Carousel Page #4

Synopsis: Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his family, namely his wife Julie Bigelow née Jordan and the child he never met, that problem with which he would now like to head back to Earth to assist in rectifying. Before he is allowed back to Earth, he has to get the OK from the gatekeeper, to who he tells his story... Immediately attracted to each other, he and Julie met when he worked as a carousel barker. Both stated to the other that they did not believe in love or marriage, but they did get married. Because the shrewish carousel owner, Mrs. Mullin, was attracted to Billy herself, and since she believed he was only of use as a barker if he was single to attract the young women to the carousel, she fired him. With no other job skills and unwilling to take just any job, Billy did not provide for Julie but rather lived off Julie's Aunt Nettie. But
Director(s): Henry King
Production: 20th Century Fox
  3 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
83%
APPROVED
Year:
1956
128 min
919 Views


Come on, I'm buying.

That clambake's just

what I've been waitin' for.

You couldn't find him, could you?

- No.

- Hello, Julie.

Hello, Carrie.

Julie, is Billy working yet?

No.

Mr. Snow says a man that can't find

work these days is just bone lazy.

Billy don't know any trade.

He's only good at what he used to do.

So now he just don't do anything.

You know something else, Carrie?

- Last Monday, he hit her.

- Nettie.

- Did you hit him back?

- Oh, no.

Well, I would have. I'd leave him.

You don't understand, Carrie.

You see, he's unhappy

'cause he ain't working.

That's why he hit me Monday.

Fine reason for hitting you.

Beats his wife 'cause he ain't working.

Is this before the clambake, after or what?

It's while the clambake's going on.

Now, once we're out there,

suppose me and you get in a boat

and come back in and

did whatever we had to do.

Then we got back. There's your alibi.

We could just say, "We were on the island

all the time. We got lost. "

All right. What do we have to do?

I mean me, what do I gotta do?

Well, first, you go up

to old sideburns and you say,

"Excuse me, sir.

Could you tell me the time?"

I say, "Excuse me, sir.

Could you tell me the time?"

Then what?

Then by that time,

I got my knife in his ribs.

- Then you take your knife...

- Me?

I ain't got a knife.

Well, you can get one, can't you?

- Does he have to be killed?

- No, he don't have to be.

But these New Englanders are funny.

They'd rather be killed.

Well? Hmm?

I ain't gonna do it. It's dirty.

- What's dirty about it?

- Killing.

What's the matter with you?

We ain't gonna kill him.

We're just gonna scare him.

That's what the knives

are for, to scare him.

I ain't gonna do it, Jigger.

Of course, if you've got

all the money you want...

I ain't got a cent.

Money thinks I'm dead.

Julie?

I got some good news to tell you.

'Bout you and Mr. Snow?

Carrie and me are bein' cried

in church on Sunday.

Mr. Snow, you startled me!

Well, this is him.

- Carrie told me a lot about you.

- Oh.

I told you a lot about Julie, didn't I?

Enoch's nice-lookin', ain't he?

Oh, come, Carrie.

Steady and reliable too.

Well,

ain't you gonna wish us good luck?

Course I wish you luck, Carrie.

You can kiss Enoch too,

us bein' such good friends

and me bein' right here lookin' on at you.

Why are you cryin', Mrs. Bigelow?

It's because she has such a good heart.

We thank you for your heartfelt sympathy.

We thank you, Mrs. Bigelow.

Billy! Billy.

You know Carrie, and...

This is her intended, Mr. Snow.

- Mr. Snow?

- Mr. Bigelow?

I feel like I know you.

Oh, yes.

The man who owns the herring boat.

You smell it over there, Jigger?

Nope. Wind's in the wrong direction.

- It's a good, honest smell!

- It's a powerful, honest smell.

Carrie. You still want me

to offer him a job?

What job?

Mr. Snow here is thinkin'

of puttin' on another boat

and I was gonna ask him

to offer you a job on it, but now I...

Me? Work on a herring boat?

No, thanks.

Enoch, come along before you lose

your temper and do something violent.

Well? Go ahead. Say it.

I insulted your friends,

stayed out all night.

I ain't workin'.

I'm livin' off your cousin Nettie.

- I didn't say anything.

- No, but it was on the tip of your tongue.

I was only gonna ask if...

If you wanted to go to the clambake.

It's a good idea, Billy. You've been actin'

kind of nervous and edgy.

