Night After Night Page #2

Synopsis: A successful ex-boxer opens a high-class speakeasy in what once was the childhood home of a formerly rich society girl.
Genre: Comedy, Drama
Director(s): Archie Mayo
Production: Paramount Pictures
 
IMDB:
6.9
PASSED
Year:
1932
73 min
135 Views


Yeah, that's it. | I'm sorry.

He was an intelligent gentleman, | wasn't he? Yes, he was.

Was his folks rich?

You mean were | his folks rich?

Yes, did they have money? | No, they were very poor.

But they were educated, | though, weren't they?

No, I believe they were | very simple people.

How did he get | where he got?

I thought we'd agreed not | to use the word ''got.''

Well, how did he get | where he-

You mean, how did he | accomplish what he did?

Tha-that's it, | Miss Jellyman.

By courage, honesty, | perseverance and visin.

Visin.

Visin. That-

That means looking | ahead, doesn't it? Yes.

Oh, excuse me, won't you? Certainly.

Hello. Yes, Leo. No.

You know I don't want to be | bothered! I'm taking my lessons!

No imagination.

Now supposing you | read this to me aloud.

It is an article that | you should know about.

It is the most important | question of the day.

''The settlement at 'Lousane''' | - Lausanne.

Lausanne. Lausanne. It's | a place in Switzerland.

''Assuming that the reasonable prompt ratifi'' | - Ratification.

''Ratification | follows by the''-

This is a long one.

''Partic...pating.'' | Participating.

''Participating nations.'' | That means ''sharing.''

Umm. ''The settlement of | reparations reached at Lausanne''-

I got it that time. | Very good.

''must stand as a forward step | of tremendous importance.''

I'm doin' pretty good, | ain't I?

Oh, excellently, but not | ''ain't I'', ''am I not.''

Hiya, sugar. How's the show? Okay.

Hello,Joe.

Why, how are ya, Mr. Wilson? | Where have you been? Europe.

Oh. Say, Mr. Wilson, I've been | reading about this Lausanne conference.

Is that a lot of talk, or, or | will the nations get together?

Well, uh, nations are like | people,Joe, and do people get together?

That's a swell way of puttin' it. | I never thought of it that way.

See ya later, Mr. Wilson.

Hiya, mug. They're bringing my mother | home tomorrow from the hospital.

You don't know how much I appreciate | - Listen, mug,

if you mention | that again, I'll-

Why, how are you? | I'm better now,Joe.

Have you been sick? No, | I just got my divorce.

I didn't know | you were married.

Joe, I'm afraid you've been | watching me too closely.

Oh, you got me | that time.

Give us a drink, will | you? What'll you have?

You wanna okay this,Joe?

You'd better look at it. | It's Georgie Harrison's check.

Tell him no. | Okay.

Hey,Joe. | Maudie's on the phone.

Oh, well, I mean | - You mean what?

I mean I'm not here. | That's what I mean.

You can't still be at | the ball game. It's night.

I'm at a show. They're | open nights, ain't they?

Yeah, sure, | they're open nights.

Well, that's great. Give | me a drink of water, Tom.

Well, I told her. | Give us a drink, Tom.

What are you | so sore about?

All the time I've wasted with | dames like Maudie and Iris.

You can't have a woman like her, | you're better off with nothin'.

Oh, she's | here again.

Look at the way | she sits there.

It's funny, but to me she don't seem | to sit different than anybody else.

Oh, you don't know class | when you see it. Yeah?

I didn't know classy gals | went alone to nightclubs.

That's the mystery. Oh, | she's a lady, all right.

You don't think she's here for a pickup?

I'll say she ain't. ''Keep off the | grass'' is written all over her.

Well, there's a guy | who don't see the sign.

You can't sit here. | Oh, come on.

Let's have a little ''drinkie.'' | Let's, let's have a little talk, huh?

You know him? | No.

Come on, get out of | here. Oh, don't do that.

I'm sorry I can't talk, I'm leaving | right away. Forgive me, will you?

You mean, you don't want | to talk? Not tonight.

Aw, that's all right, | old girl, that's all right.

There's no hard feelings, | huh?

None at all. | That's splendid.

It's a good thing you didn't | try to pull any stuff with me.

A very lonesome man.

Why, he's just a drunk.

Well, can't a drunk | be lonesome?

Yeah, he can be. I never | thought of it that way.

Well, think of it next time | before you throw somebody out.

It's no fun being lonesome, | Mr. Proprietor.

What's the matter, | are you lonesome?

Who isn't?

So that's it. | So what's it?

You had me guessin', | the way you come here alone.

Really?

Look. If you're lonesome, | I won't bother you, see?

I mean, if you're just lonesome, I | can't make you any ''unlonesomer.''

Get me? | Yes, I get you.

What I mean is, | if there's anything else,

if you're in wrong, | maybe I can, uh-

You'd rush to my rescue. | Yeah, that's what I mean.

For instance, | what could you do?

Well, when you put it like that, I | guess there's just one thing, I suppose.

If you need money, I mean | - That's very gallant of you.

No, there's another thing. If | there was any guy troubling you-

More gallant still.

Well, what do you say? I'll | say you're very gracious.

No, I don't want your money, mister, uh | - What is your name?

Anton. | Mr. Anton.

I don't want your money, and I | don't want anyone hit on the head.

That wouldn't solve | my problem.

You won't tell me about it? | It wouldn't interest you.

But it might interest you | to know why I come here. Why?

I used to live here. | You did?

I was born here.

Yeah? | When was that?

About sixty years ago.

Oh! At least it seems that long.

What's your name? | Healy.

Miss? | Um-hmm.

Well, well. It must | look plenty different.

It does.

How would you like to | see the house? I would.

Now? | Not now.

Well, well.

Oh, hello!

Hello. | This is Mr. Anton.

How are you, Mr. Bolton? Hello,Joe.

Well, pardon me. Will, | uh, will you excuse me?

I might like to see the house | later. Come back, will you?

You bet. | Pardon me, Mr. Bolton.

Well, how do you do? | And how are you?

The end of a three-day | search, that's how I am.

I even had detectives looking for | you. I had to do some thinking.

Evidently, you had to do something. | I'll tell you all about it.

My ears are yours. Maybe | that's all you want of me.

That's what I had | to find out.

Look, Dick, something happened | when I said I'd marry you.

You left and I was going | to bed, remember? I do.

Well, | I didn't go to bed.

I just told the man of | my choice that I was his.

Why didn't my heart leap?

Not a little?

Then the years fell away | and I was a girl again.

The first thing I knew, | I was here.

I got dressed | and came over here.

But why here?

This was my home | when I was that girl.

Oh. Oh, yes.

So I made believe | I was her again,

the girl who found her first | dream of love in this house.

And I matched that man | of her dream against you.

I suppose I showed up | very badly. I don't know.

I didn't want to see you the | next day because I didn't know.

So I came here again | last night and tonight,

and I still don't know.

Jerry, I'm up against it. The dreams | of a young girl are hard to beat.

Oh, but I'm not young | any more, Dick.

I've changed just like | my house has.

Look at it.

It was such a lovely house.

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Louis Bromfield

Louis Bromfield (December 27, 1896 – March 18, 1956) was an American author and conservationist. He gained international recognition, winning the Pulitzer Prize and pioneering innovative scientific farming concepts. more…

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Submitted on August 05, 2018

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    "Night After Night" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/night_after_night_14754>.

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