In the Good Old Summertime Page #4

Synopsis: It's turn of the century America when Andrew and Veronica first meet - by crashing into each other. They develop an instant and mutual dislike which intensifies when, later on, Andrew is forced to hire Veronica as a saleslady at Oberkugen's music store. What the two don't know is that while they may argue and fight constantly throughout the day, they are actually engaged in an innocent, romantic and completely anonymous relationship by night, through the post office.
Director(s): Robert Z. Leonard
Production: MGM Home Entertainment
  1 nomination.
 
IMDB:
7.2
Rotten Tomatoes:
71%
APPROVED
Year:
1949
102 min
268 Views


- Once a year, I ask you to stay here.

- If it wasn't such an important...

I see, you want a special invitation.

Next time

I'll send you an engraved announcement.

- I think we can manage without Andrew.

- Did I ask you for advice?

- No.

- Uncle Otto, I can take...

Tonight is inventory. Everybody stays.

That's final.

- Number K52T, four.

- I thought you said three.

Those are banjo cases. Metronomes, six.

- Got it?

- Got it.

Small harps, 99.

- Got it?

- You just love to rub that in, don't you?

- I am merely taking inventory.

- No matter what I do, it's wrong.

If I wrap a package, it's wrong.

You want everything done your way

and even then you don't like it.

When I came here,

I was a very enthusiastic girl.

Now look at me.

One of these days, I might find out

that I don't have to work at all...

and then I'll really tell you

what I think of you.

I have to get another blank.

Mr. Larkin, I don't like you.

Could I have a new blank, please?

- Don't feel so badly, dear.

- I can't help it.

We'll never finish here tonight...

and I'm going to miss

the most important engagement ever.

Maybe we'll finish in time.

Is that clock right?

- Yes, dear, it is.

- I'm never gonna make it.

Couldn't you telephone

the young gentleman?

I can't. I don't even know his number.

Yes. Thanks.

I have an engagement.

I'd like to get out of here.

So would I.

- Yes?

- Would you hold the ladder, please?

You might count that music

while you're at it, too.

- All right.

- The ladder!

All right. Sure.

It's almost 8:
00.

Is it?

- Is it too late for us to have that dinner?

- What about your friend?

I just made him up.

No, I know. You are just being kind to me.

You are a very handsome woman,

a very attractive woman.

Now, Otto.

I should have known

you couldn't care for an old fool like me.

- Why, Otto...

- I know.

I am not worthy of you,

but I always hoped...

when I became a famous violinist,

then, maybe...

But to find out suddenly

that there is someone else...

Listen to me. There isn't anybody else.

- No?

- Really. I made him up.

You made him up?

I'll go and get your things.

Children, what are you doing here so late?

Go home, all of you.

- Hurry, please.

- Yes, dear. I'll be there in just a minute.

Oh, dear.

- Will you help me with this, please?

- I really shouldn't be helping you.

After all, having dinner in a public place

with a strange man.

He isn't a strange man.

I know all about him.

After all, we're practically engaged.

Just the same,

you have never been introduced.

That's convention.

A silly convention for ordinary people.

This is different. It's just like he said:

"You can't keep a love like ours

in an envelope. "

And you know,

I know just what he'll look like.

He'll be tall, and dark,

and terribly handsome...

and sort of sad.

- Don't look so sad.

- To tell you the truth, I don't feel so good.

Look out for the carnation.

It's 8:
15. You don't have time to feel bad.

- Where's the buttonhook?

- On that desk.

I don't think I should go.

For her sake, I mean.

I've told this girl

what an important man I am.

When she sees me,

it's gonna be an awful shock.

Don't you worry,

it's going to be love at first sight.

On the other hand, what about me?

Suppose I don't like her?

You don't know how lucky you are.

Most men fall for a pretty face.

Then they find out

there's nothing behind it.

- But you know what's behind it.

- But what's in front of it?

- She'll be beautiful, you'll see.

- I wish I'd never learned to read or write.

