Three Secrets Page #6

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


Stephani had just started up

the main dead wall.

What happens now, Sheriff?

Stephani and the others are trying to make it

up main headwall.

Think they'll do it, Roy?

They're all good strong climbers, Sheriff.

There's no question about it, they'll make it.

Well, there's your answer, boys.

Keep your fingers crossed.

There's still a good chance.

Let's go inside.

Okay, here's the dope.

Some of the rescue party

had to turn back.

Joe Gleason, of Bishop, busted his leg.

Yeah, Gleason, they're taking him

up to County Hospital now.

The longer that kid has to wait,

the tougher his chances are.

Yeah, Gleason. This climb is no picnic.

I'll bet you a buck we'll end

with a casualty list on this one.

Yeah, I'm sending in the dope now.

You must be doing all right, Ed,

with all this going on.

All the money in the world isn't worth making

if they can't get that baby down.

I'd hock the mortgage to have him

right here.

Hey, hey, let's have that.

Let go of me!

Come on, sister, that bottle's spoken for.

Let go!

Come on, Hardin, you can lick her!

Keep going, lady, he's yellow.

I'm betting on the dame.

Take your filthy hands off me!

Nice work, kid.

Well, what are you all staring at?

Go back and write your headlines.

That's what you're here for, isn't it?

Let's see what kind of a story

you can get out of a kid's body.

What's she taking it so hard for?

Oh, she's loaded.

Here, you keep the bottle.

You need it more than I do.

Say, Benjy, we got a new guest up here.

Ann Lawrence.

I don't know how long she's been out,

but she's out.

Listen, didn't she have a baby?

Yeah, that's what I thought.

Find out when it was born, will you,

and what happened to it.

Oh, no, just a wild hunch.

Get going, huh?

Thanks.

You're Ann Lawrence, aren't you?

So what if I am?

Don't give it another thought.

Keep an eye on her.

Have one?

You can buy all the food you want outside...

Thanks.

I can't feed anybody. Haven't got a cook

and the gas is turned off.

Jackson!

Can't do a thing.

Jackson, I want a room.

A nice big room.

Are you crazy?

If my mother arrived right now

I couldn't put her up.

Yeah? But your mother hasn't got this.

Don't do that. It makes me dizzy.

You just got my room.

You got a big heart, Jackson.

Yeah.

Now where do I sleep?

Don't you think you've had enough?

No.

And I don't see how you can stay sober

if you think that's your kid up there.

Look, stop picking on each other.

We're all in the same boat, you know.

Yeah, when they told me at The Shelter

there were three women

I thought they were just trying

to put me off.

They weren't.

I can vouch for the third personally.

It's very funny, isn't it?

Three little maids who lost their way,

waiting together.

It's very funny.

A scream. This room is too small

to get hysterical in.

We got a long time to wait.

I've been waiting.

Have to have that mountain staring at us

all the time?

Can't stand to look up there anymore.

Where he's lying dead.

Don't say that.

A couple of drinks don't make you

a fortune teller.

Yeah, he's gotta be alive at that.

I need him.

Ever since it happened I always counted

on finding him.

I don't know what I'm saying anymore.

Forget it. We're all on edge.

Six years old.

When they were making this, I was in love.

What am I telling you for?

Go ahead, it might help.

Nothing helps.

Get it out of your system anyway.

You sound pretty anxious.

Is that why you brought me up here?

So you could get a story.

Your story was in every paper

in the country.

I don't have to get it from you.

You believe everything you read?

You don't know the true story.

They never printed I was in love

with him.

Everybody thought I was after Gordon Crossley

because he was important.

Well, they were wrong.

I didn't care who he was

or what he had.

Because to me he was everything

I respected and admired.

It was everything I ever hoped

to find in a man.

And he was in love with me.

No, I didn't go after him. He found me.

He liked the way I danced.

He liked my looks.

And he let me know of his love

in a hundred ways.

It became more and more perfect.

Just what I thought being in love

would always be.

And when I came out of the theater,

New York was mine.

There was the car,

just like it was every night.

But standing beside it was the one

sour note.

Del Prince, Gordon's jack of all trades,

handyman, companion.

I never understood their relationship.

Good evening, Miss Lawrence.

Hello, Del.

Take Miss Lawrence home.

Where's Mr. Crossley?

Busy.

We were supposed to go to the mountains

for supper.

Isn't he going to be there?

He doesn't tell me everything he does.

He just told me

to see that you got home.

Did he say he'd call me tomorrow?

Good night, Miss Lawrence.

All right, Joe.

Take me to Mr. Crossley's apartment.

Sorry, Miss Lawrence, but Mr. Prince said...

I don't care what he said.

Take me to Mr. Crossley's apartment.

Very well, Miss Lawrence.

Oh, Miss Lawrence.

Is Mr. Crossley in, Matthews?

He's not here, Miss.

I'll wait.

I don't know, Miss Lawrence, I...

I was trying to tell you...

It's all right, Matthews.

You can finish packing.

You don't do as you're told, do you,

Miss Lawrence?

Where is he going?

Oh, uh... he's gone.

Urgent business on the Coast.

You know how it is, the war.

It isn't like him to leave

without saying good-bye.

I was to say good-bye for him.

Good-bye, Miss Lawrence.

Maybe you'd like a drink?

When did he decide to go?

I don't read his mind.

No, you just sift what goes into it.

Is that what I do?

I've often wondered what my job was,

now I know.

How did you persuade him

I was no good for him?

How could you make him believe you?

You got me all wrong. I just work for a living.

And I was getting in the way,

wasn't I?

He loves me and I love him.

And it'll take more than someone like you

to come between us.

Get smart. This is the kiss-off.

The romance is over.

No, it isn't.

I'm going to Gordon.

I wouldn't.

Three thousand miles is a long way

to travel just to have a guy say no.

Miss Lawrence, have that drink.

Think it over.

A few days later I was on the Coast.

It wasn't hard to find Gordon Crossley.

Mr. Gordon Crossley.

Your name, please.

Miss Lawrence, Ann Lawrence.

Oh, room 324, go right up.

Has he been expecting me?

Yes, Miss Lawrence.

Come in.

Nice, huh?

Where's Gordon?

Oh, uh, this is my room.

Would you like that drink now?

I warned you it wouldn't be worth

a 3000 mile trip.

Del...

I have to see him.

Let me put it a little more directly, then.

He doesn't want to see you.

Why are you doing this?

What?

Keeping him away from me.

What kind of lies have you told him?

Me?

You don't think Mr. Crossley'd listen

to anything I say.

Mr. Crossley is a genius.

It says so in all the papers.

What do you know about a genius?

That his checks are good.

I know why you're trying

to keep us apart.

You're frightened.

Is that it?

It didn't occur to you that he could

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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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