontally and vertically, yielding a massive total area, thereby revealing the poem to be truly great. As you proceed through the poetry in this book, practice this rating method. As your ability to evaluate poems in this matter grows, so will, so will your enjoyment and understanding of poetry." KEATING: Excrement. That's what I think of Mr. J. Evans Pritchard. We're not laying pipe. We're talking about poetry. How can you describe poetry like American Bandstand? "Oh, I like Byron. I give him a 42, but I can't dance to it." Now, I want you to rip out that page. Go on. Rip out the entire page. You heard me. Rip it out. Rip it out! Go on. Rip it out! Thank you, Mr. Dalton. Gentlemen, tell you what. Don't just tear out that page, tear out the entire introduction. I want it gone. History. Leave nothing of it. Rip it out! Rip! Be gone, J. Evans Pritchard, Ph.D. Rip. Shred. Tear. Rip it out! I want to hear nothing but ripping of Mr. Pritchard. We'll perforate it, put it on a roll. It's not the Bible. You're not gonna go to hell for this. Go on. Make a clean tear. I want nothing left of it. CAMERON: We shouldn't be doing this. KEATING: Rip! Rip! Rip! Rip it out! Rip! Rip it out! McALLISTER: What the hell is going on here? KEATING: I don't hear enough rips! McALLISTER: Mr. Keating. KEATING: Mr. McAllister. McALLISTER: I'm sorry. I … I didn't know you were here. KEATING: I am. Ah. McALLISTER: So you are. Excuse me. KEATING: Keep ripping, gentlemen! This is a battle. A war. And the casualties could be your hearts and souls. Thank you, Dalton. Armies of academics going forward, measuring poetry. No! We'll not have that here. No more Mr. J. Evans Pritchard. Now, my class, you will learn to think for yourselves again. You will learn to savor words and language. No matter what anybody tells you, words and ideas can change the world. Now I see that look in Mr. Pitts' eye, like 19th-century literature has nothing to do with its going to business school or medical school. Right? Maybe. Mr. Hopkins, you may agree with him, thinking, "Yes, we should simply study our Mr. Pritchard and learn our rhyme and meter and go quietly about the business of achieving other ambitions." I've a little secret for you. Huddle up. Huddle up! We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering -- these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love – these are what we stay alive for. To quote from Whitman, “O me! O life! Of the question of these recurring, of the endless trains of the faithless, of cities fill'd with the foolish...” What good amid these “O me, O life”? Answer: “That you are here – That life exists and identity. That the powerful play goes on, and you may contribute a verse. That the powerful play goes on, and you may contribute a verse." What will your verse be? BOYS: “For what we are about to receive, may the Lord make us truly grateful. Amen.” McALLISTER: Quite an interesting class you gave today, Mr. Keating. KEATING: Sorry if I shocked you, Mr. McAllister. McALLISTER: Oh, there's no need to apologize. It was very fascinated, misguided though it was. KEATING: You think so? McALLISTER: You take a big risk by encouraging them to become artists, John. When they realize that they're not Rembrandts, Shakespeares or Mozarts, they'll hate you for it. KEATING: We're not talking artist, George. We're talking free thinkers. McALLISTER: Free thinkers at seventeen? KEATING: Funny. I never pegged you as a cynic. McALLISTER: Not a cynic. A realist. "Show me the heart unfettered by foolish dreams and I'll show you a happy man." KEATING: "But only in their dreams can men be truly free. 'Twas always thus, and always thus will be." McALLISTER: Tennyson? KEATING: No. Keating. NEIL: Hey, I found his senior annual in the library. Listen to this. "Captain of the soccer team. Editor of the school annual. Cambridge bound. Thigh man, and Dead Poets Society." CAMERON: "Man most likely to do anything." CHARLIE: Thigh man! Mr."K" was a hell-raiser. PITTS: What's the Dead Poets Society? NEIL: I don't know. MEEKS: Is there a picture in the annual? CAMERON: No. NEIL: Nothing. No other mention of it. MR. NOLAN: That boy there, see me after lunch. NEIL: Mr. Keating! Mr. Keating! Sir? CHARLIE: Say something. NEIL: O Captain! My Captain! KEATING: Gentlemen. NEIL: We were just looking in your old annual. KEATING: Oh, my God. No, that's not me. Stanley "The Tool" Wilson. God. NEIL: What was the Dead Poets Society? KEATING: I doubt the present administration would look too favorably upon that. NEIL: Why? What was it? KEATING: Gentlemen, can you keep a secret? NEIL: Sure, yeah. KEATING: The Dead Poets was dedicated to "sucking the marrow out of life." That's a phrase from Thoreau we would invoke at the beginning of every meeting. You see, we would gather at the old Indian cave and take turns reading from Thoreau, Whitman, Shelly -- the biggies -- even some of our own verse. And in the enchantment of the moment, we'd let poetry work its magic. KNOX: You mean it was a bunch of guys sitting around reading poetry? KEATING: No, Mr. Overstreet, it wasn't just guys. We weren't a Greek organization. We were Romantics. We didn't just read poetry, we let it drip from our tongues like honey. Spirits soared, women swooned and gods were created, gentlemen. Not a bad way to spend an evening, eh? Thank you, Mr. Perry, for this stroll down Amnesia Lane. Burn that, especially my picture. NEIL: Dead Poets Society. CHARLIE: What? NEIL: I say we go tonight. CHARLIE: Tonight? CAMERON: Now, wait a minute. NEIL: Everybody in? PITTS: Where's this cave he's talking about? NEIL: It's beyond the stream. I know where it is. PITTS: That's miles! CAMERON: Sounds boring to me. CHARLIE: Don't come. CAMERON: Do you know how many demerits we're talking, Dalton? CHARLIE: So don't come. Please. CAMERON: Look, all I'm saying is that we have to be careful. We can't get caught. CHARLIE: No shit, Sherlock. HABER: You boys there, hurry up! NEIL: All right. Who's in? CAMERON: Oh, come on, Neil. Hager's the… NEIL: Forget Hager! No. Who's in? CHARLIE: I'm in. HABER: I'm warning you! Move! CAMERON: Me, too. PITTS: I don't know, Neil. NEIL: What? CHARLIE: Pitts! Pittsie, come on! MEEKS: His grades are hurting, Charlie. NEIL: You can help him, Meeks. PITTS: What is this, a midnight study group? NEIL: Forget it, Pitts, you're coming. Meeks, your grades hurting, too? MEEKS: I'll try anything once. CHARLIE: Except sex. CAMERON: I'm in as long as we're careful. CHARLIE: What about you, Knox? KNOX: I don't know, Charlie. CHARLIE: Come on, Knox. I'll help you get Chris. KNOX: Yeah? How? CHARLIE: Women swoon! KNOX: But why do they swoon? Charlie, tell me why they swoon. Charlie! NEIL: You're not listening. Any questions? Look, you follow the stream to the waterfall. It's right there. It's gotta be like that. CAMERON: I don't know. It's starting to sound dangerous. CHARLIE: Oh. Why don't you just stay home? CAMERON: Hey, you're crazy. McALLISTER: For God's sake, stop chattering and sit down! NEIL: Todd, are you coming tonight? TODD: No. NEIL: Why not? God, you were there. You heard Keating. Don't you want to do something about… TODD: Y-Yes, but… NEIL: But, but what? TODD: Keating said that everybody took turns reading and I don't wanna do that. NEIL: Gosh. You really have a problem with that, don't you? TODD: N-No, I, I don't have a problem. Neil, I just－I don't wanna do it, okay? NEIL: All right. What if you didn't have to read? What if you just came and listened? TODD: That's not how it works. NEIL: Forget how it works! What if, what if they said it was okay? TODD: What? What, are you gonna go up and ask them if… No, no. NEIL: I'll be right back. TODD: Neil? Neil? McALLISTER: Oh, shut up, will you? BOY 1: It's my stuff for my asthma, okay? Could you give that back, please? Could you give that back? BOY 2: What's the matter? Don't you like snakes? NEIL: You're in. BOY 1: Get away from me, okay? BOY 3: Spaz, why don't you check your pockets? BOY 4: Come, Spaz. I have to brush my teeth. BOY 5: Hurry up! Get off. HABER: Cut out that racket in there. NEIL: Come on. Let's get out. Go! Go! CHARLIE: I'm a dead poet! MEEKS: Charlie. CHARLIE: Guys, over here! MEEKS: You're funny. You're real funny. PITTS: It's too wet. CAMERON: Charlie, you trying to smoke us out of here? NEIL: No, no, the smoke's going right up this opening. PITTS: You okay? MEEKS: Oh, God. Clowns. NEIL: All right, all right. Forget the fire. CHARLIE: Forget it, forget it. NEIL: Let’s go, gentlemen. MEEKS: Can't light a swamp. NEIL: I hereby reconvene the Dead Poets Society, Welton Chapter. The, uh, meetings will be conducted by myself and the other new initiates now present. Uh, Todd Anderson, because he prefers not to read, will keep the minutes of the meetings. NEIL: I'll now read the traditional opening message by society member, Henry David Thoreau. "I went to the woods because I wanted to live deliberately. I wanted to live deep and suck out all the marrow of life." CHARLIE: I'll second that. NEIL: "To put to rout all that was not life, and not, when I had come to die, discover that I had not lived." NEIL: And, uh, Keating's marked a bunch of other pages. CHARLIE: All right, intermission. Dig deep. Right here, right here, lay it down. MEEKS: On the mud? We're gonna put our food on the mud? CHARLIE: Meeks, put your coat down. Picnic blanket. MEEKS: Yes, sir! Excuse me. PITTS: Use Meeks' coat. CHARLIE: Don't keep anything back, either. You guys are always bumming my smokes. MEEKS: Raisins? CHARLIE: Yeah. Wait a minute. Who gave us half a roll? CAMERON: I'm eating the other half. CHARLIE: Come on. CAMERON: What? You want me to put it back? NEIL: It was a dark and rainy night. And this old lady, who had a passion for jigsaw puzzles, sat by herself in her house at her table to complete the new jigsaw puzzle. As she pieced the puzzle together, she realized to her astonishment that the image that was formed was her very own room, and the figure in the center of the puzzle as she completed it was herself. And with trembling hands, she placed the last four pieces and stared in horror at the face of a demented madman at the window. The last thing that this old lady ever heard was the sound of breaking glass. KNOX: No shit. NEIL: Yes. This is true. This is true. CAMERON: I've got one that's even better than that. I do. There's a young married couple and they're driving through the forest at night from a long trip. And they run out of gas and there's mad man on the loose. CHARLIE: Oh, that thing with the hands? PITTS: This is the madman on the roof? CAMERON: I love that story. CHARLIE: I told you that one. CAMERON: You did not. I got that in, uh, camp in sixth grade. CHARLIE: Yeah. Were you six last year? PITTS: "In a mean abode in the Shankill Road lived a man named William Bloat. Now he had a wife, the plague of his life, who continually got his goat. And one day at dawn with her night shift on, he slither bloody throat." Oh, and it gets worse. CHARLIE: Do you wanna hear a real poem? MEEKS: Want this? CHARLIE: All right? No, I don't need it. You take it. MEEKS: What, did you bring one? NEIL: You memorized a poem? CHARLIE: I didn't memorize a poem. Move up. MEEKS: An original piece by Charlie Dalton. KNOX: An original piece. PITTS: Take center stage. NEIL: You know this is history. Right? This is history. MEEKS: Oh, wow. CAMERON: Where did you get that? CHARLIE: “Teach me to love? Go teach thyself more wit. I, chief professor, am of it. The god of love, if such a thing there be, May learn to love from me.” NEIL: Wow! Did you write that? CHARLIE: Abraham Cowley. Okay, who's next? NEIL: Alfred Lord Tennyson. “Come, my friends, 'Tis not too late to seek a newer world For my purpose holds to sail beyond the sunset. And though we are not now that strength which in old days Moved earth and heaven; that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will. To strive, to seek, to find, and not to yield. MEEKS: “Then I had religion, then I had a vision. I could not turn from their revel in derision. Then I saw the Congo creeping through the black, Cutting through the forest with a golden track. Then I saw the Congo creeping through the black-…” CHARLIE: Meeks, Meeks. BOYS: “...cutting through the forest with a golden track. Then I saw the Congo creeping through the black, Cutting through the forest with a golden track. Then I saw the Congo creeping through the black, Cutting through the forest with a golden track. Then I saw the Congo creeping through the black, Cutting through the forest with a golden track. Then I saw the Congo creeping through the black, Cutting through the forest with a golden track...” KEATING: A man is not “very tired”. He is “exhausted.” And don’t use “very sad”. Use…Come on, Mr. Overstreet, you twerp. KNOX: Morose? KEATING: Exactly! Morose. Now, language was developed for one endeavor, and that is? Mr. Anderson? Come on! Are you a man or an amoeba? Mr. Perry? NEIL: Uh, to communicate. KEATING: No! To woo women. Today we're going to be talking about William Shakespeare. BOY: Oh, God! KEATING: I know. A lot of you looked forward to this about as much as you look forward to root canal work. We're gonna talk about Shakespeare as someone who writes something very interesting. Now, many of you have seen Shakespeare done very much like this, "O Titus, bring your friend hither." But if any of you have seen Mr. Marlon Brando, you know, Shakespeare can be different. "Friend, Romans, countrymen, lend me your ears." You can also imagine, maybe, John Wayne as Macbeth going, "Well, is this a dagger I see before me?" "Dogs, sir? Oh, not just now. I do enjoy a good dog once in a while, sir. You can have yourself a three-course meal from one dog. Start with a canine croquette, go to your Fido Flambe for main course and for dessert, a Pekingese parfait. And you can pick your teeth with a little paw." Why do I stand up here? Anybody? CHARLIE: To feel taller. KEATING: No! Thank you for playing, Mr. Dalton. I stand upon my desk to remind myself that we must constantly look at things in a different way. You see, the world looks very different from up here. You don't believe me? Come see for yourself. Come on. Come on! Just when you think you know something, you have to look at it in another way. Even though it may seem silly or wrong, you must try! Now, when you read, don't just consider what the author thinks. Consider what you think. Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out! Don't just walk off the edge like lemmings. Look around you. There! There you go, Mr. Priske. Thank you! Yes! Dare to strike out and find new ground. Now, in addition to your essays, I would like you to compose a poem of your own, an original work. That's right! You have to deliver it aloud in front of the class on Monday. Bonne chance, gentlemen. Mr. Anderson? Don't think that I don't know that this assignment scares the hell out of you, you mole. MR. NOLAN: Take a power train in two! Three! Keep your eyes in the boat! MEEKS: We got it, Pittsie. We got it! Radio Free American! NEIL: I found it. TODD: You found what? NEIL: What I wanna do right now. What's really, really inside me. TODD: "A Midsummer Night's Dream"? NEIL: This is it. TODD: What is that? NEIL: It's a play, dummy. TODD: I know that. I… Wh-Wh-What does it have to do with you? NEIL: Right. They're putting it on at Henley Hall. Open tryouts. Open tryouts! TODD: Yes, so? NEIL: So, I'm gonna act. Yes, yes! I'm gonna be an actor! Ever since I can remember, I've wanted to try this. I even tried to go to summer stock auditions last year, but of course, my father wouldn't let me. For the first time in my whole life I know what I wanna do, and for the first time I'm gonna do it whether my father wants me to or not! Carpe diem! TODD: Neil, Neil, hold it. How are you gonna be in a play if your father won't let you? NEIL: First I gotta get the part, then I can worry about that. TODD: Yeah, but won't he kill you if he finds out you went to an audition and didn't even tell him? NEIL: No, no, no, no. As far as I'm concerned, he won't have to know about any of this. TODD: Well, that's impossible. NEIL: Bullshit! Nothing's impossible. TODD: Well, why don't you just call him and ask him? And m-maybe he'll say yes. NEIL: That's a laugh! If I don't ask him, at least I won't be disobeying him. TODD: Yeah, but if he said－ NEIL: Jesus, Todd! Whose side are you on? I mean, I haven't even gotten the part yet. Can't I even enjoy the idea for a little while? You're coming to the meeting this afternoon? TODD: I don't know. Maybe. NEIL: Nothing Mr. Keating has to say means shit to you, does it, Todd? TODD: W-What is that supposed to mean? NEIL: You're in the club! Being in the club means being stirred up by things. You look about as stirred up as a cesspool. TODD: S－You want me out? NEIL: No! I want you in, but being in means you gotta do something. Not just say you're in. TODD: Well, listen, Neil. I－I appreciate this concern, but I－I'm not like you. All right? You, you, you say things and people listen. I'm, I'm not like that. NEIL: Don't you think you could be? TODD: No! I－I, I don't know, but that's not the point. The, the, the point is that there's nothing you can do about it, so you can just butt out. I can take care of myself. Just fine. All right? NEIL: No. TODD: What do you mean "no"? NEIL: No. TODD: Give me… Neil. Neil, give that back. NEIL: "We are dreaming of a…" Poetry! I'm being chased by Walt Whitman! Okay, okay. CAMERON: What are you guys doing? I'm sure… You see this chemistry… Hey, give me… Neil, give me… Don't be immature. Come on. I need m… CHARLIE: Give it to me! Give it to me! NEIL: Charlie, help me. COACH: Okay, everybody on the bus. Let's go, boys. Come on, let's go. On the bus, boys. Now! KEATING: Now, devotees may argue that one sport or game is inherently better than another. For me, sport is actually a chance for us to have other human beings push us to excel. I want you all to come over here and take a slip of paper and line up single file. Mr. Meeks, time to inherit the earth. Mr. Pitts, rise above your name. I want you to hand these out to the boys, one a piece. You know what to do, Pitts. PITTS: "Oh to struggle against great odds. To meet enemies undaunted." KEATING: Sounds to me like you're daunted. Say it again like you're undaunted. PITTS: "Oh to struggle against great odds. To meet enemies undaunted." KEATING: Now go on. KEATING: Yes! Next. BOY 1: "To be a sailor of the world, bound for all ports." KEATING: Next. Louder! BOY 2: "Oh, I live to be the ruler of life, not a slave." BOY 3: "To mount the scaffolds. To advance to the muzzle of guns with perfect nonchalance." KEATING: Come on, Meeks! Listen to the music. MEEKS: "To dance, clap hands, exalt, shout, skip, roll on, float on." KEATING: Yes! HOPKINS: "Oh, to have life henceforth the poem of new joys." KEATING: Oh! Boo! Come on, Charlie, let it fill your soul! CHARLIE: "To indeed be a god!" NEIL: Charlie, I got the part! I'm gonna play Puck! I'm gonna play Puck! MEEKS: What did he say? PITTS: Puck? NEIL: That's the main part. KNOX: Great, Neil. NEIL: Charlie, I got it! CHARLIE: Congratulations. Good for you, Neil. Good for you. NEIL: Okay, okay, okay, okay. TODD: Neil, how are you gonna do this? NEIL: They need a letter of permission from my father and Mr. Nolan. TODD: You're not gonna write it. NEIL: Oh yes, I am. TODD: Oh, Neil. Neil, you're crazy. NEIL: Okay. "I am writing to you on behalf of my son, Neil Perry." This is great. KNOX: "To Chris." BOY 1: Who's Chris? BOY 2: Mmm, Chris. KNOX: “I see a sweetness in her smile. Blight light shines from her eyes. But life is complete; contentment is mine, Just knowing that... just knowing that she's alive.” Sorry, Captain. It's stupid. KEATING: No, no. It's not stupid. It's a good effort. It touched on one of the major themes, love. A major theme not only in poetry, but life. Mr. Hopkins, you were laughing. You're up. HOPKINS: "The cat sat on the mat." KEATING: Congratulations, Mr. Hopkins. Yours is the first poem to ever have a negative score on the Pritchard scale. We're not laughing at you, we're laughing near you. I don't mind that your poem had a simple theme. Sometimes the most beautiful poetry can be about simple things, like a cat, or a flower or rain. You see, poetry can come from anything with the stuff of revelation in it. Just don't let your poems be ordinary. Now, who's next? KEATING: Mr. Anderson, I see you sitting there in agony. Come on, Todd, step up. Let's put you out of your misery. TODD: I, I didn't do it. I didn't write a poem. KEATING: Mr. Anderson thinks that everything inside of him is worthless and embarrassing. Isn't that right, Todd? Isn't that your worst fear? Well, I think you're wrong. I think you have something inside of you that is worth a great deal. "I sound my barbaric yawp over the roof tops of the world." W. W. Uncle Walt again. Now, for those of you who don't know, a yawp is a loud cry or yell. Now, Todd, I would like you to give us a demonstration of a barbaric "yawp." Come on. You can't yawp sitting down. Let's go. Come on. Up. You gotta get in "yawping" stance. TODD: A yawp. KEATING: No, not just a yawp. A barbaric yawp. TODD: Yawp. KEATING: Come on, louder. TODD: Yawp. KEATING: No, that's a mouse. Come on. Louder. TODD: Yawp. KEATING: Oh, good God, boy. Yell like a man! TODD: Yawp! KEATING: There it is. You see, you have a barbarian in you, after all. Now, you don't get away that easy. The picture of Uncle Walt up there. What does he remind you of? Don't think. Answer. Go on. TODD: A m-m-madman. KEATING: What kind of madman? Don't think about it. Just answer again. TODD: A c-crazy madman. KEATING: No, you can do better than that. Free up your mind. Use your imagination. Say the first thing that pops into your head, even if it's total gibberish. Go on, go on. TODD: Uh, uh, a sweaty-toothed madman. KEATING: Good God, boy, there's a poet in you, after all. There, close your eyes. Close your eyes. Close 'em. Now, describe what you see. TODD: Uh, I－I close my eyes. KEATING: Yes? TODD: Uh, and this image floats beside me. KEATING: A sweaty-toothed madman? TODD: A sweaty-toothed madman with a stare that pounds my brain. KEATING: Oh, that's excellent. Now, give him action. Make him do something. TODD: H-His hands reach out and choke me. KEATING: That's it. Wonderful. Wonderful. TODD: And, and all the time he's mumbling. KEATING: What's he mumbling? TODD: M-Mumbling, "Truth. Truth is like, like a blanket that always leaves your feet cold." KEATING: Forget them, forget them. Stay with the blanket. Tell me about that blanket. TODD: Y-Y-Y-You push it, stretch it, it'll never be enough. You kick at it, beat it, it'll never cover any of us. From the moment we enter crying to the moment we leave dying, it will just cover your face as you wail and cry and scream. KEATING: Don't you forget this. CHARLIE: That a boy, Pittsie, inhale deeply. MEEKS: My dad collects a lot of pipes. CHARLIE: Really? Mine's got thirty. PITTS: Your parents collect pipes? Oh, that's really interesting. CHARLIE: Come on, Knox. Join in. MEEKS: Yeah, Knox, we're from the government. We're here to help, man. CHARLIE: What's wrong? PITTS: It's Chris. Here's a picture of Chris for you. MEEKS: Smoke that. Put that in your pipe and smoke it. KNOX: That's not funny. CHARLIE: Knock it off. Smoke your pipes. MEEKS: Neil! NEIL: Friend, scholar, Welton men. MEEKS: What is that, Neil? PITTS: Duh. It's a lamp, Meeks. NEIL: No. This is the god of the cave. MEEKS: The god of the cave. PITTS: Charlie, what are you doing? CHARLIE: What do you say we start this meeting? BOY 1: Y-Yeah, just… I need a light. I just gotta… BOY 2: Got my earplugs? CHARLIE: Gentlemen, "Poetrusic" by Charles Dalton. BOY 3: Oh, boy. He's gonna play. BOY: Oh, no. CHARLIE: Laughing, crying, tumbling, mumbling. Gotta do more. Gotta be more. Chaos screaming, chaos dreaming. Gotta do more! Gotta be more! MEEKS: Wow! Nice. PITTS: That was nice. That was great. Where did you learn to play like that? CHARLIE: My parents made me take the clarinet for years. CAMERON: I love the clarinet. CHARLIE: I hated it. The saxophone. The saxophone is more sonorous. CAMERON: Oh. MEEKS: Vocabulary. KNOX: I can't take it anymore. If I don't have Chris, I'm gonna kill myself. CHARLIE: Knoxious, you've gotta calm down. KNOX: No, Charlie. That's just my problem. I've been calm all my life. I'll do something about that. NEIL: Where are you going? CHARLIE: What are you gonna do? KNOX: I'm gonna call her. Yes! CHRIS: Hello? KNOX: She's gonna hate me. The Danburrys will hate me. My parents will kill me. KNOX: All right, god damn it. You're right. "Carpe diem." Even if it kills me. CHRIS: Hello? KNOX: Hello, Chris? CHRIS: Yes. KNOX: Hi. This is Knox Overstreet. CHRIS: Oh, yes. Knox. Glad you called. KNOX: She's glad I called. CHRIS: Listen, Chet's parents are going out of town this weekend, so he's having a party. Would you like to come? KNOX: Would I like to come to a party? CHARLIE: Yes. Say, yes. CHRIS: Friday? Um- KNOX: Well, sure. CHRIS: About seven? KNOX: Okay, great. I-I'll be there, Chris. CHRIS: Okay. KNOX: Friday night at the Danburrys'. O-Okay. Thank you. CHRIS: Okay. Bye. KNOX: Thank you. I'll see you. Bye. Yawp! Can you believe it? She was gonna call me. She invited me to a party with her. CHARLIE: At Chet Danburrys' house. KNOX: Yeah. CHARLIE: Well? KNOX: So? CHARLIE: So, you don't really think she means you're going with her? KNOX: Well, of course not, Charlie. But that's not the point. That's not the point at all. CHARLIE: What is the point? KNOX: The point, Charlie, is, uh… CHARLIE: Yeah? KNOX: … that she was thinking about me. I've only met her once, and already she's thinking about me. Damn it. It's gonna happen, guys. I feel it. She is going to be mine. Carpe. Carpe! KEATING: No grades at stake, gentlemen. Just take a stroll. There it is. I don't know, but I've been told… BOYS: I don't know, but I've been told... KEATING: Doing poetry is old… BOYS: Doing poetry is old… KEATING: Left, left, left-right-left. Left, left, left-right-left. Left, halt! Thank you, gentlemen. If you noticed, everyone started off with their own stride, their own pace. Mr. Pitts, taking his time. He knew he'll get there one day. Mr. Cameron, you could see him thinking, "Is this right? It might be right. It might be right. I know that. Maybe not. I don't know." Mr. Overstreet, driven by deeper force. Yes. We know that. All right. Now, I didn't bring them up here to ridicule them. I brought them up here to illustrate the point of conformity: the difficulty in maintaining your own beliefs in the face of others. Now, those of you … I see the look in your eyes like, "I would've walked differently." Well, ask yourselves why you were clapping. Now, we all have a great need for acceptance. But you must trust that your beliefs are unique, your own, even though others may think them odd or unpopular, even though the herd may go, “That's bad." Robert Frost said, "Two roads diverged in a wood and I, I took the one less traveled by, and that has made all the difference." Now, I want you to find your own walk right now. Your own way of striding, pacing. Any direction. Anything you want. Whether it's proud, whether it's silly, anything. Gentlemen, the courtyard is yours. You don't have to perform. Just make it for yourself. Mr. Dalton? You be joining us? CHARLIE: Exercising the right not to walk. KEATING: Thank you, Mr. Dalton. You just illustrated the point. Swim against the stream. NEIL: Todd? Hey. TODD: Hey. NEIL: What's going on? TODD: Nothing. Today's my birthday. NEIL: Is today your birthday? Happy birthday! TODD: Thanks. NEIL: What did you get? TODD: My parents gave me this. NEIL: Isn't this the same desk set… TODD: Yeah, yeah. They gave me the same thing as last year. NEIL: Oh. TODD: Oh. NEIL: Maybe they thought you needed another one. TODD: Maybe they weren't thinking about anything at all. Uh, the funny thing is about this is I, I didn't even like it the first time. NEIL: Todd, I think you're underestimating the value of this desk set. I mean, who would want a football or a baseball, or… TODD: Or a car. NEIL: Or a car if they could have a desk set as wonderful as this one? I mean, if, if I were ever going to buy a, a desk set twice, I would probably buy this one both times. In fact, its, its shape is, it's rather aerodynamic, isn't it? I can feel it. This desk set wants to fly. NEIL: Todd? The world's first unmanned flying desk set. TODD: Oh, my… NEIL: Well, I wouldn't worry. You'll get another one next year. BOYS: "To live deep and suck out all the marrow of life. To put to rout all that was not life…" CAMERON: Oh, my God! GLORIA: Is this it? CHARLIE: Yeah, this is it. Go ahead, go on in. It's my cave. Watch your step. TINA: We're not gonna slip, are we? GLORIA: Uh-oh. Hi. BOY: Hello. GLORIA: Hello. CHARLIE: Hi, guys. Meet, uh, Gloria and… TINA: Tina. CHARLIE: Tina. This is the pledge class of the Dead Poets Society. BOY: Hello. How do you do? NEIL: Hello. GLORIA: Hi. Hi. CHARLIE: Guys, move. Move. Come on, folks. It's Friday night. Let's get on with the meeting. BOY: Sorry. Excuse－Excuse me. CHARLIE: Guys, I have an announcement to make. In keeping with the spirit of passionate experimentation of the Dead Poets, I'm giving up the name Charlie Dalton. From now on, call me Nuwanda. PITTS: Nuwanda? NEIL: Nuwanda? CHARLIE: Okay. KNOX: Hello? Hello, Chris? CHRIS: Knox! KNOX: Hi. CHRIS: You made it. Great! Bring anybody? KNOX: No. CHRIS: No. Ginny Danburry's here. Wait. I have to go find Chet. Why don't you go downstairs where everybody is? Make yourself at home. KNOX: But I’ve… GUY 1: Hey, you Mutt Sanders' brother? Bubba, this guy looks like Mutt Sanders to you or what? BUBBA: You're his brother? KNOX: No relation. Never heard of him. Sorry, guys. BUBBA: Where's your manners? Mutt Sanders' brother, we don't even offer him a drink. Here. Go have some whiskey, pal. GUY 1: Yeah. KNOX: Whoa, I, uh, I don't really drink-- BUBBA: To Mutt. GUY 1: To Mutt. KNOX: To Mutt. BUBBA: Now, how the hell is old Mutt, anyway? GUY 1: Yeah. What's old Mutter been up to, huh? KNOX: I don't really know Mutt. BUBBA: To Mighty Mutt. GUY 1: To Mighty Mutt. KNOX: To Mighty Mutt. BUBBA: Well, listen, I gotta go find Patsy. Say hello to Mutt for me, okay? KNOX: Will do. GUY 1: Yeah. Hell of a guy, your brother Mutt. CHARLIE: We gonna have a meeting or what? GLORIA: Yeah. If you guys don't have a meeting, how do we know if we wanna join? NEIL: Join? CHARLIE: "Shall I compare thee to a summer's day? Thou art more lovely and more temperate." TINA: That's so sweet. CHARLIE: I made that up just for you. TINA: You did? CHARLIE: I'll write one for you too, Gloria. “She walks in beauty like the night. She walks in beauty like the night. Of cloudless climes and starry skies. All that's best, dark and bright, Meet in her aspect and her eyes.” GLORIA: That's beautiful. CHARLIE: There's plenty more where that came from. KNOX: God help me. Carpe diem. BUBBA: Chet! Chet! Look! CHET: What? BUBBA: It's Mutt Sanders' brother. CHET: Huh? CHRIS: Knox, what… BUBBA: And he's feeling up your girl! CHRIS: What are you doing? CHET: What the hell are you doing? CHRIS: Chet! Chet, don't. KNOX: Now, Chet, I know this looks bad, but you've gotta… CHRIS: Chet, no! You'll hurt him! No! No! Stop it! Leave him alone! CHET: Goddamn! CHRIS: Chet, stop it! CHET: Bastard! CHRIS: Knox, are you all right? CHET: Chris, get the hell away from him! CHRIS: Chet, you hurt him! CHET: Good! KNOX: I'm sorry. I'm so sorry. CHRIS: It's okay. It-It's okay. CHET: Next time I see you, you die. TINA: Go ahead, pass it around. MEEKS: Me and Pitts are working on a hi-fi system. It shouldn't be that hard to, uh, to put together. PITTS: Yeah. Uh, I might be going to Yale. Uh, uh, but, I, I might not. GLORIA: Don't you guys miss having girls around here? MEEKS: Yeah. CHARLIE: That's part of what this club is about .In fact, I'd like to announce I published an article in the school paper, in the name of the Dead Poets. CAMERON: What? CHARLIE: Demanding girls be admitted to Welton. PITTS: You didn't. CHARLIE: So we can all stop beating off. NEIL: How did you do that? CHARLIE: I'm one of the proofers. I slipped the article in. MEEKS: Look, uh, it's, it's over now. CHARLIE: Why? Nobody knows who we are. CAMERON: Well, don't you think they're gonna figure out who wrote it? They're gonna come to you and ask to know what the Dead Poets Society is. Charlie, you had no right to do something like that. CHARLIE: It's Nuwanda, Cameron. GLORIA: That's right. It's Nuwanda. CHARLIE: Are we just playing around out here, or do we mean what we say? For all we do is come together and reach a bunch of poems to each other. What the hell are we doing? NEIL: All right, but you still shouldn't have done it, Charlie. This could mean trouble. You don't speak for the club. CHARLIE: Hey, would you not worry about your precious little neck? If they catch me, I'll tell them I made it up. MR. NOLAN: Fine. Sit. In this week of Welton's Honor there appeared a profane and unauthorized article. Rather than spend my valuable time ferreting out the guilty persons－and let me assure you I will find them－I'm asking any and all students who knows anything about this article to make themselves known here and now. Whoever the guilty persons are, this is your only chance to avoid expulsion from this school. CHARLIE: Welton Academy. Hello. Yes, he is. Just a moment. Mr. Nolan, it's for you. It's God. He says we should have girls at Welton. MR. NOLAN: Wipe that smirk off your face. If you think, Mr. Dalton, that you're the first to try to get thrown out of this school, think again. Others have had similar notions and have failed just as surely as you will fail. Assume the position. Count aloud, Mr. Dalton. CHARLIE: One. Two. Three. Four. Five. MR. NOLAN: What is this Dead Poets Society? I want names. NEIL: You kicked out? CHARLIE: No. NEIL: So what happened? CHARLIE: I'm to turn everybody in, apologize to the school and all will be forgiven. NEIL: So, what are you gonna do? Charlie! CHARLIE: Damn it, Neil. The name is Nuwanda. MR. NOLAN: Excuse me. May we have a word, Mr. Keating? KEATING: Certainly. MR. NOLAN: This was my first classroom, John. Did you know that? My first desk. KEATING: Didn't know you taught, Mr. Nolan. MR. NOLAN: English. Oh, long before your time. It was hard giving it up, I can tell you. I'm hearing rumors, John, about some unorthodox teaching methods in your classroom. I'm not saying they've anything to do with the Dalton boy's outburst. But I don't think I have to warn you boys his age are very impressionable. KEATING: Well, your reprimand made quite an impression, I'm sure. MR. NOLAN: What was going on in the courtyard the other day? KEATING: Courtyard? MR. NOLAN: Yeah. Boys marching, clapping in unison. KEATING: Oh, that. That was an exercise to prove a point. Dangers of conformity. MR. NOLAN: Well, John, the curriculum here is set. It's proven it works. If you question, what's to prevent them from doing the same? KEATING: I always thought the idea of educating was to learn to think for yourself. MR. NOLAN: At these boys' ages? Not on your life! Tradition, John. Discipline. Prepare them for college, and the rest will take care of itself. CHARLIE: Creak. He started walking around towards my left. Creak. Creak. "Assume the position, Mr. Dalton.", which means… KEATING: It's all right, gentlemen. CHARLIE: Mr. Keating. KEATING: Mr. Dalton. That was a pretty lame stunt you pulled today. CHARLIE: You're siding with Mr. Nolan? What about Carpe diem and sucking all the marrow out of life and all that? KEATING: Sucking the marrow out of life doesn't mean choking on the bone. Sure there's a time for daring and there's a time for caution, and a wise man understands which is called for. CHARLIE: But I thought you'd like that. KEATING: No. You being expelled from school is not daring to me. It's stupid, 'cause you'll miss some golden opportunities. CHARLIE: Yeah. Like what? KEATING: Like, if nothing else, the opportunity to attend my classes. Got it, Ace? CHARLIE: Aye, aye, Captain. KEATING: Keep your head about you. That goes for the lot of you. BOYS: Yes, Captain. KEATING: Phone call from God. If it had been collect, it wouldn't been daring. CHARLIE: All right. Go on, play. DIRECTOR: We're trying to rehearse, okay? Start. LYSANDER: A good persuasion, therefore hear me, Hermia. DIRECTOR: Wait, please. Excitement. I don't hear any excitement about this play. And take her hand. Bring her down the stage and stop. And "There, gentle Hermia." Okay? Try again. BOY 1: What's for dinner? BOY 2: Spaghetti and meatballs! NEIL: Save some for me. "But, room, Fairy! Here comes Oberon." Father. MR. PERRY: Neil. NEIL: Wait a minute. Before you say anything, please let me ex… MR. PERRY: Don't you dare talk back to me! It's bad enough that you've wasted your time with this, this absurd acting business. But you deliberately deceived me! How, how, how did you expect to get away with this? Answer me. Who put you up to it? Was it this new man? This, uh, Mr. Keating? NEIL: No. Nobody…I thought I'd surprise you. I've gotten all A's in every class. MR. PERRY: Did you think I wasn't going to find out? "Oh, my niece is in a play with your son," says Mrs. Marks. "No, no, no," I say, "you must be mistaken. My son's not in a play." You made me a liar of me, Neil! Now, tomorrow you go to them and you tell them that you're quitting. NEIL: No, I can't. I have the main part. The performance is tomorrow night. MR. PERRY: I don't care if the world comes to an end tomorrow night. You are through with that play. Is that clear? Is that clear? NEIL: Yes, sir. MR. PERRY: I made a great many sacrifices to get you here, Neil, and you will not let me down. NEIL: No, sir. KEATING: It's open. Neil, what's up? NEIL: Can I speak to you a minute? KEATING: Certainly. Sit down. NEIL: I'm sorry. Here. KEATING: Excuse me. Get you some tea? NEIL: Tea? Sure. KEATING: Like some milk or sugar in that? NEIL: No, thanks. Gosh, they don't give you much room around here. KEATING: No, it's part of the monastic oath. They don't want worldly things distracting me from my teaching. NEIL: She's pretty. KEATING: She's also in London. Makes it a little difficult. NEIL: How can you stand it? KEATING: Stand what? NEIL: You can go anywhere. You can do anything. How can you stand being here? KEATING: 'Cause I love teaching. I don't wanna be anywhere else. What's up? NEIL: I just talked to my father. He's making me quit the play at Henley Hall. Acting's everything to me. I… But he doesn't know. He… I can see his point. We're not a rich family like Charlie's, and we… But he's planning the rest of my life for me, and I－H-He's never asked me what I want. KEATING: Have you ever told your father what you just told me? About your passion for acting. You ever show him that? NEIL: I can't. KEATING: Why not? NEIL: I can't talk to him this way. KEATING: Then you're acting for him, too. You're playing the part of the dutiful son. I know this sounds impossible, but you have to talk to him. You have to show him who you are, what your heart is. NEIL: I know what he'll say. He'll tell me that acting's a whim, and I should forget it. That how they're counting on me. He'll just tell me to put it out of my mind, "for my own good." KEATING: You are not an indentured servant. If it's not a whim for you, you prove it to him by your conviction and your passion. You show him that. And if he still doesn't believe you, well, by then you'll be out of school and you can do anything you want. NEIL: No. What about the play? The show's tomorrow night. KEATING: Well, you have to talk to him before tomorrow night. NEIL: I…Isn't there an easier way? KEATING: No. NEIL: I'm trapped. KEATING: No, you're not. KNOX: Chris! Chris Noel. Do you know where she is? GIRL: Um, I think she's in room 111. KNOX: Thanks. Excuse me. Chris. CHRIS: Knox, what are you doing here? KNOX: I came to apologize for the other night. I brought you these and a poem I wrote for you. CHRIS: Knox, don't you know that, if Chet finds you here he'll kill you? KNOX: I can't care. I love you, Chris. CHRIS: Knox, you're crazy. KNOX: Look, I acted like a jerk and I know it. Please, accept these. Please. CHRIS: No. No… I, I can't. Just forget it. Knox, I don't believe this. KNOX: All I'm asking you to do is listen. “The heavens made a girl named Chris. With hair and skin of gold. To touch her would be paradise.” CHARLIE: Get out of here. Cameron, you fool. Hey, how'd it go? Did you read it to her? KNOX: Yeah. PITTS: What'd she say? KNOX: Nothing. CHARLIE: Nothing. What do you mean, nothing? KNOX: Nothing. But I did it. CHARLIE: What did she say? I know she had to say something. PITTS: Come here, Knox. KNOX: Seize the day! KEATING: Did you talk to your father? NEIL: Uh, yeah, he didn't like it one bit, but at least he's letting me stay in the play. He won't be able to make, make it. He's in Chicago. But, uh, I think he's gonna let me stay with acting. KEATING: Really? You told him what you told me? NEIL: Yeah. He wasn't happy. But he'll be gone at least four days. I don't think he'll make the show, but I think he'll let me stay with it. "Keep up the school work." Thanks. PITTS: Beautiful baby. MEEKS: Beautiful baby. Henley Hall, here I come. CAMERON: Excuse me, just a moment. Yes. You're so cute. Come on, Todd. I'm trying to fix this. TODD: Come on, Nuwanda. You're gonna miss Neil's entrance. PITTS: He said something about getting red before we left. CAMERON: Getting red? What does that mean? PITTS: I, uh… Well, you know, Charlie. TODD: So, Charlie, what's this "getting red" bit? W-What is that? CHARLIE: It's an Indian warrior symbol for virility. Makes me feel potent, like it can drive girls crazy. TODD: Oh, come on, Charlie. The girls are waiting. KNOX: Chris. What are you doing here? KEATING: Gentlemen, let's go. KNOX: Go ahead, guys. I'll catch up. CHARLIE: Yeah, come on, guys. KNOX: Chris, you can't be in here. I-If they catch you, we're both gonna be in big trouble. CHRIS: Oh, but it's fine… It's fine for you to come barging into my school and make a complete fool out of me? KNOX: I don't mean to make a fool out of you. CHRIS: Well, you did. Chet found out. And it took everything I could do to keep him from coming here and killing you. Knox, you have got to stop this stuff. KNOX: I can't, Chris. I love you. CHRIS: Knox, you say that over and over. You don't, you don't even know me. KEATING: Will you be joining us, Mr. Overstreet? KNOX: Go ahead, Captain. I'll walk. CHRIS: Knox, Knox, it just so happens that I could care less about you? KNOX: Then you wouldn't be here warning me about Chet. CHRIS: I have to go. I'm gonna be late for the play. KNOX: Are you going with