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Purple Rose Of Cairo The

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* Heaven, I'm in heaven
* And my heart beats so|that I can hardly speak
* And I seem to find the happiness I seek
* When we're out together|dancing cheek to cheek
* Heaven, I'm in heaven
* And the cares that hung|around me through the week
* Seem to vanish|like a gambler's lucky streak
* When we're out together|dancing cheek to cheek
* Oh, I love to climb a mountain
* And to reach the highest peak
* But it doesn't thrill me half as much
* As dancing cheek to cheek
* Oh, I love to go out fishing
* In a river or a creek
* But I don't enjoy it half as much
* As dancing cheek to cheek
* Dance with me
* I want my arm about you
* The charm about you
* Will carry me through
* To heaven, I'm in heaven
And my heart...
- Oh, Cecilia, be careful. Are you all right?|- Yeah.
You're gonna like this one. It's better|than last week's. More romantic.
Miss, I wanted oatmeal|before my scrambled eggs.
I'm sorry. I'll get it right away. Sorry.
- I get cereal and a doughnut.|- Cereal and a doughnut. Right.
- There's a new movie at the Jewel.|- I didn't even get to see last week's.
Oh, you missed it?|It was wonderful. I love Jane Froman.
James Melton plays...|First he's a hotel porter.
Then he becomes a radio singer|and then an opera singer.
The music was just beautiful.
You know, the one that I liked|is Okay, America.
Oh, yeah. I saw that twice. That was great.
- When she threatens to kill Lew Ayres...|- I love him. Do you think he's married?
Is he...? Are you crazy?|Yes, he's married to Ginger Rogers.
God. They got married on a boat|off the island of Catalina.
They live in Beverly Hills|and sometimes holiday in Spain.
He used to be married to Lola Lane,|but Ginger's better for him...
- Where's my toast?|- Oh. Coming right up. One second.
- Ginger was married to Jack...|- Let's go, girls.
- Sorry.|- Let's go, Cecilia. Your sister is slow.
- But she's still learning.|- Ladies, there's a depression on.
Others would like this job|if you can't handle it.
I can handle it. It's OK.
Ginger was married to Jack Culpepper,|who took out Ruth Chatterton...
..before she married George...
- That's the second one this week.|- I'm sorry. I'll pick it all up.
Come on, Cecilia. Shape up.
Add 'em up. Down by three pennies.
Hey, Monk. Here comes your wife.
Boy, am I glad to see you.|You got any dough?
Oh, the tips weren't so good today.
Give me something. I'm busted.
I hear there's some jobs|opening up over at the ice factory.
- No, there's nothing. I was there.|- Yeah?
Harriet Rufus says all you guys do|all day is just pitch pennies...
..and make passes|at the girls who walk by.
- Harriet Rufus is a douche bag.|- Listen, I gotta save the rest for groceries.
Yeah, OK. Yeah, right. Got it?|What are you doin' here?
Wanna go to the movies?|There's an early show.
I can't. The guys are comin' over tonight.
- Again?|- What, you don't like it?
Well, all you do is drink and play dice,|and I wind up getting smacked.
I gotta get even, don't I?|I owe everybody in town.
You're never home any more|except to play dice and cards.
Meanwhile, I gotta take in extra laundry|after work to pay the rent.
What do you want?|Did I close the factory?
- You didn't used to be like this, Monk.|- Well, I got a lot on my mind.
You think I like scratchin' around for|work? Livin' like a bum for two years?
I don't know how much longer|I can go on like this.
Listen, the country'll get workin' again.|Things are bound to get better. I promise.
- You know I'm crazy about you, huh?|- You never pay attention to me any more.
So I thought, if we could go to the movies|tonight, you could forget your troubles.
Forget my troubles. Cecilia,|you like sitting through that junk, OK?
I'm gonna shoot crap, OK?
Go to the movie by yourself.
- You make passes at the girls who go by?|- Look, you're not my boss.
And don't give me that look. You'd think|I was a criminal. Come on. Give us a hug.
Just one. Come on. All right? Good.
And don't come home late. I worry.
All right? See you later?
Let's go.
Two, please.
Just one tonight, please, Doris.|Thank you.
- Evening, Mr Ruskin.|- Hi, Cecilia.
Jason, I'm bored.
I'm bored with cocktail parties|and opening nights.
I'm bored with the opera|and weekends at the races.
A few days in Paris might be the thing|to get the creative juices flowing.
- George can cable the Ritz for the suite.|- Not Paris.
I'm talking about someplace completely|different. Like Morocco. Or Egypt.
