A Lady Takes a Chance Page #5

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
107 Views


It looks just wonderful,

doesn't it? Mm.

Mmm!

Mmm, it's good.

Mmm.

It's good.

Duke?

Hmm?

You know, all we've

been together, and...

All the fun we've had and

everything, and... Mm-hmm?

There's about a million

questions I'd like to ask you.

What's the matter?

Oh!

Oh, my. Duke.

Here. Here, take some of this.

Maybe it'll loosen it.

Oh!

Ooh!

Ooh. You all right?

Yeah.

Gee. Gee, I'm so sorry.

It's all right.

It's just that...

I wanted everything

so fancy for you.

Hmm, uh, let's...

Let's get the dishes washed,

and then...

Maybe we can talk, and...

Yeah.

This'll only take a minute.

Hurry up, slowpoke.

Duke, what's the matter?

Plenty. I'm drunk.

What?

I haven't had a drink all day,

and I'm drunk.

Well, gee whiz, I thought we...

I know what you thought,

but you thought wrong.

I guess you don't want any more

than any other girl wants.

But you come to the wrong place.

I'm not built that way.

Built what way? I'm not gonna

get hooked, that's what way!

Maybe this sort of thing works where you

come from, but it don't work around here!

Well, I... Leave me alone!

Quit tryin' to hook me!

I'm not trying to... I got my own way of livin',

and I'm not gonna have anybody changin' it.

I don't want...

And don't start cryin'.

Who's crying?

Just let me say it.

If I wanted to get hooked...

I'd let you hook me.

I don't know of nobody that...

But I don't wanna get hooked!

Hey, look.

Molly!

Oh, hello.

Gee. How are ya, kid? Say,

what goes on with you?

I simply missed the bus.

It can happen.

Oh, gosh, honey we were

so worried. You've no idea.

Yeah, we even put through a

long-distance call. Yeah, I paid.

Well, I hope you're none the worse

for wear, kid, like they say.

Just what do you mean by that, Mr.

Lambert?

Nothin'. My goodness, I never

saw such touchy people.

Come on, Molly. Come on over here.

Come on.

Molly, you gonna

tell me everything?

Well, there's nothing to tell.

Oh, sure. I bet you could

talk all the way home.

Well, I'm not gonna. All aboard!

All right, folks.

Here we go. Plenty of things

to do, plenty to see.

Still at it, isn't he?

You have no idea.

All right. Come on.

Recess is over.

Come along. Move along. In you...

bought a little flower there, huh?

All right, folks.

Here we go. Everybody up.

You all right, Joe?

Let's take it away.

All good things must come to an end.

Yes, sir, that's right, so let's face it.

And until we meet again,

folks, remember one thing...

? There's no place

like home ?

? There's no place

like home ?

? And though

it's very humble ?

? There's no place

like home ??

I must say, this is my favorite

part of the whole trip.

Remember, Molly, if you ever get stuck for an

extra female some nights, you've got my number.

Yes.

Well... good-bye now.

Bye.

Molly!

Gee.

Hello, Malcolm.

Ahh.

Oh, thank you.

That's sweet.

Gee.

Hello, baby.

Ohh, welcome home.

Bob. Gee. Come on. My

cab's parked outside.

I guess I was here first, Bob. I

said, my cab was parked outside.

I don't care.

Listen, fat boy.

Who do you think you're pushing?

You're gonna get worse than a push...

If you don't give me that bag.

Bob, everybody's looking. Please.

You touch me once more...

Give me that bag!

I've never liked you, Bob.

You may as well know it.

Listen, maybe you can't understand English.

I said, my cab was double-parked outside.

I don't care if it is double-parked.

You shouldn't have brought it.

- Shouldn't have brought my cab?

- No! Your big, yellow taxicab.

Look, my cab isn't yellow, and

when I toot, get out of the way!

Oh.

Break it up!

Oh, hello, Bob.

"Hello, Bob"?

Just a minute!

Now, listen. We're all going together,

or else I shall go by myself.

Well, I was here first!

What are you doing here? I thought...

I know, but you thought wrong.

Just a minute.

Well...

I, uh...

I met him out west.

You-you better

put me down, Duke.

I, uh... I want to

introduce you to my friends.

Uh, Mr. Hudkins,

this is Mr. Stone.

How do you do?

Howdy.

Mr. Hastings.

Hello.

And Mr. Starkey.

How do you do?

Molly, who is this guy? Who are you?

Well, I just told you...

Well, I...

I don't know.

Duke, what are you doing in New York?

I just came to take you back.

- Now?

- Pretty soon.

Tour number 49 leaving

for Kansas City, Tulsa,

Phoenix and Los Angeles.

Now.

Just a minute, Buffalo Bill. Bob, I wish

you would let me take care of my own...

Where do you think you are, on the prairie?

Why, no, I, uh...

Mm!

Duke!

Have a nice trip.

Just a minute.

I'm not going anyplace.

What's the matter with you? Are you crazy?

Haven't I anything to say about this?

I can tell you one thing... I'm certainly

not going to get on any old bus.

I just got off a bus.

As a matter of fact, I don't even know

whether I should be speaking to you...

After the things that you...

No, honest, Duke, I mean it. If you want to sit

down and talk things over for a few minutes,

that's one thing, but I-I'm

not getting on any bus!

Now, look. If you...

You're certainly mistaken, Duke.

That's all I've got to say.

Hello, hello, hello, hello. Folks, I'd

like to have your attention for a minute.

You're gonna have mine for the next 14 days,

so it isn't asking for too much, is it?

Even if I change my mind, even if I

wanted to go back with you, I couldn't.

I'd lose my job. That's all right.

I got a job for ya.

Huh?

I divorced Waco.

I got an idea you don't like me.

Well, I'll grow on ya, brother.

Howdy, partner.

Glad to see ya.

- Hello. - We'll be leaving

in about two minutes, folks.

So don't get impatient. Just as

anxious to get started as you are.

In about five seconds, we'll be off with the

smoothest, most comfortable ride you ever had.

Yes, sir. Smoothest ride you ever had, and

I'm the boy who's gonna tell you about it.

Okay, Major.

Let her go. Contact!

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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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