him? CHRIS: Chet? To a play? Are you kidding? KNOX: Then come with me. CHRIS: Knox, you are so infuriating. KNOX: Come on, Chris. Just give me one chance. If you don't like me after tonight, I'll stay away forever. CHRIS: Uh-huh. KNOX: I promise. Dead Poets Honor. You come with me tonight. And then, if you don't want to see me again, I swear I'll bow out. CHRIS: You know what would happen if Chet found out? KNOX: He won't know anything. We'll sit in the back and sneak away as soon as it's over. CHRIS: And I suppose you would promise that this would be the end of it. KNOX: Dead Poets Honor. CHRIS: What is that? KNOX: My word. CHRIS: You are so infuriating. CHARLIE: Hey, there he is! Hey, hey. KEATING: Shh, boys. FAIRY: Either I mistake your shape and making quite… Or else you are that shrewd and knavish sprite Call'd Robin Goodfellow: PUCK: Thou speak'st aright; I am that merry wanderer of the night. I jest to Oberon and make him smile When I a fat and bean-fed horse beguile, Neighing in likeness of a filly foal: And sometime lurk I in a gossip's bowl, In very likeness of a roasted crab, And when she drinks, against her lips I bob… And on her wither'd dewlap pour the ale. The wisest aunt, telling the saddest tale, CHARLIE: He's good. He's really good. PUCK: Sometime for three-foot stool mistaketh me; Then slip I from her bum, down topples she. And "tailor" cries, and falls into a cough; And then the whole quire hold their hips and laugh, And waxen in their mirth and neeze and swear A merrier hour was never wasted there. But, room, Fairy! Here comes Oberon. FAIRY: And here my mistress. Would that he were gone! LYSANDER: Then by your side no bed-room me deny; For lying so, Hermia, I do not lie HERMIA: Lysander riddles very prettily: Now much beshrew my manners and my pride, If Hermia meant to say Lysander lied. But, gentle friend, for love and courtesy Lie further off; in human modesty, Such separation as may well be said Becomes a virtuous bachelor and a maid, And, good night, sweet friend: Thy love ne'er alter till thy sweet life end! LYSANDER: Amen, amen, to that fair prayer, say I; DIRECTOR: Neil. That's your cue, Neil. Come on, Neil. Here's your crown. Let's go. PUCK: If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: If you pardon, we will mend: And, as I am an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long; Else the Puck a liar call; So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends. CHARLIE: Yawp! KNOX: Yeah, Neil! Carpe diem! MR. PERRY: Excuse me, I'm Neil's father. I need to see him. DIRECTOR: Neil, your father. MAN: What did you think? MAN: Really I thought you were all just wonderful! MR. PERRY: Excuse me. Excuse me. Excuse me. CHARLIE: Neil, Neil, you were great. NEIL: I can't, guys. TODD: Neil! Neil! KEATING: Neil. Neil. You have the gift. What a performance! You left even me speechless. You have to stay with… MR. PERRY: Get in the car. Keating, you stay away from my son. CHARLIE: Neil! Neil! Mr. Perry, come on. KEATING: Don't make it any worse than it is. CHARLIE: Is it okay if we walk back? Captain? TODD: Knox. MR. PERRY: We're trying very hard… to understand why it is that you insist on defying us. Whatever the reason, we're not gonna let you ruin your life. Tomorrow I'm withdrawing you from Welton and enrolling you in Braden Military School. You're going to Harvard and you're gonna be a doctor. NEIL: But that's ten more years. Father, that's a lifetime! MR. PERRY: Oh, stop it. Don't be so dramatic. You make it sound like a prison term. You don't understand, Neil. You have opportunities that I never even dreamt of and I am not going to let you waste them. NEIL: I've got to tell you what I feel. MRS. PERRY: We've been so worried about… MR. PERRY: What? What? Tell me what you feel. What is it? Is it more of this, this acting business? Because you can forget that. What? NEIL: Nothing. MR. PERRY: Nothing? Well, then, let's go to bed. NEIL: I was good. I was really good. MRS. PERRY: Go on, get some sleep. MR. PERRY: It's all right. It's going to be all right. What was that? MRS. PERRY: What? MR. PERRY: That sound. MRS. PERRY: What sound? Tom? What is it? What's wrong? MR. PERRY: Neil. MRS. PERRY: Tom, what is it? What's wrong? Neil? MR. PERRY: Neil? MRS. PERRY: I'll look outside. Neil? MR. PERRY: No! Oh, Neil! Oh, my God! MRS. PERRY: Oh! No! MR. PERRY: Oh, my son! MRS. PERRY: He's all right. MR. PERRY: My son! My poor son! MRS. PERRY: He's all right! He's all right! He's all right! He's all right! He's all right! He's all right! MR. PERRY: Stop it! Stop it! Stop it. CHARLIE: Todd? Todd. TODD: Oh, Charlie. What is it? CHARLIE: Neil's dead. TODD: It's so beautiful. CHARLIE: Todd. It's okay, Todd. PITTS: Calm down. CHARLIE: It's all right, Todd. PITTS: Todd, it's okay. It's okay, Todd. CHARLIE: It's all right. Now, listen. TODD: He wouldn't… He wouldn't have done it. MEEKS: You can't explain it, Todd. TODD: It was his father! CHARLIE: No! TODD: He wouldn't have left us. If he knew… He wouldn't have. His dad was…his, his father did it. CHARLIE: Todd. TODD: His father killed him. MEEKS: You can't explain it, Todd. Todd! CHARLIE: Leave him be. BOYS: “All my life Thy light shall surely follow me And in God's house forevermore My dwelling place shall be Amen.” MR. NOLAN: The death of Neil Perry is a tragedy. He was a fine student. One of Welton's best. And he will be missed. We've contacted each of your parents to explain the situation. Naturally, they're all quite concerned. At the request of Neil's family, I intend to conduct a thorough inquiry into this matter. Your complete cooperation is expected. CHARLIE: You told him about this meeting? PITTS: Twice. CHARLIE: That's it, guys. We're all fried. PITTS: How do you mean? CHARLIE: Cameron's a fink. He's in Nolan's office right now, finking. PITTS: About what? CHARLIE: The club, Pissie. Think about it. The board of directors, the trustees and Mr. Nolan. Do you think for one moment they're gonna let this thing just blow over? Schools go down because of things like this. They need a scapegoat. CAMERON: What's going on, guys? CHARLIE: You finked, didn't you, Cameron? CAMERON: Finked? I didn't know what the hell you're talking about. CHARLIE: You told Nolan everything about the club is what I'm talking about. CAMERON: Look, in case you hadn't heard, Dalton, there's something called an honor code at this school, all right? If a teacher asks you a question, you tell the truth or you're expelled. CHARLIE: You little punk! MEEKS: Charlie! CHARLIE: He's a rat! He's in it up to his eyes, so he rattled to save himself. KNOX: Don't touch him, Charlie. You do and you're out. CHARLIE: I'm out anyway! KNOX: You don't know that, not yet. CAMERON: He's right there, Charlie. And if you guys are smart, you will do exactly what I did and cooperate. They're not after us. We're the victims. Us and Neil. CHARLIE: What's that mean? Who are they after? CAMERON: Why, Mr. Keating, of course. The "Captain" himself. I mean, you guys didn't really think he could avoid responsibility, did you? CHARLIE: Mr. Keating responsible for Neil? Is that what they're saying? CAMERON: Well, who else do you think, dumb ass? The administration? Mr. Perry? Mr. Keating put us up to all this crap, didn't he? If he wasn't for Mr. Keating, Neil would be cozied up in his room right now, studying his chemistry and dreaming of being called doctor. TODD: That is not true, Cameron. You know that. He didn't put us to anything. Neil loved acting. CAMERON: Believe what you want, but I say let Keating fry. I mean, why ruin our lives? KNOX: Charlie. CAMERON: You just signed your expulsion papers, Nuwanda. And if the rest of you are smart, you'll do exactly what I did. They know everything anyway. You can't save Keating, but you can save yourselves. HABER: Knox Overstreet. TODD: Meeks? MEEKS: Go away. I have to study. TODD: What happened to Nuwanda? MEEKS: Expelled. TODD: What'd you tell 'em? MEEKS: Nothing they didn't already know. HABER: Todd Anderson. MR. ANDERSON: Hello, son. MRS. ANDERSON: Hello, darling. TODD: Mom. MR. NOLAN: Have a seat, Mr. Anderson. MR. NOLAN: Mr. Anderson, I think we've pretty well put together what's happened here. You do admit to being a part of this Dead Poets Society? MR. ANDERSON: Answer him, Todd. TODD: Yes, sir. MR. NOLAN: I have here a detailed description of what occurred at your meetings. It describes how your teacher, Mr. Keating, encouraged you boys to organize this club and to use it as a source of inspiration for reckless and self- indulgent behavior. It describes how Mr. Keating, both in and out of the classroom, encouraged Neil Perry to follow his obsession with acting when he knew all along it was against the explicit order of Neil's parents. It was Mr. Keating's blatant abuse of his position as teacher that led directly to Neil Perry's death. Read that document carefully, Todd. Very carefully. If you've nothing to add or amend, sign it. TODD: What's gonna happen to Mr. Keating? MR. ANDERSON: I've had enough. Sign the paper, Todd. McALLISTER: Grass is gramen or herba. Lapis is stone. The entire building is aedificium. MR. NOLAN: Sit. I'll be teaching this class through exams. We'll find a permanent English teacher during the break. Who will tell me where you are in the Pritchard textbook? Mr. Anderson. TODD: Uh, in the, in the Pri… MR. NOLAN: I can't hear you, Mr. Anderson. TODD: In the, in the, in the Pritchard? MR. NOLAN: Kindly inform me, Mr. Cameron. CAMERON: We skipped around a lot, sir. We covered the Romantics and some of the chapters on Post Civil War literature. MR. NOLAN: What about the Realists? CAMERON: I believe we skipped most of that, sir. MR. NOLAN: All right, then, we'll start over. What is poetry? Come. KEATING: Excuse me. I came for my personals. Should I come back after class? MR. NOLAN: Get them now, Mr. Keating. Gentlemen, turn to page 21 of the introduction. Mr. Cameron, read aloud the excellent essay by Dr. Pritchard on "Understanding Poetry." CAMERON: That page has been ripped out, sir. MR. NOLAN: Well, borrow somebody else's book. CAMERON: They're all ripped out, sir. MR. NOLAN: What do you mean, they're all ripped out? CAMERON: Sir, we, uh- MR. NOLAN: Never mind. Read! CAMERON: "Understanding Poetry by Dr. J Evans Pritchard, Ph.D. To fully understand poetry, we must first be fluent with its meter, rhyme and figures of speech, then ask two questions: 1) How artfully has the objective of the poem been rendered and 2)... How important is that objective? Question 1 rates the poem's perfection; Question 2 rates its importance. And once these questions have been answered, determining the poem's greatness becomes a relatively simple matter. If the poem's score for perfection is plotted on the horizontal of a graph-" TODD: Mr. Keating! They made everybody sign it. MR. NOLAN: Quiet, Mr. Anderson. TODD: You gotta believe me. It's true. KEATING: I do believe you, Todd. MR. NOLAN: Leave, Mr. Keating. TODD: But it wasn't his fault! MR. NOLAN: Sit down, Mr. Anderson! One more outburst from you or anyone else, and you're out of this school! Leave, Mr. Keating. I said “leave, Mr. Keating.” TODD: O Captain! My Captain! MR. NOLAN: Sit down, Mr. Anderson! Do you hear me? Sit down! Sit down! This is your final warning, Anderson. How dare you? Do you hear me? KNOX: O Captain! My Captain! MR. NOLAN: Mr. Overstreet, I warn you! Sit down! Sit down! Sit down. All of you. I want you seated. Sit down. Leave, Mr. Keating. All of you, down. I want you seated. Do you hear me? Sit down! KEATING: Thank you, boys. Thank you!

Unit 6 The Sound of Music《音乐之声》

Subtitles (full version) MARIA (singing) “The Sound of Music” The hills are alive With the sound of music With songs they have sung For a thousand years The hills fill my heart With the sound of music My heart wants to sing every song it hears My heart wants to beat like the wings of the birds that rise From the lake to the trees My heart wants to sigh like a chime that flies From a church on a breeze To laugh like a brook when it trips and falls Over stones on its way To sing through the night Like a lark who is learning to pray I go to the hills When my heart is lonely I know I will hear What I’ve heard before My heart will be blessed With the sound of music And I’ll sing once more Sister Bernice: Reverend Mother... Reverend Mother: Sister Bernice. Sister Bernice: I simply cannot find her. Reverend Mother: Maria? Sister Bernice: She's missing from the abbey again. Sister A: Perhaps we should have put a cowbell around her neck. Sister B: Have you tried the barn? You know how much she adores the animals. Sister Bernice: I have looked everywhere, in all of the usual places. Revernd Mother: Sister Bernice, considering that is Maria, I suggest you look in some place unusual. Sister Bertice: Well, Reverend Mother, I hope this new infraction ends whatever doubts you may still have about Maria’s future here. Reverend Mother: I always try to keep faith in my doubts, Sister Bertice. Sister Margaretta: After all, the wool of a black sheep is just as warm. Reverend Mother: We’re not talking about sheep, black or white, Sister Margaretta. Sister Bertice: Of all the candidates for the novitiate I would say Maria is the least likely… Reverend Mother: Children, children! We’re speculating about the qualifications of some of our postulants. The Mistress of Novices and the Mistress of Postulants…were trying to help me by expressing opposite points of view. Tell me, Sister Catherine, what do you think of Maria? Sister Catherine: She’s a wonderful girl, some of the time. Revend Mother: Sister Agatha? Sister Agatha: It’s very easy to like Maria…except when it’s difficult. Revend Mother: And you, Sister Sophia? Sister Sophia: Oh, I love her very dearly. But she always seems to be in trouble, doesn’t she? Sister Margaretta: Exactly what I say. (Nuns singing) She climbs a tree and scapes her knee. Her dress has got a tear. She waltzes on her way to Mass and whistles on the stair. And underneath her wimple, she has curlers in her hair. I’ve even heard her singing in the abbey. She’s always late for chapel. But her penitence is real. She’s always late for everything. Except for every meal. I hate to have to say it but I very firmly feel Maria’s not an asset to the abbey. Sister Margaretta: I’d like to say a word in her behalf. Reverend Mother: Say it, Sister Margaretta. Sister Margaretta: Maria makes me laugh. (Singing) “How Do You Solve the Problem of Maria?” How do you solve a problem like Maria? How do you catch a cloud and pin it down? How do you find a word that means Maria? A flibbertigibbet. A will-o’-the–wisp. A clown. Many a thing you know you’d like to tell her. Many a thing she ought to understand. But how do you make her stay and listen to all you say? How do you keep a wave upon the sand? How do you solve a problem like Maria? How do you hold a moonbeam in your hand? When I’m with her I’m confused out of focus and bemused. And I never know exactly where I am. Unpredictable as weather. She’s as flighty as a feather. She’s a darling. She’s a demon. She’s a lamb. She’ll out pester any pest. Drive a hornet from its nest. She can throw a whirling dervish out of whirl. She is gentle. She is wild. She’s a riddle. She’s a child. She’s a headache. She’s an angel. She’s a girl. How do you solve a problem like Maria? How do you catch a cloud and pin it down? How do you find a word that means Maria? A flibbertibbet. A will-o’-the-wisp. A clown. Many a thing you know you’d like to tell her. Many a thing she ought to understand. But how do you make her stay? And listen to all you say? How do you keep a wave upon the sand? How do you solve a problem like Maria? How do you hold a moonbeam in your hand? Nun: You may go in now, Maria. Reverend Mother: I'm here, my child. Now sit down. MARIA: Oh, Reverend Mother, I'm so sorry. I just couldn't help myself. The gates were open and the hills were beckoning and before... Reverend Mother: I know! I have not summoned you here for apologies. MARIA: Oh, please Mother, do let me ask for forgiveness. Reverend Mother: If it will make you feel better. MARIA: Yes. Well, you see, the sky was so blue today and everything was so green and fragrant. I just had to be a part of it! And you know those birds kept meeting me higher and higher as though it wanted me to go right through the clouds with it. Reverend Mother: Child, suppose darkness had come and you were lost? MARIA: Oh, Mother, I could never be lost up there. That's my mountain. I was brought up on it. It was the mountain that led me to you. Reverend Mother: Oh? MARIA: When I was a child, I would come down the mountain and climb a tree and look over into your garden. I'd see the sisters at work and I would hear them sing on their way to Vespers, which brings me to another transgression, Reverend Mother. I was singing out there today without permission. Reverend other: Maria, it is only here in the abbey that we have rules about postulant singing. MARIA: I can't seem to stop singing wherever I am. And what's worse, I can't seem to stop saying things. Everything and anything I think and feel. Reverend Mother: Some people would call that honesty. MARIA: No, but it's terrible, Reverend Mother. You know how Sister Beth always makes me kiss the floor after we had a disagreement? Well lately I've taken to kissing the floor when I see her coming just to save time. Reverend Mother: Maria, when you saw us over the abbey wall and longed to be one of us, that didn't necessarily mean that you were prepared for the way we live here, did it? MARIA: No, Mother. But I pray and I try and I am learning. I really am. Reverend Mother: What is the most important lesson you have learned here, my child? MARIA: To find out what is the will of God and to do it whole-heartedly. Reverend Mother: Maria, it seems to be the will of God that you leave us. MARIA: Leave you? Reverend Mother: Only for a while, Maria. MARIA: Oh, please, Mother, don't do that. Please don't send me away! This is where I belong. It's my home. My family. It's my life. Reverend Mother: Are you truly ready for it? MARIA: Yes, I am. Reverend Mother: Perhaps if you go out into the world for a time, knowing what we expect of you. You will have a chance to find out that you could expect it from yourself. MARIA: I know what you expect, Mother, and I can do it. I promise I can! Reverend Mother: Maria... MARIA: Yes, mother. It is God's will. Reverend Mother: There is a family near Salzburg that needs a governess until September. MARIA: September?! Reverend Mother: To take care of seven children. MARIA: Seven children?! Reverend Mother: Do you like children, Maria? MARIA: Oh yes, but seven.... Reverend Mother: I will tell Captain Von Trapp to expect you tomorrow. MARIA: A captain? Reverend Mother: A retired officer of the imperial Navy. A fine man and a brave one. His wife died several years ago. Living in the dorm with the children, and I understand he has had a most difficult time managing to keep a governess there. MARIA: Er… Why difficult, Reverend Mother? Reverend Mother: The Lord will show you in His own good time. MARIA (singing): “Confidence” What will this day be like, I wonder. What will my future be, I wonder. It could be so exciting to be out in the world, to be free. My heart should be wildly rejoicing, Oh, what's the matter with me? I've always longed for adventure, to do the things I've never did. Now here I'm pacing adventure, then why am I so scared? I have confidence in confidence alone, Besides which you see, I have confidence in me. MARIA: Hello, here I am! I'm from the convent. I'm the new governess, Captain. Franz: And I'm your butler, Fraulein. MARIA: Oh, well, how do you do? Hmm. Franz: Wait here, please. CAPTAIN: Why do you stare at me that way? MARIA: Well, you don't look at all like a sea captain, sir. CAPTAIN: I'm afraid you don't look much like a governess. Turn around, please. MARIA: What? CAPTAIN: Turn. Hat off. It's the dress. You have to put on another one before you meet the children. MARIA: But I don't have another one. When we enter the abbey, our worldly clothes are given to the poor. CAPTAIN: What about this one? MARIA: The poor didn't want this one. CAPTAIN: Hmm. MARIA: I would have made myself a new dress but there wasn't time. I can make my own clothes. CAPTAIN: Well, I'll see that you get some material. Today, if possible. Now, Fraulein...er.... MARIA: Maria. CAPTAIN: Fraulein Maria, I don't know how much the Mother has told you? MARIA: Not much. CAPTAIN: You're the twelfth in a long line of governesses, who have come to look after my children since their mother died. I trust that you will be an improvement on the last one. She stayed only two hours. MARIA: What's wrong with the children, sir? CAPTAIN: There was nothing wrong with the children, only the governesses. They were completely unable to maintain discipline. Without it, the house cannot be properly run. Please remember that, Fraulein. MARIA: Yes, Sir. CAPTAIN: Every morning you will drill the children in their studies. I will not permit them to dream away their summer holidays. Each afternoon they will march about the ground, breathing deeply. Bedtime is to be strictly observed. No exceptions. MARIA: Excuse me, sir. When do they play? CAPTAIN: You'll see to that they conduct themselves at all time with the utmost orderliness and decorum, I'm placing you in command. MARIA: Yes, sir. CAPTAIN: Now, this is your new governess, Fraulein Maria. As I sound your signals, you will step forward and give your name. You, Fraulein, will listen carefully. Learn their signal so you can call them when you want them. Liesl: Liesl. Frederick: Frederick. Louisa: Louisa. Kurt: Kurt. Bargitta: Bargitta. Marta: Marta. CAPTAIN: And Gretl. Now, let's see how well you listened. MARIA: Oh, I won't need to whistle for them, Reverend Captain. I mean, I'll use their names. And such lovely names. CAPTAIN: Fraulein, this is a large house. The grounds are very extensive. I will not have anyone shouting. You will take this, please. Learn to use it. The children will help you. Now, when I want you, this is what you will hear. MARIA: No, sir. I'm sorry, sir. I could never answer to a whistle. Whistles are for dogs and cats and other animals but not for children and definitely not for me. It would be too humiliating. CAPTAIN: Fraulein, were you this much trouble at the abbey? MARIA: Oh, much more, sir. CAPTAIN: Hmm. MARIA: Excuse me, sir, I don't know your signal. CAPTAIN: You may call me Captain. MARIA: At ease. Well, now that there's just us. Would you please tell me what your names are again and how old you are? Liesl: I'm Liesl. I'm sixteen years old and I don't need a governess. MARIA: Well, I'm glad you told me, Liesl. We'll just be good friends. Frederick: I'm Frederick. I'm fourteen. I'm impossible. MARIA: Really? Who told you that, Frederick? Frederick: Fraulein Josephine. Four governesses ago. Louisa: I'm Bargitta. MARIA: You didn't tell me how old you are, Louisa. Bargitta: I'm Bargitta, she's Louisa. She's thirteen years old and you're smart. I'm ten and I think your dress is the ugliest one I ever saw. Kurt: Bargitta, you shouldn't say that. Bargitta: Why not? Don't you think it's ugly? Kurt: Of course, but Fraulein Helder's was the ugliest. I'm Kurt. I'm eleven. I'm incorrigible. MARIA: Congratulations! Kurt: What's incorrigible? MARIA: I think it means you won't be treated like a boy. Marta: I'm Marta and I'm going to be seven on Tuesday. And I'd like a pink parasol. MARIA: Well, pink is my favorite color, too. Yes, you're Gretl, and you're five years old? Wow, you're practically a lady! Now I have to tell you a secret. I've never been a governess before. Louisa: You mean you don't know anything about being a governess? MARIA: Nothing. I'll need lots of advice. Louisa: Well, the best way to start is to be sure to tell father to mind his own business. Frederick: You must never come to dinner on time. Bargitta: Never eat your soup quietly. Kurt: And during dessert always blow your nose. Gretl: Don't believe a word they say, Fraulein Maria. MARIA: Why not? Gretl: Because I like you. Frau Schmidt: All right now, children! Outside for your walk. Father's orders. Now, hurry up! Hurry up! Quick, Quick... Fraulein Maria, I'm Frau Schmidt, the housekeeper. MARIA: How do you do? Frau Schmidt: How do you do? I'll show you to your room. Follow me. MARIA: Poor little dears. Frau Schmidt: You are very lucky. With Fraulein Helga it was a snake. MARIA: Good evening. Good evening, children. Children: Good evening, Frauen Maria. MARIA: Ha Ha. CAPTAIN: Enchanting little tune. Something you learned at the abbey? MARIA: No, erm... it's eh... rheumatism. Excuse me, Captain, haven't we forgotten to thank the Lord? For what we are about to receive, may the Lord make us truly thankful. Amen. CAPTAIN: Amen. MARIA: I'd like to thank each and every one of you for the precious gift you left in my pocket earlier today. CAPTAIN: Erm... What gift? MARIA: It's meant to be a secret, Captain, between the children and me. CAPTAIN: Aha. Then I suggest that you keep it and let us eat. MARIA: Knowing how nervous I must have been. A stranger in the new household. Knowing how important it was for me to feel accepted. It was so kind and thoughtful of you to make my first moments here so warm and happy and pleasant. CAPTAIN: What is the matter, Marta? Marta: Nothing. CAPTAIN: Fraulein, is it to be at every meal or merely a dinnertime that you intend to lead us all to this rare and wonderful new world of indigestion? MARIA: They're all right, Captain. They're just happy. Franz: Ah, Rolfe. Good evening. Rolfe: Good evening, Franz. I trust everything is under control? Franz: Yes, yes. Rolfe: Good. Franz: Are there any developments? Rolfe: Perhaps. Is the captain at home? Franz: He's at dinner. Rolfe: With the family? Franz: Yes. Rolfe: Please give him this telegram at once. Franz: Certainly. Liesl: Franz, who delivered it? Franz: That young lad Rolfe, of course. Liesl: Father, may I be excused? CAPTAIN: Hmm. Children, in the morning I shall be going to Vienna. Children: Not again, father! Gretl: How long will you be gone this time, father? CAPTAIN: I'm not sure, Gretl. I'm not sure. Louisa: To visit the Baroness Schneider again? Frederick: Mind your own business. CAPTAIN: As a matter of fact, yes, Louisa. Marta: Why can't we ever get to see the Baroness? Louisa: Why would she want to see you? CAPTAIN: It just so happens that you are going to see the Baroness. I'm bringing her back with me to visit us all. Children: Good. CAPTAIN: And Uncle Max. Children: Uncle Max!! Liesl: Rolfe! Oh, Rolfe! Rolfe: No, Liesl. We mustn't. Liesl: Why not, silly? Rolfe: I don't know. It's just... Liesl: Isn't this why you're here waiting for me? Rolfe: Yes, of course. I've missed you, Liesl. Liesl: You have? How much? Rolfe: So much that I even thought of sending you a telegram, just so that I'd be able to deliver it here. Liesl: Oh, that's a lovely thought. Why don't you? Right now. Rolfe: But I'm here. Liesl: Please, Rolfe, send me a telegram. I'll start it for you. Dear Liesl… Rolfe: “Dear Liesl, I'd like to be able to tell you how I feel about you.” Stop. “Unfortunately this wire is already too expensive. Sincerely, Rolfe.” Liesl: Sincerely? Rolfe: Cordially. Liesl: Cordially? Rolfe: Affectionately. Liesl: Hmmm... Rolfe: Will there be any reply? Liesl: “Dear Rolfe, Stop. Don't stop. Your Liesl.” If only we didn't always have to wait for someone to send father a telegram. How do I know when I'll see you again? Rolfe: Well, let's see. I could come here by mistake. With a telegram for Colonel Schneider. He's here from Berlin staying with the... No one is supposed to know he's here. Don't tell your father, now. Liesl: Why not? Rolfe: Well, your father is so... so Austrian. Liesl: We're all Austrian. Rolfe: Well, some people think we ought to be German. And they're very mad at those who don't think so. They're getting ready to.... Well, let's hope your father doesn't get into trouble. Liesl: Don't worry about father. He's a big naval hero. He was even decorated by the Emperor. Rolfe: I know. I don't worry about him. But I do worry about his daughter. Liesl: Me? Why? Rolfe: Well, you're so... Liesl: What? Rolfe: Well, you're such a baby! Liesl: I'm sixteen, what's such a baby about that? Rolfe (singing): You wait, little girl, on an empty stage, for fate to turn the light on. Your life, little girl, is an empty page, That men will want to write on. Liesl (singing): To write on? Rolfe (singing): “Sixteen Going on Seventeen” You are sixteen, going on seventeen. Baby, it's time to think, Better beware, be canny and careful. Baby, you're on the brink. You are sixteen, going on seventeen. Fellows will fall in line. Eager young lads and Ruez and Kaz will offer you food and wine. Totally unprepared are you, to face a world of men. Timid and shy and scared are you, Things beyond your kin. You need someone older and wiser, Telling you what to do. I am seventeen, going on eighteen. I'll take care of you! Liesl (singing): I am sixteen, going on seventeen. I know that I'm naive. Fellows I meet may tell me I'm sweet, And willingly I believe, I am sixteen, going on seventeen. Innocent as a rose. Bachelor of dandy's, drinkers of brandy's. What do I know of those? Totally unprepared am I, To face a world of men. Timid and shy and scared am I, Of things beyond my kin. I need someone older and wiser, Telling me what to do. You are seventeen, going on eighteen. I'll depend on you. MARIA: Come in. Frau Schmidt. Frau Schmidt: For your new dresses, Fraulein Maria. The Captain had these sent out from town. MARIA: Oh, how lovely! I'm sure these will make the prettiest clothes I've ever had. Tell me, do you think the Captain would get me some more material if I asked him? Frau Schmidt: How many dresses does a governess need? MARIA: Not for me, for the children. I want to make them some plainclothes. Frau Schmidt: The Von Trap children don't play, they march. MARIA: Surely you don't approve of that? Frau Schmidt: Ever since the Captain lost his poor wife he runs this house as if he were on some of his ships again. Whistles, orders. No more music, no more laughing. Nothing that reminds him of her. Even the children. MARIA: It's so wrong. Frau Schmidt: Ah, well. How do you like your room? There'll be new drapes at the windows. MARIA: New drapes? But these are fine. Frau Schmidt: Nevertheless new ones have been ordered. MARIA: Oh but I really don't need them. Frau Schmidt: Good night, now. MARIA: Frau Schmidt, do you think if I asked the Captain tomorrow about the material... Frau Schmidt: He's leaving for Vienna in the morning. MARIA: Oh, yes, of course. Well, how long will he be gone? Frau Schmidt: It all depends. The last time he visited the Baroness he stayed for a month. I shouldn't be saying this, not to you, I mean I don't know you that well. But if you ask me, the Captain is thinking very seriously of marrying the woman before the summer is over. MARIA: That'd be wonderful. The children will have a mother again. Frau Schmidt: Yes. Well, good night. MARIA: Good night. MARIA: Dear Father, now I know why you sent me here. To help these children prepare themselves for a new mother. And I pray that this family will become a happy family in my sight. God bless the Captain. God bless Liesl and Frederick. God bless Louisa, Bargitta, Marta and little Gretl. And... oh I forgot the other boy, what's his name? Well, God bless what's his name. God bless the Reverend Mother and sister Margarita and everybody at Mamburg Abbey. Now, dear God, about Liesl, help her to know that I'm her friend. And help her to tell me what she's been up to. Liesl: Are you going to tell on me? MARIA: Shhh... Help me to be understanding so that I may guide her footsteps. In the name of the Father, the Son and the Holy Ghost, Amen. Liesl: I was out taking a walk and somebody locked the doors earlier than usual and I didn't want to wake everybody up so when I saw your window open... You're not going to tell father, are you? MARIA: Hmm. How in the world did you climb up here? Liesl: How we always got up to this room to play tricks on the governess. Louisa can make it with a whole jar of spiders in her hand! MARIA: Spiders?! Oh, Liesl, were you out walking all by yourself? You know, if we would wash out that dress tonight nobody would notice it tomorrow. You could put this on. Take your dress in there, put it to soak in the bathtub. And come back here and sit on the bed. We'll have a talk. Liesl: I told you today I didn't need a governess. Well, maybe I do. MARIA: Gretl, are you scared? You're not frightened by the storm, are you? You just stay right here with me. Where are the others? Gretl: They're asleep. They're not scared. MARIA: Oh, no? Look. All right, everybody, up here on the bed. Children: Really? MARIA: Well, just this once, come on! Now all we have to do is wait for the boys. Liesl: You won't see them, boys are brave. MARIA: You boys weren't scared too, were you? Frederick: Oh no. We just wanted to be sure that you weren't. MARIA: That was very thoughtful of you, Frederick. Frederick: It wasn't my idea. It was Kurt's. MARIA: Kurt. That's the one I left out. God bless Kurt. Gretl: Why does it do that? MARIA: Well, the lightning says something to the thunder and the thunder answers back. Gretl: The lightning must be nasty. MARIA: Not really. Gretl: Why does the thunder get so angry? It makes me want to cry. MARIA: Well, when anything bothers me and I'm feeling unhappy, I just try and think of nice things. Children: What kind of things? MARIA: Uh, well, let me see. Nice things. Daffodils. Green meadows. Skies full of stars. Maria (singing): “My Favorite Things” Raindrops on roses. And whiskers on kittens. Bright copper kettles and warm woolen mittens, Brown paper packages tied up with strings, These are a few of my favorite things. Cream colored ponies and crisp apple strudels, Doorbells and sleigh bells schnitzel with noodles, Wild geese that fly with the moon on their wings, These are a few of my favorite things. Girls in white dresses with blue satin sashes, Snowflakes that stay on my nose and eyelashes. Silver white winters that melt into springs, These are a few of my favorite things. When the dog bites, When the bee stings, When I'm feeling sad. I simply remember my favorite things, And then I don't feel so bad. Marta: Does it really work? MARIA: Of course it does! You try it. What things do you like? Marta: Pussy Wallop! Louisa: Christmas! Gretl: Bunny rabbits! Kid Boys: Snakes! Kid Girls: Chocolate icing! Frederick: No school! Louisa: Pillow fight! Liesl: Telegram! Marta: Any present! Birthday present! Gretl: Ladybug! MARIA: Gesundheit! See what fun it is! (Singing) “My Favorite Things” Raindrops on roses and whiskers on kittens, Bright copper kettles and warm woolen mittens. Brown paper packages tied up with strings. These are a few of my favorite things. Cream colored ponies and crisp apple strudels, Doorbells and sleigh bells schnitzel with noodles, Wild geese that fly with the moon on their wings, These are a few of my favorite things. (Maria: Oh, together!) Girls in white dresses with blue satin sashes, Snowflakes that stay on my nose and eyelashes. Silver white winters that melt into springs, These are a few of my favorite things. When the dog bites.... MARIA: Bites, bites…Well... Hello. CAPTAIN: Fraulein, did I not tell you that bedtime is to be strictly observed in this house? MARIA: Well, the children were upset by the storms so I thought that if I... You did, sir. CAPTAIN: Do you or do you not have difficulty remembering such simple instructions? MARIA: Only during thunderstorms, sir. CAPTAIN: Liesl? Liesl: Yes, father? CAPTAIN: I don't recall seeing you anywhere after dinner. Liesl: Oh really? Well, as a matter of fact... CAPTAIN: Yes? Liesl: Well, I was... MARIA: What she would like to say Captain is that er... she and I had been better acquainted tonight. But it's much too late now to go into all that. Come along children, you heard your father, go back to bed immediately. CAPTAIN: Fraulein, you have managed to remember that I am leaving in the morning. Is it also possible that you remember that the first rule in this house is discipline? Now, I trust that before I return you will have acquired some. MARIA: Captain. Er... I wonder if before you go I could talk to you about some clothes for the children. CAPTAIN: Fraulein Maria... MARIA: But if I could just have some material... CAPTAIN: There are obviously many things not the least of which is repetitious. MARIA: But the children! CAPTAIN: Yes, and I'm their father. Goodnight. Louisa: Fraulein Maria, can we do this every day? MARIA: Don't you think you'd soon get tired of it, Louisa? Louisa: I suppose so. Every other day? Kurt: I haven't had so much fun since the day we put glue on Fraulein Josephine's toothbrush. MARIA: I can't understand how children as nice as you manage to play such awful tricks on people. Bargitta: Oh, it's easy. MARIA: But why do it? Liesl: How else could we get father's attention? Bargitta: Yes. MARIA: Oh, I see. Well, we'll have to think about that one. All right, everybody, over here. Liesl: What are we going to do? MARIA: Let's think of something to sing for the Baroness when she comes. Kurt: Father doesn't like us to sing. MARIA: Well, perhaps we can change his mind. Now, what songs do you know? Frederick: We don't know any songs. MARIA: Not any? Marta: We don't even know how to sing. Bargitta: No. MARIA: Well, let's not lose any time. You must learn. Liesl: But how? MARIA (singing): “Do Re Mi” Let's start at the very beginning, a very good place to start. When you read you begin with? (Gretl) ABC. (MARIA) When you sing you begin with Do Re Mi. (Children) Do Re Mi. (MARIA) Do Re Mi, the first three notes just happen to be: Do Re Mi. (Children) Do Re Mi. (MARIA) Do Re Mi Fa So La Ti. Let's see if I can make it easier. Doe, a deer, a female deer. Ray, a drop of golden sun. Me, a name I call myself. Far, a long, long way to run. Sew, a needle pulling thread. La, a note to follow Sew. Tea, a drink with jam and bread. That will bring us back to Doe, oh, oh, oh. (Maria repeats together with children.) Do Re Mi Fa So La Ti Do! So, Do! MARIA: Now children, Do Re Mi Fa So, and so on are only the tools we use to build a song. Once you have these notes in your heads you can sing a million different tunes by mixing them up. Like this: So Do La Fa Mi Do Re. You do that? Children: So Do La Fa Mi Do Re. MARIA: So Do La Ti Do Re Do. Children: So Do La Ti Do Re Do. MARIA: Now, put it all together. Children: So Do La Fa Mi Do Re, So Do La Ti Do Re Do. MARIA: Good! Frederick: But it doesn't mean anything. MARIA: So we put in words. One word for every note. Like this (singing): When you know the notes to sing, you can sing almost anything. Together! Children (singing): When you know the notes to sing, you can sing almost anything. Doe, a deer, a female deer, Ray, a drop of golden sun, Me a name I call myself, Far, a long, long way to run, Sew, a needle pulling thread, La, A note to follow Sew...... Baroness: The moutains are magnificent, really magnificent. CAPTAIN: I had them put up just for you. Baroness: Oh? Max: Even if it’s to a height of 10,000 feet. Georg always believes in “rising to the occasion.” CAPTAIN: Improve the jokes or I’ll disinvite you. Max: You didn’t invite me. I invited myself. Baroness: Naturally. Max: You needed a chaperone…and I needed a place where the cuisine is superb…the wine cellar unexcelled…and the price perfect. Baroness: Max, you are outrageous. Max: Not at all. I’m a very charming sponge. Listen. CAPTAIN: That’s the Klopmann Monastery Choir. Max: They’re good. Very good. I must explore this areas in the next few days. Somewhere a hung singing group is waiting for Max Detweiler to pluck it out and make it famous at the Salzburg Folk Festival. CAPTAIN: They get fame, you get money. Max: It’s unfair, I admit it. But someday that’ll be changed. I shall get the fame too. Baroness: Good heavens, what’s this? CAPTAIN: It’s nothing. Just some local urchins. Baroness: This really is exciting for me, Georg, being here with you. CAPTAIN: Trees, lakes, mountains, you've seen them before. Baroness: That is not what I mean and you know it. CAPTAIN: Ah, you mean me. I'm exciting. Baroness: Is that so impossible? CAPTAIN: No, just... er... highly improbable. Baroness: There you go, running yourself down again. CAPTAIN: Well, I'm a dangerous driver. Baroness: You know, you're much less of a riddle when I see you here, Georg. CAPTAIN: In my natural habitat? Baroness: Yes, exactly. CAPTAIN: Are you trying to say that I'm more at home here, among the birds and the flowers and the wind that moves through the trees like a restless sea. Baroness: How poetic! CAPTAIN: Yes, it was rather, wasn't it? More at home here than in Vienna. In all your glittering salons. Gossiping gaily with balls I detest, soaking myself in Champagne. Stumbling about the Waltzes by Strauss. I can't even remember. Is that what you're trying to say? Baroness: More or less, yes. CAPTAIN: Now, whatever gave you that idea? Baroness: How I do like it here, Georg. So lovely and peaceful. How can you leave it as often as you do? CAPTAIN: Oh, pretending to be madly active, I suppose. Activity suggests a life filled with purpose. Baroness: Could it be running away from memories? CAPTAIN: Or perhaps just searching for a reason to stay. Baroness: Oh, I hope that's why you've been coming to Vienna so often. Or were there other distractions there? CAPTAIN: Oh, I'd hardly call you a mere distraction, darling. Baroness: Well, what would you call me, George? CAPTAIN: Lovely, charming, witty, graceful. The perfect hostess. And…er…you're going to hate me for this: in a way, my savior. Baroness: Oh, how unromantic! CAPTAIN: Well, I would be an ungrateful wretch if I didn't tell you at least once that it was you who brought some meaning back into my life. Baroness: Oh, I am amusing, I suppose. And I do have the finest couturier in Vienna. And the most glittering circle of friends. I do give some rather gay parties. CAPTAIN: Oh… yes. Baroness: But take all that away and you have just wealthy unattached little me… searching just like you. Servant: More strudel, Herr Detweller? Max: How many have I had? Servant: Two. Max: Make it an uneven three. CAPTAIN: Still eating, Max? Must be unhappy. Max: That mixed quarter I’ve been trying to steal away from Sol Hurok… Baroness: What happened? Max: Yesterday Sascha Petrie stole them first. I hate thieves. CAPTAIN: Max, you really must try and learn to love yourself. Max: I had to call Paris, Rome and Stockholm. Baroness: On Georg’s telephone, of course, Max: How else could I afford it? I like rich people, the