Ooh. A boat trip down the Nile.|Sounds so romantic.
I've got just the dress|to wear to the pyramids.
Hey, we could leave next week.|Spend a couple of weeks there.
Maybe stop in Casablanca or Tangiers|as we hop around,...
..and still be back in time|for the opening of my new play.
To Cairo, Morocco and Tangiers, to all the|exotic and romantic places in the world.
- Hey, there's another room in here.|- Oh, isn't it divine?
Everything's so perfectly preserved.
Lovely. I just don't want to feel|a bandaged hand around my throat.
Oh, hi, there. Who are you?
- Sightseers. We thought we were alone.|- You gave me quite a start.
Oh. I'm awfully sorry.|Tom Baxter, explorer, adventurer.
- I'm doing a little archaeological work.|- A real-life explorer!
I'm in search of the Purple Rose of Cairo.
It's an old legend|that's fascinated me for years.
A pharaoh had a rose|painted purple for his queen,...
..and now the story says|purple roses grow wild at her tomb.
- How romantic.|- And you?
We go back to New York tomorrow.|It's been a refreshing two weeks.
We could bring him to meet the Countess.|She loves a pith helmet.
- Right.|- I will say it's tempting.
It's settled. You can explain what|we've been looking at for two weeks,...
- ..and we can take you nightclubbing.|- It's so impulsive, but...
I'll come. Why not? I mean,|what's life without a little risk-taking?
Who knows? A fortune-teller predicted|I'd fall in love in New York.
- Table for six, please, Arturo.|- Six, sir.

Ladies and gentlemen, the Copacabana|is proud to present Miss Kitty Haynes.
* Ours could be|a different sort of love affair
* Those busybodies|couldn't help but stare...
I think our poetic little archaeologist|is about to make a discovery.
Well, ain't life swell?
Hey. Open the champagne. I feel|like getting plushed to the scuppers.
* Let's take it one day at a time
* And who cares just how it turns out...
Uh, check, please?|Miss, could I have the check, please?
Come on. The man wants his check.
Oh, sorry. Here you go.
Right. Sorry.
- So what were you thinking about?|- Oh...
A penthouse. The desert.|Kissing on a dance floor.
So you did go to the movies|last night after all?
The people were so beautiful. They spoke|so cleverly and do such romantic things.
- Gosh, I'm sorry I missed it.|- The one playing Tom was so cute.
Do you wanna go after work?|I'd love to see it again.
What is this? A social club?|I got a sink full of dirty dishes.
Come on, girls. Come on.
Thanks a lot.
Well, I am impressed.
I really am.|You have yourself quite a place here.
I still can't get over the fact that|24 hours ago I was in an Egyptian tomb.
I didn't know any of you wonderful|people, and here I am now.
I'm on the verge of|a madcap Manhattan weekend.
I hope you like your martinis very dry.
Oh, no, no thanks. I think I'll wait for that|glass of champagne at the Copacabana.
I'm home, Monk.
What are you doing home so early?|I said you could go to the movies.
Yeah, I did.
- I'd better go.|- No, stay. This is Cecilia.
Uh, this is my friend Olga.|Olga's an acrobat.
I am not. I have to go home.
Come on. I was gonna tell your fortune.
- You're drunk.|- What? I'm not drunk.
Come on. Don't worry about her. She's|my ball and chain. Or she tries to be.
Olga. Olga, where the hell are you going?
Hey, Olga. Come on,|I want to show you a card trick.

Is there any more of that meat loaf left?
That stuff you made|yesterday was delicious.
- What's goin' on?|- I'm movin' out.
Oh, what are you talkin' about?|What's wrong?
What? Because of before?|Because of Olga? Is that it?
Because that'd be funny.|That'd be ridiculous.
If it's because of Olga,|you'd be a bigger fool than usual.
Pardon me.
She's Joe Caruso's sister,|and I was just showin' her a card trick.
Your undershirt's on backwards.
I put it on that way this morning. Now,|listen, Cecilia, you're makin' a mistake.
All right. I'm sorry. I was drinkin'. You|know how I get when I drink, sweetheart.
- You think it means I don't love you?|- Move.
You can't leave. I need you.
And... and you know I love you.|Now, look, I made a mistake.
- You don't love me.|- Baby, come on.
You don't.|You treat me bad and you beat up on me.
Look, I hit you when you get out of line.
I never just hit you, I warn you first.|If you don't shape up, you get whacked.
- I'm leaving.|- Listen, Cecilia.
I don't know who's fillin' your head full of|these crazy notions, but I've had enough.
