Three Secrets Page #4

Synopsis: A five-year-old boy is the sole survivor of a devastating plane crash in the mountains of California. When the newspapers reveal the boy was adopted and that the crash occurred on his birthday, three women begin to ponder if it's the son each gave up for adoption. As the three await news of his rescue at a mountain cabin, they recall incidents from five years earlier and why they were forced to give up their son.
Genre: Drama
Director(s): Robert Wise
Production: Warner Bros.
 
IMDB:
7.0
APPROVED
Year:
1950
98 min
50 Views


of the nation

the prayers of everyone in this radio audience

go with these gallant men as they start

their dangerous climb to the top of the mountain.

Can you see anything?

Just that it's no nursery.

May I take a look, please.

All you can see is rock.

Thank you.

See those two boulders about halfway up?

Yes.

Now go straight up the side of the mountain

until you come to a big piece of rock

that looks like a hook.

Huh-huh.

That's Devil's Hook.

Move over to the right a little bit

where there's a sheer cliff wall.

The boy's on the other side of the cliff.

Thank you.

How have you been?

The Shelter. Remember?

Oh, yes.

Seeing you here, I don't know whether

to be disturbed or relieved.

I never stopped to think

he might be someone else's.

You mean you think he's your child?

Could be.

But mine was born on the 15th.

So was Johnnie Peterson.

And so was mine.

I'm sure he's my son.

You found out?

No, but I'm sure.

Feminine instinct, huh?

Come on. I'll buy you a cup of coffee.

Personally, I hope you're right.

Wherever my kid is,

I hope that he's well and happy.

But I'd rather not see him again.

Then why did you come here?

I'm just a reporter covering a story.

Wouldn't it be ironic if it turned out

to be my own?

Phyl Horn.

Hi.

Since when do they send executives out

to cover up stories?

I thought you were behind a big desk.

I tried to send the desk. It wouldn't come.

Sitting in that swivel chair hasn't changed

you one bit.

Sorry, we're closed. We're out of season.

We got no sheets, we got no help,

we got no food in the kitchen.

All we got is confusion.

Hello, Casey, the office told me

you were here.

Hello, Phyl.

Where's the coffee?

I'll send that for you.

Right.

Hi.

You know better than that, Phyl.

Can't kill a girl for trying.

Take that table. I'll bring the coffee.

Hi, Phyl.

Game's starting. Want a hand?

Later. When I find out who's got the money.

What's the idea inviting her?

Women are no good in a poker game.

Are you kidding? She's won so much money

she's got bank rolls back to back.

If you want sugar, you're out of luck.

There isn't any.

I don't really want any coffee,

thanks anyhow.

Take it easy. We won't know anything

for hours.

I've got to know what's happening.

I can't just sit here.

Sure.

Go on outside and walk it off.

Don't tell me you signed that kid up

for his life's story.

Charly, where'd you come from?

I'm haunting you.

I still haven't forgiven you for London.

They tell me you went up in the air

like a V-2.

I had those four heroes all sewed up.

Next thing I knew they were on a plane

to New York... with you.

Cute.

That was one war back. Okay?

Okay. I guess you can get over

a lot of things in five years.

I guess you can.

Five years is a long time.

See you later.

Attention. Air Transport Command flight 12A

from London arriving gate 3.

Mark.

Phyllis, welcome home.

How was the trip.

Oh, those bucket seats, my aching back.

Where's Duffy?

Oh, he'll turn up.

You know Duffy.

For my prettiest reporter.

Orchids. Next time bring nylons.

Still a sentimentalist.

I'll take care of your boyfriend.

That'll do it.

I've got a car waiting for you

and rooms reserved.

Everything is on Transamerica News Service.

Take care of them, Henry,

and see to it that no one gets lost.

And bring Miss Horn's bag, please.

Yes, sir.

Come on, Phyl, let's get out of here.

Good-bye, fellows, see you later.

So long.

Behave yourselves, now.

They're all in love with me.

Don't let it go to your head.

I'd rather have it go to my bank book.

It will.

