A Lady Takes a Chance Page #4

Synopsis: A New York bank clerk,Mollie Truesdale (Jean Arthur), in the late 1930s, finds that her cherished dream of making a 17-day all-expenses-paid bus trip to the Pacific Coast and back, isn't all she thought it would be...until she reaches Oregon and a bucking broncho tosses a rodeo performer on top of her and knocks her flat. Duke Hudkins (John Wayne), by way of apology, shows her the sights of Fairfield, Oregon, and she misses her bus, quarrels with the bewildered Duke, hitchhikes across a lot of desert...and a romance is born.
Director(s): William A. Seiter
Production: RKO Pictures
 
IMDB:
6.6
PASSED
Year:
1943
86 min
109 Views


I don't mind.

It's just...

You've got a pretty sick

horse, mister.

I thought first, maybe

it was just a cold.

Maybe it is.

I-I can't be sure yet.

Easy. There's no use

beating around the bush.

Maybe pneumonia's started,

and maybe not.

If it hasn't,

he ought to be okay.

But if it has,

well, there ain't much I can do.

I can't tell you yet

just what the chances are.

I'll be taking X-rays

and smears and...

Why don't you come back here...

Around 5:
00 or 5:00

this afternoon.

Then either

he'll be okay, or, uh...

Or we'll know.

You got a fine horse, mister.

Well, I'll be doing

everything I can.

Gettin' late, Duke.

Better go.

Wish it was me that was sick

instead of him.

I could tell him where it hurts.

He can't.

Oh, Duke.

It was all my fault.

If anything should happen, I

don't know what I could do to...

It's all right, Molly.

It's been nice knowin' ya.

I was right about him.

Huh?

He's the most unusual man I ever met.

Sure is.

He certainly is the right fella

for the right girl. Yeah.

Huh?

Hey, Molly.

I... I'm not leaving

just yet.

You better. No, you go on.

I'll stay here.

If anything happens, I'll let Duke know.

I want to give you a little advice.

What?

Go home.

I'm going home tomorrow.

Go now.

Why?

Molly, I'm an old man,

and I like you.

But I know Duke, and I

know women, all kinds.

I know your kind.

You're a fine gal, but if you don't watch

out, you're gonna get your heart broke.

Love is the best thing

there is, I guess,

but you're barking up

the wrong cowboy.

Any fella that can love a horse

can love a girl.

Betcha.

Betcha.

Watch for the twist down now.

Here comes the fall to the

ground, and he's put him down.

Try to watch him he don't stick down

his head. He ain't too trusting.

What time is it? Oh,

you got another hour.

What time is it?

Oh, uh...

Ten after 4:
00. Then we ain't got

another hour. He said 5:00, didn't he?

Okay, okay.

And kinda watch him you don't drift

to the left. Just keep an eye on him.

I'll handle him. Thanks. It's nothin'

at all, Duke. I'm sorry about Sammy.

I heard about Sammy.

Yeah?

When are you going to know?

Pretty soon.

Here's your next bulldogger,

Duke Hudkins.

High-mounted well, placing his

horse in now behind the barrier.

Time is ready, flags going up.

- - You ready?

Unchain him.

Duke! Duke!

Duke. Sammy's...

What is it?

Sammy's what?

Sammy's...

There he goes! And watch

this one. Here he goes.

The jump, and he...

Jeepers! Duke!

Sammy's what?

He's okay!

Okay? The vet says he's

gonna be all right.

Waco, he's okay.

Glory be!

Well, don't start crying, Molly.

There's nothing to cry about.

Come on! Oh, see slim gets

his horse, will you, Waco?

That Humboldt's a good doctor.

He sure got Sammy feeling

frisky in a hurry.

He's the man I want to see

if I ever get sick.

Come on!

Hiya, boy.

Waco says to tell ya he's waitin'

for ya down at the restaurant.

Got so hungry,

he couldn't wait no more.

Oh, friend of mine.

How do you do?

How do?

Have you a vacancy?

Haven't got a thing, lady.

Oh, dear.

Oh, I was hoping you might have.

Yeah.

It's just for overnight.

You sure?

Oh, yes. You see, my bus...

Well, I got a party comin' into

number 12 about noon tomorrow.

Oh, I'd be out by then.

Okay.

Course, if you change your

mind, I can't help ya.

Oh, no. You see my bus...

I have to...

Yeah. It's the fifth one

over, right next to Duke's.

Oh, thank you.

You're welcome.

Want to go downtown and have some supper?

You mean right now?

Oh, Waco's waitin', and...

Well, I thought

we might eat later.