- Good luck.

- Wait a minute. You look, I'm afraid to.

- No.

- Go on.

All right.

- You see anything?

- Not yet.

- There's a beautiful girl.

- Yeah?

Very beautiful, but no book.

I think I see her right there.

A book and a carnation.

I can't see her face.

She's sitting behind the clothes rack.

She's leaning forward now.

- Can you see her?

- Yes.

- Is she pretty?

- Very pretty.

Really?

I would say she has something

of the coloring of Miss Fisher.

Miss Fisher? At the store?

You must admit that

Miss Fisher's a very good-looking girl.

Personally, I've always rather liked her.

This is no time to be talking

about Miss Fisher.

I can tell you right now,

if you don't like Miss Fisher...

you won't like this girl.

- Why? What do you mean?

- Because it is Miss Fisher.

What?

Of all the people in the world, that one.

The nerve of her!

Please, you can't just walk off

and leave her sitting there.

What do you mean, I can't?

If she was the last woman on earth

and we were on a desert island...

I'd still walk off and leave her there.

Wait a minute. Remember,

she wrote you all those letters?

I don't believe it.

She couldn't and even if she did...

Good night.

I'll be right back.

- I thought you weren't coming in tonight.

- I was on my way...

But I'm so glad you did.

I have such wonderful news for you.

They accepted my application,

and I'm auditioning on Friday night.

- That's wonderful, Louise.

- You'll come, won't you?

- Sure. I'll be there.

- You've got to come.

- What?

- You're not ill, are you?

- No.

- It's just that you look a little strange.

- No, I feel fine.

- All right, then.

- Keep your fingers crossed. Bye.

- Bye.

- Excuse me, miss, could I have this chair?

- No, please.

I'm waiting for someone.

He'll be here any minute.

He must be special for you

to wait this long.

He is very special. Just leave it here.

- Thank you.

- Thank you.

What a coincidence.

I had an appointment here, too.

- Did you see Rudy Hansen?

- No, I haven't.

- Do you mind if I sit and wait for him?

- No, please don't.

- I have an appointment myself.

- Yes, I remember.

- Your friend seems to be a little late.

- He'll be here.

I see you're reading Elizabeth Browning.

Yes. Any objections?

No. It just seems to me quite a surprise.

- Wait...

- I didn't know you liked classical poetry.

- There are a great many things...

- People are watching.

There are a great many things

that you don't know about me.

- Really?

- Yes.

Tell me, have you ever read

Emerson's essays?

- No, I haven't.

- I have.

And there are a great many things

you don't know about me.

It's such a pity that people so seldom...

go to the trouble of scratching

the surface to find out the inner truth.

I wouldn't care to scratch your surface...

because I know that underneath I'd find,

instead of a heart, a piccolo.

Instead of a soul, I'd find a flute,

and instead of an intellect...

I'd find a metronome

that doesn't work very well.

- That's very well put.

- Thank you.

- A metronome?

- Yes.

It's such an interesting miXture

of poetry and meanness.

- Very well put.

- Meanness?

Don't misunderstand me.

I think you understood me

when I said I was waiting for someone.

If your party doesn't show up...

Don't worry about my party showing up.

He'll show up.

In the meantime, you needn't bother

to stay here and entertain me.

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Samson Raphaelson

Samson Raphaelson (1894–1983) was a leading American playwright, screenwriter and fiction writer. While working as an advertising executive in New York, he wrote a short story based on the early life of Al Jolson, called The Day of Atonement, which he then converted into a play, The Jazz Singer. This would become the first talking picture, with Jolson as its star. He then worked as a screenwriter with Ernst Lubitsch on sophisticated comedies like Trouble in Paradise, The Shop Around the Corner, and Heaven Can Wait, and with Alfred Hitchcock on Suspicion. His short stories appeared in The Saturday Evening Post and other leading magazines, and he taught creative writing at the University of Illinois. more…

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Submitted on August 05, 2018

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