way they live and how I live when I’m with them. CAPTAIN: I wonder where the children are. Baroness: They must have heard I was coming and hiding. CAPTAIN: I was hoping they’d be here to welcome you. Max, do step out of character for a moment and try and be charming. Max: Well… Baroness: Well what? Max: Have you made up his mind? Do I hear wedding bells? Baroness: Pealing madly. Max: Marvellous. Baroness: Not necessarily for me. Max: What kind of talk’s that? Baroness: That is none-of-your-business talk, Max. I’m terribally fond of him, so don’t toy with us. Max: But I’m a child. I like toys. So tell me everything. Oh, come on, tell me every teensy-weensy, intimate, disgusting detail. Baroness: Well, let’s just say I have a feeling I may be here on approval. Max: I approve of that. How can you miss? Baroness: Far too easily. Max: If I know you, darling, and I do, you will find the way. Baroness: Oh, he’s no ordinary. Max: Oh, he’s rich. Baroness: When his wife died, it should have left him a terrible heartache. Max: When your husband died, he left you with a terrible fortune. Baroness: Oh, Max, you really are a beast. Max: You and Georg are like family. That’s why I want to see you two be married. We must keep all that lovely money in the family. CAPTAIN: What are you doing there? Rolfe: Oh, Captain Von Trapp. I was just looing for…I didn’t see… I didn’t know you were…Heil Hitler! CAPTAIN: Who are you? Rolfe: I have a telegram for Herr Detweiler. Max: I am Herr Detweiler. Rolfe: Yes, sir. CAPTAIN: All right. You’ve delivered your telegram. Now get out. Baroness: Oh, Georg, he’s just a boy. CAPTAIN: Yes, and I’m just an Austrian. Max: What’s going to happen is going to happen. Just make sure they don’t happen to you. CAPTAIN: Max! Don’t you ever say that again. Max: You know I have no political convictions. Can I help it if other people do? CAPTAIN: Oh, yes, you can help it. You must help it. Baroness: Hello? You’re far away. Where are you? CAPTAIN: In a world that’s disappearing, I’m afraid. Baroness: Is there any way I could bring you back to the world I’m in? Children: Father! Father! MARIA: Oh, Captain, you're home! CAPTAIN: Come out of that water at once!! MARIA: Oh, you must be Baroness Schneider. Gretl: I’m soaked to the skin. CAPTAIN: Straight line! This is Baroness Schraeder. And these are my children. Baroness: How do you do? CAPTAIN: All right, go inside, dry off, change your clothes, and report back here. Immediately! Fraulein, you will stay here, please. Baroness: I ... er... think I'd better go see what Max is up to. CAPTAIN: Now, Fraulein. I want a truthful answer from you. MARIA: Yes, Captain? CAPTAIN: Is it possible, or could I have just imagined it? Have my children by any chance been climbing trees today? MARIA: Yes, captain. CAPTAIN: I see. And where, may I ask, did they get these... er… these… er...? MARIA: Play clothes. CAPTAIN: Oh, is that what you call them? MARIA: I made them. From the drapes that used to hang in my bedroom. CAPTAIN: Drapes? MARIA: They still have plenty of wear left. The children have been everywhere in them. CAPTAIN: Do you mean to tell me that my children have been roaming about Salzburg dressed up in nothing but some old drapes?! MARIA: Hmm-mm, and having a marvelous time. CAPTAIN: They have uniforms. MARIA: Strait jackets, if you'll forgive me. CAPTAIN: I will not forgive you for that! MARIA: Children cannot do all the things they're supposed to if they have to worry about spoiling their precious clothes. CAPTAIN: I haven't heard a complaint yet! MARIA: Well, they wouldn't dare! They love you too much. They fear you too much. CAPTAIN: I don't wish you to discuss my children in this manner. MARIA: Oh, you've got to hear from someone! You're never home long enough to know them. CAPTAIN: I said I don't want to hear any more from you about my children. MARIA: I know you don't, but you've got to! Now, take Liesl… CAPTAIN: You will not say one word about Liesl, Fraulein. MARIA: She's not a child anymore. One of these days you're going to wake up and find she's a woman. You won't even know her. And Frederick, he's a boy but he wants to be a man, like you, and there's no one to show him how! CAPTAIN: Don't you dare tell me about my son! MARIA: Bargitta could tell you, if you'd let her get close to you. She notices everything. CAPTAIN: Fraulein... MARIA: And Kurt pretends he's tough not to show how hurt he is when you brush him aside… CAPTAIN: That will do. MARIA: The way you do all of them. Louisa, I don't know about yet... CAPTAIN: I said that will do! MARIA: But someone has to find out about her, and the little ones just want to be loved! Oh, please, Captain. Love them. Love them all! CAPTAIN: I don't care to hear anything further from you about my children! MARIA: I am not finished yet, Captain! CAPTAIN: Oh, yes, you are, Captain Fraulein. Now, you will pack your things this minute and return to the abbey. What's that? MARIA: It's singing. CAPTAIN: Yes, I realize it's singing, but who is singing? MARIA: The children. CAPTAIN: The children? MARIA: I taught them something to sing for the Baroness. Baroness: You never told me how enchanting your children are. CAPTAIN: Don’t go away. Fraulein, I… behaved badly. I apologize. MARIA: No, I'm far too outspoken. It's one of my worst faults. CAPTAIN: You were right. I don't know my children. MARIA: There's still time, Captain. They want so much to be close to you. CAPTAIN: You've brought music back into the house. I'd forgotten. Fraulein, I want you to stay. I ask you to stay. MARIA: If I could be of any help... CAPTAIN: You have already. More than you know. MARIA: Curtain! (A puppet show singing): “The Solitary Goatherd” High on a hill was a lonely goatherd Loud was the voice of the lonely goatherd Folks in a town that was quite remote heard Lusty and clear from the goat-herd's throat heard A prince on the bridge of a castle moat heard Men on the road with a load to tote heard Men in the midst of a table d'hote heard Men drinking beer with the foam afloat heard One little girl in a pale pink coat heard She yodeled back to the lonely goatherd Soon her mama with a gleaming gloat heard What a duet for a girl and goatherd (Repeat) CAPTAIN: Wonderful. Gretl: Can we keep the puppets, Uncle Max? Max: Of course you may, my darlings. Why else did I tell Professor Kohner to send the bill to your father? CAPTAIN: Well done, Fraulein. I really am very much impressed. MARIA: They’re all your children, Captain. Baroness: My dear, is there anything you can’t do? MARIA: Well, I’m not sure I’ll make a good nun. Baroness: If you have any problems, I’d be happy to help you. Max: Attention, attention, everyone. I have an announcement to make. Surprise, surprise. Today, after a long and desperate search I have finally found a most exciting entry for the Salzburg Folk Festival. CAPTAIN: Congratulations, Max. Who will you be exploiting this time? Max: Haha! Baroness: The Saint Ignatius Choir? Max: Guess again. CAPTAIN: ... er... Let me see now. The Klopmann Choir? Max: No, no, no, no. Children: Tell us. Max: A singing group all in one family. You'll never guess, Georg. CAPTAIN: A charming idea! Whose family? Max: Yours. They'll be the talk of the festival. What's so funny? CAPTAIN: You are, Max. Expensive, but very funny. Max: But you heard there will be a sensation. CAPTAIN: No, Max. Max: It's a wonderful idea. Fresh, original... CAPTAIN: Max! My children do not sing in public. Well, I can't blame you for trying. MARIA: Children, who shall we hear from next? MARIA: Yes. The vote is unanimous! You, Captain. CAPTAIN: Me? I don't understand. MARIA: Please. CAPTAIN: Ahaa... No, no, no, no. MARIA: I'm told that a long time ago you were quite good. CAPTAIN: Well, that was a very, very, very long time ago. Louisa: I remember, father. Marta: Play us something we know, please. CAPTAIN: Well. Baroness: Why didn't you tell me? Max: What? Baroness: To bring along my harmonica. CAPTAIN (singing): “Edelweiss” Edelweiss, edelweiss, Every morning you greet me. Small and white, Clean and bright, You look happy to meet me, to meet me. Blosssom of snow, May you bloom and grow, Bloom and grow forever. Edelweiss, edelweiss Bless my homeland forever. (Repeat with the children.) Max: Anytime you say the word, Georg, you can be part of my new act. The Von Trapp family singers. Baroness: I have a wonderful idea, Georg. Let's really fill this house with music. You must give a grand and glorious party for me when I'm here. CAPTAIN: A party? Baroness: Yes. Yes, I think it's high time I met all your friends here in Salzburg and they met me, don't you agree? CAPTAIN: I see what you mean. Children: Please…please… MARIA: Children, it's time to go to bed. Now, say goodnight. Children: Goodnight, father. CAPTAIN: Goodnight. Gretl: It'd be my first time, father! Herr Zellarr: Did you notice the obvious display of the Austrian flag in the hallway? Frederick: The women look so beautiful. Kurt: I think they look ugly. Louisa: You just say that because you're scared of them. Kurt: Silly, only grown-up men are scared of women. Gretl: I think the men look beautiful. Louisa: How would you know? Bargitta: Liesl, who are you dancing with? Liesl: Nobody. Bargitta: Oh, yes, you are. Frederick: May I have this dance? Liesl: I'd be delighted, young man. MARIA: Why didn't you children tell me you could dance? Kurt: We were afraid you were going to make us all dance together. The Von Trapp family dancers! Gretl: What's that they're playing? MARIA: It's the Lendler, it's an Austrian folk dance. Kurt: Show me. MARIA: Oh, Kurt, I haven 't danced that since I was a little girl. Kurt: Oh, you remember. Please? MARIA: Well.... Kurt: Please? MARIA: All right. Come on over here. Now you bow, and I curtsy. Kurt: Like this? MARIA: Fine! Now we go for a little walk. This way. One, two, three, one, two, three, one, two, three, step together. Now, step hop, step hop. Now turn under. Not quite! This way, hop step, hop, and under. Kurt, we'll have to practice. CAPTAIN: Erm... Do allow me, will you? MARIA: Hmm-mm… I don’t remember anymore. Louisa: Your face is all red. MARIA: Is it? I don’t suppose I’m used to dancing. Baroness: Oh, that was beautifully done. What a lovely couple you make! MARIA: It's very kind of you to offer to help me, Baroness. CAPTAIN: It’s time the children said good night. MARIA: Yes, we’ll be in the hall. We have something very special prepared. Right? Children: Yes. Come on! Baroness: All that needless worrying, Georg. You thought you wouldn’t find a friend at the party. CAPTAIN: A bit chilly out tonight, isn’t it? Baroness: On, I don’t know. It seemed rather warm to me. MARIA: Ladies and gentlemen, the children of Captain Von Trapp wish to say good night to you. (Children singing) “So Long, Farewell” There’s a sad sort of clanging from the clock in the hall And the bells in the steeple too And up in the nursery, an absurd little bird is popping up to say “coo-coo” “Coo-coo”, “Coo-coo” Regretfully they tell us But firmly they compel us To say goodbye to you So long, farewell Auf Wiedersehen good night I hate to go and leave this pretty sight So long, farewell Auf Wiedersehen good night, adieu Adieu, adieu, to you and you and you So long, farewell Au revoir, auf Wiedersehen I’d like to stay and taste my first champagne Yes? (Captain) No. So long, farewell Auf Wiedersehen good night I leave and heave a sigh and say goodbye Goodbye I’m glad to go I cannot tell a lie I flit, I float I fleetly flee, I fly The sun has gone to bed And so must I So long, farewell Auf Wiedersehen goodbye Goodbye… Max: They are extraordinary! What they’d do at the festival. Young lady, I must have a word with you. Georg, you won’t let this girl get away. She has to join the party. MARIA: No, really I … Max: Stop. Stop it now. Georg, please. CAPTAIN: You can if you want to, Fraulein. Max: I insist. You will be my dinner partner. This is business, Franz…set another place next to mine for Fraulein Maria. Franz: Whatever you say… CAPTAIN: It appears to be all arranged. Baroness: Certainly it does. MARIA: I’m not suitably dressed. CAPTAIN: You can change. We’ll wait. Lady: Captain, you must be very proud of your youngsters. CAPTAIN: I am. Thank you. Man: Is there a more beautiful expression of what is good in our country…than the innocent voice of our children? Herr Zellar: Oh, come now, baron, would you have us believe that Austria holds a monopoly on virtue? CAPTAIN: Herr Zellar, some of us prefer Austrian voices raised in song to ugly German threats. Herr Zellar: The ostrich buries his head in the sand…and sometimes in the flag. Perhaps those who would warn you that the Anschluss is coming, and it is coming, Captain…Perhaps they would get further with you by setting their words to music. CAPTAIN: If the Nazis take over Austria, I have no doubt that you will be the entire trumpet section. Herr Zellar: You flatter me. CAPTAIN: Oh, how clumsy of me! I meant to accuse you. MARIA: It’s very kind of you to offer to help me, Baroness. Baroness: I am delighted to, Maria. MARIA: I really don't think I do have anything that would be appropriate. Baroness: Now, where is that lovely little thing you were wearing the other evening? When the captain couldn't keep his eyes off you. MARIA: Couldn't keep his eyes off me? Baroness: Come, my dear. We are women. Let's not pretend we don't know when a man notices us. Here we are. MARIA: The captain notices everyone and everything. Baroness: There's no need to feel so defensive, Maria. You are quite attractive, you know. The captain would hardly be a man if he didn't notice you. MARIA: Baroness, I hope you're joking. Baroness: Not at all. MARIA: But I've never done a thing to... Baroness: You don't have to, my dear. There is nothing more irresistible to a man than a woman who is in love with him. MARIA: In love with him? Baroness: Of course. To make it so nice, he thinks he's in love with you. MARIA: But that's not true! Baroness: Surely you've noticed the way he looks into your eyes. And you know... er... you blushed in his arms when you were dancing just now. Don't take it too hard. He'll get over it soon enough, I should think. Men, do you know? MARIA: Then I should go... I mustn't stay here. Baroness: If there's something I can do to help... MARIA: No, nothing. Yes, please don't say a word about this to the captain. Baroness: No, No. I wouldn't dream of it. Good-bye, Maria. I'm sure you'll make a very fine nun. Champane. I feel like celebrating. Cheers. Max: You know something. Baroness: Perhaps. Max: If you’re so clever, tell me how to get Fraulein to influence Georg. I want those children in the festival. Elsa, this is important to Austria. Baroness: Wouldn’t do you any harm either. Max: I thought of that. Baroness: Well, if it’s a matter of influence… maybe the one you have to be talking to is me. Kids: Two, three, four, five. Baroness: Six. Kids: Seven. Eight. Four. Two. Seven. Five. Two. Six. Baroness: Isn’t this fun? Four. Kid: I’m No. five. Baroness: Oh, yes. Kids: Eight. Two. Four. Six. Baroness: Two. Kurt: Baroness Schraeder, do you mind if we stop now? We’re tired. Baroness: Whatever you want, dear. We’ll do it again tomorrow. Max: The country’s so restful, isn’t it? Have some lemonade. Baroness: There must be an easier way. Max: I get a fiendish delight thinking of you as the mother of seven. How do you plan to do it? Baroness: Darling, haven’t you heard of a delightful little thing called boarding school? Max: Baroness Machiavellie. Brigitta: Uncle Max, where's father? Max: I think he's in the house. What's the matter with all you gloomy pussies? Bargitta: Nothing... Max: I know what we'll do; let's have a rehearsal. Bargitta: What for? Max: Let's make believe that we're standing on the stage at the festival. Bargitta: I don't feel like singing, not without Fraulen Maria. Max: Liesl, get the guitar. Come on, Marta. Everybody in the group. You know your places in the group. Get in your places, that's right. Now be cheerful. Right. Give us the key, Liesl. Now, impress me. Frederick, Gretl, why don't you sing? Gretl: I can't. I've got a sore finger. Max: But you sang so beautifully the night of the party. Come on, all of you. Sing something, try something you know. Enjoy it. Be cheerful. All right, Liesl. (Children singing): The hills are alive, with the sound of music. With songs they have sung, for a thousand years. The hills fill my heart, with the sound of music... Max: They just wanted to sing to me, blessed old heart. CAPTAIN: It's lovely, lovely. Don't stop. Baroness: Something long and cool, Georg? CAPTAIN: No, thank you, darling. Bargitta: Father? CAPTAIN: Yes, Bargitta? Bargitta: Is it true Fraulein Maria isn't coming back? CAPTAIN: Fraulein Maria? Yes, I suppose it's true, yes. What have we got here? Baroness: Pink lemonade. Max: Least with the lemonade. Bargitta: I don't believe it, father. CAPTAIN: Hmm? Don't believe what, darling? Bargitta: About Fraulein Maria. CAPTAIN: Oh, Fraulein Maria? Didn't I tell you what her note said? Oh, I was sure I did. She said she missed her life at the abbey too much. She had to leave us. And that's all there is to it. I think I'm brave enough to try some of that. Bargitta: She didn't even say Good-bye. CAPTAIN: She did in her note. Bargitta: That isn't the same thing. Baroness: Not too sweet, not too sour. Max: Just too... pink. Gretl: Father? CAPTAIN: Hmm? Gretl: Who is our new governess going to be? CAPTAIN: Well... You're not going to have a governess any more. Children: We're not? CAPTAIN: No. You're going to have a new mother. Liesl: A new mother? CAPTAIN: We talked about it last night. It's all settled. And we're all going to be very happy. Margarita: Yes, my children? Liesl: My name is Liesl. Margarita: Yes, Liesl? Liesl: We－My brothers and sisters－we want to see Fraulein Maria. Nun: Fraulein Maria? Oh, Maria! Come in please. Wait here. Margarita: I'm Sister Margarita. I understand you've been inquiring about Maria. Liesl: We have to see her. Will you tell her we're here, please? Margarita: I am afraid I can't do that. Liesl: Oh, but you've got to, we have to see her. Bargitta: She's our governess! Liesl: We want her back! Bargitta: She didn't even say Good-bye! Frederick: It's very important. Liesl: All we want to do is to talk to her. Margarita: I'm very sorry, children. But Maria is in seclusion. She hasn't been seeing anyone. Kurt: She'll see us, I know she will. Gretl: I want to show her my finger. Margarita: Oh, some other time, dear. I'll tell her that you were here. It was good of you to call. Liesl: We have to see her! Margarita: Go along, children. Going along. Go along home! Liesl: Sister Margarita, please! Margarita: Good-bye, children. Reverend Mother: What was that about, Sister Margarita? Margarita: The Von Trapp children, Reverend Mother. They want to see Maria. Reverend Mother: Has she spoken yet? Has she told you anything? Margarita: She doesn't say a word, Reverend Mother. Except in prayer. Reverend Mother: Poor child. Margarita: It's strange. She seems happy to be back here, and yet, and yet she's unhappy, too. Reverend Mother: Perhaps I have been wrong in leaving her alone so long. I think you'd better bring her to me, even if she's not yet ready. Margarita: Yes, Reverend Mother. Reverend Mother: Sister Augusta, take our new postulant to the robing room. God bless you, my daughter. Yes, bring her in. You've been unhappy. I'm sorry. MARIA: Reverend Mother. Reverend Mother: Why did they send you back to us? MARIA: They didn't send me back, Mother. I left. Reverend Mother: Sit down, Maria. Tell me what happened. MARIA: Well, I... I was frightened. Reverend Mother: Frightened? Were they unkind to you? MARIA: Oh, no! No, I was confused. I felt... I've never felt that way before. I couldn't stay. I knew that here I'd be away from it. I'd be safe. Reverend Mother: Maria, our abbey is not to be used as an escape. What is it you can't face? MARIA: I can't face him again. Reverend Mother: Him? Thank you, Sister Margarita. Captain Von Trapp? Are you in love with him? MARIA: I don't know. I don't know. I ... The baroness and I was... She said he was in love with me, but I didn't want to believe it. Oh, there were times when we would look at each other... Oh Mother, I could hardly breathe. Reverend Mother: Did you let him see how you felt? MARIA: If I did, I didn't know it. That's what's been torturing me; I was there on God's errand. To have asked for his love would have been wrong. Oh, I couldn't stay. I just couldn't. I am ready this moment to take my vows. Please help me. Reverend Mother: Maria. The love of the man and the woman is holy too. You have a great capacity to love. What you must find out is how God wants you to spend your love. MARIA: But I pledged my life to God, I ... I pledged my life to his service. Reverend Mother: My daughter, if you love this man it doesn't mean you love God less. No, you must find out. You must go back. MARIA: Oh Mother, you can't ask me to do that! Please let me stay, I beg you. Reverend Mother: Maria, these walls were not built to shut out problems. You have to face them. You have to live the life you were born to live. Reverend Mother (singing): “Climb Every Mountain” Climb every mountain Search high and low Follow every byway Every path you know Climb every mountain Ford every stream Follow every raibbow Till you find your dream A dream that will need All the love you can give Every day of your life For as long as you live (Repeat) CAPTAIN: Now, it's not like my children to be secretive. Louisa: We're not being secretive, father. CAPTAIN: Hmm-mm. And it's not like my children to be late for dinner. Frederick: We lost track of the time. CAPTAIN: Ah. I see. Children: Yes. CAPTAIN: All right. Now who's going to be the first one to tell me the truth? Frederick? Bargitta? Liesl? Louisa: Where do you think we were, father? CAPTAIN: Hmm? Well… Louisa: Well, if you don't believe us, you must have some idea where you think we were. CAPTAIN: Aha, Marta! Marta: Yes, father? CAPTAIN: You tell me. Marta: Frederick told you, father. We were berry picking. CAPTAIN: I forgot. You were berry picking. Children: Yes. CAPTAIN: All afternoon? Louisa: We picked thousands of them. CAPTAIN: Thousands of them. Really? Children: Yes, yes! They're all over the place. CAPTAIN: What kind of berries? Frederick: Er... blueberries, sir. CAPTAIN: Blueberries! Hmmm! It's too early for Blueberries. Frederick: They were strawberries! CAPTAIN: Strawberries? Frederick: It's been so cold lately they turned blue. CAPTAIN: Ahh... Very well. Show me the berries. Children: Erm... We... well.... CAPTAIN: Show me the berries you picked. Come on. Kurt: We don't have them anymore. CAPTAIN: You don't have them anymore. Well, what happened to them? Louisa: We... we... we ate them! CAPTAIN: You ate them?! Children: Yes, yes! CAPTAIN: All of them? Liesl: Yes, they were so good. CAPTAIN: Very well. Since you've obviously stuffed yourself full of thousands of delicious berries you can't be hungry anymore so I'll ... er... just simply tell Frau Schmidt to ... er ... skip your dinner. Kurt: It's all your fault! We should have told him the truth! Frederick: And made him boiling mad at us? Kurt: It's better than starving to death. Bargitta: We didn't do anything wrong. We just wanted to see her. Kurt: My stomach's making noises. Marta: The least they could have done was to let us say “hello”. Kurt: I wonder what grass tastes like. Gretl: I feel awful. Bargitta: When Fraulein Maria wanted to feel better, she used to sing that song, remember? Children: Yes! Liesl: Let's try it. (Singing) “My Favorite Things” Raindrops on roses. And whiskers on kittens. Bright copper kettles and warm woolen mittens. Brown paper packages tied up with strings. These are a few of my favorite things. Gretl: Why don't I feel better? (Singing) Girls in white dresses with blue satin sashes, Snowflakes that stay on my nose and eyelashes. Silver white winters that melt into springs. These are a few of my favorite things. When the dog bites, When the bee stings, When I’m feeling sad, I simply remember my favorite things. And then I don’t feel so bad. MARIA: Oh, children, I'm so glad to see you! Louisa: We missed you. MARIA: I missed you! Kurt, how are you? Kurt: Hungry. MARIA: Gretl, what happened to your finger? Gretl: It got caught. MARIA: Caught in what? Gretl: Frederick's teeth! MARIA: Liesl, you’re all right? Liesl: Just fair. MARIA: Many telegrams're been delivered here lately? Liesl: None at all, Fraulein. But I'm learning to accept it. I'll be glad when school begins. MARIA: Oh, Liesl, you can't use school to escape your problems, you have to face them! Oh, I have so much to tell you all. Louisa: We have things to tell you too. MARIA: I'm sure you do. Bargitta: The most important thing is that father is going to be married. MARIA: Married? Louisa: Yes, to Baroness Schneider. MARIA: Oh, I see. Children: Oh, father, look! Fraulein Maria! Fraulein Maria has come back from the abbey! MARIA: Good evening, Captain. CAPTAIN: Good evening. All right! Everyone inside, go and get your dinner! Children: Dinner! CAPTAIN: You left without saying good-bye. Even to the children. MARIA: But it was wrong of me. Forgive me. CAPTAIN: Why did you? MARIA: Please don't ask me. Anyway, the reason no longer exists. Baroness: Fraulein Maria! You've returned. Isn't it wonderful, Georg? MARIA: May I wish you every happiness, Baroness. And you too, Captain. The children tell me you are to be married. Baroness: Thank you, my dear. CAPTAIN: You are back to... stay? MARIA: Only until arrangements can be made for another governess. Baroness: There you are. I really must speak to the cook about Wiener Schnitzel. It is entirely too delicious for my figure. And it makes you much too quiet at the dinner table. Or was it the wine? CAPTAIN: Undoubtedly the wine. Baroness: You have no idea what kind of trouble I'm having trying to decide what to give you for a wedding present. Oh, I know, I'm enough. But I do want you to have some little trifle for the occasion. At first I thought of a fountain pen, but you've already got one. And then I thought, perhaps a villa in the south of France. But they are so difficult to gift-wrap. Oh, Georg, how do you feel about yachts? A long sleek one for the Mediterranean or a tiny one for your bathtub? CAPTAIN: Elsa... Baroness: And where to go on our honeymoon? Now that is a real problem. I thought a trip around the world would be lovely. Realize that I don't know that there must be some place better to go. And don't worry, darling... CAPTAIN: Elsa... Baroness: Yes, Georg. CAPTAIN: It's no use. You and ... I'm being dishonest, to both of us. And utterly unfair to you. When two people talk of marriage... Baroness: No, don't ... don't say another word, Georg. Please. You see... er... there are other things that I have been thinking of. Fond as I am of you, I really don't think you are the right man for me. You're much too independent. And I ... I need someone who needs me desperately, or at least needs my money desperately. I've enjoyed every moment we've had together. I do thank you for that. Now, if you'll forgive me. I'll go inside, pack my little bags and return to Vienna where I belong. And somewhere out there is a young lady, who I think... will never be a nun. Auf wiedersehen, darling. CAPTAIN: Hello. I thought I just might find you here. MARIA: Is there something you wanted? CAPTAIN: No, no, no, sit down please. Please. Er... May I? You know, I was thinking, I was wondering two things. Why did you run away to the abbey, and what was it that made you come back. MARIA: Well, I had an obligation to fulfill and I came back to fulfill it. CAPTAIN: Is that all? MARIA: And I missed the children. CAPTAIN: Yes. Only the children? MARIA: No. Yes! Isn't it right I should have missed them? CAPTAIN: Oh, yes, yes of course. I was only hoping that perhaps you... perhaps you might... er... MARIA: Yes? CAPTAIN: Well... er... nothing was the same when you were away. And it'll be all wrong again after you leave. And I just thought that perhaps you might... er... change your mind? MARIA: I'm sure the baroness will be able to make things fine for you. CAPTAIN: Maria, there isn't going to be any baroness. MARIA: There isn't? CAPTAIN: No. MARIA: I don't understand. CAPTAIN: Well, we've... er...called off our engagement, you see and... er... MARIA: Oh, I'm sorry. CAPTAIN: Yes... You are? MARIA: You did? CAPTAIN: Yes. You can't marry someone when you're in love with someone else, can you? MARIA: Oh, the Reverend Mother always says, “When the Lord closes a door, somewhere He opens a window.” CAPTAIN: What else does the Reverend Mother say? Maria: That you have to look for your life. CAPTAIN: Is that why you came back? And have you found it…Maria? MARIA: I think I am. I know I have. CAPTAIN: I love you. MARIA: Oh, can this be happening to me? (Singing): “Something Good” Perhaps I had a wicked childhood. Perhaps I had a miserable youth. But somewhere in my wicked miserable past, There must have been a moment of truth. For here you are, standing there, loving me, whether or not you should. So somewhere in my youth or childhood, I must have done something good. Nothing comes from nothing. Nothing ever could. So somewhere in my youth or childhood, I must have done something good. CAPTAIN: Do you know when I first started loving you? That night at the dinner table when you sat on the ridiculous pinecone. MARIA: What? I knew the first time you blew that silly whistle. CAPTAIN: Oh, my love. CAPTAIN (singing): For here you are, standing there, loving me, whether or not you should. MARIA (singing): So somewhere in my youth or childhood, I must have done something good. (Chorus) Nothing comes from nothing. Nothing ever could. So somewhere in my youth or childhood, I must have done something good. CAPTAIN: Maria, is there anyone I should go to, to ask permission to marry you? MARIA: Well, why don’t we ask… CAPTAIN: The children? Zeller: Herr Detweiler! Heil Hitler! Max: Good afternoon, Herr Zeller. Zeller: Perhaps you've not heard. I'm now the guiltier, Heil Hitler! Max: Heil Hitler! Zeller: I have just come from the house of Captain Von Trap. Incidentally the only one in the neighborhood not flying the flag of the Third Reich since the Anschluss. But we have dealt with that situation. The housekeeper told me that I would find you here. It was the only information the woman would give me. Max: What kind of information are you looking for? Zeller: We want to know when the captain will be returning. Max: Well, he's on his honeymoon trip... er... He's not been in touch with us. Zeller: Are you asking me to believe that the captain has not communicated with his children in over a month? Max: Herr Zeller, how many men do you know who communicate with their children while on their honeymoon? Zeller: When he does return he will be expected to fill his proper position in the New Order. Max: Naturally, naturally. And may I congratulate you that is your people on deciding to allow the festival to go on tonight as planned. Zeller: Why should it not go on? Nothing in Austria has changed. Singing and music will show this to the world. Austria is the same. Heil Hitler! Max: Heil Hitler. Come on, children, let's go home. Gretl: Why was he so cross? Max: Everybody is cross these days, darling. Marta: Maybe the flag with the black spider on it makes people nervous. Louisa: Is father going to be in trouble? Max: He doesn't have to be. The thing to do these days is to get along with everybody. I want you all to remember that tonight at the concert. Bargitta: Are we really going to sing before a whole lot of people tonight? Max: Of course. Look, the Von Trap family sings. Hear your names: Liesl, Frederick, Louisa, Bargitta, Kurt, Marta and Gretl. Gretl: Why am I always last? Max: Because you are the most important. Gretl: Oooh.... Max: There we go. Bargitta: Uncle Max, are you sure father will approve of our singing in public? Max: Oh, he'll be pleased and proud. Bargitta: Liesl, do you think so? Max: Don't you trust me? Bargitta: No! Max: You're a very intelligent girl. Rolfe: Liesl. Liesl! Liesl: Rolfe! Rolfe, I'm so glad to see you! It's been such... Rolfe: Good afternoon. You will take this please, and deliver it to your father as soon as he comes home. Liesl: He's on his honeymoon. Rolfe: I know that. Liesl: You do? Rolfe: We make it our business to know everything about everyone. Liesl: Who's "we"? Rolfe: See that he gets it. Liesl: What is it? Rolfe: It's a telegram from Berlin. Liesl: Don't you want to come over tonight and deliver it yourself? Rolfe: I am now occupied with more important matters. And your father'd better be too, if he knows what's good for him. Liesl: But... Rolfe.... Children: Father, father… CAPTAIN: Hello, hello, hello! Kurt: Did you bring us any souvenirs from Paris? Frederick: Oh, why didn't you telephone us? Max: I had nothing to do with that, Georg. CAPTAIN: We came back as fast as we could. Well, well well, well. We missed you! MARIA: We missed kissing you goodnight. CAPTAIN: We missed all the noise you make in the morning telling each other to be quiet! Bargitta: Oh, you came back just in time. Look, Fraulein Maria... I mean mother. We're going to sing in the festival tonight. MARIA: What? Max: Surprise, surprise! CAPTAIN: All right. Surprises for you on the terrace. We'll talk about this inside. Max: Georg, I would have told you, but you were away. I had to make a last minute decision. I was fortunate to enter them at all. CAPTAIN: Max... Max: They'll be the talk of the festival. Imagine seven children in one family. CAPTAIN: Max! Somehow I recall having made it quite clear to you how I feel about my family singing in public. Max: But the committee heard and they were enchanted. CAPTAIN: Oh, Max, what did they say? Max: I have never heard such enthusiasm. MARIA: Oh darling, don't you think just this once? CAPTAIN: Absolutely out of the question. Max: Georg, this is for Austria. CAPTAIN: For Austria? There is no Austria! Max: But the Anschluss happened peacefully! Let's at least be grateful for that! CAPTAIN: Grateful? You know, Max, sometimes I don't believe I know you. Liesl: Father, I forgot. This is for you. Max: Maria, he has got to at least pretend he is working with these people. You must convince him. MARIA: Max, I can't ask him to be less than he is... Max: Then I'll talk to him. If the children don't sing at the festival... well ... it'll be a reflection on Austria. I know. It wouldn't do me any good either. Liesl: Mother? That sounds so nice. I like calling you mother. MARIA: I like hearing it. Liesl: You love father very much. I can tell you do. MARIA: Very much. Liesl: Mother, what do you do when you think you love someone? I mean when you start loving someone. Or... when he stops loving you? MARIA: Well, you cry a little. And then you wait for the sun to come out. It always does. Liesl: There are so many things I think I should know. But I don't. I really don't. MARIA: How can you? Liesl: Sometimes I feel the world is coming to an end. MARIA: And then you feel it's just beginning. Liesl: Yes! MARIA: It was that way with me, Liesl. And for you it will be just as wonderful, I promise. Liesl: Do you really think so? MARIA (singing): “Sixteen Going on Seventeen” When you're sixteen, Going on seventeen Waiting for life to start, Somebody kind who touches your mind, Will suddenly touch your heart. Liesl (singing): When that happens, After it happens, Nothing is quite the same. Somehow I know I'll jump up and go, If ever he calls my name. MARIA (singing): Gone are your old ideas of life, The old ideas grow dim. Lo and behold you're someone's wife. And you belong to him. You may think this kind of adventure never may come to you, Darling sixteen, Going on seventeen, Wait a year or two. Liesl (singing): I'll wait a year or two. MARIA and Liesl (singing together): Just wait a year or two. CAPTAIN: Liesl! MARIA: What is it? CAPTAIN: Berlin. They've offered me a commission in their navy. I've been requested to accept immediately and report to their naval base in Bremer haven tomorrow. MARIA: I knew this would happen. I didn’t think it would be so soon. CAPTAIN: To refuse them would be fatal for all of us. And joining them would be unthinkable. Get the children all together. Don't say anything that's going to make them worry. Just get them ready. We've got to get out of Austria, and this house, tonight. Max: If not only strain my back, it breaks my heart when I think of a certain singing group that will not appear at the festival tonight. CAPTAIN: By the time you make the announcement we will be over the border. Max: I hope you appreciate the sacrifice I'm making. CAPTAIN: You have no choice. Max: I know. That's why I'm making it. Bargitta: Why doesn't father turn the motor on? MARIA: Because he doesn't want anyone to hear us. CAPTAIN: Shhh! Liesl: What will Frau Schmidt and Franz say when they discover that we're gone? MARIA: They'll be able to answer truthfully they didn't know anything about it if anyone asks them. Liesl: Will we be coming back here? MARIA: Some day, Liesl. I do hope, some day. Gretl: Are father and Uncle Max going to push the car all the way to Switzerland? MARIA: Shhh! Zeller: Something wrong with your car, captain? CAPTAIN: Yes, as a matter of fact we couldn't get it started. Zeller: Guard! Fix Captain Von Trapp's car so it will start. Excellent, Karl. I've not asked you where you and your family are going. Nor have you asked me why I'm here. CAPTAIN: Well, apparently we're both suffering from a deploring lack of curiosity. Zeller: You were sent a telegram which you did not answer. A telegram from Admiral Von Schreiber of the navy of the Third Reich. CAPTAIN: I was under the impression, Herr Zeller, that the contents of telegrams in Austria are private. At least the Austria I know. Zeller: I have my orders. And they are to take you personally to Bremerhaven tonight where you will accept your commisssion. CAPTAIN: I'm afraid that's going to be quite impossible. You see, we... er... all of us... the entire family will be singing in the festival tonight. As a matter of fact, that's where we are going now. I couldn't possibly let them down now. Maria: I just hope we're not too late. CAPTAIN: Yes. Zeller: And you ask me to believe this?! That you, Captain Von Trapp, are singing in a concert? Max: Believe me, it will be a performance beyond anything even I've dreamt of. CAPTAIN: Like you, Herr Zeller, I too am a man of hidden talents. Max: Yes... er... here, the program. Zeller: It says here only the names of the children. CAPTAIN: It says "The Von Trapp family singers", and I am the head of the Von Trapp family, am I not? Zeller: And these...erm... these travel clothes that you're all wearing? Maria: Our costumes, naturally. Herr Zeller, this night here is not good for the children's voices. Zeller: Well, a slight delay in my orders would not be serious. Therefore, you will sing. You will all sing. But only because that's the way I want it to be. It would demonstrate that nothing in Austria has changed. And when you have finished singing, you Captain Von Trapp will be taken to Bremer haven. Now, if you will all get into your car, we will escort the Von Trapp family singers to the festival. CAPTAIN: No escort will be necessary, Herr Zeller. Zeller: Necessary? A pleasure, Captain. After all, we would not want you to get lost in the crowd, would we? CAPTAIN: No. The Von Trap Family (singing): “Do Re Me” CAPTAIN: My fellow Austrians, I shall not be seeing you again perhaps for a very long time. I would like to sing for you now… a love song. I know you share this love. I pray that you will never let it die. CAPTAIN (Singing): “Edelweiss” Max: I think it'll work. I shall miss all of you. I shall miss the money I could have made with you. Thank you, ladies and gentlemen. Thank you. The festival competition has come to its conclusion. Except of course we don't know yet what that conclusion will be. And while the judges are arriving at their decision, I have been given permission to offer you an encore. This will be the last opportunity the Von Trapps will have of singing together for a long, long time. Even now, officials are waiting in this auditorium to escort Captain Von Trapp to his new command in the Naval Forces of the Third Reich. And so, ladies and gentlemen, the family Von Trapp again… to bid you farewell. The Von Trapps (Singing): “So Long，Farewell” Max: Ladies and gentlemen, I have here the decision of our distinguished judges. We will start with the award for third prize. Or this honor the judges have named the first soloist of the choir of F St. Ignites Church in Murback, Fraulein Schweiger. Second prize to: the Toby Reiser Quintet. And the first prize, the highest honor in all Austria, to the Von Trapp family singers. The family Von Trapp. Guard: They're gone! Reverend Mother: Quickly! Quickly! I have a place you can hide. Slowly! Slowly! Zeller: Open this gate! Nun: Good evening. Zeller: Hurry up! Woman! Two men in there! Six of you cover the yard. You two cover the corridor. MARIA: Reverend Mother, we didn't realize we put the abbey in this danger. Reverend Mother: No, Maria. It was right for you to come here. CAPTAIN: We thought we might borrow your car. Reverend Mother: I'm afraid our car would do you no good now. I've been listening to the wireless. The borders have just been closed. CAPTAIN: All right. The borders are closed. Then we'll drive up in to the hills and go over those mountains on foot. MARIA: The children. CAPTAIN: We'll help them. They'll be all right. Frederick: We can do it without help, father. Reverend Mother: Maria, you will not be alone. Remember, “I will lift up my eyes on to the hills from whence cometh my help.” MARIA: Yes, mother. Marta: I'm scared. Bargitta: Me too. Reverend Mother: God be with you. Gretl: Mother? MARIA: Yes? Gretl: Would it help if we sang about our favorite things? MARIA: No, darling. This is one time it would not help. You must be very quiet. Hold tight to me. Soldier: Come one, let’s try the roof. Liesl: Rolfe, please. CAPTAIN: No, wait. Maria, children. Rolfe: It's you we want, not them. CAPTAIN: Put that down. Rolfe: Not another move! Or I'll shoot! CAPTAIN: You're only a boy. You don't really belong to them. Rolfe: Stay where you are. CAPTAIN: Come away with us. Before it's too late. Rolfe: Not another step. I'll kill you. CAPTAIN: You give that to me, Rolfe. Rolfe: Did you hear me? I'll kill you! CAPTAIN: Rolfe! You will never be one of them. Rolfe: Lieutenant! Lieutenant, they're here! They're here! Lieutenant. Nun1: Reverend Mother, I have sinned. Nun2: I too, Reverend Mother. Reverend Mother: What is this sin, my children?