I want supper. Get my meat loaf.
Come on, Cecilia,|you know I can't live without you.
- I'm like a little kid when it comes to you.|- That's tough.
Look, I'm sorry.|I mean, I'm really sorry. Can't I be sorry?
I drink, I get crazy.|It's not me, it's the whiskey.
- I'm going, Monk. I'm going.|- Jesus Christ. I can't reason with you.
All right, go ahead. Let's see how far|you get. Go on, go on. You won't last.
You see how it is out in the real world.|Go on. You'll come back.
You're just bluff. You're all phoney.
You'll be back. It may take a week,|it may take an hour, but you'll be back.
Oh, jeez. Look at all those guys.
C'mon, honey.|We're gonna make a buck.

I ordered bacon and tomato.|You brought ham and Swiss.
- I'll get it right away, ma'am.|- Cecilia, I want you to meet somebody.
I said I was gonna keep my eyes open|for eligible men.
- Oh, come on.|- Come on, just keep an open mind.
This is my sister, Cecilia.|This is Mr Teddy Ashcroft.
- How do you do?|- Charmed.
- Teddy's an exterminator.|- Right. Merson Pest Control.
My speciality are mice and silverfish.
- Pleased to meet you.|- Waitress, please! My hamburger.
- Can we have a check?|- I'll be right there.
That's it. That's it, Cecilia.|You're fired. Get out.
I'll pay for it. I'll be more careful.
Out. Out. Take off your apron.|Go home. You're fired!
- If she goes, then I go too.|- That's fine with me.
She doesn't mean that.|You've got kids. She doesn't mean that.
Then tell her to mind|her own business. You're fired.
Back from Egypt.|From the Bedouins to Broadway.
I'm not a religious man, but I vow never to|fly over the Atlantic in bumpy weather,...
..and never to look at another camel.|Drinks, anyone?
I can't wait to get out of these|clothes and hit some of the nightspots.
Children, don't waste time. The floor|show at the Copacabana starts soon.
We're meeting|the Countess and Larry Wilde.
Well, I am impressed. I really am.|You have yourself quite a place here.
I still can't get over the fact that|24 hours ago I was in an Egyptian tomb.
I didn't know any of you wonderful|people, and here I am now.
I'm on the verge of|a madcap Manhattan weekend.
I hope you like your martinis very dry.
Oh, no, no thanks. I think I'll wait for that|glass of champagne at the Copacabana.
Miss Rita, somethin' on your mind?
You ain't been yourself since|you come back from them pyramids.
No, it's nothing. I'll be OK.
I don't suspect it has anything to do|with that explorer fellow, Mr Tom Baxter.
Now, why would you say that?
The way he speaks, all romantic-like.
Yeah. Come on, Delilah. Draw my bath.
Yes, ma'am. Now, will you be wantin'|the big bubbles or the asses' milk?
Boy, I can't wait to get out of these|clothes and hit some of the nightspots.
Children, don't waste time. The floor|show at the Copacabana starts soon.
We're meeting|the Countess and Larry Wilde.
Well, I am very impressed. I really am.|You have yourself quite a place here.
I still can't get over the fact that|24 hours ago I was in an Egyptian tomb.
I didn't know any|of you wonderful people...
And here I am now. I'm on the verge|of a madcap... Manhattan... weekend.
My God, you must really love this picture.
- Me?|- You've been here all day.
- And I've seen you here twice before.|- You mean me?
Yes, you. This is|the fifth time you're seeing this.
Henry, come here, quickly.
I gotta speak to you.
- Old sport, you're on the wrong side.|- Tom, we're in the middle of a story.
I want to have a look around.|You go on without me.
- Who are you?|- Cecilia.
I'll get the manager.
- Let's go somewhere where we can talk.|- But you're in the movie.
Wrong. I'm free. After 2,000 performances|of the same monotonous routine, I'm free.
- Call Father Donnelly.|- Tom!
I don't understand.|What's going on? Who are you?
Who am I?|You've seen the movie five times.
I'm Tom Baxter, poet, adventurer,|of the Chicago Baxters.
I know you're Tom Baxter.|You wind up with Kitty Haynes. But...
- Not any more.|- What do you mean?
- I'm out before the wedding. I'm free.|- Don't you have to marry her?
- Not if I'm here and she's there.|- Don't you want to? She's beautiful.
- She's not for me. She's too bony.|- Kitty Haynes, the singer, is bony?
I need a place to hide. Look, I'm never|going back, now that I've met you.
A place to hide? A place to hide?
- What's happening? What's going on?|- Tom's left. He just walked right out.