You just delivered four heroes

to the American public

neatly packaged with a big pink bow.

Tonight we'll sock it across

with a coast to coast broadcast.

Then there'll be...

Oh, no, forget me after the broadcast.

I'm gonna be busy.

With Duffy?

If he shows up.

After a year you'd think my husband would

at least come to the airport to meet me.

Why isn't he here?

Look, Phyl...

I've got an old spinster with glasses

running my advice to the lovelorn column.

I don't want to get tangled up with

what's going on between you and Duffy.

Where is he hiding out?

Madison Square Garden, Yankee Stadium,

sports desk, take your pick.

I'll find him.

You've got the look.

What look?

I've met hundreds of guys coming back

from overseas.

You're just like they are.

First thing they want is a companion

and a chocolate soda.

What would I do with a chocolate soda?

Thank you.

Seen anything of a fellow so tall,

coat and pants don't match...

wears a battered brown hat...

You mean Bob Duff? Right back there.

Thanks.

Need a good architect?

Well, well, look who's here.

What happened, the war over?

Gonna kiss me?

At least you could buy an old pal a drink.

Sit down, old pal.

The way they build things nowadays,

no foundation.

Just like people.

If you said that, it's pretty clever.

I'm a fan of yours, too.

I read every word you write.

I always wondered what you were like

in person.

Trying to draw blood?

Quit the stalling, Duffy.

Okay, you want it straight?

Shoot.

I'm getting a divorce.

You're kidding.

Am I?

Look, Phyl...

I happen to be a sentimental guy

that comes from a big family of 12 kids.

I get lonesome without 11 people around.

Or even one.

What do you want me to do?

Stay home and cook for you?

Wash the dishes?

No, I'm not the type, Duffy.

You knew that from the beginning.

And ever since the beginning you've been

in and out of my life like a weekend visitor.

This time, don't bother to check in.

This time it happens to be a war.

I didn't start it.

I'm sorry there is one.

But so long as there is I'm a chump

if I don't make it pay off for me.

I don't like war profiteers.

You sell agony by the paragraph.

You were noble about the war

so you got yourself a purple heart.

Well now let me get something for us.

Oh, that reminds me.

Here are your checks uncashed.

What checks?

The ones you had slipped into my weekly envelope.

To pay for the maid and the extras.

Duffy, I don't understand you.

Seven years ago

I didn't understand you either.

Had me fooled for a while,

long enough to get a license and marry you.

Just for a moment there

I thought you were a human being.

Ever since then in a hundred ways

you've been proving different.

Well...

It's all over... baby.

Now, if you'll excuse me, I've got to leave.

Who's playing tonight?

Me and a Mrs. Smith.

She's a simple honest little dope.

She thinks taking care of Bob Duff

is the most important job on earth.

I think Bob Duff is the most important

man on earth, too.

That's the truth.

So long.

You're making a big mistake, Duffy.

There's one legitimate thing about me.

It's the way I love you.

Put it in your column.

Wait.

Okay.

You win.

Just one last favor.

Will you kiss me good-bye?

Fetch your artillery, you just fired a blank.

Look out, Duffy, you're limping.

Transamerica News Service.

Mr. Jackson?

No, I'm sorry, he's gone home.

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Martin Rackin

Martin Rackin (31 July 1918 – 15 April 1976) was an American writer and producer who was briefly head of production at Paramount Pictures from 1960-64. In the late 1950s he wrote and produced a series of films with actor Alan Ladd.Rackin was born in New York City. He worked as an errand boy for a Times Square hat shop. He became a reporter for the New York Daily Mirror and was a feature writer for two news services. He also worked as a speech writer and in publicity.Rackin wrote a book, Buy Me That Town. Film rights to this were bought by Sol Siegel and Rackin moved to Hollywood. He served in the air force during World War II. In the 1950s, he was head of film production for NBC.Richard Fleischer described Rakin as "a real character. He was a fast-talking, breezy, nervous, con man type who blinked his eyes a lot. You always had the feeling that he was some sort of a street corner shell game operator keeping an eye open for the cops." more…

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Submitted on August 05, 2018

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