- Oh!

- Hey, Duke!

Where you been?

I been a-waitin'.

I'm not hungry.

You look hungry.

- Uh, we're going to eat here.

- Where?

Right here. We're going to have a

little home-cooked dinner for a change.

Yeah. Is there a grocery

store near here?

No.

Find her one, will you, Waco?

I gotta get cleaned up.

I'll go get the car. I'll

be with you in a minute.

I want four nice

Iamb chops, please.

Your a-move.

Uh, look, could I have four

nice lamb chops, please?

Josephine! Well,

I'll be gosh-darned.

You sure look different. Well, I...

My name's not Josephine.

You changed your name, too, huh?

My gosh, you kids. You

think I'm somebody else.

What's the matter? Nothing.

He thinks I'm somebody else.

Well, she's not.

Oh.

Uh, look, could I please have four nice

Iamb chops? I'm in an awful hurry.

Sure.

Lamb chops. What are you

gonna get for Duke?

They're for Duke.

Oh, he won't eat 'em.

He most certainly will. I fix

them in a very special way.

Excuse me.

I don't care how you fix 'em.

He's liable to throw 'em at ya.

Not me. I'm not his

better half... not yet.

Hey, what about it? I'm hungry.

Uh, not yet!

You look pretty...

Right pretty.

I might as well tell ya, Duke. I don't approve

of this whole thing. What whole thing?

You goin' over there

for dinner and all.

Well, a man's gotta eat, don't he?

Not like this, he don't.

- I tell ya, that little gal over

there means business. - So do I.

Listen, Duke, you're a wild horse,

and you ain't never been busted.

But that don't mean that

you ain't never gonna be.

Oh, don't worry.

Ohh, she ain't for you!

Remember what you told me?

Women is like socks... Ya gotta change

'em regular. This gal's different.

All ready!

- This gal's different, and you're gonna

find it out. - You sound like a wife.

Come in.

Would you like to sit here?

Why? Ain't supper ready?

Yes, but I thought we might

have our cocktails here.

Oh.

Smells good. What do we got?

You'll see.

Well, here's to ya.

What is it?

It's tomato juice.

Oh.

- It don't taste like it. - It's the

way I prepare it, with lime juice.

It's good this way, isn't it?

Yeah, if you...

Like tomato juice.

Oh, are you hungry?

Well, to tell you

the truth... yes.

Well, let's start then.

This is your place, here.

Hors d'oeuvres?

What's the matter?

Lamb chops.

Yes.

- I never eat lamb chops.

- But they're good.

Come on. Let's go

downtown and get a steak.

Oh, try them.

But I don't like them.

I never ate them, that's why.

Why?

I don't like them.

I like steak.

Hey. They're all right.

You see?

They taste just like steak.

Sure.

Maybe we oughta eat outside...

More light out there.

What's so wonderful about light?

Nothin' 'cept...

I just bit my thumb.

Too bad we haven't

got some beer.

Yes, isn't it?

You got everything.

Thank you.

Got any more meat?

No. No, but you can

have one of mine. Here.

Mm.

Now, eat your salad, Duke.

It's good for you.

Mm-mm.

I'll get the dessert.

Apple pie?

No.

Rice pudding?

No, something else.

- I don't like anything else.

- Why?

'Cause I never eat

anything else, that's why.

Well, I hope you like this,

'cause it's a surprise.

What is it? Well, it's a kind

of a surprise for me too.

I got it at the store. It's called

"sunset on the desert" special.

Made me think of you.

Of me?

Mm-hmm.

Demitasse now or later?

Oh, it don't matter much.

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Robert Ardrey

Robert Ardrey (October 16, 1908 – January 14, 1980) was an American playwright, screenwriter and science writer perhaps best known for The Territorial Imperative (1966). After a Broadway and Hollywood career, he returned to his academic training in anthropology and the behavioral sciences in the 1950s.As a playwright and screenwriter Ardrey received many accolades. He was awarded a Guggenheim Fellowship in 1937, won the inaugural Sidney Howard Memorial Award in 1940, and in 1966 received an Academy Award nomination for best screenplay for his script for Khartoum. His most famous play, Thunder Rock, is widely considered an international classic.Ardrey's scientific work played a major role in overturning long-standing assumptions in the social sciences. In particular, both African Genesis (1961) and The Territorial Imperative (1966), two of his most widely read works, were instrumental in changing scientific doctrine and increasing public awareness of evolutionary science. His work was so popular that many prominent scientists cite it as inspiring them to enter their fields. more…

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Submitted on August 05, 2018

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