Unit 7 Gone with the Wind《乱世佳人》

Subtitles (full version) OVERTUNE There was a land of Cavaliers and Cotton Fields called the Old South… Here in this pretty world Gallantry took its last bow… Here was the last ever to be seen of Knights and their babies Fair, of Master and of Slave… Look for it only in books, for it is no more than a dream remembered. A Civilization gone with the wind…

BRENT: What do we care if we were expelled from college, Scarlett? The war’s gonna start, so we would’ve left college anyhow STUART: War! Isn't it exciting, Scarlett? You know those fool Yankees actually want a war? BRENT: We'll show them! SCARLETT: Fiddle-dee-dee. War, war, war. This war talk is spoiling all the fun at every party this spring. I get so bored that I could scream. Besides, there isn't going to be any war. BRENT: Not going to be any war? STUART: Ah, buddy, of course there's going to be a war. SCARLETT: If either of you boys says "war" just once again, I'll go in the house and slam the door. BRENT: But Scarlett... STUART: Don't you want us to have a war? BRENT: Wait a minute, honey, please... STUART: We'll talk about this... BRENT: No please, we'll do anything you say... SCARLETT: Well, but remember I warned you. BRENT: I've got an idea. We'll talk about the barbecue the Wilkes are giving over at Twelve Oaks tomorrow. STUART: That's a good idea. You're eating barbecue with us, aren't you, Scarlett? SCARLETT: Well, I hadn't thought about that yet. I'll...I'll think about that tomorrow. STUART: And we want all your waltzes, there's first Brent, then me, then Brent, then me again, then Saul. Promise? SCARLETTT: Well, I just love to. STUART: Yahoo! SCARLETT: If only... if only I didn't have every one of them taken already. BRENT: Honey, you can't do that to us. STUART: How about if we tell you a secret? SCARLETT: Secret? Who by? BRENT: Well, you know Miss Melanie Hamilton, from Atlanta? STUART: Ashley Wilkes' cousin? Well, she's visiting the Wilkes at Twelve Oaks. SCARLETT: Melanie Hamilton, that goody-goody. Who wants no secret about her. BRENT: Well, anyway we heard... STUART: That is, they say… BRENT: Ashley Wilkes is going to marry her. STUART: You know the Wilkes always marry their cousins. BRENT: Now do we get those waltzes? SCARLETT: Of course. BRENT: Yahoo! SCARLETT: It can't be true...Ashley loves me. STUART: Scarlett! BRENT: What’s gotten into her? STUART: Suppose we made her mad? MAMMIE: Miss Scarlett, where are you going without your shawl and the night air coming? How come you didn’t ask them gentlemen to supper? You got no more manners than a field hand. After me and Miss Ellen done labored with you! Miss Scarlett, come on in before you catch your death of dampness. SCARLETT: No! I’m going to wait for Pa to come home. MAMMIE: Come on here! Come on! Mm-mm-mm! MR. O'HARA: (To his horse) There's none in the county can touch you, and none in the state. SCARLETT: Pa? How proud of yourself you are! MR. O'HARA: Well, Katie Scarlett O'Hara. So, you've been spying on me. And like your sister Suellen, you'll be telling your mother on me that I was jumping again. SCARLETT: Oh, Pa, you know I'm no 'tattle like Suellen. But it does seem to me that after you broke your knee last year jumping that same fence... MR. O'HARA: I'll not have my own daughter telling me what I shall jump and not jump. It's my own neck, so it is. SCARLETT: All right Pa, you jump what you please. How are they all over at Twelve Oaks? MR. O'HARA: The Wilkes? Oh, what you expect, with the barbecue tomorrow and talking, nothing but war... SCARLETT: Oh bother the war....was there, was there anyone else there? MR. O'HARA: Oh, their cousin Melanie Hamilton from Atlanta. And her brother Charles. SCARLETT: Melanie Hamilton is a pale-faced mealy-mouthed ninny and I hate her. MR. O'HARA: Ashley Wilkes doesn't think so. SCARLETT: Ashley Wilkes couldn't like anyone like her. MR. O'HARA: What's your interest in Ashley and Miss Melanie? SCARLETT: It's...it's nothing. Let's go into the house, Pa. MR. O'HARA: Has he been trifling with you? Has he asked you to marry him? SCARLETT: No. MR. O'HARA: No, nor will he. I have it in strictest confidence from John Wilkes this afternoon, Ashley is going to marry Miss Melanie. It'll be announced tomorrow night at the ball. SCARLETT: I don't believe! MR. O'HARA: Here, here what are you after? Scarlett! What are you about? Have you been making a spectacle of yourself running about after a man who's not in love with you? When you might have any of the bucks in the county? SCARLETT: I haven't been running after him, it's...it's just a surprise. That’s all. MR. O'HARA: Now, don't be jerking your chin at me. If Ashley wanted to marry you, it would be with misgivings, I'd say yes. I want my girl to be happy. You'd not be happy with him. SCARLETT: I would, I would. MR. O'HARA: What difference does it make whom you marry? So long as he's a Southerner and thinks like you. And when I'm gone, I leave Tara to you. SCARLETT: I don't want Tara. Plantations don't mean anything when... MR. O'HARA: Do you mean to tell me, Katie Scarlett O'Hara, that Tara, that land doesn't mean anything to you? Why, land is the only thing in the world worth working for, worth fighting for, worth dying for. Because it's the only thing that lasts. SCARLETT: Oh, Pa, you talk like an Irishman. MR. O'HARA: It's proud I am that I'm Irish. And don't you be forgetting, Missy, that you're half-Irish too. And to anyone with a drop of Irish blood in them, why the land they live on is like their mother. Oh, but there, there, now, you're just a child. It'll come to you, this love of the land. There's no getting away from it if you're Irish. MAMMIE：Scarlett, Suellen, Carren, your mama’s home! Acting like a wet nurse to them white-trash Slatters…instead of eating her supper. Set up the fire! Got no business wearing herself out…Pork! Take the lamp out on the porch. Wearing herself out. Mr. Gerald. Miss Ellen’s home. Waiting on them poor white trash. Shut up, dog! Barking in the house. Get out there and get her medicine chest! PORK: We was worried about you, Miss Ellen. ELLEN: It’s all right, Pork. I’m home. WILKERSON: Mrs. O’Hara, we finished plowing the creek bottom today. What do you want me to start on tomorrow? ELLEN: Mr. Wilkerson, I’ve just come from Emmie Slattery’s bedside. Your child has been born. WILKERSON: My child, Madam? I’m sure I don’t understand. ELLEN: He has been born and mercifully has died. Good night, Mr. Wilkerson. MAMMIE: I fix your supper myself and you eats it. ELLEN: Yes, after prayers, Mammy. Mr. O’Hara, you must dismiss Jonas Wilkerson. MR. O'HARA: Dismiss him, Mrs. O’Hara? He’s the best overseer in the county. ELLEN: He must go tomorrow morning, the first thing! MR. O'HARA: No. The Yankee Wilkerson and the white-trash Slattery girl? ELLEN: We’ll discuss it later, Mr. O’Hara. MR. O'HARA: Yes, Mrs. O’Hara. SUELLEN: Scarlett’s dress is prettier than mine! Can’t she wear my pink dress? I wanna wear Scarlett’s green dress. ELLEN: I don’t like your tone, Suellen. Your pink gown’s lovely. CARREEN: Can’t I stay up for the ball? ELLEN: You may wear my garnets. CARREEN: Why can’t I stay up for the ball tomorrow? ELLEN: Scarlett, you look tired, my dear. I’m worried about you. SCARLETT: Well, I’m all right, mum. CARREEN: Why can’t I stay up for the ball? I’m 13 now. ELLEN: You may go to the barbecue… SUELLEN: I don’t want your tacky dress anyhow! ELLEN: Prayers, girls…and to all the saint, that I have sinned in thought, word and deed…through my fault, through my fault, through my most grievous fault. ALL FAMILY: Therefore, I beseech thee, bless Mary, every virgin…blessed Michael the Archangel…blessed John the Baptist…the Holly Apostles, Peter and Paul, and all the saints…pray to the Lord… SCARLETT: (whispering) Ashley doesn’t know I love him. I’ll tell him I love him…and then he can’t marry… MAMMIE: Just hold on and suck in! SERVANT GIRL: Mammy, here’s Miss Scarlett’s vittles. SCARLETT: Take it back to the kitchen. I won’t need a bite. No, I’m not. Put on the dress cause we’re late already. MAMMIE: What my lamb gonna wear? SCARLETT: That! MAMMIE: No. You ain’t! You can’t show your bosom before 3:00! I’m gonna speak to your mamma. SCARLETT: If you say one word to mother, I won’t eat a bite! MAMMIE: Keep your shawl on. I ain’t aiming for you to get freckled…after the buttermilk I done put on you, bleaching them freckles. Now, Miss Scarlett, you come on and be good and eat just a little, honey. SCARLETT: No! I’m going to have a good time today and eat at the barbecue. MAMMIE: If you don’t care what folks say, I does! You can always tell a lady by how she eats in front of folk like a bird. I ain’t aiming for you to go to John Wolk’s and gobble like a hog! What gentlemens says and thinks is different things. And I ain’t noticed Mr. Ashley asking for to marry you. Now don’t eat too fast. Ain’t no need a having it come right back up again. SCARLETT: Why is it a girl has to be so silly to catch a husband? MR. O'HARA: Scarlett O’Hara! If you’re not down here by the toe I count 10…we’ll go without you! SCARLETT: I’m coming, Pa! MR. O'HARA: One, two, three, four, five… SCARLETT: Oh, my dear! My stays are so tight. I’ll never get through the day without belching! MR. O'HARA: Well, John Wilkes. It's a grand day you'll be having for the barbecue. JOHN WILKES: So it seems, Gerald. Why isn't Mrs. O'Hara with you? MR. O'HARA: She's after settling accounts with the overseer, but she'll be along for the ball tonight. INDIA: Welcome to Twelve Oaks, Mr. O'Hara. MR. O'HARA: Thank you kindly, India. Your daughter is getting prettier every day, John. JOHN WILKES: Oh, India, here are the O'Hara girls, we must greet them. INDIA: I can't stand that Scarlett. If you'd see the way she throws herself at Ashley. JOHN WILKES: Oh, no, that's your brother's business. You must remember your duties as hostess. Good morning, girls! You look lovely. Good morning, Scarlett. SCARLETT: India Wilkes. What a lovely dress! I just can't take my eyes off it. MAN1: Good morning, Miss Scarlett. SCARLETT: Morning. MAN2: You look mighty fine this morning, Miss Scarlett. SCARLETT: Thank you. Good morning. MAN3: Morning, Miss Scarlett. SCARLETT: Good Morning. MAN4: Pleasure to see you, Miss Scarlett. SCARLETT: Ashley! ASHLEY: Scarlett! My dear! SCARLETT: I've been looking for you everywhere. I've got something I must tell you. Can't we go someplace where it's quiet? ASHLEY: Yes I'd like to, but... I've something to tell you, too. Something I...I hope you'll be glad to hear. Now come and say hello to my cousin, Melanie Wilkes. SCARLETT: Oh, do we have to? ASHLEY: She's been looking forward to seeing you again. Melanie! Here's Scarlett. MELANIE: Scarlett. I'm so glad to see you again. SCARLETT: Melanie Hamilton, what a surprise to run into you here! I hope you're going to stay with us a few days at least. MELANIE: I hope I shall stay long enough for us to become real friends, Scarlett. I do so want us to be. ASHLEY: We'll keep her here, won't we, Scarlett? SCARLETT: Oh, we'll just have to make the biggest fuss over her, won't we, Ashley? And if there's anybody who knows how to give a girl a good time, it's Ashley. Though I expect our good times must seem terribly silly to you because you're so serious. MELANIE: Oh, Scarlett. You have so much life. I've always admired you so. I wish I could be more like you. SCARLETT: You mustn't flatter me, Melanie, and say things you don't mean. ASHLEY: Nobody could accuse Melanie of being insincere. Could they, my dear? SCARLETT: Oh, well then, she's not like you. Is she, Ashley? Ashley never means a word he says to any girl. Oh, why Charles Hamilton, you handsome old thing, you… CHARLES HAMILTON: But, oh, Miss O'Hara... SCARLETT: Do you think that was kind to bring your good-looking brother down here just to break my poor, simple country-girl's heart? SUELLEN: Look at Scarlett, she's never even noticed Charles before. Now just because he's your beau, she's after him like a hornet! SCARLETT: Charles Hamilton, I want to eat barbecue with you. And mind you don't go philandering with any other girl because I'm mighty jealous. CHARLES HAMILTON: I won't, Miss O'Hara. I couldn't! SCARLETT: I do declare, Frank Kelly, you don't look dashing with that new set of whiskers. FRANK: Oh, thank you, thank you, Miss Scarlett. SCARLETT: You know Charles Hamilton and Ray Kelvert asked me to eat barbecue with them, but I told them I couldn't because I'd promised you. INDIA: You needn't be so amused, look at her. She's after your beau now. FRANK: Oh, that's mighty flattering of you, Miss Scarlett. I'll see what I can do, Miss Scarlett. KATHLEEN: What's your sister so mad about, Scarlett, you sparking her beau? SCARLETT: As if I couldn't get a better beau than that old maid in britches. Brent and Stuart, do talk, you handsome old thing, you...oh, no, you're not, I don't mean to say that I'm mad at you. BRENT: Why？Scarlett honey... SCARLETT: You haven't been near me all day and I wore this old dress just because I thought you liked it. I was counting on eating barbecue with you two. BRENT: Well, you are, Scarlett... STUART: Of course you are, honey. SCARLETT: Oh, I never can make up my mind which of you two's handsomer. I was awake all last night trying to figure it out. Kathleen, who's that? KATHLEEN: Who? SCARLETT: That man looking at us and smiling. A nasty dog. KATHLEEN: My dear, don't you know? That's Rhett Butler. He's from Charleston. He has the most terrible reputation. SCARLETT: He looks as if, as if he knows what I looked like without my shimmy. KATHLEEN: How? But my dear, he isn't received. He's had to spend most of his time up North because his folks in Charleston won't even speak to him. He was expelled from West Point, he's so fast. And then there's that business about that girl he wouldn't marry... SCARLETT: Tell, tell... KATHLEEN: Well, he took her out in a buggy riding in the late afternoon without a chaperone and then, and then he refused to marry her! SCARLETT: (whisper)... KATHLEEN: No, but she was ruined just the same. MELANIE: Ashley… ASHLEY: Happy? MELANIE: So happy! ASHLEY: You seem to belong here. As if it had all been imagined for you. MELANIE: I like to feel that I belong to the things you love. ASHLEY: You love Twelve Oaks as I do. MELANIE: Yes, Ashley. I love it as, as more than a house. It's a whole world that wants only to be graceful and beautiful. ASHLEY: And so unaware that it may not last, forever. MELANIE: You're afraid of what may happen when the war comes, aren't you? Well, we don't have to be afraid. For us. No war can come into our world, Ashley. Whatever comes, I'll love you, just as I do now. Until I die. SCARLETT: Isn’t this better than sit in a table? A girl hasn’t got but two sides to her at a table. MAN 1: I’ll get her dessert. CHARLES: She said me. MAN 1: Allow me, Miss Scarlett? SCARLETT: I think Charles Hamilton may get it. CHARLES: Oh, thank you, Miss O’Hara. Thank you! STUART: Go get it, boy! Isn’t he the luckiest… CHARLES: Miss O’Hara… I love you. SCARLETT: I… I don’t guess I’m as hungry as I thought. Why do I have to take a nap? I’m not tired. MAMMIE: Well-brought-up ladies takes naps at parties. It’s time you behave and act like you was Miss Ellen’s daughter. SCARLETT: But when we were in Saratoga, I didn’t see Yankee girls taking naps. MAMMIE: No, and you won’t see no Yankee girls at the ball, neither. SUELLEN: How was Ashley today? He didn’t pay much attention to you. SCARLETT: You mind your business! You’ll be lucky you don’t lose whisker-face Kennedy. SUELLEN: You’re sweet on Ashley, and his engagement’s being announced tonight. SCARLETT: That’s as much as you know. MAMMIE: You ought to behave yourself! Acting like poor white-trash children! If you’s old enough for parties you should act like ladies! SCARLETT: Who cares? MR. O'HARA: We've borne enough insults from the meddling Yankees. It's time we made them understand we keep our slaves with or without their approval. Who's to stop them right from the state of Georgia to secede from the Union? MAN: That's right. MR. O'HARA: The South must assert ourselves by force of arms. After we fired on the Yankee rascals at Fort Sumter, we've got to fight. There's no other way. MAN: Fight, that's right, fight! MAN: Let the Yankees be the ones to ask for peace. MR. O'HARA: The situation is very simple. The Yankees can't fight and we can. CHORUS: You're right! MAN: That's what I'll think! They'll just turn and run every time. MAN: One Southerner can lick twenty Yankees. MAN: We'll finish them in one battle. Gentlemen can always fight better than rattle. MAN: Yes, gentlemen always fight better than rattle. MR. O'HARA: And what does the captain of our troop say? ASHLEY: Well, gentlemen...if Georgia fights, I go with her. But like my father I hope that the Yankees let us leave the Union in peace. MAN1: But Ashley... MAN2: Ashley, they've insulted us. MANS: You can't mean that you don't want war. ASHLEY: Most of the miseries of the world were caused by wars. And when the wars were over, no one ever knew what they were about. MR. O'HARA: Now gentlemen, Mr. Butler has been up North I hear. Don't you agree with us, Mr. Butler? RHETT BUTLER: I think it's hard winning a war with words, gentlemen. CHARLES: What do you mean, sir? RHETT: I mean, Mr. Hamilton, there's not a cannon factory in the whole South. MAN: What difference does that make, sir, to a gentleman? RHETT: I'm afraid it's going to make a great deal of difference to a great many gentlemen, sir. CHARLES: Are you hinting, Mr. Butler, that the Yankees can lick us? RHETT: No, I'm not hinting. I'm saying very plainly that the Yankees are better equipped than we. They've got factories, shipyards, coalmines... and a fleet to bottle up our harbors and starve us to death. All we've got is cotton, and slaves, and ...arrogance. MAN: That's treacherous! CHARLES: I refuse to listen to any renegade talk! RHETT: Well, I'm sorry if the truth offends you. CHARLES: Apologies aren't enough sir. I hear you were turned out of West Point, Mr. Rhett Butler, and that you aren't received in a decent family in Charleston. Not even your own. RHETT: I apologize again for all my shortcomings. Mr. Wilkes. Perhaps you won't mind if I walk about and look over your place. I seem to be spoiling everybody's brandy and cigars and... dreams of victory. MAN: Well, that's just about what you could expect from somebody like Rhett Butler. MR. O'HARA: You did everything but call him out. CHARLES: He refused to fight. ASHLEY: Not quite that Charles. He just refused to take advantage of you. CHARLES: Take advantage of me? ASHLEY: Yes, he's one of the best shots of the country. He's proved a number of times, against steadier hands and cooler heads than yours. CHARLES: Well, I'll show him. ASHLEY: No, no, no, please, don't go tweaking his nose anymore. You may be needed for more important fighting, Charles. Now if you'll excuse me, Mr. Butler's our guest... I think I'll just show him around. SCARLETT: Ashley! ASHLEY: Scarlett...who are you hiding from here? What are you up to? Why aren't you upstairs resting with the other girls? What is this, Scarlett? A secret? SCARLETT: Well, Ashley, Ashley...I love you. ASHLEY: Scarlett... SCARLETT: I love you. I do. ASHLEY: Well, isn't it enough that you gathered every other man's heart today? You always had mine. You cut your teeth on it. SCARLETT: Oh, don't tease me now. Have I your heart my darling? I love you, I love you... ASHLEY: You mustn't say such things. You'll hate me for hearing them. SCARLETT: Oh, I could never hate you and, and I know you must care about me. Oh, you do care, don't you? ASHLEY: Yes, I care. Oh, can't we go away and forget we ever said these things? SCARLETT: But how can we do that? Don't you, don't you want to marry me? ASHLEY: I'm going to marry Melanie. SCARLETT: But you can't, not if you care for me. ASHLEY: Oh my dear, why must you make me say things that will hurt you? How can I make you understand? You're so young and I'm thinking, you don't know what marriage means. SCARLETT: I know I love you and I want to be your wife. You don't love Melanie. ASHLEY: She's like me, Scarlett. She's part of my blood. We understand each other. SCARLETT: But you love me! ASHLEY: How could I help loving you? You have all the passion for life that I lack. But that kind of love isn't enough to make a successful marriage for two people who are as different as we are. SCARLETT: Why don't you say it, you coward? You're afraid to marry me. You'd rather live with that silly little fool who can't open her mouth except to say "yes", "no", and raise a houseful of mealy-mouthed brats just like her! ASHLEY: You mustn't say things like that about Melanie. SCARLETT: Who are you to tell me I mustn't? You led me on, you made me believe you wanted to marry me! ASHLEY: Now Scarlett, be fair. I never at any time... SCARLETT: You did, it's true, you did! I'll hate you till I die! I can't think of anything bad enough to call you... RHETT: Has the war started? SCARLETT: Sir, you...you should have made your presence known. RHETT: In the middle of that beautiful love scene? That wouldn't have been very tactful, would it? But don't worry. Your secret is safe with me. SCARLETT: Sir, you are no gentleman. RHETT: And you Miss are no lady. Don't think that I hold that against you. Ladies have never held any charm for me. SCARLETT: First you take a low, common advantage of me, then you insult me! RHETT: I meant it as a compliment. And I hope to see more of you when you're free of the spell of the elegant Mr. Wilkes. He doesn't strike me as half good enough for a girl of your...what was it...your passion for living? SCARLETT: How dare you! You aren't fit to wipe his boot! RHETT: And you were going to hate him for the rest of your life! INDIA: Well, she certainly made a fool of herself running after all the men at the barbecue. MELAINE: That’s not fair, India. She’s so attractive. Men naturally flock to her. INDIA: Oh, Melaine, you’re just too good to be true. Didn’t you see her going after Charles? And she knows Charles belongs to me. MELAINE: Oh, you’re wrong, India. Scarlett’s just high-spirited and vivacious. INDIA: Men flirt with girls like that, but they don’t marry them. MELAINE: I think you’re being very mean to her. CHARLES: Miss O’Hara! Miss O’Hara, isn't it thrilling? Mr. Lincoln has called the soldiers, volunteers to fight against us. SCARLETT: Oh, fiddle-dee-dee. Don't you men ever think about anything important? CHARLES: But it's war, Miss O'Hara! And everybody's going off to enlist, they're going right away. I'm going, too! SCARLETT: Everybody? CHARLES: Oh, Miss O'Hara, will you be sorry? To see us go, I mean. SCARLETT: I'll cry to my pillow every night. CHARLES: Oh, Miss O'Hara, I've told you I loved you. I think you're the most beautiful girl in the world. And the sweetest, the dearest. I know that I couldn't hope that you could love me, so clumsy and stupid, not nearly good enough for you. But if you could, if you could think of marrying me, I'd do anything in the world for you, just anything, I promise! SCARLETT: Oh, what did you say? CHARLES: Miss O'Hara, I said, would you marry me? SCARLETT: Yes, Mr. Hamilton, I will. CHARLES: You will, you'll marry me? You'll wait for me? SCARLETT: Well, I don't think I'd want to wait. CHARLES: You mean you'll marry me before I go? Oh, Miss O'Hara...Scarlett...when may I speak to your father? SCARLETT: The sooner, the better. CHARLES: I'll go now, I can't wait. Will you excuse me? Dear? Dear! Mr. O’Hara! Mr. O’Hara! ASHLEY: It’ll be a week before they call me. MELANIE: Only a week till they take you away from me. MELANIE: Scarlett. I thought of you at our wedding yesterday and I hope that yours would be as beautiful. And it was. SCARLETT: Was it? MELANIE: Now we're really and truly sisters. Charles. CHARLES: Don't cry, darling. The war will be over in a few weeks and I'll be coming back to you. (Charles died at the front.) MAMMIE: Miss Scarlett! SCARLETT: I don’t care. I’m too young to be a widow. MAMMIE: Miss Scarlett! SCARLETT: Why, I’d just go around scaring people in that thing. MAMMIE: You shouldn’t be around people. You’s in mourning! SCARLETT: For what? I don’t feel anything. Why should I have to pretend and pretend? ELLEN: What is it? Oh, poor baby! What is it? SCARLETT: Mother, my life is over. Nothing will ever happen to me anymore! ELLEN: Darling… SCARLETT: Oh, mother, I know you think I’m horrible. But I just can’t bear going around in black. It’s bad enough not being able to go to parties. But looking this way too? ELLEN: I don’t think you’re at all horrible. It’s only natural you want to look young and be young when you are young. Oh, baby! How would you like to visit somewhere? Savanah, perhaps? SCARLETT: What would I do in Savannah? ELLEN: Well, Atlanta then. There’s lots going on there. And you can stay with Melanie and her Aunt Pittypat. SCARLETT: Melanie? Yes. Yes, I could, couldn’t I? On, mother, you’re sweet, sweeter than anybody in the world! ELLEN: You’d like it, really? All right, then. Now stop your crying, and smile. You can take Prissy with you. Start packing Miss Scarlett’s things, Mammy. I’ll go write the necessary letters. SCARLETT: Atlanta! MAMMIE: Savanah would be better for you. You’ll get in trouble in Atlanta. SCARLETT: What trouble are you talking about? MAMMIE: You know what trouble I’s talking about. I’s talking about Mr. Ashley Wilkes. He’ll be coming to Atlanta for his leave and you waiting for him just like a spider! He belongs to Miss Melanie. SCARLETT: Go pack my things like mother said! AUNT PITTYPAT: They’re all whispering and I know it’s about her! MELANIE: What’s it matter, Pittypat? AUNT PITTYPAT: Scarlett is living under my roof. So they all think I’m responsible for her. And for a widow to appear in public at a social gathering…every time I think of it, I feel faint. MELANIE: You know Scarlett came here only to help raise money for the Cause. It was splendid of her to make the sacrifice. Anyone hearing you talk would think she came to dance instead of sell things. DR. MEADE: Ladies and gentlemen, I have important news, glorious news. Another triumph for our magnificent men in arms. General Lee has completely whipped the enemy and swept the Yankee army northward from Virginia! And now, a happy surprise for all of us! We have with us tonight that most daring of all blockade runners, whose fleet schooners slipping past the Yankee guns have brought us here the very woolens and laces we wear tonight. I refer, ladies and gentlemen, to that will-o'-the-wisp of the bounding main. None other than our friend from Charleston, Captain Rhett Butler! RHETT: Permit me. MELANIE: Captain Butler, such a pleasure to see you again. I met you last at my husband’s home. RHETT: That’s kind of you to remember, Mrs. Wilkes. MELANIE: Did you meet Captain Butler at Twelve Oaks, Scarlett? SCARLETT: Yes, I … I think so. RHETT: Only for a moment. It was in the library. You had broken something. SCARLETT: Yes, Captain Butler, I remember you. MAN: Ladies, the Confederacy asks for your jewelry on behalf of our noble cause. SCARLETT: We aren't wearing any. We're in mourning. RHETT: Wait. On behalf of Mrs. Wilkes and Mrs. Hamilton. MAN: Thank you, Captain Butler. MELANIE: Just a moment, please. MAN: But, it's your wedding ring, ma'am. MELANIE: It may help my husband more, off my finger. MAN: Thank you. RHETT: It was a very beautiful thing to do, Mrs. Wilkes. SCARLETT: Here, you can have mine, too. For the cause. RHETT: And you Mrs. Hamilton, I know just how much that means to you. DR. MEADE: Melanie. I need your approval as a member of the committee with something we want to do, that's rather shocking. Will you excuse us, please? RHETT: I'll say one thing. The war makes the most peculiar widows. SCARLETT: I wish you'd go away. If you'd had any raising, you'd know I never want to see you again. RHETT: Now, why be silly? You've no reason for hating me. I'll carry your guilty secret to my grave. SCARLETT: Oh, I guess I'd be very unpatriotic to hate one of the great heroes of the war. I do declare, I was surprised that you'd turned out to be such a noble character. RHETT: I can't bear to take advantage of your little girl's ideas, Miss O'Hara. I am neither noble nor heroic. SCARLETT: But you are a blockade runner. RHETT: For profit. And profit only. SCARLETT: Are you trying to tell me you don't believe in the cause? RHETT: I believe in Rhett Butler. He's the only cause I know. The rest doesn't mean much to me. DR. MEADE: And now, ladies and gentlemen. I have a startling surprise for the benefit of the hospital. Gentlemen, if you wish to lead the opening real with the lady of your choice, you must bid for her. WOMAN: Caroline Meade, how could you permit your husband to conduct this, this, slave auction? CAROLINE MEADE: Darling Merrywether, how dare you criticize me? Melanie Wilkes told the doctor that if it's for the benefit of the cause, it's quite all right. WOMAN: She did? AUNT PITTY: Oh dear, oh dear, where are my smelling salts? I think I shall faint. CAROLINE MEADE: Don't you dare faint, Lilly Beth Hamilton. If Melanie says it's all right, it is all right. DR. MEADE: Come gentlemen, do I hear your bids? Make your offers! Don't be bashful, gentlemen! MAN1: Twenty dollars! Twenty dollars for Miss Maybelle Merryweather. MAN2: Twenty five dollars for Miss Fanny Ossing! DR. MEADE: Only twenty five dollars to give… RHETT: One hundred and fifty dollars in gold. DR. MEADE: For what lady, sir? RHETT: For Mrs. Charles Hamilton. DR. MEADE: For whom, sir? RHETT: Mrs. Charles Hamilton. DR. MEADE: Mrs. Hamilton is in mourning, Captain Butler. But I'm sure any of our Atlanta belles would be proud to. RHETT: Dr. Meade, I said Mrs. Charles Hamilton. DR. MEADE: She will not consider it, sir. SCARLETT: Oh, yes, I will. MAN: Choose your partners for the Virginia reel! RHETT: We've sort of shocked the Confederacy, Scarlett. SCARLETT: It's a little like blockade running, isn't it? RHETT: It's worse. But I expect a very fancy profit out of it. SCARLETT: I don't care what you expect or what they think, I'm gonna dance and dance. Tonight I wouldn't mind dancing with Abe Lincoln himself. Another dancing and my reputation will be lost forever. RHETT: With enough courage you can do without a reputation. SCARLETT: Oh, you do talk scandalous! You do waltz divinely, Captain Butler. RHETT: Don’t start flirting with me. I’m not one of your plantation beaus. I want more than flirting from you. SCARLETT: What do you want? RHETT: I’ll tell you. Scaralett O’Hara, if you’ll take that Southern belle simpler off your face. Someday I want you to say to me the words I heard you say to Ashley Wilkes. “I love you!” SCARLETT: There’re some you’ll never hear from me, Captain Butler, as long as you live. MELANIE: How sweet! How kind! He is a thoughtful gentleman. SCARLETT: Really he did! Why doesn’t he say something about my sacrifice? Oh, oh, oh! The darling thing. Oh, Rhett, it's lovely, lovely! You didn't really bring it all the way from Paris just for me! RHETT: Yes. I thought it was about time I got you out of that fake mourning. Next trip I'll bring you some green silk for a “frock to match it”. SCARLETT: Oh, Rhett! RHETT: It's my duty to blade boys at the front, to keep our girls at home looking pretty. SCARLETT: It's been so long since I had anything new. SCARLETT: How do I look? RHETT: Awful, just awful! SCARLETT: Why? What's the matter? RHETT: This war stopped being a joke when a girl like you doesn't know how to wear the latest fashion. SCARLETT: Oh, Rhett, let me do it. But Rhett, I don't know how I'd dare wear it. RHETT: You will, though. And another thing. Those pantalets. I don't know a woman in Paris wears pantalets anymore. SCARLETT: What do they... you shouldn't talk about such things. RHETT: You little hypocrite, you don't mind my knowing about them, just my talking about them. SCARLETT: Rhett, I really can't go on accepting these gifts. Though you are awfully kind. RHETT: I'm not kind, I'm just tempting you. I never give anything without expecting something in return. I always get paid. SCARLETT: If you think I'll marry you just to pay for the bonnet, I won't. RHETT: Don't flatter yourself, I'm not a marrying man. SCARLETT: Well, I won't kiss you for it, either. RHETT: Open your eyes and look at me. No, I don't think I will kiss you. Although you need kissing badly. That's what's wrong with you. You should be kissed, and often, and by someone who knows how. SCARLETT: And I suppose that you think that you are the proper person. RHETT: I might be, if the right moment ever came. SCARLETT: You're a conceited, black- hearted varmint, Rhett Butler, and I don't know why I let you come and see me. RHETT: I'll tell you why, Scarlett. Because I'm the only man over sixteen and under sixty who's around to show you a good time. But cheer up, the war can't last much longer. SCARLETT: Really, Rhett? Why? RHETT: There's a little battle going on right now that ought to pretty well fix things. One way or the other. SCARLETT: Oh, Rhett, is Ashley in it? RHETT: So you still haven't gotten the wooden-headed Mr. Wilkes out of your mind? Yes, I suppose he's in it. SCARLETT: Oh, tell me, Rhett, where is it? RHETT: Some little town in Pennsylvania called Gettysburg. (Hushed and grim, Atlanta turned painful eyes towards the far-away little town of Gettysburg… and a page of history waited for three days while two nations came to death grips on the farm lands of Pennsylvania…) MAN: Casualty list！Casualty list！ WOMAN: Please! Please! SERVANT MAN: Here you is, Melanie. They was fighting for them so. It just got tore in half. MELANIE: Scarlett, you look. The W’s at the end. SCARLETT: Wellman, Wendel, White, Whitman, Wilkend, Williams, Woolsey, Wortman… MELANIE: Scarlett, you’ve passed him! SCARLETT: He isn’t there! He isn’t there! MELANIE: Ashley’s safe. He isn’t listed! SCARLETT: Oh, he’s safe. He’s safe! MELANIE: Oh, Scarlett, you’re so sweet to worry about Ashley like this for me. I must go to her. DR. MEADE: Don’t, my dear. Not here. Let’s go home. MELANIE: Dr. Meade, not…? DR. MEADE: Yes, our boy Darcy… MRS. MEADE: I was making these mittens for him. He won’t need them now. LITTLE MAN: Well, I’m gonna enlist. I’ll show them! I’ll kill those Yankees! MELANIE: You hush your mouth. You think it’ll help your mother to have you shot too? It’s so silly! RHETT: It’s a black day, Scarlett! Haven’t had bad news, have you? SCARLETT: Ashley’s safe. RHETT: I’m glad, for Mrs. Wilkes’ sake. SCARLETT: There are so many others. RHETT: Any of your friends? SCARLETT: About every family in the country. The Tarleton boys, both of them. RHETT: Yes. Look at them. All these poor tragic people. The South’s sinking to its knees. It’ll never rise again. The Cause. The Cause of living in the past is dying right in the front of us. SCARLETT: I never heard you talk like that. RHETT: I’m angry. Waste always makes me angry and that’s what this is, sheer waste! But don’t you be downcast. Ashley’s still alive to come home to the women who love him. Both of them. MELANIE: You’re here! Oh, you’re here! You’re really here at last! Oh, my dear, I’ve waited so long! ASHLEY: Melanie, my dear, my darling wife! MELANIE: But we’re forgetting Scarlett! ASHLEY: Scarlett, dear. Why is this way to greet a returning warrior? SCARLETT: Ashley, I…I…Merry Christmas, Ashley! MAN: Come on, old gentleman, come on. We’s ate all your wives. We’s ate all your little chicks. You got nobody to worry your head about leaving. Come on. Now you just stand still so you…can be Christmas for the white folks. Now, hold on! Hold on！Don’t go getting so uppity. Even if you is the last chicken in Atlanta. SCARLETT: Let’s not talk about the war. It’s Christmas. Let’s talk about Twelve Oaks and Tara and times before there was a war. Could we have the wine? AUNT PITTY: Why did you say there wasn’t enough? There’s plenty. It’s the very last of my father’s fine Maderia. He got it from his uncle Admiral Will Hamilton of Savannah…who married his cousin Hessica Carroll of Carrolton…who was the second cousin and akin to the Wilkeses too. I saved it to wish Ashly a Merry Christmas. But you mustn’t drink it all at once, because it is the last. ASHLEY: I meant it, my dear. It was a lovely Christmas gift. Only generals have tunics like this nowadays. MELANIE: I’m so happy you like it, dear. ASHLEY: Where did you get the cloth? MELANIE: It was sent by a Charleston lady. I nursed her son while he was in the hospital before he died and…You will take good care of it, won’t you? You won’t let it get torn. Promise me. ASHLEY: You mustn’t worry. I’ll bring you back without any holes in it. I promise. Good night, my dear. MELANIE: Good night, Scarlett, darling. SCARLETT: Uncle Peter, is it time for Mr. Ashley to leave? UNCLE PETER: Pretty quick now, Miss Scarlett. SCARLETT: Melanie isn’t going to the depot? She hasn’t changed her mind? UNCLE PETER: No, ma’am, she’s laying down. She’s so upset. Mr. Wilkes told her she can’t even come downstairs. SCARLETT: Ashley…Ashley, let me go to the depot with you. ASHLEY: Scarlett, I’d rather remember you as you are now. Not shivering at the depot. SCARLETT: All right. Ashley, I’ve got a present for you too. ASHLEY: Why, Scarlett, it’s beautiful. Tie it on me, my dear. SCARLETT: While Melly was making a new tunic, I made this to go with it. ASHLEY: You made it yourself? Well, then I shall value it all the more. SCARLETT: You know there’s nothing I wouldn’t do for you. ASHLEY: There’s something you can do for me. SCARLETT: What is it? ASHLEY: Will you look after Melanie for me? She’s so frail and gentle, and she loves you so much. If I were killed… SCARLETT: You mustn’t say that! It’s bad luck. Say a prayer, quickly. ASHLEY: You say one for me. We shall need all our prayers. Now the end is coming. SCARLETT: The end? ASHLEY: The end of the war…and the end of our world, Scarlett. SCARLETT: But you don’t think the Yankees are beating us? ASHLEY: Oh, Scarlett, my men are barefooted now! And the snow in Virginia’s deep. When I see them, I see the Yankees coming and coming…always more and more! When the end does come, I shall be far away. It’ll be a comfort to me to know that she has you. You will promise, won’t you? SCARLETT: Yes. Is that all, Ashley? ASHLEY: All except… goodbye. SCARLETT: Oh, Ashley, I can’t let you go! ASHLEY: You must be brave. You must! SCARLETT: No, no! ASHLEY: How else can I bear going? Oh, Scarlett! You’re so fine and strong and beautiful. Not just your sweet face, my dear…but you. SCARLETT: Ashley, kiss me. Kiss me goodbye. Ashley. ASHLEY: No, Scarlett. No! SCARLETT: Oh, Ashley, I love you. I’ve always loved you. I’ve never loved anyone else. I only married Charles just to hurt you. Ashley, tell me you love me. I’ll live on it the rest of my life! ASHLEY: Goodbye. SCARLETT: When the war’s over, Ashley… When the war is over… (Atlanta prayed while onward surged the triumphant Yankees… Heads were high, but hearts were heavy, as the wounded and the refugees poured into unhappy Georgia…) SOLDIER: …and there’s a place back home…where a wild plum tree comes to flower in the springtime…down by the creek, you know. MELANIE: Yes, I know. SOLDIER: When we were little, my brother Jeff and I used to…I told you about my brother Jeff, didn’t I, ma’am? I know I did. He…We don’t know where Jeff is now, ma’am. Since Bull Run, we haven’t heard anything and … MELANIE: Please, we must have your temperature now. Just take this in your mouth and not talk anymore. Not just now. SCARLETT: Melanie, I’m so tired. I’ve got to go home. Aren’t you tired, Melanie? MELANIE: No, I’m not tired, Scarlett. This might be Ashley… and only strangers here to comfort him. No, I’m not tired, Scarlett. They could all be… Ashley. BELLE: I’ve been waiting one solid hour to speak to you, Mrs. Wilkes. MAN: Go on, you trash. Don’t you be pestering these ladies? SCARLETT: Don’t talk to her, Melanie. MELANIE: It’s all right, Scarlett. Who are you? BELLE: My name is Belle Watling. But that don’t matter. I speak to you thing I got no business here. MELANIE: Tell me what you want to see me about. BELLE: First time I come here, I says, “Belle, you’re a nurse.” But they didn’t want my kind of nursing. They was more than likely right. Then I tried giving them money. My money wasn’t good enough either! Those peahens! I know a gentleman who says you’re a human being. If you are, which they ain’t, you’ll take my money for the hospital. MRS. MEADE: Why are you doing here? Haven’t you been told twice already? BELLE: This time I’m conversing with Mrs. Wilkes! You might as well take my money, Mrs. Wilkes. It’s good money, even if it is mine. MELANIE: I’m sure you are very generous. BELLE: No, I’m not. I’m a Confederate, like everybody else. That’s all! MELANIE: Of course you are! BELLE: But some folks here wouldn’t feel that way. Maybe they ain’t as good Christians as you. MELANIE: Look, Mrs. Meade, it’s a great deal of money. 