Who knows? Maybe you might

find the treasure.

No! Ain't goin' to no clambake.

Well, you got anything else to say?

Like what, Billy?

Well, like whether I'm hungry or not.

I didn't have to ask that, Billy.

I knowed you was hungry.

You go and sit down,

and I'll bring you your dinner.

Do you wanna see somebody?

Yeah, Billy.

- That is, if he's home yet.

- He's home.

Would it be asking too much

to know where he is?

My husband is around the other side,

waitin' for his dinner.

Thanks.

Hello, Billy.

Well, what'd you come for?

Well, I see you're still hangin'

around your jailbird friend.

What's it to you

who I hang around with?

One thing I can't abide

is a common type woman.

Everybody that gets mixed up with him

finishes up in the jailhouse or the grave.

Common woman.

Put on a new coat of paint.

You're startin' to peel, old pleasure boat.

Well. What are you doin' here?

You got a new barker, ain't you?

Why don't you stay home

and sleep at night?

- You look awful.

- Ah.

Here, come on. Put your hair back

off your forehead.

Oh, leave my hair be.

I, uh, hear you been beatin' her.

Now if you're sick of her,

why don't you leave her?

- There's no use beatin' the poor thing.

- Who beat her?

What's all this darn fool talk

about a beatin'? I hit her once.

Oh.

Now the whole town is talkin'...

Next one I hear say "beat,"

I'm gonna smash...

All right. All right, all right, all right.

All right. I take it back.

Look, I don't wanna get mixed up in this.

"Beat her. " As if I'd beat her.

What's the odds one way or the other?

Why don't you look at the thing straight?

You're sick of bein' married.

Carousel ain't crowded

without me, is it?

Oh, Billy. You see?

You belong out there and you know it.

You wasn't cut out

for a respectable, married man.

You're the... You're...

You're the artist type.

You belong among artists.

Tell you what, Billy.

You come back...

And I'll give you that ruby ring

my husband left me.

I don't know. I...

Yeah.

I might go back.

Yeah. Yeah, I could still

live here with Julie, and...

- Holy Moses!

- Well, what's wrong?

Well, can you imagine?

The girls would love that,

a barker who runs home

to his wife every night.

Why, people would laugh theirselves sick.

Well, I... I know I would.

Yeah. I can hear you laughin'.

Don't be so stuck on yourself.

- You want anything?

- Brought you your dinner.

Billy? I...

I got somethin' to tell you.

All right.

I've... Been wantin' to tell you.

- In fact, I was goin' to yesterday...

- Go ahead.

I can't. We gotta be alone.

Can't you see I'm busy here?

I'm talkin' business.

- It'll only take a minute.

- Get out of here.

- I tell you. It'll only take a minute.

- Will you get out of here?

- No!

- What did you say?

Ah, let her alone.

She's got somethin' to tell you.

And you... You've got somethin' to tell her.

I'll be back in a minute.

- Well?

- Don't look at me like that.

I ain't afraid of you.

I ain't afraid of anyone.

Go ahead and tell me what it is.

Make it quick.

Well, I... I can't tell you so quick.

Why don't you drink your coffee?

Is that what you come to tell me?

No, but... But by the time you drink it,

I'll have told you.

Well?

Well...

Yesterday my head ached,

and you asked me if...

Yes?

Well, you see, that's what it is.

I'm gonna have a baby.

Julie. Julie!

You ain't mad, Billy, are you?

Should you be walkin' up them stairs?

- Sure, Billy.

- Here. Let me help you.

I'm all right. I'm fine,

just as long as you ain't mad.

Dee-dah-dah-dah

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Phoebe Ephron

Phoebe Ephron (née Wolkind; January 26, 1914 – October 13, 1971) was an American playwright and screenwriter, who often worked with Henry Ephron, her husband, whom she wed in 1934. Ephron was born in New York City to Louis and Kate (née Lautkin) Wolkind, a dress manufacturer.Ephron was active as a writer from the early 1940s through the early 1960s. Her four daughters – Nora Ephron, Delia Ephron, Hallie Ephron and Amy Ephron – all became writers, like their parents. Ephron was nominated for an Oscar for Best Writing, Screenplay Based on Material from Another Medium , along with writing partners Richard L. Breen and husband Henry Ephron, for their work on Captain Newman, M.D. (1963). She died in 1971, aged 57, in her native New York City. more…

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Submitted on August 05, 2018

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