10, 20, 30, 50! And it’s not our paper money, it’s gold. SCARLETT: Let me see that handkerchief, R.B.! And she’s driving away in Rhett Butler’s carriage! Oh, if I just wasn’t a lady, what wouldn’t I tell that varmint! (Panic hit the City with the first of Sherman’s shell… Helpless and unarmed, the populace fled from the oncoming Juggernaut… And desperately the gallant remnants of an army marched out to face the foe…) PRIEST: “The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures. He restoreth my soul. He leadeth me in the paths of righteousness for His name’s sake. Yea, though I walked through the valley at the shadow of death, I will fear no evil. For thou art with me. Thy rod and thy staff, they comfort me.” SCARLETT: Yankees! Oh, Dr. Meade, they’re getting closer. DR. MEADE: They’ll never get into Atlanta. Never get through old Peg Leg Hood. SOLDIER 1: Give me something for the pain! Give me something for the pain. DR. MEADE: Sorry, son, we haven’t got anything to give you. SOLDIER 2: These animals are driving me crazy! SOLDIER 3: What luck! You got my jack. SOLDIER 4: Give me an ace and I’ll start another war. SOLDIER 3: And I’d bid the moon. SOLDIER 5: … that I never see you and my Pa again… DR. MEADE: This leg’s got to come off. SOLDIER 6: No, no, don’t! Leave me alone! DR. MEADE: I’m sorry, soldier. MAN: We’re out of chloroform, Dr. Meade. DR. MEADE: We’ll operate without it. SOLDIER 6: No, no! You won’t! You can’t do it. I won’t let you do it. DR. MEADE: Tell Dr. Wilson to take this leg off immediately. It’s gangrene. SOLDIER 6: No! Oh! DR. MEADE: I haven’t seen my family in three days. I’m going home for half an hour. MAN: Orderly, give me a lift! DR. MEADE: Burse, you can free this bed. FRANK: Miss Scarlett! SCARLETT: Why, Frank Kennedy? FRANK: Miss Suellen, is she well? SCARLETT: When did they bring you in? You are here. Are you bad hurt? FRANK: Suellen, is she…? SCARLETT: She is all right. MAN: Dr. Wilson needs you in the operating room. He’s gonna take off that leg. Better hurry. SCARLETT: I’ll be back. SOLDIER 6: No! You have me alone! Don’t! I can’t stand it! No, don’t! Don’t cut! Don’t cut! Don’t! Don’t! Please! DR. WILSON: Where’s the nurse? MAN: Mrs. Hamilton, Dr. Wilson’s waiting. SCARLETT: Let him wait. I'm going home. I've done enough. I don't want any more men dying and screaming. I don't want anymore. Big Sam! Big Sam! Big Sam! SAM: Almighty Moses! It’s Miss Scarlett! SCARLETT: Sam, Elijah, Prophet, Apostle. I’m so glad to see you. Tell me about Tara, about my mother. She didn’t write me. SAM: She gone got sick. SCARLETT: Sick? SAM: Just a little bit sick, that’s all, Miss Scarlett. Your pa went wild when they wouldn’t let him fight. And he had fits when they took us to dig the ditch for the soldiers. Your ma said the Confederacy needs it. We’s digging for the South. SCARLETT: Was there a doctor? CAPTAIN: We’ve got to march. SAM: Don’t worry. We’ll stop them Yankees. SCARLETT: Goodbye, Sam. Goodbye, boys. If you get sick or hurt, let me know. SAM: Goodbye, Miss Scarlett. Goodbye. SCARLETT: Goodbye. Goodbye. RHETT: Scarlett! Scarlett! Whoah. Climb into this buggy. This is no day for walking. You'll get run over. SCARLETT: Oh, Rhett, ride me to where Aunt Pitty is, please. RHETT: Panic's a pretty sight, isn't it? Whoah, whoah. That's just another one of General Sherman’s calling cards. He'll be paying us a visit soon. SCARLETT: I've gotta get out of here. I gotta get out of here before the Yankees come. RHETT: And leave your work at the hospital? Or have you had enough of death and lice and men chopped up? Well I suppose you weren't meant for sick men, Scarlett. SCARLETT: Don't talk to me like that, Rhett. I'm so scared. I wish I'd get out of here! RHETT: Let's get out of here together. No use staying here, letting the South come down around your ears. There are too many nice places to go and visit. Mexico, London, Paris... SCARLETT: With you? RHETT: Yes, Ma'am. I'm the man who understands you and admires you for just what you are. I figure we belong together, being the same sort. I've been waiting for you to grow up and get that sad-eyed Ashley Wilkes out of your heart. Well, I hear Mrs. Wilkes is going to have a baby in another month or so. It's be hard loving a man with a wife and baby clinging to him. Well, here we are. Are you going with me or are you getting out? SCARLETT: I hate and despise you, Rhett Butler. And I'll hate and despise you till I die! RHETT: Oh, no, you won't, Scarlett. Not that long. PRISSY: Miss Scarlett! Miss Scarlett! Folks are all going to Macon, and folks are running away! I’m running away! AUNT PITTY: I can’t bear those cannonballs right in my ears! I faint every time I hear one. Uncle Peter, look out for that trunk. SCARLETT: Aunt Pitty, you aren’t leaving? AUNT PITTY: I may be a coward…but oh, dear! Yankees in Georgia! How did they ever get in? PRISSY: I’m going too. SCARLETT: Prissy, go pack my things. Get it! Quick! Wait, I won’t be in a minute. AUNT PITTY: Scarlett, do you really think you ought to? DR. MEADE: Scarlett. What is this? You ain't planning on running away? SCARLETT: Don’t you dare to stop me. I’m never going back to that hospital. I’ve had enough of smelling death, of rot and death. I’m going home! I want my mother. My mother needs me. DR. MEADE: You got to listen to me. You must stay here. AUNT PITTY: Without a chaperon? It simply isn’t… DR. MEADE: Good heavens, this is war, not a garden party! Melanie needs you. SCARLETT: Oh, bother Melanie! DR. MEADE: She’s ill already. She shouldn’t even be having a baby. She may have a difficult time. SCARLETT: Can’t we take her along? DR. MEADE: Want her to be jounced over rough roads and have the baby ahead of time? SCARLETT: It isn’t my baby. You take care of her! DR. MEADE: Scarlett, we haven’t enough doctors, much less nurses to look after a sick woman. You’ve got to stay for Melanie. SCARLETT: What for? I don’t know anything about babies being born. PRISSY: I knows! I knows！I knows how to do it. I’s done it lots and lots. Let me, doctor. Let me. I can do everything. DR. MEADE: Good. I’ll rely on you to help us. Ashley’s fighting in the field. Fighting for the Cause. He may never come back. He may die. Scarlett, we own him a well-born child. SCARLETT: Ashley! AUNT PITTY: If you’re coming, Scarlett, hurry! SCARLETT: I promised Ashley something… DR. MEADE: Then you'll stay? Good. Go along, Miss Pittifett. Scarlett's staying. AUNT PITTY: Go on, Uncle Peter. I don’t know what to do. It’s like the end of the world! Uncle Peter, my smelling salt! SCARLETT: Melanie! Melanie! It’s all your fault! I hate you! I hate you! And I hate your baby! If only I hadn’t promised Ashley. If only I hadn’t promised him! (SIEGE: The skies rained Death…For thirty-five days a battered Atlanta hung grimly on, hoping for a miracle…Then there fell a silence…more terrifying than the pounding of the cannon…) SCAELETT: Stop! Stop! Stop! Please, stop! Are the Yankees coming? MAN: I’m afraid so, Ma’am. The army is pulling out. SCARLETT: Pulling out and leaving us to the Yankees? MAN: Not leaving, evacuating. We got to push back before Sherman cuts the McDonough road and catches a lot of it. SCARLETT: Oh, it can’t be true. It can’t be true! What’ll I do? MAN: Better refugee south, right quick. If you’ll excuse me. SCARLETT: Prissy! Prissy! Come here, Prissy! Go pack my things and Miss Melanie's, too. We're to Tara right away, the Yankees are coming. MELANIE: Scarlett! Scarlett! SCARLETT: Oh, Melanie, we're going to... Melly… MELANIE: I'm sorry to be such a bother, Scarlett. It began at daybreak. SCARLETT: But…but… the Yankees are coming. MELANIE: Poor Scarlett...you'd be at Tara now with your mother, wouldn't you? If it weren't for me...Oh, Scarlett darling, you've been so good to me. No sister could have been sweeter. I've been lying here thinking, if I should die… will you take my baby? SCARLETT: Oh, fiddle-dee-dee, Melanie, aren't things bad enough without you talking about dying? I'll send for Dr. Meade right away. MELANIE: Not yet, Scarlett. I couldn't let Dr. Meade sit here for hours while, while all those poor, badly wounded boys... SCARLETT: Prissy! Prissy! Prissy, come here, quick! Prissy, go get Dr. Meade, run, quick! Don't stand there like a scared goat, run! Hurry, Hurry! I'll sell you South.I will, I swear I will! I'll sell you South! This room’s like an oven already and it isn’t noon yet. Don’t worry, Melly. Mother says it always seems like the doctor will never come. If I don’t take a strap to that Prissy! Oh, Melly… You know what I heard about Maybelle Merriwether? You remember that funny-looked beau of hers? The one with the uniform like ladies’ red flannels? MELANIE: You don’t have to keep on talking for my sake, Scarlett. I know how worried you are. SCARLETT: Oh, Melly. I’ll just go and fetch you some cooler water. You’re slow as molasses in January. Where’s Dr. Meade? PRISSY: I never seen him, Miss Scarlett. SCARLETT: What? PRISSY: No, he ain’t at the hospital. A man told me that the doctor’s down at the car shed…with the wounded soldiers… SCARLETT: Well, why didn’t you go after him? PRISSY: Miss Scarlett, I’s scared to go down there at the car shed. There’s folks dying down there. And I’s scared of dead folks! SCARLETT: Oh, you go sit by Miss Melly. And don’t you be upsetting her or I’ll whip the hid off you. Have you seen… SOLDIER: Move aside, lady, please. SCARLETT: Dr. Meade? Dr. Meade, at last! DR. MEADE: Thank heaven you’re here! I need every pair of hands. Now, come, child, wake up. We got work to do. SCARLETT: But Melly’s having her baby. You’ve got to come with me! DR. MEADE: Are you crazy? I can’t leave these men for a baby. They’re dying! Hundreds! Get a woman to help. SCARLETT: But there isn’t anybody. Dr. Meade, she might die. DR. MEADE: Die? Look at them, bleeding to death in front of my eyes! No chloroform. No bandages. Nothing! Nothing to ease their pain. Run along and don’t bother me. Don’t worry, child. There’s nothing to bring a baby. Bring the stretchers in here. MAN: Dr. Meade? DR. MEADE: Yeah, I’m coming. PRISSY: Is the doctor come? SCARLETT: No, he can’t come. PRISSY: Oh, Miss Scarlett, Miss Melanie bad off! SCARLETT: He can't come, there's nobody to come. Prissy, you've got to manage without the doctor. I'll help you. PRISSY: Oh, lordy, Miss Scarlett! SCARLETT: Well, what is it? PRISSY: Lordy, we've got to have a doctor! I don't know nothing about birthing babies. SCARLETT: What do you mean? You told me you knew everything about it! PRISSY: I don't know how can I tell such a lie. Ma ain't never let me around when folks was having them. MELANIE: Scarlett! Scarlett! PRISSY: Miss Scarlett! SCAELETT: Stop it! Go light a fire on the stove. Get boiling water in the kettle. Get me a ball of twine, and all the clean towels you can find, and, the scissors. And don't come telling me you can't find them. Go get them and get them quick! MELANIE: Scarlett! Scarlett! Scarlett! SCARLETT: Coming, Melly! Coming! MELANIE: You better go before the Yankees get here. SCARLETT: You know I won’t leave you. MELANIE: It’s no use. I’m gonna die. SCARLETT: Don’t be a goose, Melly. Hold on to me. Hold on to me. MELANIE: Talk to me, Scarlett. Please, talk to me. SCARLETT: Don’t try to be brave. Yell! There’s nobody to hear. PRISSY: Ma says if you puts a knife under the bed, it cuts the pain. Captain Butler! Captain Butler! Captain Butler! MAN: What do you want? PRISSY: Captain Butler! MAN: He’s upstairs. Belle Watling’s giving a party. PRISSY: Yes, sir. Thank you. Captain Butler! Oh, Captain Butler! WATLING: What’s all the rumpus about? PRISSY: Captain Butler, you come out here in the streets to me! RHETT: What is it, Prissy? PRISSY: Miss Scarlett, she done sent me for you. Miss Melly, she done had her baby today. A fine baby boy. And Miss Scarlett and me, we brung it. RHETT: Are you telling me Scarlett… PRISSY: It was mostly me, Captain Butler. Only Miss Scarlett, she helped me a little. But I don’t expect no doctor could have done no better. Only, Miss Melly, she feel kind of poorly now it’s all over. RHETT: Yes, I can believe it. PRISSY: And the Yankees is coming. Miss Scarlett, she says… Captain Butler, the Yankees is here! Please come and bring your carriage for us right away! RHETT: I’m sorry, but the army took my horse and carriage. You better come upstairs. I’ll see what I can do. PRISSY: Oh, no, Captain Butler. Mama would wear me out with a cornstalk if I was to go into Mrs/ Watling’s. RHETT: Any of you beauties know where I can steal a horse for a good cause? RHETT: Whoah, whoah. SCARLETT: Rhett, is that you, Rhett? PRISSY: We's here, Miss Scarlett, he's here! SCARLETT: Oh, Rhett, I knew you'd come. RHETT: Good evening. Nice weather we're having. Prissy tells me you're planning on... SCARLETT: If you make any jokes now, I'll kill you! RHETT: Don't tell me you're frightened. SCARLETT: I'm scared to death, and if you had the sense of a goat you'd be scared, too! Oh, the Yankees! RHETT: No, not yet. That's what's left by our army blowing up the ammunition, so the Yankees won't get it. SCARLETT: We’ve got to get out of here. RHETT: At your service, Madame. Just where were you figuring on going? SCARLETT: Home, to Tara. RHETT: Tara? Don't you know that they've been fighting all day around Tara? Do you think you can parade right through the Yankee army with a sick woman, a baby and a simply-minded darkie? Or do you intend to leave them behind? SCARLETT: They're going with me and I'm going home and you can't stop me! RHETT: Don't you know it's dangerous jouncing Mrs. Wilkes over miles of open country? SCARLETT: I want my mother! I want to go home to Tara! RHETT: Tara's probably been burned to the ground. The woods are full of stragglers from both armies, the least thing they'll do is take the horse away from you. And even though it isn't much of an animal, I did have a lot of trouble stealing it. SCARLETT: I'm going home if I have to walk every step of the way! I'll kill you if you try to stop me, I will! I will! I will! I will! RHETT: It's all right, darling. It's all right. Now you shall go home. I guess anybody who did what you've done today can take care of Sherman. Stop crying. Now blow your nose like a good little girl...there... SCARLETT: Prissy, what are you doing? PRISSY: I'm packing, Miss Scarlett. SCARLETT: Well, stop it. Come and get the baby. PRISSY: Yes. SCARLETT: Melly, Melly... RHETT: Mrs. Wilkes. We're taking you to Tara. MELANIE: Tara... SCARLETT: It's the only way, Melly. MELANIE: No... SCARLETT: Sherman will bum the house over our heads if we stay. It's all right, Melly, it's all right. MELANIE: My baby. My poor baby! RHETT: Have you the strength to put your arms around my neck? MELANIE: I think so. RHETT: Never mind. MELANIE: Oh, Ashley…Charles! RHETT: What is it? What does she want? SCARLETT: Ashley's picture and Charles' sword, she wants us to bring them. RHETT: Get them. SCARLETT: What’s that? RHETT: Our gallant lads must have set fire to the warehouse near the depot. There’s enough ammunition in the boxcars to blow us to Tara. We’ll have to hurry to get across the tracks. SCARLETT: You are not going that way? RHETT: We have to. The McDonough Road’s the only one the Yankees haven’t cut yet. SCARLETT: Oh, wait. I forgot to lock the front door. What are you laughing at? RHETT: At you, locking the Yankees out. SCARLETT: Oh, dear, I wish they’d hurry. RHETT: I wouldn’t be in such a hurry to see them go if I were you. With them goes the last semblance of law and order. The scavengers aren’t wasting any time. We’ve got to get out of here fast. MAN: There is a horse. Get the horse. Down the alley, cut them off. Give me that horse. PRISSY: Miss Scarlett! RHETT: They haven’t left much for the Yankees to take, have they? We’ll have to make a dash for it before the fire reaches that ammunition. Come on! Throw me your shawl! Sorry, but you’ll like it better if you don’t see anything. Take a good look, my dear. You can tell your grandchildren…how you watched the old South disappear one night. They were going to lick the Yankees in a month. Poor gallant fools! SCARLETT: They make me sick, all of them! Getting us all into this with their swaggering and boasting. RHETT: That’s the way I felt once about their swaggering and boasting. SCARLETT: Rhett, I’m glad you aren’t with the Army. You can be proud now, proud that you’ve been smarter than all of them. RHETT: I’m not so proud. SCARLETT: Why did you stop? RHETT: This is the turn to Tara. I let the horse breathe a bit. Mrs. Wilkes... PRISSY: Miss Melanie done fainted way back, Captain Butler. RHETT: She's probably better off. She couldn't stand the pain if she were conscious. Scarlett, are you still determined to do this crazy thing? SCAELETT: Oh, yes, yes, I know we can get through it. I'm sure we can. RHETT: Not we, my dear, you. I'm leaving you here. SCARLETT: You're what? Rhett, where are you going? RHETT: I'm going, my dear, to join the army. SCARLETT: You're joking. I could kill you for scaring me so! RHETT: I'm very serious, Scarlett. I'm going to join up with our brave lads in gray. SCARLETT: But they're running away. RHETT: Oh, no, they'll turn and make a last stand, if I know anything about them. And when they do, I'll be with them. I'm a little late, but better late than... SCARLETT: Rhett, you must be joking. RHETT: Selfish to the end, aren't you? Thinking of your own precious hide with never a thought for the noble cause. SCARLETT: Rhett, how could you do this to me, and why should you go now that, after it's all over and I need you, why? Why? RHETT: Why? Maybe it's because I've always had a weakness for lost causes, once they're really lost. Or maybe, maybe I'm ashamed of myself. Who knows? SCARLETT: You should die of shame to leave me here alone and helpless. RHETT: You, helpless? Heaven help the Yankees if they capture you. Now climb down here. I want to say goodbye. SCARLETT: No. RHETT: Climb down. SCARLETT: Oh, Rhett, please don't go. You can't leave me, please. I'll never forgive you. RHETT: I'm not asking you to forgive me. I'll never understand or forgive myself. And if a bullet gets me, so help me, I'll laugh at myself for being an idiot. But there's one thing that I do know. And that is I love you, Scarlett. In spite of you and me and the whole silly world going to pieces around us, I love you. Because we're alike. Bad lots, both of us. Selfish and shrewd. But able to look things in the eyes and call them by their right names. SCARLETT: Don't hold me like that. RHETT: Scarlett, look at me. I love you more than I've ever loved any woman. And I've waited longer for you than I've ever waited for any woman. SCARLETT: Let me alone! RHETT: Here's a soldier of the South who loves you, Scarlett. Wants to feel your arms around him, wants to carry the memory of your kisses into battle with him. Never mind about loving me. You're a woman who's sending a soldier to his death with a beautiful memory. Scarlett, kiss me, kiss me, once. SCARLETT: You're a low-down, cowardly, nasty thing, you! They were right. Everybody was right, you, you aren't a gentleman. RHETT: A minor point at such a moment. Here, if anyone lays a hand on that nag, shoot him. But don't make a mistake and shoot the nag. SCARLETT: Oh, go on. I want you to go. I hope a cannonball lands slap on you, I hope you're blown into a million pieces! I... RHETT: Never mind the rest, I follow your general idea. And when I'm dead on the order of my country, I hope your conscience hurts you. Good-bye, Scarlett. SCARLETT: Come on, you! We’re going home. MELANIE: Oh, my poor baby! SCARLETT: Don’t worry, Melly. Mother will take care of him when we get home. PRISSY: Miss Scarlett, I’s powerfully hungry. We’s got to have something to eat. SCARLETT: Oh, hush up! We’re nearly at Twelve Oaks. We’ll stop there. Go on! Ashley, I’m glad you’re not here to see this. The Yankees! The dirty Yankees! Prissy, come tie up this cow! PRISSY: We don’t need no cow, Miss Scarlett. We’ll be home soon, and I’s scared of cows. SCARLETT: Tear up petticoat and tie her on to the back of the wagon. We need milk for the baby, and we don’t know what we’ll find at home. Melly! Melly! We're home! We're at Tara! Hurry, move, you brute! PRISSY: Oh, Miss Scarlett, he's dead! SCARLETT: I can't see the house, is it there? I can't see the house, have they burned it? It's all right, it's all right. They haven't burned it. It's still there! Mother! Mother! I'm home! Mother, I'm home! Mother, let me in. It's me, Scarlett! Oh, Pa! Oh, Pa! I'm home. I'm home... I'm home. MR. O'HARA: Katie? Katie Scarlett! Oh, darling. SCARLETT: Mammy! Mammy, I’m home. MAMMIE: Honey, honey child! SCARLETT: Mammy, I'm so, so....where's mother? MAMMIE: Why...Miss Suellen, Miss Carreen, they were sick with the typhoid. They had it bad, but they's doing all right now. Just weak like little kittens. SCARLETT: But, where's mother? MAMMIE: Well, Miss Ellen, she went down to nurse that Emmy Sladdly, that white trash. And she took down with it, too. And last night, she... SCARLETT: Mother? Mother? Mother! MAMMIE: Miss Scarlett, honey... SERVANT: If there's anything I can do, Miss Scarlett... SCARLETT: What did you do with Miss Melly? MAMMIE: Don't you worry your pretty head about Miss Melanie, child. I done slapped her in bed already along with the baby. SCARLETT: You better put that cow I brought into the barn, Paul. SERVANT: There ain't no barn no more, Miss Scarlett. The Yankees done burned it to firewood. MAMMIE: They used the house for their headquarters, Miss Scarlett. SERVANT: They camped all around the place. SCARLETT: Yankees in Tara? MAMMIE: Yes, ma’am. And they stole almost everything they didn't burn. All the clothes, and all the rugs, and even Miss Ellen's rosaries. SCARLETT: I'm starving, Paul. Get me something to eat. MAMMIE: There ain't nothing to eat honey. They took it all. SCARLETT: All the chickens, everything? SERVANT: They took them the first day. And what they didn't eat they carried off across their saddles. SCARLETT: Don't tell me any more about what they did. What's this, Pa? Whisky? MR. O'HARA: Yes, daughter. Katie Scarlett, that's enough. You’re not knowing spirits, you'll make yourself tipsy. SCARLETT: I hope it makes me drunk. I'd like to be drunk. Oh, Pa... what are those papers? MR. O'HARA: Bonds. They're all we've saved. All we have left. Bonds. SCARLETT: But what kind of bonds, Pa? MR. O'HARA: Why, Confederate bonds, of course, daughter. SCARLETT: Confederate bonds. What good are they to anybody? MR. O'HARA: I'll not have you talking like that, Katie Scarlett. SCARLETT: Oh, Pa, what are we going to do with no money and ... nothing to eat? MR. O'HARA: We must ask your mother. That's it. We must ask Mrs. O'Hara. SCARLETT: Ask Mother? MR. O'HARA: Yes. Mrs. O'Hara will know what's to be done. Now don't be bothering me. Go out for a ride. I'm busy. SCARLETT: Oh, Pa…Don't worry about anything. It is God's hope. You needn't worry. MAMMIE: Miss Scarlett? What are we going to do with nothing to feed them sick folks and that child? SCARLETT: I don't know, Mammy. I don't know. MAMMIE: We ain't got nothing but radishes in the garden. PRISSY: Miss Scarlett, Miss Suellen and Miss Correen… They's fussin to be sponged off. SCARLETT: Where are the other servants, Mammie? MAMMIE: Miss Scarlett, there's only just me and Paul left. The others moved off during the war and ran away. PRISSY: I can't take care of that baby and sick folks too. I've only got two hands. SERVANT: Who's going to milk that cow, Miss Scarlett? We's house workers. SCARLETT: As God is my witness....as God is my witness, they're not going to lick me. I'm going to live through this and when it's all over, I'll never be hungry again. No, nor any of my folks. If I have to lie, steal, cheat, or kill, as God is my witness, I'll never be hungry again. ENTR’ACTE (To split the Confederacy, to leave it crippled and forever humbled, the Great Invader marched…leaving behind him a path of destruction sixty miles wide, from Atlanta to the sea…Tara had survived to face the hell and famine of defeat…) SUELLEN: My back’s near broken. Look at my hands. Mother said you could always tell a lady by her hands. CORREEN: I guess things like hands and ladies don’t matter so much anymore. You rest, Sue. You’re not well yet, and I can pick cotton for both of us. SUELLEN: Scarlett’s hateful, making us work in the fields like… SCARLETT: Too bad about that. Now get back to work. I can’t do everything at Tara all by myself. SUELLEN: What do I care about Tara? I hate Tara. SCARLETT: Don’t you ever dare say you hate Tara again! It’s the same as hating Pa and Ma. MR. O’HARA: Katie Scarlett, there’s something I must speak to you about. SCARLETT: Yes, Pa. What is it? MR. O’HARA: I’ve been talking to Prissy and Mammy. I don’t like the way you’re treating them. You must be firm with inferiors, but you must be gentle with them…especially darkies. SCARLETT: Yes, Pa, I know. But I’m not asking them to do anything I’m not doing myself. MR. O’HARA: Nevertheless, Katie Scarlett, I don’t like it. I shall speak to Mrs. O’Hara about it. SCARLETT: What are you doing out of bed, Melly? MELANIE: Scarlett, darling, you must talk to you. You are all working so hard. I can’t lie in bed doing nothing. SCARLETT: Go on back upstairs. You’re as weak as a newborn colt. MELANIE: Please, Scarlet, let me… SCARLETT: Stop being noble. I’ve got enough on my hands…without you making yourself sick so you’ll never be any use. MELANIE: Oh, I didn’t think of it that way. SOLDIER: Who’s there? Halt or I’ll shoot. You’re alone, little lady? You ain’t very friendly, are you? You got anything else besides these earbobs? SCARLETT: You Yankees have been here before. SOLDIER: Regular little spitfire, ain’t you? What have you got hidden in your hand? MELANIE: Scarlett, you killed him. I’m glad you killed him. CARREEN: Scarlett, what happened? What is it, Scarlett? What is it? MELANIE: Don’t be scared, chickens. Your big sister was cleaning a revolver… and it went off and nearly scared her to death. CARREEN: Oh, thank goodness. SUELLEN: Haven’t we got enough to frighten us? MR. O’HARA: Tell Katie Scarlett, she must be more careful. SCARLETT: What a cool liar you are, Melly. MELANIE: We’ve got to get him out of here and bury him. If the Yankees find him here, they’ll… SCARLETT: I didn’t see anyone else. I think he must be a deserter. MELANIE: But even so, we’ve got to hide him. They might hear about it, and then they’d come and get you. SCARLETT: I could bury him in the arbor where the ground is soft…but how will I get him out of here? MELANIE: We’ll both take a leg and drag him. SCARLETT: You couldn’t drag a cat. MELANIE: Scarlett, do you think it would be dishonest if we went through his haversack? SCARLETT: I’m ashamed that I didn’t think of that myself. You take the haversack, I’ll search his pockets. MELANIE: You look. I’m feeling a little weak. SCARLETT: Melly, I think it’s full of money! Oh, Melly, look! Look! 10, 20, 30, 40… MELANIE: Don’t stop to count it now. We haven’t got time. SCARLETT: Do you realize this means we’ll have something to eat? MELANIE: Look in his other pockets. Hurry, hurry! SCARLETT: We’ve got to get him out of here. Here. If he bleeds across the yard, we can’t hide it. Give me your nightgown, Melly. We’ll wad it around his head. Don’t be silly. I won’t look at you. If I had my petticoat or pantalets, I’d use them. Thank heavens I’m not that modest. Now go back to bed. You’ll be dead if you don’t. I’ll clean up the mess when I’ve buried him. MELANIE: No, I’ll clean it up. SCARLETT: Well, I guess I’ve done murder. I won’t think about that now. I’ll think about that tomorrow. MR. O’HARA: Katie Scarlett! Katie Scarlett! It's over! It's over! It's all over, the war! Lee surrendered! CORREEN: It's not possible. SUELLEN: Why did we ever fight? MELANIE: Ashely will be coming home. SCARLETT: Yes, Ashely will be coming home. We'll plant more cotton. Cotton ought to go sky-high next year. (Home from their lost adventure came the tattered Cavaliers… Grimly they came hobbling back to the desolation that had once been a land of grace and plenty…And with them came another invader… more cruel and vicious than any they had fought… the Carpetbagger.) MAN: Get out of the road, rebel! Get out of the way! WOUNDED SOLDIER: Have you room in your carriage for a dying man? MAN: I got no room for any Southern scum, alive or dead. Get out of the way. WOUNDED SOLDIER: I reckon he’d rather try and walk it at that. MAN: Giddap! Jump, you gray-backed beggars! Act like they won the war! MAMMY: Now you come on and give me the pants, Mr. Kennedy. Come on. You scrub yourself with that strong lye soap before I scrubs myself. I’m gonna put these britches in the boiling pot. The whole Confederate Army’s got the same trouble: crawling clothes and dysentery. SUELLEN: It’s humiliating how you treat Mr. Kennedy. MAMMY: You’d be a sight more humiliated if Mr. Kennedy’s lice gets on you! MELANIE: Come on, Beau. We must leave this gentleman alone because he’s tired and he’s hungry. MAN: I don’t mind, ma’am. Good to see a youngster again. Nice little fellow. Another two years of war and we could have had him with us in Cobb’s Legion. MELANIE: Were you in Cobb’s Legion? MAN: Yes, ma’am. MELANIE: Why, then, you must know my husband, Maj. Wilkes. MAN: Oh, yes, ma’am. He was captured at Spotsylvania, I think. MELANIE: Captured! Oh, thank heavens, then he isn’t…Oh, my poor Ashley in a Yankee prison! SACRLETT: Melanie. MELANIE: Yes, Scarlett, I’m coming. Come along, Beau. MAN: I’ll watch out for him, ma’am. We’re good friends. MELANIE: Oh, thank you. SCARLETT: I slave day and night so we can have food to keep body and soul together. And you give it all away to these starving scarecrows. I’d sooner have a plague of locusts here. MELANIE: Don’t scold me, Scarlett, please. I’ve just heard that Ashley was taken prisoner. SCARLETT: Ashley, a prisoner? MELANIE: Yes. And maybe if he’s alive and well, he’s on some Northern road right now. And maybe some Northern woman is giving him a share of her dinner… and helping my beloved to come back home to me. SCARLETT: I hope so, Melly. KENNEDY: Miss Scarlett, Miss Scarlett, I want to take up something with your pa, but…he doesn’t seem to… SCARLETT: Perhaps I can help you. I’m the head of the house now. KENNEDY: Well, I…Miss Scarlett, I was aiming to ask for Suellen… SCARLETT: Do you mean to tell me you haven’t asked for her… after all these years she’s been counting on you? KENNEDY: Well, the truth is, I’m so much older than she is, and … Well, now I haven’t a cent to my name. SCARLETT: Who has nowadays? KENNEDY: Miss Scarlett, if true love carries any weight with you… you can be sure your sister will be rich in that. I’ll go out somewhere and get myself a little business if we’re engaged. As soon as I get on my feet again… SCARLETT: All right, Frank. I’m sure I can speak for Pa. You go ask her now. KENNEDY: Oh, thank you, Miss Scarlett. Excuse me, excuse me! MELANIE: Scarlett, what seems to be the trouble with Mr. Kennedy? SCARLETT: More trouble than he guesses. He's finally asked for Suellen's hand. MELANIE: Oh, I'm so glad. SCARLETT: It's a pity he can't marry her now. At least there’d be one less mouth to feed. SCARLETT: Oh another one. I hope this one isn't hungry. MAMMIE: Oh, he'll be hungry. SCARLETT: I'll tell Prissy to get an extra plate… MELANIE: Ashley! Ashley! ASHLEY: Darling! MAMMIE: Miss Scarlett! Don't spoil it. Miss Scarlett. SCARLETT: Turn me loose, you fool, turn me loose! It's Ashley. MAMMIE: He's her husband, ain’t he? SERVANT: Miss Scarlett Ma'am... SCARLETT: High time you got back. Did you get the horse shod? SERVANT: Yes, he shod all right. Miss Scarlett, ma'am… SCARLETT: Fine thing when a horse can get shoes and humans can't. Here stir the soup. SERVANT: Miss Scarlett Ma'am, I've got to know how much money have you got left? In gold. SCARLETT: Ten dollars. Why? SERVANT: That won't be enough. SCARLETT: What in Heaven's name are you talking about? SERVANT: Well, Miss Scarlett, I see that old no-count white trash, Wilkerson… that used to be Mr. Gerald’s overseer here. He's a regular Yankee now, and he was making a brag, that his carpetbagger friends run the taxes way up sky-high on Tara. SCARLETT: How much more do we gotta pay? SERVANT: I heard the tax man say three hundred dollars. SCARLETT: Three hundred... Might just as well be three million. Well, we gotta raise it, that's all. SERVANT: Yes, ma’am. How? SCARLETT: I'll go ask Mr. Ashley. SERVANT: Oh, he ain't got no three hundred dollars. Miss Scarlett. SCARLETT: Well, I can ask him if I want to, can't I? SERVANT: Asking ain't getting. SCARLETT: Ashely... ASHLEY: They say Abe Lincoln got his start splitting rails. Just think what heights I may climb to, once I get the knack. SCARLETT: Ashely. The Yankees want three hundred dollars more in taxes. What shall we do? Ashley, what's to become of us? ASHLEY: What do you think becomes of people when their civilization breaks up? Those who have brains and courage come through all right. Those who haven't are winnowed out. SCARLETT: For Heaven's sake, Ashley Wilkes, don't stand there talking nonsense at me when it's us who are being winnowed out. ASHLEY: You're right, Scarlett. Here I am talking tommyrot about civilization, when your Tara's in danger. You come to me for help and I have no help to give you. Oh, Scarlett, I … I'm a coward. SCARLETT: You, Ashley, a coward? What are you afraid of? ASHLEY: Oh, mostly of life becoming too real for me, I suppose. Not that I mind splitting rails. But I do mind very much losing the beauty of that, that life I loved. If the war hadn't come, I'd have spent my life happily buried at Twelve Oaks. But the war did come. I saw my boyhood friends blown to bits. I saw men crumple up in agony when I shot them. And now I find myself in a world which for me is worse than death. A world in which there is no place for me. Oh, I can never make you understand, because you don't know the meaning of fear. You never mind facing realities. And you never want to escape from them as I do. SCARLETT: Escape? Oh, Ashley, you're wrong. I do want to escape, too. I'm so very tired of it all. I've struggled for food and for money and I've weeded and hoed and picked cotton until I can't stand it another minute. I tell you, Ashley, the South is dead, it's dead. The Yankees and the carpet baggers have got it and there's nothing left for us. Oh, Ashley, let's run away. We'd go to Mexico. They want officers in the Mexican army. We could be so happy there. Ashley, I'd work for you. I'd do anything for you. You know you don't love Melanie. You told me you loved me that day at Twelve Oaks, and anyway, Melanie can't...Dr. Meade told me she couldn't ever have any more children. And I could give you... ASHLEY: Can't we ever forget that day at Twelve Oaks? SCARLETT: Do you think I could ever forget it? Have you forgotten it？ Can you honestly say you don't love me? ASHLEY: No, I ...I don't love you. SCARLETT: It's a lie. ASHLEY: Even if it is a lie, do you think that I could go off and leave Melanie and the baby? Break Melanie's heart? Scarlett, are you mad? You couldn't leave your father and the girls. SCARLETT: I could leave them. I'm sick of them. I'm tired of them... ASHLEY: Yes, you’re sick and tired. That's why you're talking this way. You've carried the load for all of us. But from now on, I'm going to be more help to you, I promise. SCARLETT: There's only one way you can help me. Take me away. There's nothing to keep us here. ASHLEY: Nothing...nothing except honor. Please, Scarlett, please, dear, you mustn't cry. Please, my brave dear, you mustn't... SCARLETT: You do love me, you do love me...Say it, say it. ASHLEY: No, don't, don't! SCARLETT: You love me! You love me! ASHLEY: We won't do this, I tell you. We won't do it. It won't happen again. I'm going to take Melanie and the baby and go. SCARLETT: Say it, you love me. ASHLEY: All right, I'll say it. I love your courage and your stubbornness. I love them so much that a moment ago I could have forgotten the best wife a man ever had. But Scarlett, I'm not going to forget her. SCARLETT: Then there’s nothing left for me. Nothing to fight for. Nothing to live for. ASHLEY: Yes, there is something. Something you love better than me…though you may not know it. Tara! SCARLETT: Yes, I … I still have this. You needn’t go. I won’t have you all starve simply because I threw myself at your head. It won’t happen again. Why, Emmy Sladdly. SLADDLY: Yes, ma’am, it's me. SCARLETT: Stop! WILKENSON: You haven't forgotten your old overseer, have you? Huh? Well, Emmy is Mrs. Wilkerson now. SCARLETT: Get off those steps, you trashy wench. Get off this land! WILKENSON: You can't speak that way to my wife. SCARLETT: Why? High time you made her your wife. Who baptized your other brats after you killed my mother? WILKENSON: We came out here to pay a call. A friendly call, and talk a little business with old friends. SCARLETT: Friends. When were we ever friends with the likes of you? WILKENSON: Still high and mighty, ain't you? Well, I know all about you. I know your father's turned idiot. You can't pay your taxes. And I come out to offer to buy the place from you. To make you a right good offer. Emmy's got a hankering to live here. SCARLETT: Get off this place, you dirty Yankee! WILKERSON: You bum-trucking, high-flying Irish will find out who's running things around here when you get sold out for taxes. I'll buy this place, lock, stock and barrel and I'll live in it. But I'll wait for the sheriff's sale. SCARLETT: That's all of Tara you'll ever get. WILKErSON: You'll be sorry for that. We'll be back! MR. O'HARA: I’ll show you who the owner of Tara is. SCARLETT: Pa, come back! Pa, come back! MR. O'HARA: Yankee coward! SCARLETT: Pa! SERVANT: Lordsy, Miss Scarlett. That’s Mr. Gerald’s watch. SCARLETT: You take it. It’s for you. Pa’d want you to have it. SERVANT: You ain’t got no business parting from this watch now, Miss Scarlett. You needs all your valuables to sell for that tax money. SCARLETT: You think I’d sell Pa’s watch? And don’t cry. I can stand everybody’s tears but yours. Oh, Mammy, Mammy. MAMMIE: You've been brave so long, Miss Scarlett. You just got to go on being brave. Think about your Pa like he used to be. SCARLETT: I can't think about Pa. I can't think of anything but that three hundred dollars. MAMMIE: Ain't no good thinking about that. Miss Scarlett. Ain't nobody got that much money. Nobody but that Yankee's and the scalawags got that much money now. SCARLETT: Rhett! MAMMIE: Who that? A Yankee? SCARLETT: Oh, Mammy, I’m so thin and pale and … I haven’t any clothes. Scoot up to the attic and get down Ma’s old box of dress patterns. MAMMY: What you up to with Miss Ellen’s portiere? SCARLETT: You’ll make me a new dress. MAMMIE: Not with Miss Ellen's portieres, not while I got breath in my body! SCARLETT: Great balls of fire, they're my portieres now. I'm going to Atlanta for that three hundred dollars, and I've got to go looking like a queen. MAMMIE: Who's going to Atlanta with you? SCARLETT: I'm going alone. MAMMIE: That's what you think. I'm going to Atlanta with you, with you and that new dress. SCARLETT: Now Mammie, darling... MAMMIE: No use to try to sweet talk me, Miss Scarlett. I knows you ever since I put the first pair of diapers on you. I said I was going to Atlanta with you, and going I am with you! MAN: Sir, there's a lady to see Captain Butler. Says she's your sister. MAJOR: Another sister? This is a jail, not a harem, Captain Butler. MAN: No, Major, she ain't one of those. This one's got her mammie with her. RHETT: She has? I'd like to see this one, Major, without her mammie. MAJOR: Hmm... RHETT: Let's see, my losses for the afternoon come to what? Hmm...three hundred and forty. My debts do mount up, don't they, Major? MAJOR: All right, Corporal. Show Captain Butler's sister to his cell. RHETT: Thank you, Major...Excuse me, gentlemen. MAJOR: It's hard to be strict with a man who loses money so pleasantly. SCARLETT: Rhett! RHETT: Scarlett! My dear little sister. It's all right, Corporal, my sister has brought me now files or saws. Can I really kiss you now? SCARLETT: On the forehead like a good brother. RHETT: No thanks, I'll wait and hope for better things. SCARLETT: Oh, Rhett, I was so distressed when I heard you were in jail. I simply couldn't sleep for thinking. It's not true they're going to hang you. RHETT: Would you be sorry? SCARLETT: Oh, Rhett... RHETT: Well, don't worry. Yeah, the Yankees have trumped up some charge against me but what they're really after is my money. They seem to think I made off with a Confederate treasury. SCARLETT: Well, did you? RHETT: What a leading question. Let's not talk about sordid things like money. How good of you to come and see me! And how pretty you look! SCARLETT: Oh, Rhett, how you do run on teasing a country girl like me. RHETT: Thank Heaven's you're not in rags. I'm tired of seeing women in rags. Turn around. You look good enough to eat. Prosperous, too. SCARLETT: Thank you, I've been doing very well. Everybody's doing well at Tara. Only I got so bored. I just thought I'd treat myself with a visit to town. RHETT: You're a heartless creature, but that's part of your charm, though you've got more charm than the law allows. SCARLETT: Now I didn’t come here to talk senseless about me, Rhett. I came because I was so miserable at the thought of you in trouble. Oh, I know I was mad at you the night you left me on the road to Tara, and I still haven't forgiven you. RHETT: Oh, Scarlett, don't say that. SCARLETT: Well, I must admit I might not be alive now, only for you. And when I think of myself with everything I could possibly hope for, and not a care in the world, and you were here in this horrid jail, and not even a human jail, Rhett, a horse jail. But listen to me, try to make jokes when, when I really want to cry. And in a minute I shall cry. RHETT: Scarlett, can it be possible that... SCARLETT: Can what be possible, Rhett? RHETT: That you've grown a woman's heart, a real woman's heart? SCARLETT: I have, Rhett. I know I have. RHETT: You know it's worth being in jail just to hear you say that. It's well worth it. RHETT: You can drop the moonlight and magnolia, Scarlett. So things have been going well at Tara, have they? SCARLETT: Yes... RHETT: What have you been doing with your hands? SCARLETT: It's just that I went riding last week without my gloves... RHETT: These don't belong to a lady. You've been working with them like a field hand. Why did you lie to me, and what are you really up to? SCARLETT: Now, Rhett... RHETT: In another minute, I'd almost believed you'd cared something. SCARLETT: But I do care! RHETT: Suppose we get down to the truth. You want something from me and you want it badly enough to put on quite a show on your velvets. What is it? Money? SCARLETT: I want three hundred dollars to pay the taxes on Tara. Oh, Rhett, I did lie to you when I said everything was all right. Things are just as bad as they possibly could be. And you've got millions, Rhett. RHETT: What collateral are you offering? SCARLETT: My ear bobs... RHETT: Not interested. SCARLETT: Mortgage on Tara... RHETT: What would I do with a farm? SCARLETT: You wouldn't lose. I'd pay you back after next year's cotton. RHETT: Not good enough. Have you nothing better? SCARLETT: You once said you loved me. If you still love me, Rhett... RHETT: You haven't forgotten that I'm not a marrying man. SCARLETT: No. I haven't forgotten. RHETT: You're not worth three hundred dollars. You'll never mean anything but misery to any man. SCARLETT: Go on, insult me, I don't care what you say, only give me the money! I won't let Tara go. I can't let it go while there's a breath left in my body. Oh, Rhett, won't you please give me the money? RHETT: I couldn't give you the money if I wanted to. My funds are in Liverpool, not in Atlanta. If I tried drawing a draft, the Yankees would be on me like a duck on a June bug. So you see, my dear, you've abased yourself to no purpose. Stop it! You want the Yankees to see like this? SCARLETT: Take your hands off me, you skunk! You know what I am going to say before I started. You knew you wouldn't lend me the money and yet, and yet, you let me go on. RHETT: I enjoyed hearing what you had to say. Cheer up, you can come to my hanging and I'll remember you in my will. SCARLETT: I'll come to your hanging. The only thing I'm afraid of is they won't hang you in time to pay the taxes on Tara. WATLING: Tell him, Belle Watling. MAN: Where you been lately? Thought you’d deserted Captain Butler. WATLING: Oh, I keep myself occupied. Help me out. MAMMY: Who that? I ain’t never seen hair that color before in my life. Does you know a dyed-haired woman? SCARLETT: I wish I did know that one. She’d get my money for me. MAMMY: No matter what they done to you in that jail…they didn’t do no more than you deserve…for visiting white trash in a jail. What’s come over this here town? SCARLETT: Yankees have come over it! Same as they’ve come over all of us. MAMMY: Get out the way here. Get away! Go on! FRANK: Surely it can't be Miss Scarlett! SCARLETT: Why, Frank Kennedy! FRANK: And Mammie... MAMMIE: It sure is good to see home folks. FRANK: I didn't know you were in Atlanta. SCARLETT: I didn't know you were. FRANK: Didn't Miss Suellen tell you about my store? SCARLETT: Did she, I don't remember. Have you a store? This? FRANK: Won't you come in, look around a bit? I don't suppose it looks like much to a lady, but I can't help being proud of it. SCARLETT: You're not making money? FRANK: Well, I can't complain. In fact I'm mighty encouraged. Folks tell me I'm just a born merchant. It won't be long now before Miss Suellen and I can marry. SCARLETT: Well, you're doing as well as all that? FRANK: Yes, I am, Miss Scarlett. I'm no millionaire yet, but I have cleared a thousand dollars already. SCARLETT: And lumber too? FRANK: Well, that's only a sideline. SCARLETT: A sideline, Frank? With all the good Georgia pine around Atlanta, and all this building going on? FRANK: Well, all that takes money, Miss Scarlett, and I got to be thinking about buying a home. SCARLETT: What would you want a home for? FRANK: For Miss Suellen and me to set up housekeeping. SCARLETT: Here in Atlanta. You'd want to bring her to Atlanta, wouldn't you? There wouldn't be much help in that for Tara. FRANK: I don't rightly know what you mean, Miss Scarlett. SCARLETT: I don't mean a thing. Frank, how'd you like to drive me out to my Aunt Pitty's? FRANK: Oh, nothing could give me more pleasure, Miss Scarlett. SCARLETT: I think you'd better stay for supper, too. I'm sure Aunt Pitty would be agreeable and I know I'd like a good long visit with you. FRANK: Oh, you act on me just like a tonic, Miss Scarlett. And will you tell me all the news, all the news of Miss Suellen? What's the matter, Miss Scarlett? Miss Suellen isn’t ill, is she? SCARLETT: Oh, no, no. I thought surely she had written you. I guess she was ashamed to write to you. She should be ashamed. Oh, how awful to have such a mean sister! FRANK: You must tell me, Miss Scarlett. Don't leave me on the tenderhooks. SCARLETT: Well, she's going to marry one of the county boys next month. She just got tired of waiting and was afraid she'd be an old maid and...Oh, I'm sorry to be the one to tell you. Oh, it's cold, and I left my muff at home. Would you mind if I put my hand in your pocket? SUELLEN: But, Melanie, you don't realize what she's done. She's gone and married my Mr. Kennedy! He's my beau and she's gone and married him. MELANIE: She did it to save Tara. You must understand that, Suellen. SUELLEN: I hate Tara. And I hate Scarlett. She's the only thing I hate worse than Tara! ASHLEY: It's all my fault. I should have committed highway robbery to get that tax money for you. SCARLETT: I couldn't let you do anything like that, and anyway, it's done now. ASHLEY: Yes, it's done now. You wouldn't let me do anything dishonorable yet you'd sell yourself in marriage to a man you didn't love. Well, at least you won't have to worry about my helplessness anymore. SCARLETT: What do you mean? ASHLEY: I'm going to New York. I've arranged to get a position in a bank there. SCARLETT: But you can't do that! I've counted on you to help me start a lumber business, Ashley. And I counted on you. ASHLEY: Scarlett, I wouldn't be any good to you. I don't know anything about the lumber business. SCARLETT: You know as much as you do about banking, and I'd give you half the business, Ashley. ASHLEY: That's generous of you, Scarlett. But it isn't that. If I go to Atlanta and take help from you again, I'd bury forever any hope of standing alone. SCARLETT: Oh, is that all? Well, you could gradually buy the business, and then it would be your own, and then... ASHLEY: No, Scarlett. SCARLETT: Oh, Ashley! Ashley! MELANIE: Scarlett, Scarlett, what is it? SCARLETT: Ashely is so mean and hateful. MELANIE: What have you done? ASHLEY: She, she wanted me to go to Atlanta. SCARLETT: To help me start me my lumber business, and he won't lift a finger to help me, and he… MELANIE: Why, how unchivalrous of you. Why, think, Ashley, think, if it hadn't been for Scarlett, I'd have died in Atlanta. And maybe we wouldn't have had little Beau, and, when I think of her picking cotton and plowing just to keep food in our mouths, I could just, oh, my darling! ASHLEY: All right, Melanie. I'll go to Atlanta. I can't fight you both. GALLEGHER: Well, here your new mill hands, Mrs. Kennedy. The pick of all the best jails in Georgia. SCARLETT: They look pretty thin and weak to me, Gallegher. GALLEGHER: Halt! They’re the best you can lease, ma’am. And if you’ll just give Johnny Gallegher a free hand…you’ll get what you want out of them. SCARLETT: All right, you’re the foreman. All I ask is, you keep the mill running and deliver my lumber when I want it. GALLEGHER: Johnny Gallegher’s your man, Miss. But remember…no questions and no interference. SCARLETT: That’s a bargain. Start them in the morning, Gallegher. GALLEGHER: Come on, get a move on! Come on, move on there! FRANK: But, Scarlett, this isn’t right and you know it. It’s bad enough for a woman to be in business. But… SCARLETT: What are you complaining about? You wouldn’t have owned a mill had I not taken over. FRANK: But I didn’t want the mill. If you hadn’t pressed all of our friends for the money they owned me and we couldn’t have bought it…Isn’t that right, Ashley? SCARLETT: What are you running, a charitable institution? Go back to the store, then go home and take your medicine. You’re not looking very well. FRANK: But sugar, shouldn’t you come home with me? SCARLETT: Great balls of fire. Don’t bother me and don’t call me sugar! FRANK: All right! All right! Good night, Ashley! She can get mad quicker than any woman I ever saw. ASHLEY: Scarlett, I don’t like to interfere, but…I do wish you’d let me hire free darkies instead of using convicts. I believe we could do better. SCARLETT: Darkies! Why, their pay would break us, and convicts are dirt cheap. If we just give Gallegher a free hand… ASHLEY: A free hand! You know what that means. He’ll starve them and whip them.Didn’t you see some of them are sick, underfed… SCARLETT: Oh, Ashley, how you do run on. If I left you alone, you’d be giving them chicken three times a day and… tucking hem to sleep with eiderdown quilts. ASHLEY: Scarlett, I will not make money out of the enforced labor and misery of others. SCARLETT: You weren’t so particular about owning slaves. ASHELY: That was different. We didn’t treat them that way. Besides, I’d have freed them all when father died… if the war hadn’t already freed them. SCARLETT: Oh, I’m sorry, Ashley. But have you forgotten what it’s like without money? I found out that money is the most important thing in the world… and I don’t intend ever to be without it again. I’ll make enough so the Yankees can never take Tara away from me ASHLEY: But we’re not the only Southerners who have suffered. Look at all our friends, they’re keeping their honor and their kindness, too. SCARLETT: Yes, and they’re starving. I’ve got no use for fools who won’t help themselves. I know that they’re saying about me, and I don’t care. I’ll make friends with the Yankee carpetbaggers. And I’ll beat them at their own game. And you’ll beat them with me. That’s it. Move it a little over to that side. MAN: Afternoon, Mrs. Kennedy. SCARLETT: Good afternoon! MAN: Business is certainly growing, ain’t it? SCARLETT: It certainly is. MELANIE: Scarlett, but you’re doing business with the same people who robbed us…and tortured us and left us to starve. SCARLETT: All that’s past, Melly. And I intend to make the best of things, even if they are Yankee things. WOMAN: And do you know, Dolly Merriwether, that Dr. Mead actually saw her…peddling lumber to those Yankees, herself? DOLLY: And that isn’t all… INDIA: I think it’s shocking what she’d doing to my brother, Ashley. PRISSY: She’s even taken to driving her own buggy. RHETT: My dear Mrs. Kennedy. My very dear Mrs. Kennedy. SCARLETT: I don’t see how you have the gall to face me. RHETT: When I think you could have had my millions…if you’d just waited a little while. Oh, how fickle is woman! SCARLETT: What is it you want? I have important things to do. RHETT: Would you satisfy my curiosity on a point which has bothered me for some time? SCARLETT: Well, what is it? Be quick. RHETT: Tell me, Scarlett, do you never shrink from marrying men you don’t love? SCARLETT: How did you ever get out of jail? Why didn’t they hang you? RHETT: Oh, that! Not much trouble. There’s nothing much that money won’t buy. I observe it’s even bought you the honorable Mr. Wilkes. SCARLETT: So you still hate Ashley Wilkes. Do you know, I believe you’re jealous of him? RHETT: You still think you’re the belle of the county, don’t you? That you’re the cutest little trick in shoe leather, and that every man you meet is dying of love for you? SCARLETT: Let me by! RHETT: Don’t be angry, Scarlett. Tell me, where are you going? SCARLETT: To the mill, if it’s any of your business. RHETT: Through shantytown, alone? Haven’t you been told it’s dangerous to drive alone through all that riffraff? SCARLETT: Don’t worry about me. I can shoot straight if I don’t have to shoot too far. RHETT: What a woman! MAN: Could ya gimme a quarter? RHETT: Let go of my horse! MAN: Hold the horse! SCARLETT: Help! Help! Help! SAM: Miss Scarlett! Miss Scarlett, wait! Miss Scarlett! Miss Scarlett, it’s Big Sam! SCARLETT: Sam! Sam! Sam! SAM: Is you hurt, Miss Scarlett? Did they hurt you? Don’t cry, Miss Scarlett! Big Sam’ll get you out of this in a jiffy. Horse, make tracks! FRANK: You get to Tara just as quick as you can, and stay there. SAM: I sure will. I’s got through of them carpetbaggers. Thank you, Mr. Frank. Goodbye, Miss Scarlett. SCARLETT: Goodbye, Sam, and thank you. FRANK: Scarlett, change you dress and go over to Miss Melly’s for the evening. I’ve got to go to a political meeting. SCARLETT: A political meeting? How can you go to a political meeting…after what I’ve been through this afternoon? FRANK: Oh, sugar! You’re more scared than hurt. SCARLETT: Nobody cares about me. You all act as though it was nothing at all. The men talk, talk, talk about protecting out women…and after what happened to me today, Frank has to go to a political meeting. And if it won’t pain you too much, India Wilkes…I’d be much obliged if you’ll tell me why you’re staring at me. Has my face gone green or something? INDIA: It won’t pain me! What happened this afternoon was just what you deserved! And if there was any justice, you’d have gotten worse. MELANIE: India, hush up! SCARLETT: Let her talk, Melanie. She’s always hating me. Ever since I took your brother away from her…though she’s too much of a hypocrite to admit it! If she thought anyone’s go for her… she’d walk down the street naked! INDIA: I do hate you! You’ve done all you could to lower the prestige of decent people. Now you’ve endangered the lives of our men because they… MELANIE: India… MRS. MEADE: I don’t think we’d better say anymore, or one of us will be saying too much. SCARLETT: What’s going on around here that I don’t know about? MAMMY: Somebody’s comin’up the walk. Somebody that ain’t Mr. Ashley. MELANIE: Will you hand me the pistol, please, Mrs. Meade? Whoever it is…we know nothing. RHETT: Where have they gone? You’ve got to tell me, Mrs. Wilkes. It’s life or death! INDIA: Don’t tell him anthing. He’s a Yankee spy. RHETT: Quickly, please! There may still be time. MELANIE: How did you know? RHETT: I’ve been playing poker with two Yankee captains. They knew there’d be trouble tonight. They’ve sent their cavalry out to be ready for it. Your husband and his friends are walking into a trap. INDIA: Don’t tell him! He’s trying to trap you! MELANIE: Out the Dectur Road. The old Sullivan plantation. The house is burned. They’re meeting in the cellar. RHETT: I’ll do what I can. SCARLETT: What’s all this about? If you don’t tell me, I’ll go crazy! MELANIE: We thought it best not to tell you, Scarlett. But Ashley and Frank and the others have gone to clean out those woods…where you were attacked. It’s what a great many of our Southern gentlemen have had…to do lately for our protection. INDIA: And if they’re captured, they’ll be hanged, Scarlett! And it will be your fault! MELANIE: Another word, and you go out of this house, India! Scarlett did what she thought she had to do. And our men are doing what they think they have to do. SCARLETT: Frank! And Ashley! Oh, it isn’t possible！ MAMMY: There’s horses, Miss Melly. Here they come. MELANIE: You’re sewing! You’re sewing! Open the door, Mammy. TOM: Good evening, Mrs. Kennedy. Which of you ladies is Mrs. Wilkes? MELANIE: I am Mrs. Wilkes. TOM: I should like to speak to Mr. Wilkes, if you please. MELANIE: He’s not here. TOM: Are you sure? MAMMY: Don’t you doubt Miss Melly’s words. TOM: I meant no disrespect, Mrs. Wilkes. If you’ll give me your word, I won’t search the house. MELANIE: Search if you like, but Mr. Wilkes is at a political meeting at Mr. Kennedy’s store. TOM: He’s not at the store, and there’s no meeting tonight! No political meeting! We’ll wait outside till he and his friends return. Sergeant, surround the house. Put a man on each door and window. MELANIE: Keep on with your sewing, ladies！And I’ll read aloud. “The Personal History and Experience of David Copperfield”, “Chapter one. I’m born.” “To begin my life, with the beginning of my life, I record that I was born.” “Chapter nine. I have a memorable birthday. I pass over all that happened at school…until the anniversary of my birthday came around in March. Except that Steerforth was more to be admired than ever, I remember nothing. He was going away at the end of the half year if not sooner…and was more spirited and independent than before in my eyes…and therefore, more engaging than before, but…beyond this I remember nothing. The great…I remember nothing.” SACRLETT: Melly! They’re drunk! MELANIE: Leave this to me, Scarlett! And, please, say nothing! INDIA: You stupid fool! TOM: Quiet! Will you shut up for the love of …? ASHLEY: Hello, Melly! MELANIE: So, you’ve got my husband intoxicated again, Captain Butler! Well, bring him in. TOM: Sorry, Mr. Wilkes. Your husband’s under arrest. MELANIE: If you arrest all the men who get intoxicated…you must have a good many Yankees in jail. Bring him in, Captain Butler, if you can walk yourself. DR. MEADE: I want to tell you a story… TOM: Listen, Doctor, I… MELANIE: Put him there in that chair. And now, Captain Butler, will you please leave my house…and try to remember not to come here again? RHETT: Well, now that’s fine, thanks, I get for bringing him home…and not leaving him on the streets in his shameful condition! Now, boys, all together! MELANIE: Dr. Meade… I’m astonished at you! Oh, Ashley! How can you do this to me? ASHLEY: I ain’t so very drunk. Melly! Take him into the bedroom and lay him out on the bed as usual. TOM: Don’t touch him, he’s under arrest! RHETT: Now, Tom. What do you want to arrest him for? I’ve seen him drunker. I’ve seen you drunker! And you’ve seen me… TOM: He can lie in the gutter for all I care! I’m not a policeman. But he led a raid tonight on that shantytown…where Mrs. Kennedy got into trouble this afternoon. A lot of shanties were burned. A couple of men were killed. It’s about time you rebels learned you can’t take the law into your own hands. What are you laughing at me? RHETT: This isn’t your night to teach me that lesson, Tom. Those two have been with me tonight. Yes, sir. TOM: With you, Rhett? Where? RHETT: I don’t want to say in the presence of ladies. TOM: You’d better say. RHETT: Come out on the porch and I’ll tell you. MELANIE: Speak out, Captain Butler! I think I have a right to know there my husband’s been. RHETT: Well, ma’am, we dropped in on a friend of mine…and the captain’s, Mrs. Belle Walting. We played cards, drank champagne and well… DR. MEADE: Now, you’ve done it! Did you have to show me up in front of my wife? RHETT: Now I hope you’re satisfied, Tom. These ladies won’t be on speaking terms with heir husbands tomorrow. TOM: Well, Rhett, I had no idea, I… Look here, will you take oath that they were with you tonight at Belle’s? RHETT: Ask Belle, if you don’t believe me. She’ll tell you, Captain. TOM: Will you give me your word as a gentleman? RHETT: As a gentleman? Why certainly, Tom. TOM: Well, if I … if I’ve made a mistake, I’m sorry. I hope you’ll forgive me, Mrs. Wilkes, I… MELANIE: If you’ll go and leave us in peace, please. TOM: Well, I say I’m sorry, and…well, I am sorry. Come on, Sergeant. RHETT: Lock that door. Pull down the shades. SCARLETT: Ashley. DR, MEADE: It’s all right. It’s only in the shoulder. Get him on the bed where I can dress the wound. ASHLEY: I think I can walk. RHETT: It’s not worth the effort. Which way? MELANIE: In here. DR. MEADE: Mammy, I want some hot water. MAMMY: Yes, sir. DR. MEADE: And lint for bandages. INDIA: I’ll find some. DR. MEADE: Now what can I use for a probe? If only had my bag… MRS. MEADE: Were you really there? What did it look like? Does she have cut-glass changeliers, plush curtains and dozens of mirrors? DR. MEADE: Good heavens, Mrs. Meade, remember yourself. MELANIE: And now Captain Butler, tell me what happened, all that happened. RHETT: If I was too late. When I got to the old Sullivan place there’d already been a skirmish with the Yankees. I found Mr. Wilkes wounded and Dr. Meade was with him. I had to prove they had been somewhere, any place but where they were. So I took them to Belle’s. MELANIE: And she took them in? RHETT: She’s by the way of being an old friend of mine. MELANIE: Oh, I’m sorry, I… RHETT: I’m sorry I couldn’t think up a more dignified alibi. MELANIE: This isn’t the first time you’ve come between me and disaster, Captain Butler. It isn’t likely that I’d question any device of yours. And now I, I’ll go and see that Dr. Meade needs. SCARLETT: Oh, Ashley! Ashley! RHETT: Have you no interest in what’s become of your own husband, Mrs. Kennedy? SCARLETT: Did Frank go with you to Belle Watling’s? RHETT: No! SCARLETT: Well, where is he? RHETT: He’s lying out on Decatur Road…shot through the head. He’s dead. MELANIE: Who is it? BELLE: It’s Miss Watling. MELANIE: Oh, Miss Watling! Won’t you come in the house? BELLE: Oh, no. I couldn’t do that, Miss Wilkes. You come in and sit a minute with me. MELANIE: How could I thank you enough for what you did for us? How can any of us thank you enough? BELLE: I got your note saying you was going to call on me and thank me. Why, Miss Wilkes, you must have lost your mind. I come up here as soon as it was dark to tell you… you mustn’t even think of any such thing. Well, I’m…Well, it wouldn’t be fitting at all. MELANIE: It wouldn’t be fitting to thank a kind woman who saved my husband’s life? BELLE: Mrs. Wilkes, there ain’t never been a lady in this town nice to me like you was. I mean, about the money for the hospital, you know. And I don’t forget a kindness. And I got to thinking about you being left a widow with a little boy…if Mr. Wilkes got hung…and he’s a nice little boy, your boy is, Miss Wilkes. I got a boy myself and so I … MELANIE: Oh, you have? Does he live…? BELLE: Oh, no, ma’am, he ain’t here in Atlanta. He ain’t never been here. He’s off at school. I ain’t seen him since he was little. Well, anyway, if it had been that Mrs. Kennedy’s husband by hisself…I wouldn’t have lifted a finger to no matter what Captain Butler said. She’s a mighty cold woman, prancing about Atlanta by herself. She killed her husband same as if she shot him. MELANIE: You mustn’t say unkind things about my sister-in-law. BELLE: Oh, please don’t freeze me, Miss Wilkes. I forgot how you liked her. But she just ain’t in the same class with you, and I can’t help it if I think so. Well, anyway, I gotta be goin’. I’m scared somebody’ll recognize this carriage if I stayed here any longer. They wouldn’t do you no good. And Miss Wilkes… if you ever see me on the street, you don’t have to speak to me. I’ll understand. MELANIE: I should be proud to speak to you. Proud to be under obligation to you. I hope we meet again. BELLE: Oh, no, ma’am, that wouldn’t be fittin’. Good night, Miss Wilkes. MELANIE: Good night, Mrs. Watling. And you’re wrong about Mrs. Kennedy. She’s brokenhearted about her husband. SCARLETT: Great balls of fire! It’s Rhett. MAMMY: Miss Scarlett. Captain Butler here to see you. I told him you was prostrate with grief. SCARLETT: Tell him I'll be right down, Mammie. MAMMY: She says she's coming. I don't know why she's coming, but she's coming. RHETT: You don't like me, Mammie. Now don't you argue with me, you don't, you really don't like me. RHETT: It's no good, Scarlett. SCARLETT: What? RHETT: The cologne. SCARLETT: I'm sure I don't know what you mean. RHETT: I mean you've been drinking. Brandy. Quite a lot. SCARLETT: Well, what if I had? Is that any of your affair? RHETT: Don't drink alone, Scarlett. People always find out. And it ruins reputation. What is it? This is more than losing old Frank. SCARLETT: Oh, Rhett. I am so afraid. RHETT: I don't believe it. You've never been afraid in your life. SCARLETT: I'm afraid now. I'm afraid of dying, of going to Hell. RHETT: You look pretty healthy. And maybe there isn't any Hell. SCARLETT: Oh, there is. I know there is. I was raised on it. RHETT: Well, far be it for me to question the teachings of childhood. Tell me what you've done that Hell yawns before you. SCARLETT: I ought never to have married Frank to begin with. He was Suellen's beau and he loved her, not me. And I made him miserable. And I killed him. Yes, I did, I killed him. Oh, Rhett, for the first time, I'm finding out what it is to feel sorry for something I've done. RHETT: Here, dry your eyes. If you had it to do all over again, you'd do it no differently. You're like the thief who isn't the least bit sorry he stole but he's terribly, terribly sorry he's going to jail. SCAELETT: I'm glad mother’s dead. I'm glad she's dead so she can't see me. I always wanted to be like her, calm and kind and...and suddenly I've turned out disappointing. RHETT: You know what, Scarlett? I think you're on the verge of a crying jag. So I'll change the subject and say what I came to say. SCARLETT: Say it, then get out! What is it? RHETT: That I can't go on any longer without you. SCARLETT: Oh, you really are the most ill-bred man to come here at a time like this... RHETT: I made up my mind you were the only woman for me, Scarlett, the first day I saw you at Twelve Oaks. Now that you've got your lumber mill and Frank's money, you won't come to me as you did at the jail. So I see I shall have to marry you. SCARLETT: I never heard of such bad taste. RHETT: Would you be more convinced if I fell to my knees? SCARLETT: Turn me loose, you varlet and get out of here. RHETT: Forgive me for startling you with the impetuosity of my sentiments, my dear Scarlett, I mean my dear Mrs. Kennedy. But it cannot have escaped your notice that for some time past, the friendship I have felt for you has ripened into a deeper feeling. A feeling more beautiful, more pure, more sacred...dare I name it? Can it be love? SCARLETT: Get up off your knees. I don't like your common jokes. RHETT: This is an honorable proposal of marriage, made in what I consider a most opportune moment. I can't go all my life waiting to catch you between husbands. SCARLETT: You're coarse and you're conceited. And I think this conversation's gone far enough. Besides, I shall never marry again. RHETT: Oh yes, you will. And you'll marry me. SCARLETT: You...you? I don't love you. And I don't like being married. RHETT: Did you ever think of marrying just for fun? RHETT: Oh yes, you will. And you'll marry me. SCARLETT: You...you? I don't love you. And I don't like being married. RHETT: Did you ever think of marrying just for fun? SCARLETT: Marriage, fun? Fiddle-dee-dee. Fun for men, you mean. Hush, do you want them to hear you outside? RHETT: You've been married to a boy and an old man. Why not try a husband at the right age? With a way with women? SCARLETT: You're a fool, Rhett Butler. When you know I shall always love another man. RHETT: Stop it. You hear me, Scarlett, stop it. No more of that talk. SCARLETT: Rhett, don't, I shall faint. RHETT: I want you to faint. This is what you were meant for. None of the fools you've ever known have kissed you like this, have they? Your Charles or your Frank or your stupid Ashley. Say you're going to marry me. Say “yes”. Say “yes”. SCARLETT: Yes. RHETT: Are you sure you meant it? You don't want to take it back? SCARLETT: No. RHETT: Look at me and try to tell me the truth. Did you say “yes” because of my money? SCARLETT: Well… Yes, partly. RHETT: Partly? SCARLETT: Well, you know, Rhett, money does help. And of course I am fond of you. RHETT: Fond of me. SCARLETT: Well, if I said madly love with you, you’d know I was lying…but you always said we had a lot in common. RHETT: Yes, you’re right, my dear. I’m not in love with you any more than you are with me. Heaven help the man who ever really loves you. What kind of a ring would you like, my darling? SCARLETT: Oh, a diamond ring. And do buy a great big one, Rhett. RHETT: You shall have the biggest and the most vulgar ring in Atlanta. I’ll take you to New Orleans for the most expensive honeymoon…my ill-gotten gains can buy. SCARLETT: Oh, that would be just heavenly. RHETT: And I think I’ll buy your trousseau for you, too. SCARLETT: Rhett, how wonderful, but…you won’t tell anybody, will you, Rhett? RHETT: Still the little hypocrite. SCARLETT: Rhett, aren’t you going to kiss me goodbye? RHETT: Don’t you think you’ve had enough kissing for one afternoon? SCARLETT: Oh, you’re impossible. You can go and I don’t care if you never come back. RHETT: But I will come back. What are you thinking about, Scarlett? SCARLETT: I’m thinking about how rich we are. Rhett, I can keep the lumber business too, can’t it? RHETT: Yes, of course, you can, if it amuses you. Now that you’re rich you can tell everyone to go to the devil…as you’ve always said you wanted to. SCARLETT: But you were the main one I wanted to go to the devil. RHETT: Don’t scrape the plate, Scarlett. I’m sure there’s more in the kitchen. SCARLETT: Oh, Rhett, can I have one of those chocolate ones stuffed with meringue? RHETT: If you don’t stop being such a glutton, you’ll get as fat as Mammy…then I’ll divorce you. Wouldn’t it be nice if you bought something for Mammy, too? SCARLETT: Why should I buy her a present when she called us both mules? RHETT: Mules? Why mules? SCARLETT: Yes, she said we could give ourselves airs, and get ourselves all slicked up…like racehorses but we were just mules in horse harness…and we didn’t fool anybody. RHETT: I never heard anything more true. Mammy’s a smart old soul…and one of the few people I know whose respect I’d like to have. SCARLETT: I won’t give her a thing. She doesn’t deserve it. RHETT: Then I’ll take her a petticoat. I remember my Mammy always said when she went to heaven…she wanted a red taffeta petticoat, so stiff that it would stand by itself… and so rustly. The Lord would think it was made of angels’ wings. SCARLETT: Why, she won’t take it from you. She’d rather die than wear it. RHETT: That may be, but I’m making the gesture just the same. Wake up! Wake up! You were having another nightmare. SCARLETT: Oh, Rhett, when I was so cold and hungry and…and so tired, I…I couldn’t find it. I ran through the mist and I couldn’t find it. Everybody is missing… RHETT: Find what, honey? SCARLETT: Oh, I don’t know. I always dream the same dream and I never know. It seems to be hidden in the mist. RHETT: Darling. SCARLETT: Rhett, do you think I’ll ever dream that I’ve found and that I’m safe? RHETT: Dreams don’t work that way. But when you get used to being safe and warm…you’ll stop dreaming that dream. And Scarlett, I’m going to see that you are safe. SCARLETT: Rhett, Rhett, would you do something for me if I asked you? RHETT: You know I would. SCARLETT: Will you take me away from here? RHETT: Don’t you like New Orleans? SCARLETT: Oh, I love New Orleans, but I want to go home and visit Tara. Will you take me to Tara? RHETT: Yes, Scarlett, of course I will. We will go tomorrow. You get your strength from this red earth of Tara, Scarlett. You’re part of it, and it’s part of you. SCARLETT: Oh, Rhett, I’d give anything to have Tara the way it was before the war. RHETT: Would you? Then go ahead and make it that way. Spend whatever you want. Make it as fine a plantation as it ever was. SCARLETT: Oh, Rhett. Rhett, you are good to me. And can we still have our big house in Atlanta? RHETT: Yes, and it can be as ornate as you want…marbles terraces, stained-glass windows and all. SCARLETT: Oh, Rhett, won’t everyone be jealous? I want everybody who’s been mean to me to be pea-green with envy. SUELLEN: I don’t care. Scarlett’s hateful. Building that new house just to show off…and even taking our servants. CORREEN: Oh, darling, you mustn’t think unkindly of her. She’s made it possible for us to keep Tara always. SUELLEN: Yes, and what good is Tara? She’s had three husbands and I’ll be an old main. SERVANT: Great Jehosophat! Great Jehosophat! PRISSY: Lordsy, we sure is rich now! MAMMY: It ain’t quality… RHETT: But that’s ridiculous. Why can’t I go in? I’m entitled to at least see what my own child looks like. MAMMY: You control yourself, Mr. Rhett. You’ll be seeing it for a long time. I’d like to apologiz, Mr. Rhett, about it’s not being a boy. RHETT: Oh, hush your mouth, Mammy. Who wants a boy? Boys aren’t any use to anybody. Don’t think I’m proof of that? Have a drink of sherry, Mammy. Mammy, she is beautiful, isn’t she? MAMMY: She sure is. RHETT: Did you ever see a prettier one? MAMMY: Well, sir, Miss Scarlett was mighty near that pretty when she come, but not quite. RHETT: Have another glass, Mammy. What’s that rustling noise I hear? MAMMY: Lordsy, Mr. Rhett. That ain’t nothin’ but my red silk petticoat you done give me. RHETT: Nothing but your petticoat. I don’t believe it. Let me see. Pull up your skirt. MAMMY: Mr. Rhett. You really is bad. Yeah, oh, Lord! RHETT: You sure took a long enough time about wearing it. MAMMY: Yes, sir, too long. RHETT: Too long. No more mule in horse’s harness? MAMMY: Mr. Rhett, Miss Scarlett was bad tellin’ you about that. You ain’t holdin’ that against old Mammy, is you? RHETT: No, I ain’t holding it against you. I just wanted to know. Have another glass, Mammy. Here, take the whole bottle. MELANIE: Dr. Meade says you may go in now, Captain Butler. MAMMY: That sure is a happy day to me. I done diapered three generations of this family girls…and it sure is a happy day. MELANIE: Oh, yes, Mammy. The happiest days are when babies come. I wish…Oh, Mammy, she’s beautiful. What do you suppose they’ll name her? MAMMY: Miss Scarlett done told me if it was a girl… she’s goin’ to name it Eugenia Victoria. RHETT: Yes. She's a beautiful baby… The most beautiful baby ever...Yes... do you know that this is your birthday? That you're a week old today? Yes...I'm going to buy her a pony the likes of which this town has never seen. Yes, I'm going to send you to the best schools in Charleston...Yes, and she'll be received by the best families in the South. And when it comes time for her to marry… well, she'll be a little princess. SCARLETT: Certainly you are making a fool of yourself. RHETT: Why shouldn't I? She's the first person who's ever completely belonged to me. SCARLETT: Great balls of fire. I had the baby, didn't I? MELANIE: It's Melanie. May I come in? SCARLETT: Come in, Melly. RHETT: Yes, come in and look at my daughter's beautiful blue eyes. MELANIE: But Captain Butler, most babies have blue eyes when they're born. SCARLETT: Don't try and tell him anything, Melly, he knows everything about babies. RHETT: Nevertheless, her eyes are blue and they're going to stay blue. MELANIE: As blue as the bonnie blue flag. RHETT: That's it. That's what we'll call her. Bonnie Blue Butler. SCARLETT: Try again, Mammie. MAMMIE: Twenty inches. SCARLETT: Twenty inches? I've grown as big as Aunt Pitty. You've simply got to make it eighteen and a half again, Mammie. MAMMIE: You done had a baby, Miss Scarlett. And you ain't never going to be no eighteen and a half inches again. Never. And there ain't nothing to do about it. SCARLETT: There is something to do about it. I'm just not going to get old and fat before my time. I just won't have any more babies. MAMMIE: I heard Mr. Rhett said that he'd be wanting to have a son next year. SCARLETT: Go tell Captain Butler I decided not to go out after all. I'll have supper in my room. RHETT: I got your message. I'll have them bring my supper up here too. No objections to that, I hope? SCARLETT: No...Yes, I...I mean I don't care where you have your supper. Rhett? RHETT: Yes? SCARLETT: You see...well, I've decided…Well, I hope I don't have any more children. RHETT: My pet, as I told you before Bonnie was born. It is immaterial to me whether you have one child or twenty. SCARLETT: I know, but do you know what I...do you know what I mean? RHETT: I do. And do you know I can divorce you for this? SCARLETT: You're just low enough to think of something like that. If you had any chivalry in you, you'd be nice, like...Well, look at Ashley Wilkes. Melanie can't have any more children and he...he... RHETT: You've been to the lumber office this afternoon, haven't you? SCARLETT: What does that got to do with it? RHETT: Quite the little gentleman, Ashley. Pray go on, Mrs. Butler. SCARLETT: It's no use. You wouldn't understand. RHETT: You know, I'm sorry for you, Scarlett. SCARLETT: Sorry for me? RHETT: Yes, sorry for you because you're throwing away happiness with both hands. And reaching out for something that will never make you happy. SCARLETT: I don't know what you're talking about. RHETT: If you were free and Miss Melly were dead, and you had your precious…honorable Ashley, do you think you'd be happy with him? You'd never know him. Never even understand his mind. Any more than you understand anything. Except money. SCARLETT: Never mind about that. What I want to know is... RHETT: You may keep your sanctity, Scarlett. It'll work no hardship on me. SCARLETT: Do you mean to say you don't care? RHETT: The world is full of many things and many people. And I shan’t be lonely... I'll find comfort elsewhere. SCARLETT: Well, that's fine. But I warn you just in case you change your mind... I intend to lock my door. RHETT: Why bother. If I wanted to come in, no lock could keep me out. I always knew the most women were cheats, hypocritical and hard. But this one… BELLE: Rhett, it ain’t no use. RHETT: What do you mean? BELLE: I mean you’re poisoned with her. I don’t care what she’s done to you, you’re still in love with her. And don’t think it pleasures me none to say it. RHETT: Maybe so! But I’m through with her. I tell you I’m through. BELLE: You gotta think of the child. The child’s worth ten of the mother. RHETT: You’re a shrewd woman, Belle, and a very nice one. BELLE: Yes, Rhett？ RHETT: I was just thinking of the difference between you, and … you’re both hard-headed business women and you’re both successful. But you’ve got a heart, Belle…and you’re honest. BELLE: Goodbye, Rhett. RHETT: Goodbye, Belle. She’ll be a wonderful horsewoman! Look at those hands, and that seat! SACRLETT: Oh, fiddle-dee-dee! Just why we have to wheel the baby when we have a house full of servants… RHETT: Good morning, Mrs. Merriwether. MRS. MERRIWETHER: Good morning, Captain Butler. Good morning, Scarlett. SCARLETT: Making fools of ourselves in front of these old buffaloes! RHETT: If you’d thought of your position years ago, you wouldn’t have to do this. But as it is, we’ll cultivate every female dragon of the old guard in this town. Good morning, Mrs. Whiting. MRS. WHITING: Good morning, Captain Butler. Good morning, Scarlett. SACRLETT: So the millionaire speculator’s turning respectable! RHETT: All of our money can’t buy what I want for Bonnie. Oh, I’ll admit I’ve been at fault, too. But Bonnie’s going to have a place among decent people. Yes, even if we both have to crawl on our bellies to every fat old cat. Good morning, Mrs. Meade. MRS. MEADE: Good morning, Captain Butler. Good morning, Scarlett. RHETT: Mrs. Merriwether, I’ve always had a great regard for your knowledge. I wonder if you could give me some advice. MRS. MERRYWETHER: Why, certainly, Captain Butler? RHETT: My Bonnie sucks her thumb. I can’t make her stop it. MRS. MERRYWETHER: You should make her stop it. It’ll ruin the shape of her mouth. RHETT: I know, I know. She has such a beautiful mouth, too. I tried putting soap under her nails. MRS. MERRYWETHER: Soap! Bah! Put quinine on her thumb and she’ll stop sucking it quick enough. RHETT: Quinine! I never would have thought of it. I can’t thank you enough, Mrs. Merriwether. You’ve taken a great load off my mind! Good morning. MRS. MEADE: Good morning, Dolly. Wasn’t that Captain Butler? MRS. MERRYWETHER: Good morning, Caroline. I was just thinking…There must be a great deal of good in a man who could love a child so much. MRS. MEADE: But of course there is! Oh, did I tell you that Fanny Elsing told Dr. Meade that Captain Butler…finally admitted he was honored by the Confederate Congress…for his services at the Battle of Franklin? MRS. MERRYWETHER: No! And did I tell you, Caroline, that Captain Butler…made a stupendous contribution to the Association for the Beautification…of the Graves of the Glorious Dead? MRS. MEADE: No! MRS. MERRYWETHER: My little grandbaby, Napoleon Picard, is giving a party for Bonnie next week. MRS. MEADE: Why, Dolly Merriwether, you know right well it was my idea…to give a party for Bonnie Butler! MRS. MERRYWETHER: Why Caroline Meade… RHETT: Now watch Daddy put your pony over. Bonnie, now watch. BONNIE: Daddy, let me! Let me! RHETT: All right, darling! Put her on, Pork! PORK: Up we go! Oh, there! MAMMY: Lordsy mercy! There he goes again! RHETT: Grip tightly with your legs and sit close. Lean forward and be sure you go with him. Hold your reins properly in a firm hand. Up! That was fine! I knew you’d do it! When you get a little older, I’ll take you to Kentucky and Virginia. You’ll be the greatest horsewoman in the South. Give your daddy a kiss. MAMMY: Mr. Rhett! Mr. Rhett! Mr. Rhett! RHETT: Did you see her, Mammy? Wasn’t she wonderful? MAMMY: Mr. Rhett, I done told you and told you it just ain’t fittiin’…for a girl child to ride astraddle with her dress flyin’ up! RHETT: All right, Mammy. I’ll teach her to ride sidesaddle. And I’ll buy her a blue velve riding habit. She’ll love that. MAMMY: A nice black broadcloth is what little girls wear. RHETT: Now, Mammy, be reasonable. MAMMY: Well, I don’t think it’s fittin’, but…it ain’t gittin’, it just ain’t fittin’. It ain’t fittin’. ASHLEY: Why, Scarlett! What are you doing downtown at this time of day? SCARLETT: Well, Ashley I just… ASHLEY: Why aren’t you helping Melly get ready for my surprise birthday party? SCARLETT: Why, Ashley Wilkes. You aren't supposed to know anything about that. Melly'd be so disappointed if you weren't surprised. ASHLEY: I won't let her down. I'll be the most surprised man in Atlanta. Well as long as you're here, let me show you the books. So you can see just how bad a businessman I really am. SCARLETT: Oh, don't let's fool with any books today. When I'm wearing a new bonnet, all the figures I ever knew go right slab out of my head. ASHLEY: The figures are well lost when the bonnet's as pretty as that one. Scarlett, you know, you get prettier all the time. You haven't changed a bit since the day of our last barbecue at Twelve Oaks. When you sat under a tree surrounded by dozens of beaus. SCARLETT: That girl doesn't exist anymore. Nothing's turned out as I expected. Ashley, nothing. ASHLEY: Yes, we've travelled a long road since the old days, haven't we, Scarlett? All the lazy days...and the warm, still, country twilight...the high soft Negro laughter from the quarters...the golden warmth, and security of those days. SCARLETT: Don't look back, Ashley. Don't look back. It drags at your heart till...till you can't do anything but look back. ASHLEY: I didn't mean to make you sad, my dear. I never want you to be anything but completely happy. SCARLETT: Oh, Ashely! Who is it? RHETT: Only your husband. SCARLETT: Come in. RHETT: Am I actually being invited into the sanctuary? You're not ready for Melanie's party? SCARLETT: I've got a headache, Rhett. You go without me and make my excuses to Melanie. RHETT: What a white-livered little coward you are! Get up. You're going to that party and you'll have to hurry. SCARLETT: Has India dared to... RHETT: Yes, my dear, India has. Every woman in town knows the story and every man, too. SCARLETT: You should have killed them for spreading lies. RHETT: I have a strange way of not killing people who tell the truth. No time to argue, now get up. SCARLETT: I won't go! I can't go until this misunderstanding is cleared up. RHETT: You won’t cheat Miss Melanie out of the satisfaction of publicly ordering you out of her house. SCARLETT: There was nothing wrong. India hates me, so I can't go, Rhett. I couldn't face her. RHETT: If you don't show your face tonight, you'll never be able to show it in this town as long as you live. And while that wouldn't bother me, you're not going to ruin Bonnie's chances. You're going to that party if only for her sake. Now get dressed. Now wear that. Nothing modest or matronly will do for this occasion. And put on plenty of rouge. I want you to look your part tonight. RHETT: Good night, Scarlett. SCARLETT: But Rhett, you can't... RHETT: You go into the area alone. The lions are hungry for you. SCARLETT: Oh, Rhett, don't leave me, don't! RHETT: You're not afraid. MELANIE: What a lovely dress, Scarlett, darling! India wasn't able to come tonight. Will you be an angel? I do need you to help me receive my guests. Mrs. Meade, here's our darling, Scarlett. MRS. MEADE: Good evening. SCARLETT: Good evening. WOMAN: Why, Scarlett, good evening. MAN: Good evening, Scarlett. MELANIE: Ashely, aren't you going to get our Scarlett a glass of punch? MAMMY: Did you have a good time tonight at Miss Melly's party, child? SCARLETT: Yes, yes. Now Mammie, be sure and leave word…if Captain Butler asks for me when he comes back, I'm asleep. MAMMY: Yes, ma’am. RHETT: Come in, Mrs. Butler. Come here. Sit down. There's no reason why you shouldn't have your nightcap even if I am here. SCARLETT: I didn't want to drink. I heard a noise and... RHETT: You heard nothing of the kind. You wouldn't have come down if you thought I was here. You must need a drink badly. SCARLETT: I do not. RHETT: Take it. Don't get yourself airs. I know you drink on the quiet and I know how much you drink. You think I care if you like your brandy? SCARLETT: You're drunk and I'm going to bed. RHETT: I'm very drunk and I intend getting still drunker before the evening's over. But you're not going to bed. Not yet! Sit down! So she stood by you, did she? How does it feel to have the woman you've wronged cloak your sins for you? You're wondering if she knows all about you and Ashley. You're wondering if she did it just to save her face. You're thinking that she's a fool for doing it even if it did save your hide but... SCARLETT: I will not listen. RHETT: Yes, you'll listen. Miss Melanie's a fool, but not the kind you think. It's just that's there's too much honor at her to ever conceive of dishonor in anyone she loves. And she loves you. Though just why she does, I'm sure I don't know. SCARLETT: If you weren't so drunk and insulting, I could explain everything. As it is though... RHETT: If you get out of that chair once more... Of course, the comic figure in all of this is the long suffering Mr. Wilkes. Mr. Wilkes, who can't be mentally faithful to his wife and won't be unfaithful to her technically. Why doesn't he make up his mind? SCARLETT: Rhett, you... RHETT: Observe my hands, my dear. I could tear you to pieces with them. And I'd do it if it'd take Ashley out of your mind forever. But it wouldn't. So I'll remove him from your mind forever this way. I'll put my hand so. One on each side of your head. And I'll smash your skull between them like a walnut. That'll block him out. SCARLETT: Take your hands off me, you drunken fool. RHETT: You know, I've always admired your spirit, my dear. Never more than now when you're cornered. SCARLETT: I'm not cornered. You'll never corner me, Rhett Butler, or frighten me. You've lived in dirt so long you can't understand anything else. And you're jealous of something you can't understand. Good night! RHETT: Jealous, am I? Yes, I suppose I am. Even though I know you've been faithful to me all along. How do I know? Because I know Ashley Wilkes and his honorable breed. They're gentlemen. That's more than I can say for you and for me. We're not gentlemen. And we have no honor, have we? You turned me out while you chased Ashley Wilkes. While you dreamed of Ashley Wilkes. This is one night you’re not turning me out! SCAELETT: How are you feeling this morning, Mammy? MAMMY: Well, this misery in my back ain’t so good. You actin’ mighty happy this mornin’, Miss Scarlett. SCARLETT: I am, Mammy. I am. “Oh, she went with delight when he gave her a smile, and trembled with yet his frown...” (singing) RHETT: Hello. I, I'd like to extend my apology for my conduct of last night. SCARLETT: Oh, but Rhett... RHETT: I was very drunk and quite swept off my feet by your charms. SCARLETT: Well, you needn't bother to apologize. Nothing you ever do surprises me! RHETT: Scarlett, I've been thinking things over and I really believe it'd be better for both of us, if we admitted we made a mistake and got a divorce. SCARLETT: A divorce? RHETT: Yes. There's no point in our holding onto each other, is there? I've provided for you amply. You've plenty of grounds. Just give me Bonnie and you can say what you please and I won't contest it. SCARLETT: Thank you very much, but I wouldn't dream of disgracing the family with a divorce. RHETT: You'd disgrace it quickly enough if Ashley were free. It makes my head spin to think of how quickly you'd divorce me. Wouldn't you, Scarlett? Well, answer me, wouldn't you? SCARLETT: Will you please go now and leave me alone? RHETT: Yes, I'm going, that's what I came to tell you. I am going on a very extended trip to London, and I'm leaving today. SCARLETT: Oh... RHETT: And I'm taking Bonnie with me. So you'll please get her little duds packed right away. SCARLETT: You'll never take my child out of this house. RHETT: She's my child, too, Scarlett. And you're making a mistake if you think I'm leaving her here with a mother who hasn't the decency to consider her own reputation. SCARLETT: You're a fine one to talk. You think I let that child get out of this house when you'll probably have her around with people like, like that Belle? RHETT: If you were a man, I'd break your neck for that. As it is. I'll thank you to shut your stupid mouth. And as for you giving yourself pious airs about your motherhood, why a cat's a better mother than you are. You have her things packed ready for me in an hour, or I warn you, I've always thought a good lashing with a buggy whip would benefit you immensely. SERVANT: Excuse me, Mr. Rhett. RHETT: Hello, hello, beau. BONNIE: Daddy, daddy! Where have you been? I’ve been waiting for you all morning. RHETT: Well, I’ve been hunting for you a rabbit skin to wrap my little Bonnie in. Give your best sweetheart kiss. Bonnie, I’m going to take you on a long trip to fairyland! BONNIE: Where? Where? RHETT: I’m going to show you the Tower of London where the little princes were…and London Bridge. BONNIE: London Bridge? Will it be falling down? RHETT: Well, it will if you want it to, darling. BONNIE: Daddy, dark! Dark! Daddy… RHETT: It’s all right. Who put out that light? Yes…Yes…What’s the matter with my Bonnie? BONNIE: A bear. RHETT: Oh, a bear? A big bear? BONNIE: Dreadful big. And he sat on my chest. RHETT: Well, I’ll stay here and shoot him if he comes back. SERVANT: Oh, good evening, Mr. Butler. RHETT: Haven’t I told you never to leave her alone in the dark? SERVANT: If you’ll pardon me, sir, children are often afraid of the dark, but they get over it. If you just let her scream for a night or two. RHETT: Let her scream! Either you’re a fool or the most inhuman woman I’ve ever seen! SERVANT: Of course, sir. If you want her to grow up nervous and cowardly… RHETT: Cowardly! There isn’t cowardly bone in her body. You’re discharged! SERVANT: As you say so, sir. BONNIE: Where is mother? RHETT: Bonnie, aren’t you happy here in London with me? BONNIE: I want to go home. MAMMY: Miss Bonnie! And Captain Butler! Miss Scarlett! Honey child! Miss Scarlett, they’re back! They’re back, Miss Scarlett! SCARLETT: Bonnie! Bonnie! Bonnie…Bonnie baby...darling baby...you glad to be home? BONNIE: Daddy gave me a kitten! SCARLETT: What a little, lovely kitten! BONNIE: Oh, London's a horrible place. Where's my pony? I want to go out and see my pony. SCARLETT: You go out and see your pony. Come on, honey child. Go with Mammy. MAMMY: Mammy sure has missed you, honey. RHETT: Mrs. Butler, I believe. SCARLETT: Mammie said you'd come back. RHETT: But only to bring Bonnie. Apparently any mother, even a bad one is better than a child with none. SCARLETT: You mean you're going away again? RHETT: What a perception, Mrs. Butler. Right away. In fact, I left my bags at the station. You're looking pale. Is there a shortage of rouge? Or can this wonders mean you've been missing me? SCARLETT: If I'm pale, it's your fault. Not because I've been missing you, but because... RHETT: Pray continue, Mrs. Butler. SCARLETT: It's because I'm going to have a baby. RHETT: Indeed? And who's the happy father? SCARLETT: You know it's yours. I don't want it any more than you do. No woman would want the child of a dad like you. I wish it were, I wish it were anybody's child but yours! RHETT: Well, cheer up. Maybe you'll have an accident. Is she better? Has she asked for me? PRISSY: Don’t you understand? She’s delirious. SCARLETT: Rhett! I want Rhett! MAMMY: What’s the matter, honey? Did you call somebody, child? SCARLETT: It’s no use…It’s no use. MELANIE: Dr. Meade’s left. RHETT: Scarlett’s dead! MELANIE: Oh, no, she’s much better. Really she is. There, there, Captain Butler, you’re beside yourself. She’ll very soon be well again, I promise you. RHETT: No. No. You don’t understand. She never wanted this baby. MELANIE: Not want a baby? Why, every woman wants a baby! RHETT: Yes, you want children, but she doesn’t. Not my children. She told me she didn’t want any more children…and I wanted to hurt her because she’d hurt me. I wanted to and I did. MELANIE: Hush. You mustn’t tell me these things. It’s not fit. RHETT: I didn’t know about this baby until the other day when she fell. If I’d known, I’d have come straight home whether she wanted me or not! MELANIE: Well, of course you would. RHETT: And then she told me, there on the steps, what did I do? What did I say? I laughed and I said… MELANIE: I know you didn’t mean it. But you didn’t mean it. RHETT: Oh, but I did mean it. I was crazy with jealousy. She’s never cared for me. I thought I could make her care, but I couldn’t. MELANIE: You’re so wrong. Scarlett loves you a great deal much more than she knows. RHETT: If that were true I could wait forever. If she’d only forgive me, forget this ever happened. MELANIE: She will. You must be patient. RHETT: Oh, no, it’s not possible. You don’t understand. If you only know who she really loved…you wouldn’t believe it. MELANIE: Surely you haven’t listened to idle gossip. No, Captain Butler, I wouldn’t believe it. There, there. Scarlett’s going to get well, and there can be other babies. RHETT: Oh no, no, no, she couldn’t even if she wanted to after what she’s been through. MELANIE: But of course she could. I’m going to. RHETT: No, Miss Melly, you mustn’t risk it. It’s too dangerous. MELANIE: Children are life renewing itself, Captain Butler…and when life does that danger seems very unimportant. RHETT: I’ve never before known anyone who was really brave. I pray God things go well with you, Miss Melly. And I want to thank you for all you’ve done for me and for Scarlett. From my heart, thank you. MAMMIE: Miss Scarlett's feeling a heap better today, Mr. Rhett. RHETT: Thank you, Mammy. I've come to ask your forgiveness. In the hope that we can give our life together another chance. SCARLETT: Our life together? When did we ever have a life together? RHETT: I guess you're right. But I'm sure if we could only try again, we could be happy. SCARLETT: What is there to make us happy now? RHETT: Well there's, there's Bonnie and, and I love you, Scarlett. SCARLETT: When did you discover that? RHETT: I've always loved you. But you've never given me a chance to show it. SCARLETT: Well, then just what do you want me to do? RHETT: To begin with, give up the mill, Scarlett. We'll go away. We'll take Bonnie with us and we'll have another honeymoon. SCARLETT: Give up the mill? Well, why should I? It's making more money than it ever did. RHETT: Yes, I know, but we don't need it. Sell it. Or better still, give it to Ashley. Melanie has been such a friend to both of us. SCARLETT: Melanie, always Melanie. If you'd only think a little more about me. RHETT: I am thinking of you. And I'm thinking that, well, that maybe it's the mill that's taking you away from me. And from Bonnie. SCARLETT: I know what you mean. I know what you're thinking. And don't try and bring Bonnie into this. You're the one who's taking her away from me. RHETT: But she loves you. SCARLETT: You've done everything possible to make her love you and not me. Why, she's so spoiled now that... BONNIE: Mommy, Daddy, watch me! SCARLETT: We're watching, darling! You're mighty pretty precious. BONNIE: So are you! I'm going to jump. Watch me, Daddy. RHETT: I don't think you ought to do much jumping yet, Bonnie. Remember you just learned to ride sidesaddle. BONNIE: I will so jump. I can jump better than ever, ‘cause I've grown, and I've moved the bar higher... SCARLETT: Don't let her do it, Rhett... RHETT: No, Bonnie, you can't... Well if you fall off, don't cry and blame me! SCARLETT: Rhett, stop her! RHETT: Bonnie! Bonnie! SCARLETT: Just like Pa… Just like Pa! RHETT: Bonnie! Bonnie! Bonnie! MAMMY: Lordsy, Miss Melly. I sure is glad you has come. MELANIE: This house won’t seem the same without Bonnie. How’s Miss Scarlett bearing up? MAMMY: Miss Melly, this here done broke her heart…but I didn’t fetch you here on Miss Scarlett’s account. What that child got to stand, the good Lord give her strength to stand. It’s Mr. Rhett I’m worried about. He done lost his mind these last couple of days. MELANIE: No, Mammy, no. MAMMY: I ain’t never seen no man, black or white, set such store on any child. When Dr. Meade says her neck broke…Mr. Rhett grab his gun and run out there and shoot that poor pony… and for a minute I think he going to shoot hisself. MELANIE: Oh, poor Captain Butler. MAMMY: Yes, ma’am. Miss Scarlett, she call him a murderer for teachin’ that child to jump. She say, “You give me my baby what you killed.” And then he say Miss Scarlett ain’t never cared nothin’ about Miss Bonnie. It like to turn my blood cold, the things they say to one another. MELANIE: Stop, Mammy, don’t tell me anymore. MAMMY: And then that night…Mr. Rhett locked hisself in the nursery with Miss Bonnie…when Miss Scarlett beat on it and hollered to him… and he wouldn’t even open the door…And that’s the way it’s been for two whole days. MELANIE: Oh, Mammy. MAMMY: And then this evening, Miss Scarlett, she shouted through the door…and she said “the funeral set for tomorrow morning”…and he says, “You try that and I kills you tomorrow. Do you think I’s going to put my child away in the …in the dark when she’s so scared of it?” MELANIE: Oh, Mammy, mammy, he has lost his mind. MAMMY: Yes, ma’am, that’s the God’s truth. He ain’t going to let us bury that child. You gotta help us, Miss Melly. MELANIE: Oh, but I can’t intrude. MAMMY: If you can’t help us, who can? Mr. Rhett always set great store by your opinion. Please, Miss Melly. MELANIE: I’ll do what I can, Mammy. RHETT: Get away from that door, and leave us alone. MELANIE: It’s Mrs. Wilkes, Captain Butler. Please let me in. I’ve come to see Bonnie. MAMMY: Oh, Lord! Please help Mr. Rhett in this hour of his grief. MELANIE: Mammy, I want you to go and make a good deal of strong coffee…and bring it up to Captain Butler. I’ll go and see Miss Scarlett. MAMMY: But… MELANIE: Captain Butler is quite willing for the funeral to take place…tomorrow morning. MAMMY: Hallelujah! I suspects the angels fights on your side, Miss Melly. Halleluiah! Miss Melly! Miss Melly! MELANIE: Send for Dr. Meade. And try…try to get me home! MAMMY: Miss Melly! Miss Melly! BEAU: Where is my mother going away to? And why can’t I go along, please? ASHLEY: We can’t always go along, Beau, much as we may want. You’re going back to bed now. SCARLETT: Oh, Rhett, she can’t be dying. She can’t be! RHETT: She hasn’t your strength. She’s never had any strength. She’s never had anything but heart. ASHLEY: You knew that, too. BEAU: Why do I have to go back to bed? It’s morning. ASHLEY: It isn’t really morning yet. DR. MEADE: You may come in now, Scarlett. INDIA: Dr. Meade, please let me see her! I’ve been waiting here two whole days, and I’ve got to tell her that I was wrong about something. DR. MEADE: She knows you were wrong. She wants to see Scarlett. Miss Melly’s going to die in peace. I won’t have you easing your conscience telling her things…that make no difference now. You understand? SCARLETT: It's me, Mellie. MELANIE: Promise me… SCARLETT: Anything! MELANIE: Look after my little son. I gave him to you once before. Remember? The day he was born. SCARLETT: Please, Melly, don’t talk. I know you’ll get well. MELANIE: Promise me…college. SCARLETT: Yes, yes, and Europe, and a pony, whatever he wants. But…Melly, do try… MELANIE: Ashley…Ashley and you… SCARLETT: What about Ashley, Melly? MELANIE: Look after him for me. Just as you…looked after me for him. SCARLETT: I will, Melly. MELANIE: Look after him…but never let him know. SCARLETT: Good night. MELANIE: Promise? SCARLETT: What else, Melly? MELANIE: Captain Butler...be kind to him. SCARLETT: Rhett? MELANIE: He loves you so. SCARLETT: Yes, Melly. MELANIE: Goodbye. SCARLETT: Goodbye! DR. MEADE: You ladies may come in now. SACRLETT: Ashley… ASHLEY: I don’t know where the mate to this is. She must have put it away. SACRLETT: Oh, stop it. Hold me. I’m so frightened. I’m so frightened. ASHLEY: Oh, Scarlett, what can I do? I can’t live without her. I can’t. Everything I ever had is…is going with her. SCARLETT: Oh, Ashley. You really love her, don’t you? ASHLEY: She’s the only dream I ever had that didn’t die in the face of reality. SCARLETT: Dreams! Always dreams with you, never common sense. ASHLEY: Oh, Scarlett! If you knew what I’ve gone through! SCARLETT: Ashley, you should have told me years ago that you loved her and not me…and not left me dangling with your talk of honor. But you had to wait till now, now when Melly’s dying…to show me that I could never mean any more to you than…than this Watling woman does to Rhett. And I’ve loved something that…that doesn’t really exist. Somehow… I don’t care. Somehow it doesn’t matter. It doesn’t matter one bit. Oh, Ashley, forgive me. Don’t cry. She mustn’t see you’ve been crying. DR. MEADE: Ashley! ASHLEY: Melly! Melly! SCARLETT: Rhett, Rhett! Rhett, where are you? Rhett, wait for me! Rhett, wait for me! Rhett! Rhett! Rhett… RHETT: Come in. SCARLETT: Rhett… RHETT: Melanie, she's...well. God rest her. She was the only completely kind person I ever knew. A great lady. A very great lady. So she's dead. That makes it nice for you, doesn't it? SCARLETT: Oh, how can you say such a thing? You know how I loved her, really! RHETT: No, I don't know that I do. But at least it's to your credit that you could appreciate her at the end. SCARLETT: Of course I appreciated her. She thought of everybody except herself. Why, her last words were about you. RHETT: What did she say? SCARLETT: She said, “Be kind to Captain Butler, he loves you so.” RHETT: Did she say anything else? MELANIE: She said…she asked me to look after Ashley, too. RHETT: It's convenient to have the first wife's permission, isn't it? SCARLETT: What do you mean? What are you doing? RHETT: I'm leaving you, my dear. All you need now is a divorce and your dreams of Ashley can come true. SCARLETT: Oh, no! No, you're wrong! Terribly wrong! I don't want a divorce. Oh, Rhett, when I knew tonight, when I knew I loved you, I ran home to tell you. Oh, darling, darling! RHETT: Please don't go on with this. Leave us some dignity to remember out of our marriage. Spare us this last. SCARLETT: This last? Oh Rhett, do listen to me. I must have loved you for years only I was such a stupid fool I didn't know it. Please believe me. You must care! Melly said you did! RHETT: I believe you. But what about Ashley Wilkes? SCARLETT: I...... I never really loved Ashley. RHETT: You certainly gave a good imitation of it up to this morning. Oh, Scarlett, I tried everything. If you'd only met me halfway, even when I came back from London... SCARLETT: I was so glad to see you. I was, Rhett. But, but you were so nasty! RHETT: And then when you were sick. And it was all my fault. I hoped against hope that you'd call for me. But you didn't. SCARLETT: I wanted you. I wanted you desperately, but I didn't think you wanted me! RHETT: It seems we've been at cross purposes, doesn’t it? But it's no use now. As long as there was Bonnie there was a chance we might be happy. I like to think that Bonnie was you. A little girl again. Before the war and poverty had done things to you. She was so like you. And I could pet her and spoil her as I wanted to spoil you. But when she went, she took everything. SCARLETT: Oh, Rhett, Rhett, please don't say that. I'm so sorry. I'm so sorry for everything. RHETT: My darling, you're such a child. You think that by saying I'm sorry, all the past can be corrected. Here, take my handkerchief. Never at any crisis of your life have I known you to have a handkerchief. SCARLETT: Rhett, Rhett, where are you going? RHETT: I'm going to Charleston. Back where I belong. SCARLETT: Please, please take me with you. RHETT: No. I'm through with everything here. I want peace. I want to see if somewhere if there is something left in life with charm and grace. Do you know what I'm talking about? SCARLETT: No. I only know that I love you. RHETT: That's your misfortune. SCARLETT: Rhett! If you go, where shall I go? What shall I do? RHETT: Frankly, my dear, I don't give a damn. SCARLETT: I can't let him go. I can't. There must be some way to bring him back. Oh, I can't think about that now. I'll go crazy if I do, I...I'll think about it tomorrow. But I must think about it. I must think about it. What is there to do? What is there that matters? (Memory recalling) MR. O'HARA: Do you mean to tell me, Katie Scarlett O'Hara, that Tara doesn't mean anything to you? Why, land is the only thing that matters. It's the only thing that lasts. ASHLEY: Something you love better than me, though you may not know it. Tara! It's this from where you get your strength. MR. O'HARA: Why, land’s the only thing that matters. It’s the only thing that lasts. ASHLEY: Something you love better than me, though you may not know it, Tara! Tara! The red earth of Tara. … SCARLETT: Tara! Home! I'll go home. And I'll think of some way to get him back. After all… tomorrow is another day!

Unit 8 Coco《寻梦环游记》

Subtitles (full version) Miguel: Sometimes, I think I'm cursed. Cause of something that happened before I was even born. See, a long time ago, there was this family. The Papa, he was a musician. He and his family would sing and dance and count their blessings. But he also had a dream. To play for the world. And one day, he left with his guitar and never returned. And the Mama...She didn't have time to cry over that walk-away musician. After banishing all music from her life...she found a way to provide for her daughter. She rolled up her sleeves and she learned to make shoes. She could have made candy. O-o-or fireworks. Or sparkly underwear for wrestlers. But no. She chose shoes. Then she taught her daughter to make shoes. And later, she taught her son-in-law. Then her grandkids got roped in. As her family grew, so did the business. Music has torn her family apart. But shoes held them all together.You see, that woman...was my great-great-grandmother, Mama Imelda. She died way before I was born. But my family still tells her story every year on Dia de los Muertos－the Day of the Dead. And her little girl? She's my great-grandmother, Mama Coco. Miguel: Hola, Mama Coco. Coco: How are you, Julio? Miguel: Actually, my name is Miguel. Mama Coco has trouble remembering things. But it's good to talk to her anyway. So, I tell her pretty much everything. I used to run like this. But now I run like this which is quite faster. The winner is... Luchadora Coco! I have a dimple on this side, but not on this side. Dimple, no dimple. Dimple, no dimple. Abuelita: Miguel, eat your food. Miguel: My abuelita, she's Mama Coco's daughter. Abuelita: Aw, you're a twig, mijo. Have some more. Miguel: No, gracias. Abuelita: I asked if you would like more tamales. Miguel: S-Si? Abuelita: That's what I thought you said! Miguel: Abuelita runs the house just as Mama Imelda did. Abuelita: No music! No music! (Y aunque la vida.) Abuelita: No music! Miguel: I think we're the only family in Mexico who hates music. And my family's fine with that. But me... Mama: Be back by lunch, mijo. Miguel: Love you, Mama! Miguel: I'm not like the rest of my family. (Hola, Miguel.) Miguel: Hola. Miguel: Muchas gracias! (De nada, Miguel! ) Miguel: He-hey, Dante! Sit. Down. Roll over. Shake. Fist bump. Good boy, Dante! I know, I'm not supposed to love music. But it's not my fault. It's his. Ernesto De la Cruz. The greatest musician of all time. (Here in this very plaza, the young Ernesto De la Cruz, took his first steps toward becoming the most beloved singer in Mexican history.) Miguel: He started out a total nobody from Santa Cecilia, like me. But when he played music, he made people fall in love with him. He starred in movies. He had the coolest guitar. He could fly! And he wrote the best songs. But my all-time favorite is... (Singing: Remember me. Though I have to say goodbye. Remember me. Don't let it make you cry. For even if I'm far away. I hold you in my heart. I sing a secret song to you. I hold you in my heart. I sing a secret song to you. Each night we are apart. Remember me. Though I have to travel far. Remember me. Each time you hear a sad guitar. Know that I'm with you the only way that I can be....Until you're in my arms again.) Miguel: He lived the kind of life you dream about... (Singing: Remember me.) Miguel: Until 1942, when he was crushed by a giant bell. I wanna be just like him. Sometimes, I look at De la Cruz and I get this feeling. Like we're connected somehow. Like if he could play music, maybe someday, I could, too! If it wasn't for my family. Man: Ay, ay, ay, muchacho! Miguel: Huh? Man: I asked for a shoe shine, not your life story. Miguel: Oh, yeah, sorry. I just can't really talk about any of this at home, so. Man: Look, if I were you, I'd march right up to my family and say, "Hey, I'm a musician. Deal with it!" Miguel: I could never say that. Man: You are a musician, no? Miguel: I-I-I don't know. I mean, I only really play for myself. Man: Ah! Did De la Cruz become the world's best musician by hiding his sweet, sweet skills? No! He walked out onto that plaza and he played out loud! Mira, Mira, they're setting up for tonight. The music competition for Día de Muertos. You wanna be like your hero? You should sign up! Miguel: Unh-unh. My family would freak! Man: Look, if you're too scared, then, well, have fun making shoes. Come on, what did De la Cruz always say? Miguel: Seize your moment? Man: Show me what you got, muchacho. I'll be your first audience. Abuelita: Miguel! Miguel: Ah! Abuelita! Abuelita: What are you doing here? Miguel: Um... oh... uh... Abuelita: You leave my grandson alone! Man: Dona, please! I was just getting a shine. Abuelita: I know your tricks, Mariachi. Abuelita: What did he say to you? Miguel: He was just showing me his guitar. Man: Shame on you! Abuelita: My grandson is a sweet little angelito, perrito, cielito! He wants no part of your music, Mariachi. You keep away from him. Abuelita: Ay, pobrecito! Estas bien, mijo. You know better than to be here in this place.You will come home. Now. Tio Berto: How many times have we told you? That plaza is crawling with Mariachis. Miguel: Yes, Tío Berto. Miguel: No, no, no, no, no. Abuelita: Hey, go away, you. Go! Miguel: It's just Dante. Abuelita: Never name a street dog. They'll follow you forever. Now, go get my shoe. Abuelita: I found your son in Mariachi Plaza. Papa: Ay, Miguel? Mama: You know how abuelita feels about the plaza. Miguel: I was just shining shoes. Papa: A musician's shoes. Miguel: But the plaza's where the foot traffic is. Papa: If abuelita says, "No more plaza", then no more plaza. Miguel: But what about tonight? Grandfather: What's tonight? Miguel: Well, they're having this talent show. A-and I thought I might... Mama: Sign up? Miguel: Well, maybe? A little girl: You have to have talent to be in a talent show. A big man: What are you gonna do? Shine shoes? Oh! Abuelita: It's Dia De los Muertos. No one's going anywhere. Tonight is about family. Ofrenda room. Vámonos. Abuelita: Don't give me that look. Dia De los Muertos is the one night of the year our ancestors can come visit us. We put their photos on the ofrenda, so their spirits can cross over. That is very important. If we don't put them up, they can't come.We made all this food. Set out the things they loved in life, mijo. All this work to bring the family together. I don't want you sneaking off to who-knows-where. Huh! Where are you going? Miguel: I thought we were done. Abuelita: Ay, Dios mio. Being part of this family means being here for this family. I don't want to see you end up like... Miguel: Like Mama Coco's papa? Abuelita: Never mention that man! He's better off forgotten. Miguel: But you're the one who... Abuelita: Eh, thchhsss! Miguel: I was just... Abuelita: Tchsshh! Miguel: But... Abuelita: Tchshh. Miguel: I... Abuelita: Shhh. Coco: Papa? Papa is home? Abuelita: Mama, calmese, calmese. Coco: Papa is coming home? Abuelita: No, Mama, it's okay. I'm here. Coco: Who are you? Abuelita: Ay... rest, Mama. I'm hard on you because I care, Miguel. Miguel? Miguel? Ay. What are we going to do with that boy? Ha ha ha, you're right. That's just what he needs. Miguel: Huah! Oh, it's you. Get in here. Come on, Dante. Hurry up.You're gonna get me in trouble, boy. Someone can hear me. I wish someone wanted to hear me. Other than you. Ew, okay! Perfecto. De la Cruz: I have to sing. I have to play. The music, it's... it's not just in me. It is me. When life gets me down, I play my guitar. The rest of the world may follow the rules, but I must follow my heart. You know that feeling… like there’s a song in the air and it’s played just for you? De la Cruz (singing): A feeling so close. You could reach out and touch it. I never knew, I could want something so much, but it's true. De la Cruz: You must have faith, sister. Nun: Oh, but Padre, he will never listen. De la Cruz: He will listen to music! De la Cruz (singing): Only a song, only a song. Has the power to change a heart. De la Cruz: Never underestimate the power of music. Nun: But my father, he will never give his permission. De la Cruz: I am done asking permission. When you see your moment, you mustn't let it pass you by. You must seize it. Interviewer: Senor De la Cruz, what did it take for you to seize your moment? De la Cruz: I had to have faith in my dream. No one was going to hand it to me…It was up to me to reach for that dream. Grab it tight... and make it come true. Miguel: No more hiding, Dante. I gotta seize my moment. I'm gonna play in Mariachi Plaza if it kills me. Abuelita: Dia De Muertos has begun! Woman: No, no, no, no, no. We have to make a clear path. The petals guide our ancestors home. We don’t want their spirits to get lost. We want them to come and enjoy all the food and drinks on the ofrenda. Papa: Mama! Where should we put this table? Abuelita: In the courtyard, mijos. Papa: You want it down by the kitchen? Abuelita: Si, eh, next to the other one. Miguel: Get under, get under! Abuelita: Miguel? Miguel: Uh, nothing. Mama, Papa...I... Papa: Miguel, your abuelita have the most wonderful idea. We've all decided... It's time you joined us in the workshop! Miguel: What? Papa: No more shining shoes. You will be making them, every day, after school. Abuelita: Oh, our Migueli-ti-ti-ti-to, carrying on the family tradition. And on Dia De los Muertos! Your ancestors would be so proud. You'll craft huaraches just like your Tia Victoria. Papa: And wing tips just like your Papa Julio. Miguel: But what if I'm no good at making shoes? Papa: Ay, Miguel. You have your family here to guide you. You are a Rivera. And a Rivera is? Miguel: A shoemaker... Through and through. Papa: That's my boy! Haha! Berto! Break out the good stuff! Miguel: Dante! No, Dante, stop! No, no, no, no, no! No. De la Cruz's guitar? Coco: Papa! Papa! Miguel: Mama Coco. Is your papa Ernesto De la Cruz? Coco: Papa! Papa! Miguel: Papa, Mama! It's him! I know who my great-great-grandfather was! Mama: Miguel, get down from there. Miguel: Mama Coco's father was Ernesto De la Cruz! Papa: What are you talking about? Miguel: I'm gonna be a musician! Abuelita: What is all this? You keep secrets from your own family? Man: It's all that time he spends in the plaza. Woman: Fills his head with crazy fantasies. Miguel: It's not a fantasy. That man was Ernesto De la Cruz. The greatest musician of all time. Papa: We've never known anything about this man. But whoever he was, he still abandoned his family. It's no future for my son. Miguel: But, Papa, y-you said my family would guide me. Well, De la Cruz is my family. I'm supposed to play music. Abuelita: Never! That man's music was a curse. I will not allow it. Miguel: If you would just... Mama: Miguel. Papa: You will listen to your family. No more music. Miguel: Just listen to me play. Papa: End of argument. Abuelita: You want to end up like that man? Forgotten? Left off your family's ofrenda? Miguel: I don't care if I'm on some stupid ofrenda. Miguel: No! Papa: Mama! Abuelita: There. No guitar. No music. Oh, come. You'll feel better after you eat with your family. Miguel: I don't wanna be in this family! Papa: Miguel, Miguel! Miguel: I-I wanna play in the plaza. Like De la Cruz. C-can I still sign up? Woman: You got an instrument? Miguel: No. But if I can borrow a guitar... Woman: Musicians gotta bring their own instruments. You find a guitar, kid, I'll put you on the list. Miguel: Hey, excuse me, can I borrow your guitar? Singer 1: Sorry, muchaco. Miguel: You guys have a spare guitar? Singer 2: No. Miguel: I need a guitar just for a little bit. Singer 3: Get outta here, kid. Miguel: Great-great-grandfather. What am I supposed to do? No, no, no, no. Dante, stop. Callate, shh. I'm sorry. Senor De la Cruz. Please don't be mad. I-I'm Miguel. Your great-great-grandson. I need to borrow this. Our family thinks music is a curse. None of them understand. But I know you would have. You would have told me to follow my heart. To seize my moment. So, if it's all right with you... I'm gonna play in the Plaza. Just like you did! Policeman: The guitar! It’s gone! Man: Somebody stole De la Cruz' guitar. Woman: The window is broken, look! Older: All right, who's in there? Miguel: I'm sorry, I-it's not what it looks like. De la Cruz is my... Man: There's nobody here! Mama: Miguel! Miguel: Mama! Papa: Miguel, come home! Where are you, Miguel? Woman: Dios mio, little boy! Are you okay? Here, let me help you. Miguel: Thanks. I... Ghost: Do you mind? Ghosts: Look that kid, he’s not like us. Ghost: Look how big she's getting. Miguel: Uh! Dante? You can see me? Wait! What's going on? Dante! Dante! Oh, I'm sorry, I'm sorry. Papa Julio: Miguel? Tia Rosita and Tia Victoria: Miguel? Miguel? Papa Julio: Y-you're here! Here, here. And you can see us? Tia Rosita: Our Miguelitititito! Miguel: Remind me how I know you. Tia Rosita: We're your family, mijo. Miguel: Tia Rosita? Tia Rosita: Si. Miguel: Papa Julio? Papa Julio: Hola! Miguel: Tia Vic...toria? Tia Victoria: He doesn't seem entirely dead. Tia Rosita: He's not quite alive, either. Papa Julio: We need Mama Imelda. She'll know how to fix this. Tio Oscar and Tio Felipe: Oye! It's Mamá Imelda! She couldn't cross over! She's stuck! On the other side! Miguel: Tio Oscar? Tio Felipe? Tio Oscar and Tio Felipe: Oh, hey, Miguel. Tia Vic toria: I have a feeling this has something to do with you. Tia Rosita: But if Mama Imelda can't come to us... Papa Julio: Then we are going to her! Miguel: Whoa! Papa Julio: Vamonos! Come on, Miguel, it's-it's okay. Miguel: Dante? Dante! Dante, wait up! You've gotta stay with me, boy. You don't know... where... This isn't a dream, then. You're all really out there. Tia Victoria: You thought we weren't? Miguel: Well, I don't know. I thought it might have been one of those made-up things... that adults tell kids, like...vitamins. Tia Vic toria: Miguel, vitamins are a real thing. Miguel: Well, now I'm thinking maybe they could be. Woman: Mija, it's not nice to stare at... Ay, Santa Maria Miguel: Are those? Alebrijes! But those are... Tio Oscar and Tio Felipe: Real alebrijes. Spirit creatures. Tia Rosita: They guide souls on their journey. Tio Oscar and Tio Felipe: Watch your step, they make cacitas everywhere. (Welcome back to the Land of the Dead. Please have all offerings ready for re-entry.) Ghost: Welcome back. Anything to declare? Ghost guest: Some churros, from my family. Ghost: How wonderful! (If you're experiencing travel issues... Agents at the Department of Family Reunion are available to assist you.) Ghost: Next family, please. Oh, your photos are in your son's ofrenda. Have a great visit. Ghost couple: Gracias. Gracias. (And remember to return before sunrise. Enjoy your visit!) Ghost: Next? Your photo's on your Dentist's ofrenda. Enjoy your visit. Ghost1: Grashiash. Ghost: Next? Hector: Yes, it is I, Frida Kahlo. Shall we skip the scanner? I'm on so many ofrendas, it will just overwhelm your blinky thingy. Ghost: Whoa, shoot. Looks like no one put up your photo... Frida? Hector: Okay, when I said I was Frida, just now...That. That was a lie. And I apologize for doing that. Ghost: No photo on an ofrenda, no crossing the bridge. Hector: You know what? I'm just gonna zip right over. You won't even know I'm gone. Haha! Almost... there... Just a little... further... Upsy daisy. Fine. Okay. Fine, who cares? Dumb flower bridge! Tia Rosita: Aw, I don't know what I'd do if no one put up my photo. Ghost: Next? Tia Rosita: Oh, come mijo, it's our turn. Ghost: Welcome back, amigo. Anything to Declare? Papa Julio: A-as a matter of fact... Yes. Miguel: Hola. (Paging Marta Gonzalez Ramos...Marta Gonzalez Ramos... Please report to level seven.) Tio Oscar (or Tio Felipe): I miss my nose. Man Ghost: Come on, help us out, amigo. We gotta get to a dozen ofrendas tonight. Mama Imelda: We are not visiting your ex-wife, Stanley, por Día De Muertos. I demand to speak to the person in charge. Ghost: I'm sorry, senora, it says here no one put up your photo. Mama Imelda: My family always, always put my photo up in the ofrenda. That Devil box tells you nothing but lies. Papa Julio: Mama Imelda? Mama Imelda: Oh, mi familia. They wouldn't let me cross the bridge.Tell this woman and her devil box that my photo is on the ofrenda. Papa Julio: Well, w-we never made it to the ofrenda. Mama Imelda: What? Papa Julio: We ran into a... Mama Imelda: Hunh! Miguel? Miguel: Mama Imelda. Mama Imelda: What is going on? Ghost: You the Rivera family? Well, you're cursed. Miguel and others: What? Ghost: Dia De los Muertos is a night to give to the Dead.You stole from the Dead. Miguel: But I wasn't sealing the guitar. Mama Imelda: Guitar? Miguel: It was my great-great-grandfather's. He would have wanted me to have it. Mama Imelda: Ah-ah-ah! We do not speak of that musician. He is dead to this family. Miguel: Uh, you're all dead. Ghost: Achoo! I am sorry, uh, whose alebrije is that? Miguel: That's Dante. Tia Rosita: He sure doesn't look like an alebrije. Tio Oscar and Tio Felipe: He just looks like a plain old dog. Or a sausage someone dropped in a barbershop. Ghost: Whatever he is, I am, achoo, terribly allergic. Miguel: But Dante doesn't have any hair. Ghost: And I don't have a nose and yet here we are. Achoo! Mama Imelda: But none of this explains why I couldn't cross over. You took my photo off the ofrenda? Miguel: It was an accident. Mama Imelda: How do we send him back? Ghost: Well, since it's a family matter... The way to undo a family curse is to get your family's blessing. Miguel: That's it? Ghost: Get your family's blessing and everything should go back to normal. But you've gotta do it by sunrise. Miguel: What happens at sunrise? Papa Julio: Hijole, your hand! Whoa, Miguel. Can't have you fainting on us. Ghost: But not to worry. Your family is here. You can get your blessing right now. Cempasuchil, cempasuchil. Aha! Perdon, senora. Tia Rosita: Oh. Miguel: Now, you look at the living and say his name. Mama Imelda: Miguel. Ghost: Nailed it. Now say, "I give you my blessing." Mama Imelda: I give you my blessing. I give you my blessing to go home... To put my photo back on the ofrenda... And to never play music again. Miguel: What? She can't do that! Ghost: Well, technically, she can add any condition she wants. Miguel: Fine. Ghost: Then you hand the petal to Miguel. Miguel: Ha! No skeletons. Mariachi Plaza, here I come. Mama Imelda: Two seconds and you already break your promise. Miguel: This isn't fair, it's my life. You already had yours. Papa Julio, I ask for your blessing.Tia Rosita? Oscar? Felipe? Tia Victoria? Mama Imelda: Don't make this hard, mijo. You go home my way, or no way. Miguel: You really hate music that much? Mama Imelda: I will not let you go down the same path he did. Miguel: The same path he did. He's family. Tia Victoria: Listen to your Mama Imelda. Tia Rosita: Be reasonable. Miguel: Con permiso, I need to visit the restroom. Be right back. Ghost: Ah, should we tell him there are no restrooms in the Land of the Dead? Miguel: Vamonos. (We got a family looking for a living boy.) Miguel: I wanna be a musician. I need a musician's blessing. We gotta find my great-great-grandpa. Man: Hold it, muchaco. Huh! I found that little boy! Ghosts: Oh, excuse me. Excuse me, folks. Excuse me. Oh. Miguel: Dante. Officer: Disturbing the peace. Fleeing an officer. Falsifying a unibrow. Hector: That's illegal? Officer: Very illegal. You need to clean up your act, amigo. Hector: Amigo? Oh, that's-that's so nice to hear you say that because I have just had a really hard Día De Muertos and I could really use an amigo right now. And amigos, they help their amigos. Listen, you get me across that bridge tonight… and I'll make it worth your while. You like De la Cruz? He and I go way back. I can get you front row seats to his sunrise spectacular show. I-I'll get you backstage. You can meet him. You just gotta let me cross that bridge. Officer: I should lock you up for the rest of the holiday. But my shift's almost up and... I wanna visit my living family. So I'm letting you off with a warning. Hector: Can I at least get my costume back? Officer: Uh... no. Hector: Some amigo. Miguel: Hey. Hey! You really know De la Cruz? Hector: Who wants to... ah! Ay! You're alive! Miguel: Yeah, I'm alive. And I want to get back to the Land of the Living... I need De la Cruz' blessing. Hector: That's weirdly specific. Miguel: He's my great-great-grandfather. Hector: He's your gr-gr-gr- what? Miguel: Ew. Hector: Wait, wait, wait, wait, wait.Wait, wait. Hunh! Wait. No. Wait, wait, wait, wait Wait, uh, wait.Wait, uh, wait, wait...Yes! You're going back to the Land of the Living! Miguel: You know what? Maybe this isn't such a good... Hector: Nino, nino, I can help you. You can help me. We can help each other. But most importantly, you can help me. Mama Imelda: Miguel! Miguel: Huh! Hector: I'm Hector. Miguel: That's nice. Hector: Esperame, chamaco! Mama Imelda: Ay! He is going to get himself killed! I need my spirit guide...Pepita. Who has that petal Miguel touched? Papa Julio: Here... n-nice alebrije. Hector: Hey, hey, hold still. Look up, look up. A ver, a ver. Look up, up, up! Aqui arriba, eso... Eh, la rayita. Okay. Hey! Ta-da! Dead as a doorknob. So listen, Miguel. This place runs on memories. When you're well remembered, people put up your photo...and you get to cross the bridge and visit the living on Dia De Muertos. Unless you're me. Miguel: You don't get to cross over? Hector: No one's ever put up my picture. But you can change that! Miguel: This is you? Hector: Eh, Muy guapo, eh? Miguel: So, you get me to my great-great-grandpa... Then I put up your photo when I get home? Hector: Such a smart boy! Yes! Great idea, yes! One hiccup, De la Cruz is a tough guy to get to...and I need to cross that bridge soon. Like tonight. So, you got any other family here, you know? Someone a bit more, eh, accessible? Miguel: Um... nope. Hector: Don't yank my chain, chamaco. You gotta have some other family. Miguel: Only De la Cruz. If you can't help me, I'll find him myself. Hector: Ugh. Okay, okay, kid. Fine, fine. I'll get you to your great-great-grandpa. It's not gonna be easy, you know. You know, he's a- he's a busy man. Wait, what are you doing? Miguel: I'm walking like a skeleton. Blending in. Hector: No. Skeletons don't walk like that. Miguel: It's how you walk. Hector: No, I don't. Stop it! Miguel: Whoa! Ernesto De la Cruz' Sunrise Spectacular? Que padre? Hector: Wuacch, every year, your great-great-grandpa puts on that dumb show to mark the end of Día De Muertos. Miguel: A-a-and you can get us in! Hector: I'm... Miguel: Hey, you said you had front-row tickets! Hector: That...that was a lie. I apologize for that. Cool off, chamaco, come on. I'll get you to him. Miguel: How? Hector: Cause I happen to know where he's rehearsing. (Ugh.) Ceci: You better have my dress, Hector. Hector: Hola, Ceci! Miguel: Hola. Hector: Ceci! I lost the dress. Ceci: Ya lo sabua. I've got to dress 40 dancers by sunrise. (And thanks to you...) Hector: Ceci, Ceci… Ceci: I'm one Frida short (Hector: Ceci...) of an opening number. Miguel: Dante. Dante! We shouldn't be in here. No, no. Dante! Ven aca! Frida: You! How did you get in here? Miguel: I-I just followed my... Frida: Oh, the mighty Xolo dog! Guider of wandering spirits. And whose spirit have you guided to me? Miguel: I don't think he's a spirit guide. Frida: Uh-uh-uh! The alebrijes of this world can take many forms.They are as mysterious as they are powerful. Or maybe he's just a dog. Come! I need your eyes. You are the audience. Darkness! And from the darkness... A giant papaya! Dancers emerge from the papaya. And the dancers... Are all me! And they go to drink from the milk of their mother, who is a cactus, but who is also me! And her milk is not milk...but tears. Is it too obvious? Miguel: I think it's just the right amount of obvious. It could use some music. Oh, what if you did like... Tun-tun-tun-tun-tun? Oh, and then it could go... Darala-dalala-dalala-dalala Whenk? Frida: And what if everything was on fire? Yes! Fire everywhere! Inspired. You. You have the spirit of an artist. The dancers exit. The music fades. The lights go out. And Ernesto De la Cruz rises to the stage. Miguel: Huh? Frida: He does a couple of songs. The sun rises. Everyone cheers. Miguel: Excuse me, where's the real De la Cruz? Frida: Ernesto doesn't do rehearsals. He's too busy hosting that fancy party at the top of his tower. Hector: Chamaco, you can't run off on me like that. Come on, stop pestering the celebrities. Miguel: You said my great-great-grandpa would be here. He's halfway across town throwing some big party. Hector: That bum. Who doesn't show up to his own rehearsal? Miguel: If you're such good friends, how come he didn't invite you? Hector: He's your great-great-grandpa. How come he didn't invite you? Hey, Gustavo! You know anything about this party? Gustavo: Sh-it's the hot ticket! But if you're not on the guest list, you're never gettin' in, Chorizo. Ghost: Hey, it's Chorizo! Hector: Ah-ha, very funny, guys. Very funny. Miguel: Chorizo? Gustavo: Oh, this guy's famous. Go on, go on. Ask him how he died. Hector: I-I don't wanna talk about it. Gustavo: He choked on some chorizo! Hector: I didn't choke, okay? I got food poisoning which is a big difference. This is why I don't like musicians. Bunch of self-important jerks! Miguel: Hey, I'm a musician. Hector: You are? Gustavo: Well... If you really wanna get to Ernesto...there is that music competition at the Plaza De la Cruz. Winner gets to play at his party. Hector: No, no, no, Chamaco! You are loco if you think... Miguel: I need to get my great-great- grandfather's blessing. You know where I can get a guitar? Hector: Ay... I know a guy. Mama Imelda: Have you found him, Pepita? Have you found our boy? Tia Rosita: A footprint! Papa Julio: It's a Rivera boot. Tio Oscar and Tio Felipe: Size seven! And a half. Tia Victoria: Pronated. Mama Imelda: Miguel. Hector: Why the heck would you wanna be a musician? Miguel: My great-great-grandfather's a musician. Hector: Who spent his life performing like a monkey for complete strangers? Blech! No, no, thank you, no. Miguel: What do you know? So, how far is this guitar, anyway? Hector: We're almost there. Keep up, chamaco, come on! Ghosts: Cousin Hector! Hector: Hey! These guys! Hey, Tio, que onda? Miguel: These people are all your family? Hector: Eh... yeah, in a way. We're all the ones with no photos or ofrendas. No family to go home to. Nearly forgotten, you know? So we all call each other "cousin" or "tío" or-or whatever. Tia Chelos: Hector! Hector: Tia Chelos! Hey! Tia Chelos: Muchas gracias. Hector: Save some for me. Is Chicharron around? Tia Chelos: In the bungalow. I don't know if he's in the mood for visitors. Hector: Ah, who doesn't like a visit from cousin Hector? Miguel: Huh! Chicharron: Buenas noches, Chicharron. I don't want to see your stupid face, Hector. Hector: Come on, it’s Día De Muertos. I brought you a little offering. Chicharron: Get outta here! Hector: I would Chich, but the thing is...me and my friend Miguel...we really need to borrow your guitar. Chicharron: My guitar? Hector: Yes. Chicharron: My prized, beloved guitar? Hector: I promise we'll bring it right back. Chicharron: Like the time you promised to bring back my van? Hector: Eh... Chicharron: Or my mini fridge? Hector: Oh, you see... Chicharron: Or my good napkins, my lasso, my femur? Hector: No, not like those things. Chicharron: Where's my femur, you... Hector: Oh, oh. You okay, amigo? Chicharron: I'm fading, Hector. I can feel it. I couldn't even play that thing if I wanted to. You, play me something. Hector: No. You know I don't play anymore, Chich. The guitar's for the kid. Chicharron: You want it? You've got to earn it. Hector: Ay, only for you, amigo. Any requests? Chicharron: You know my favorite, Hector. Hector (singing): Well, everyone knows Juanita. Her eyes each a different color. Her teeth stick out. And her chin goes in. And her... Knuckles they drag on the floor. Chicharron: Those aren't the words. Hector: There are children present. Hector (singing): Her hair is like a brier. She stands in a bow-legged stance. And if I weren't so ugly. She'd possibly give me a chance. Chicharron: Brings back memories. Gracias. Miguel: Wait, what happened? Hector: He's been forgotten.When there's no one left in the living world who remembers you... you disappear from this world.We call it "The Final Death." Miguel: W-where did he go? Hector: No one knows. Miguel: But I've met him. I could remember him... when I go back. Hector: No, it doesn't work like that, chamaco.Our memories...They have to be passed down by those who knew us in life. In the stories they tell about us. But there's no one left alive to pass down Chich's stories. Hey, it happens to everyone eventually. Come on, De la Cruzito, you've got a contest to win. Miguel: You told me you hated musicians. You never said you were one. Hector: How do you think I knew your great-great-grandpa? We used to play music together. Taught him everything he knows. Miguel: No manches. You played with Ernesto De la Cruz? The greatest musician of all time? Hector: Oh! Oh, you're funny. Greatest eyebrows of all time, maybe. But his music, eh, not so much. Miguel: You don't know what you're talking about. Hector: Welcome to the Plaza De la Cruz. Showtime, chamaco. Man: Levelo! T-shirts, bobbleheads! Woman: Bienvenidos a todos! Ow! Ha-hah-ay! Who's ready for some musica? It's a Battle of the Bands, amigos.The winner gets to play for the maestro himself...Ernesto De la Cruz on his fiesta tonight! Hector: That's our ticket, muchacho. Woman: Let the competition begin! Hector: So, what's the plan? W-what are you gonna play? Miguel: Definitely "Remember Me." Hector: No, not that one. No. Miguel: Come on, it's the most popular song. Hector: Ah, it's too popular. (Remember me though I have to travel far. Remember... Don't let it make you cry.) Miguel: Um, what about... Poco Loco? Hector: Epa! Now, that's a song. Man: De la Cruzito! You're on standby. Los Chachalacos, you're up next. Audiences: Los Chachalacos! Hector: You always this nervous before a performance? Miguel: I don't know. I've never performed before. Hector: What? You said you were a musician! Miguel: I am! I mean, I-I will be. Ay! Once I win. Hector: That's your plan? No, no, no, no. You have to win, Miguel. Your life literally depends on your winning. And you've never done this before? I'll go up. Miguel: Uh, n-no! I need to do this. Hector: Why? Miguel: If I can't go out there and play one song...how can I call myself a musician? Hector: What does that matter? Miguel: Cause I don't just want to get De la Cruz' blessing. I need to prove that...that I'm worthy of it. Hector: Oh. Oh, that's such a sweet sentiment. At such a bad time! Okay! Okay, okay. Okay. Okay, you wanna perform? Then you've got to perform! First, you have to loosen up. Shake off those nerves. Now, give me your best grito. Miguel: My best grito? Hector: Come on, yell. Belt it out. Haooeyy-he-he-hey! Oh, it feels good. Okay, now, now, now you. Miguel: A-a-eh.Aeh...Ay...Ay...ay... Ay...ay...ay. Hector: Oh, come on, kid. Man: De la Cruzito! You're on now! Hector: Miguel, look at me. Hey, hey, look at me. Man: Come on, let's go! Hector: You can do this. Grab their attention and don't let it go! Miguel: Hector... Hector: Make them listen, chamaco. You've got this. Woman: De la Cruzito! Hector: Arribaba! Hey! You’re the best. Miguel: Eh... Hector: What's he doing? Why isn't he playing? Audiences: Bring back the singing dog! Miguel: Aah-aaah-aaayy! Audiences: Que biem! Vamonus! Miguel (singing): What color is the sky? Ay, mi amor, ay, mi amor.You tell me that it's red. Ay, mi amor, ay, mi amor. Where should I put my shoes? Ay, mi amor, ay, mi amor.You say, "Put them on your head!"Ay, mi amor, ay, mi amor. You make me un poco loco. Un poquititito loco. The way you keep me guessing. I'm nodding and I'm yesing. I'll count it as a blessing. That I'm only un poco loco. Hector: No, no, no. Miguel: Not bad for a Dead guy. Hector: Not so bad yourself, gordito. Eso! Mama Imelda: He's close. Find him. Hector (singing): The loco that you make me. It is just un poco crazy. The sense that you're not making. Miguel (singing): The liberties you're taking. Hector and Miguel (singing): Leaves my cabeza shaking. You are just un poco loco. Idale, duro, Miguelito! Aah-haa-haaoo! Rrrr-aaayy-aaayy! Tia Oscar and Tia Felipe: We're looking for a living kid. About twelve? Tia Rusita: Have you seen a living boy? Hector and Miguel (singing): Un poquiti-ti-ti-ti-ti-ti-ti-ti.ti-ti-ti-ti-to loco! Audiences: De la Cruzcito. Hector: Hey! You did good! I'm proud of you. Eso! Audiences: Otra! Otra! Otra! Hector: Hey, where are you going? Miguel: We gotta get outta here. Hector: What? You're crazy! We're about to win this thing. Woman: Damas y caballeros...I have an emergency announcement. Please be on the look out for a living boy. Answers to the name of Miguel. Earlier tonight, he ran away from his family. They just want to send him back to the Land of the Living. Hector: Wait, wait, wait. You said De la Cruz was your only family. The only person who could send you home. Miguel: I do have other family, but... Hector: You could have taken my photo back this whole time? Miguel: But they hate music. I need a musician's blessing. Hector: You lied to me! Miguel: Oh, you're one to talk. Hector: Look at me, I'm being forgotten, Miguel. I don't even know if I'm gonna last the night. I'm not gonna miss my one chance to cross that bridge 'Cause you want to live out some stupid musical fantasy. Miguel: It's not stupid. Hector: I'm taking you to your family. Miguel: Let go of me. Hector: You'll thank me later. Miguel: You don't wanna help me. You only care about yourself. Keep your dumb photo. Stay away from me! Hector: No! No! No… Hey, chamaco? Where did you go? Chamaco? Miguel! I'm sorry! Come back. Miguel: Dante, cállate. Don't, Dante, stop it. He can't help me. Dante, stop. Stop it. Leave me alone! You're not a spirit guide, you're just a dumb dog. Now get outta here! Crowd: It's him! It's that living boy! I've heard about him, look! He's alive. Huah! Miguel: Aah! Mama Imelda: This nonsense ends now, Miguel! I am giving you my blessing, and you are going home. Miguel: I don't want your blessing. Mama Imelda: Miguel! Stop! Come back! Miguel! I am trying to save your life. Miguel: You're ruining my life. Mama Imelda: What? Miguel: Music's the only thing that makes me happy. A-and you... you wanna take that away. You'll never understand. Mama Imelda (singing): Y aunque la vida me cueste, Llorona. No Dejaré De quererte Miguel: I-I thought you hated music. Mama Imelda: Oh, I loved it. I remember that feeling when my husband would play, and I would sing. And nothing else mattered. But when we had Coco... Suddenly, there was something in my life that mattered more than music. I wanted to put down roots. He wanted to play for the world. We each made a sacrifice to get what we wanted. Now, you must make a choice. Miguel: But I don't wanna pick sides. Why can't you be on my side? That's what family's supposed to do. Support you. But you never will. Eucuruty Guard: Have a good time. Ghost: Oh, how exciting! Eucuruty Guard: Oh, El Santo! I'm a big fan. You mind if I? Gracias, senor. Invitation? Miguel: It's okay, I'm Ernesto's great-great-grandson. Disculpe, senores? Brand Member1: Hey, hey, guys, it's Poco Loco! Brand Member2: You were on fire tonight. Miguel: You too! Hey, musician to musician, I need a favor. Eucuruty Guard: Oh, the competition winners. Congratulations, chicos. Miguel: Thanks guys. Brand Member1: Hey, enjoy the party, little músico. Miguel: Gracias. Ooh. Ghost: Look, it's Ernesto! Miguel: De la Cruz. Senor De la Cruz! Pardon me. Senor De la Cruz! Senor De la... De la Cruz: When you see your moment, you mustn't let it pass you by. You must seize it. We're almost there, Dante. Miguel: Senor De la Cruz! Senor De la.. Sister: But what can we do? It is hopeless. De la Cruz: You must have faith, sister. Nun: Oh, but Padre, he will never listen. De la Cruz: He will listen to music. Miguel (singing): Rrrr-aaoo-aaoo-aao-aahh! Senoras y senores. Buenas tardes, buenas noches. Senoritas y senores. To be here with you tonight. Brings me joy, Que alegría. For this music is my language. And the world es mi familia. For this music is my language. And the world es mi familia. (De la Cruz singing) For this music is my language. And the woo-orld es mi familia. For this music is my lang...Ah! De la Cruz: Are you all right, nino? Huah! It-it's you. Y-you are that boy. The one who came from the Land of the Living. Miguel: You... know about me? De la Cruz: You're all anyone has been talking about.Why have you come here? Miguel: I'm Miguel. Your g-great-great-grandson. De la Cruz: I have a great-great-grandson? Miguel: I need your blessing. So I can go back home and be a musician just like you. The rest of our family... they wouldn't listen. But I... I hoped you would. De la Cruz: My boy, with a talent like yours... how could I not listen? Haha! I have a great-great-grandson! Ghost1: Look, it's Frida! Hector: Yes, it is I, Frida Kahlo. Eucuruty Guard: It is an honor, senora. Hector: Gracias. De la Cruz: Hey, Negrete, Infante, have you met my great-great-grandson? My great-great-grandson! He is alive and a musician, to boot. Miguel: Dimple, no dimple. Dimple, no dimple. De la Cruz: No dimple! Don Hidalgo: To our friendship. Haha! To our friendship. Haha! I'd move heaven and earth for you, mi amigo. Salud! To our friendship. Haha! To our friendship. Haha! I'd move heaven and earth for you, mi amigo. Salud! De la Cruz: Poison! You know, I did all my own stunts. (Singing): Though I have to say goodbye. Remember me. De la Cruz: All of this came from my amazing fans in the Land of the Living. They leave me more offerings than I know what to do with. Hey, what's wrong? Is it too much? You look overwhelmed. Miguel: N-no. It's all great. De la Cruz: But? Miguel: It's just...I've been looking up to you my whole life. You're the guy who actually did it. But did you ever regret it? Choosing music over everything else? De la Cruz: It was hard saying goodbye to my hometown. Heading off on my own. Miguel: Leaving your family? De la Cruz: Si. But I could not have done it differently. One cannot deny who one is meant to be. And you, my great-great-grandson...are meant to be a musician. You and I, we are artists, Miguel. We cannot belong to one family. The world is our family! Ooh-hoo! Ooh! The fireworks have begun! Soon, the party will move across town for my Sunrise Spectacular. Hunh! Miguel, you must come to the show! You will be my guest of honor. Miguel: You mean it? De la Cruz: Of course, my boy. Miguel: I can't. I have to get home before sunrise. De la Cruz: Oy! I really do need to get you home. It has been an honor. I am sorry to see you go, Miguel. I hope you die very soon. You know what I mean. Miguel, I give you my blessing. Hector: We had a deal, chamaco. De la Cruz: Who are you? What is the meaning of this? Oh, Frida. I thought you couldn't make it. Hector: You said you'd take back my photo.You promised, Miguel. De la Cruz: You know this, uh, man? Miguel: I just met him tonight. He told me he knew you. De la Cruz: H...Hector? Hector: Please, Miguel. Put my photo up De la Cruz: My friend. You're... you're being forgotten. Hector: And whose fault is that? De la Cruz: Hector, please. Hector: Those were my songs you took. My songs that made you famous. Miguel: What? Hector: If I'm being forgotten, it's because you never told anyone that I wrote them. Miguel: That's crazy. De la Cruz wrote all his own songs. Hector: You wanna tell him? Or should I? De la Cruz: Hector, I never meant to take credit. We made a great team, but... you died, and... I-I only sang your songs because I wanted to keep a part of you alive. Hector: Oh, how generous! Miguel: You really did play together. Hector: Look, I don't want to fight about it. I just want you to make it right. Miguel can put my photo up. De la Cruz: Hector. Hector: And I can cross over the bridge. I could see my girl. Ernesto. Remember the night I left? De la Cruz: That was a long time ago. Hector: We drank together. And you told me you would move Heaven and Earth for your amigo. Well, I'm asking you to now. Miguel: Heaven and Earth? Like in the movie? Hector: What? Miguel: That's Don Hidalgo's toast. In the De la Cruz movie, "El Camino a Casa." Hector: I'm talking about my real life, Miguel. Miguel: No, it's in there. Look! Don Hidalgo: Never were true words spoken.This calls for a toast. To our friendship! Haha! I would move Heaven and Earth for you, mi amigo. Miguel: But in the movie, Don Hidalgo poisons the drink. Don Hidalgo: Salud. De la Cruz: Poison! Hector: That night, Ernesto. The night I left… Young Hector: We've been performing on the road for months. I got homesick and I packed up my songs. Young De la Cruz: You wanna give up now? When we're this close to reaching our dream? Young Hector: This was your dream. You'll manage. Young De la Cruz: I can't do this without your songs, Hector. Young Hector: I'm going home, Ernesto. Hate me if you want. But my mind is made up. Young De la Cruz: Oh, I could never hate you. If you must go, then I'm... I'm sending you off with a toast. To our friendship. I would move Heaven and Earth for you, mi amigo. Salud! Hector: You walked me to the train station. But I felt a pain in my stomach. I thought it must have been something I ate. Young De la Cruz: Perhaps it was that chorizo, my friend. Hector: Or something I drank. I woke up dead. You...poisoned me! De la Cruz: You're confusing movies with reality, Hector. Hector: All this time, I thought it was just bad luck. I never thought that you might have...that you...How could you? Miguel: Hector! De la Cruz: Security! Security! Hector: You took everything away from me! You rat! De la Cruz: Have him taken care of. He's not well. Hector: I just wanted to move back home! No! No! De la Cruz: I apologize. Where were we? Miguel: You were going to give me your blessing. De la Cruz: Yes... ah... Si. Miguel...My reputation... it is...very important to me. I would hate to have you think... Miguel: That you murdered Hector for his songs? De la Cruz: You don't think that. Do you? Miguel: I... No... Everyone knows you're the... the good guy. Papa Ernesto... my blessing? De la Cruz: Security? Take care of Miguel. He'll be extending his stay. Miguel: What? But I'm your family! De la Cruz: And Hector was my best friend. Success doesn't come for free, Miguel.You have to be willing to do whatever it takes to...seize your moment. I know you understand. Miguel: No! No! Let go! No! Aah! Help! Can anyone hear me? I wanna go home! Hector: Huh? Miguel: H-Hector? Hector: Kid? Miguel: Oh, Hector! You were right. I should have gone back to my family. Hector: Hey, hey, hey. Miguel: They told me not to be like De la Cruz. But I didn't listen. Hector: Hey, it's okay. Miguel: But I told them I didn't care if they remembered me. I didn't care if I was on the stupid ofrenda. Hector: Hey, chamaco. It's okay. It's okay. Miguel: I told them I didn't care. Hector: Huh! Oh! Miguel: Hector! Hector? Hector: She's...forgetting me. Miguel: Who? Hector: My daughter. Miguel: She's the reason you wanted to cross the bridge. Hector: I just wanted to see her again. I never should have left Santa Cecilia. I wish I could apologize. I wish I could tell her that her Papa was trying to come home. That he loved her so much. My Coco. Miguel: Coco? Hector: Where? Where did you get this? Miguel: That's my Mama Coco.That's my Mama Imelda. Is that... you? Hector: We're... Miguel and Hector: Family? Hector: I always hoped I'd see her again. That she'd miss me. Maybe put up my photo. But it never happened. You know the worst part? Even if I never got to see Coco in the living world... I thought at least one day, I'd see her here. Give her the biggest hug. But she's the last person who remembers me. The moment she's gone from the living world... Miguel: You disappear... from this one. You'll never get to see her. Hector: Ever again. You know... I wrote her a song once. We used to sing it every night at the same time. No matter how far apart we were. What I wouldn't give to sing it to her one...last...time. Hector (singing): Remember me. Though I have to say goodbye. Remember me. Don't let it make you cry. For even if I'm far away. I hold you in my heart. I sing a secret song to you. Each night we are apart. Remember me. Young Coco: Papa! Hector (singing): Though I have to travel far. Remember me. Each time you hear a sad guitar. Know that I'm with you. The only way that I can be. Until you're in my arms again. Remember me. Miguel: H-He stole your guitar. He stole your songs. You should be the one the world remembers. Not De la Cruz. Hector: I didn't write "Remember Me" for the world. I wrote it for Coco. I'm a pretty sorry excuse for a great-great-grandpa. Miguel: Are you kidding? A minute ago, I thought I was related to a murderer. You're a total upgrade. My whole life... there's been something that made me different. And I never knew where it came from. But now, I know. It comes from you! I'm proud we're family. I'm proud to be his family! Rrrr-aayy! Haaa-ooei! Hector: Aaah-haha-ha-aayy! I'm proud to be his family! Haooo-whoo-hoo! Miguel: Dante? Dante! It's Dante! Haha! Hector: Imelda! Mama Imelda: Hector. Hector: You look good. Miguel: Dante! You knew he was my Papa Hector the whole time! You are a real spirit guide. Who's a good spirit guide? You are! Whoa! Haha! Dante! Papa Julio: There they are! Family: Miguel! Miguelito! Look. It’s Miguel! He’s all right! Mama Imelda: Mijo, I was so worried! Thank goodness we found you in time. And you... How many times must I turn you away? Hector: Imelda. Mama Imelda: I want nothing to do with you. Not in life, not in Death. I spent decades protecting my family from your mistakes. He spends five minutes with you, and I have to fish him out of a sinkhole! Miguel: I wasn't in there 'cause of Hector. He was in there 'cause of me. He was just trying to get me home. I didn't wanna listen. But he was right. Nothing is more important than family. I'm ready to accept your blessing. And your conditions. But first, I need to find De la Cruz to get Hector's photo. Mama Imelda: What? Miguel: So he can see Coco again. Hector should be on our ofrenda. He's part of our family. Mama Imelda: He left this family. Miguel: He tried to go home to you and Coco. But De la Cruz murdered him. Hector: It's true, Imelda. Mama Imelda: And so what if it's true? You leave me alone with a child to raise, and I'm just supposed to forgive you? Hector: Imelda, I... Miguel: Hector? Mama Imelda: Hunh Hector: I'm running out of time. It's Coco Mama Imelda: She's forgetting you. Miguel: You don't have to forgive him. But we shouldn't forget him. Mama Imelda: I wanted to forget you. I wanted Coco to forget you too, but... Hector: This is my fault. Not yours. I'm sorry, Imelda. Mama Imelda: Miguel... If we help you get his photo... you will return home. No more music. Miguel: Family comes first. Mama Imelda: I... I can't forgive you. But I will help you. So how do we get to De la Cruz? Miguel: I might know a way. Frida: Good luck, muchacho. Miguel: Gracias, Frida. Hector: Here, let me help you with... Mama Imelda: Don't touch me. Miguel: Everyone clear on the plan? Tia Victoria: Find Hector's photo. Papa Julio: Give it to Miguel. Mama Imelda: Send Miguel home. Hector: Got your petals? Mama Imelda: Now, we just have to find De la Cruz. De la Cruz: Yes? Don't I know you? Mama Imelda: That's for murdering the love of my life! De la Cruz: Who...Who the...? Hector: She's talking about me. I'm the love of your life? Mama Imelda: I don't know. I'm still angry at you. De la Cruz: Hector? How did you... Mama Imelda: And that's for trying to murder my grandson! De la Cruz: Grandson? Mama Imelda: She's talking about me.- De la Cruz: You! Wait. You're related to Héctor? Miguel: The photo! Mama Imelda: After him! De la Cruz: Security, ayudame. Hector: You said love of your life? Mama Imelda: I don't know what I said. Miguel: That's what I heard. Stagehand: Places, Senor. You're on in 30 seconds. Mama Imelda: Miguel, I have it! Miguel: Hurry, come on! Announcer: Ladies and gentlemen! The one... the only... Ernesto De la Cruz! De la Cruz: Get her off the stage! Miguel: Sing! Sing! Mama Imelda (singing): Ay, de mí Llorona. Llorona de azul celeste. Ay, de mí Llorona. Llorona de azul ce leste. Y aunque la vida me cueste, Llorona. No dejaré de quererte. No dejaré de quererte. Me subí al pino más alto, Llorona. A ver si te divisaba. Como el pino era tierno, Llorona. Al verme llorar, lloraba.Ay de mí Llorona, Llorona. Llorona de azul celeste. (De la Cruz singing together) Ay de mí, Llorona, Llorona. Llorona de azul celeste.Y aunque la vida me cueste, Llorona. No dejaré de quererte. Mama Imelda: Let go of me! De la Cruz (singing): Y aunque la vida me cueste, Llorona. Y aunque la vida me cueste, Llorona. No dejaré de quererte. No dejaré de quererte. No dejaré de quererte. Ay, ay, ay! Mama Imelda: I forgot what that felt like. Hector: You... still got it. Miguel: Uh-h-hum… Mama Imelda: Oh! Miguel, I give you my blessing…To go home...To put up our photos... And to never... Miguel: Never play music again. Mama Imelda: To never forget how much your family loves you. Hector: You're going home. De la Cruz: You're not going anywhere! Hector: Imelda! De la Cruz: Stay back! Stay back! All of you, stay back! Not one more step. Miguel: Dante! Hector: Ernesto, stop! Leave the boy alone. De la Cruz: I've worked too hard, Hector. Too hard to let him destroy everything. Hector: He's a living child, Ernesto. De la Cruz: He's a threat. You think I'd let him go back to the Land of the Living with your photo? To keep your memory alive? No. Miguel: You're a coward! De la Cruz: I am Ernesto De la Cruz. The greatest musician of all time. Miguel: Hector's the real musician. You're just the guy who murdered him and stole his songs. Audience: Murdered? De la Cruz: I am the one who's willing to do what it takes to seize my moment. Whatever it takes. Miguel: Aah! Aah! Hector: No! Mama Imelda: Miguel! Papa Julio: Miguel! De la Cruz: Apologies, old friend. But the show must go on. Haha! Crowd: Boo! Boo! Boo! De la Cruz: Hahaha! Please, please, mi familia! Crowd: Murderer! Get off the stage! De la Cruz: Orchestra, a-one, a-two, a-one... (singing) Remember me. Though I have to s－Hey, creep! Audience: Look! De la Cruz: Nice kitty. Put me down! Please! I'm begging you! Stop, stop! No! No! Aaah! Oooh! Oh! No! Aaah! Hunh! Audience: What did I miss? Miguel: Good boy, Dante. Mama Imelda: Miguel! Hector: Oh! Miguel: Hector! The photo... I lost it. Hector: It's okay, mijo.It's…o Miguel: Hector! Hector? Hector: Coco. Miguel: No, we can still find the photo. Mama Imelda: Miguel, it's almost sunrise. Miguel: No, no, no. I can't leave you. I promised I put your photo up. I promised you'd see Coco. Hector: We're both out of time, mijo. Miguel: No! No! She can't forget you. Hector: I just wanted her to know... that I loved her. Miguel: Hector! Hector: You have our blessing, Miguel. Mama Imelda: No conditions. Miguel: No, Papa Hector. Please! No. Hector: Go home Miguel: I promise! I-I won't let Coco forget you! Tio Berto: There he is! Papa: Miguel! Stop! Abuelita: Where have you been? Miguel: Ah! I need to see Mama Coco, please! Abuelita: Huh! What are you doing with that? Give it to me! Miguel, stop. Miguel! Miguel! Miguel! Miguel: Mama Coco? Can you hear me? It's Miguel. I-I saw your Papa! Remember? Papa? Please. If you forget him, he'll be gone, forever. Here. This was his guitar, right? He used to play it to you? See, there he is. Papa! remember? Papa? Papa: Miguel! Miguel: Mama Coco, please. Don't forget him. Abuelita: What are you doing to that poor woman? Mama: It's okay, Mamita. Papa: What's gotten into you? I thought I’d lost you, Miguel. Miguel: I'm sorry, Papa. Mama: We're all together now. That's what matters. Miguel: Not all of us. Abuelita: It's okay, Mamita. Miguel, you apologize to your Mama Coco. Miguel: Mama Coco? Abuelita: Well? Apologize! Miguel: Mama Coco...Your Papa...he wanted you to have this. Papa: Mama, wait! Miguel (singing): Remember me.Though I have to say goodbye. Remember me. Don't let it make you cry. For even if I'm far away. Mama: Look! Miguel (singing): I hold you in my heart. I sing a secret song to you. Each night we are apart. Remember me. Though I have to travel far. Mama Coco (singing): Remember me. Each time you hear a sad guitar. Know that I'm with you. The only way that I can be. Until you're in my arms again. Remember me. Mama Coco: Elena? What's wrong, mija? Abuelita: Nothing, Mama. Nothing at all. Mama Coco: My Papa used to sing me that song. Miguel: He loved you, Mama Coco. Your Papa loved you so much. Mama Coco: I kept his letters, poems he wrote me. And... Papa was a musician.When I was a little girl, he and Mama would sing such beautiful songs. －One year later－ Tour Guide: And right over here, one of Santa Cecilia's greatest treasures. The home of the esteemed songwriter, Hector Rivera. The letters Hector wrote home for his daughter, Coco, contain the lyrics for all of your favorite songs. Not just "Remember Me". Miguel: And that man is your Papa Julio. And there's Tia Rosita. And your Tia Victoria. And those two are Oscar and Felipe. There aren't just old pictures, they're our family. And they're counting on us to remember them. Miguel (singsing): Say that I'm crazy. Departures Agent: Next. Miguel (singsing): Or call me a fool. Departures Agent: Enjoy your visit, Hector. Miguel (singsing): But last night it seemed that I dreamed about you. Mama Coco: Papa! Hector: Coco! Miguel (singing): And you knew every word, and we all sang along. To a melody played on the strings of our souls. And a rhythm that rattled us, down to the bone. Our love for each other will live on forever in every beat of my proud corazón. Our love for each other will live on forever in every beat of my proud corazón. Ay mi familia, oiga mi gente canten a coro. Let it be known. O Our love for each other will live on forever in every beat of my proud corazón. Ay mi familia, oiga mi gente canten a coro. Let it be known. O Our love for each other will live on forever in every beat of my proud corazón.