I don't know how he did it. I can't get out.
It's disgusting. I am an heiress.|I don't have to put up with this.
He left the picture?|Oh, my gosh. Well, don't panic.
Just stay up there and keep calm.
- Calm? Are you crazy?|- Did you call for a priest?
- Thank God you're here.|- Wait a minute. This is the second reel.
- I'm not on till later.|- Can't you go on? There's an audience.
- Tom was the linchpin of the story.|- Although this is basically my story...
- What do you mean, your story?|- Tom lays out the facts.
- It's about a man's quest for fulfilment.|- It's about a complex, tortured soul.
- About the effect of money on romance.|- I don't think...
- My wealth, my private schools...|- I'm the one who marries royalty.
- Nobody cares.|- A humble kid... What?
- They wouldn't sell a ticket.|- A humble kid from a small town...
- far from royalty as you can get.|- Stop arguing.
- And do what?|- You should turn the projector off.
No! Don't turn the projector off.|No, no. It gets black and we disappear.
Easy, easy. Easy. Easy, my son.|We're all in this together.
Yes, but you don't understand|what it's like to disappear.
To be nothing. To be annihilated.|Don't turn the projector off.
- Miss Rita, your bath is ready.|- Not now, dear.
What's going on?
- What's he doing here?|- Have a martini.
- He shouldn't be here till reel six.|- We know that.
- Somebody tryin' to hustle me?|- They're not trying to hustle you.
I know what this is.|It's an amusement park.
It's usually pretty dead|around here till summer.
I know exactly what an amusement park|is, and what goes on. I do.
- That's good.|- It's written into my character.
Remember? I invite Kitty to Luna Park,|but she prefers to stay home?
- Oh, yes.|- So it's in me.
- Oh, too bad nothing's open. I'm starved.|- Oh, you are?
I left the movie before the Copacabana|scenes. That's when I usually eat.
Oh, what am I thinking? Look, here.
I've got a whole bag of popcorn.|You can have that.
Also, I have a Milky Way bar.
- No, that's... Popcorn is...|- You might want it later.
Oh, boy.|So that's what popcorn tastes like.
I've been watching people eat it|for all those performances.
When they rattle those bags,|though, that's kind of annoying.
- I still don't understand what's going on.|- I wanted to meet you.
Don't tell me|you didn't see me looking at you.
When Kitty Haynes is doing her number?
Oh, wait a minute.|I remember seeing you kind of...
You were looking to the side somehow,|but I never thought it was to me.
When we take the drive to that little|country inn? When I propose to Kitty?
- I was looking at you.|- Kitty looked so beautiful...
Oh, no. She's nothing compared to you.
What are you talking about? I'm nothing.
Like hell you are. You're fetching.
- Fetching?|- Fetching.
Dad liked to say that|about Mom, in Chicago.
"Min," he'd say "you're rather fetching."
Dad was a card. I never met him.|He died before the movie begins.
Well, I have to confess, my eye|did always go to you up on the screen.
- Really?|- Really.
Even around Detective Simms|and Henry the playboy?
Yes. Even though you're not the main|character, you're the one you look at.
- You don't think I'm the main character?|- Oh, no, I didn't mean it that way.
No, I think you're positively essential.
In fact, every time I saw the movie, I kept|thinking "Tom Baxter's so handsome."
- Shouldn't you be getting back?|- I wanna live.
I wanna be free to make my own choices.
Right now, the country's|not in such great shape.
- What do you mean?|- We're in the middle of a depression.
Everybody's very poor.
I got plenty. Look at this.
But... but they need you.|The story doesn't work without you.
Cecilia, I'm in love with you.
- I'm married.|- Happily?
I really should get back home.|I have to cook dinner.
Slip away from your husband tonight.|Meet me here. I'll wait.
I want to learn about|the real world with you.
I can't.
Look at it this way. How many times|is a man so taken with a woman...
..that he walks off the screen to get her?
OK, OK, let's not panic. We're all adults.
I'm bored. I'm a dramatic character.|I need forward motion.
- It's the Countess and Larry.|- Where is everybody?
- Weren't we meeting at the Copacabana?|- Tom's gone.
- What?|- He left the film.
- What?|- The bum walked out on us.
But the Copa is where we meet.|I'm trying to get him to marry me.
Forget it. I'm tired of marrying you|every night. We never get to the bedroom.
- Where did Tom go?|- Into the real world.
That minor character leaves|and we're stuck.
- I wonder what it's like out there.|- They don't look like they're having fun.
- Hey, what the hell kind of movie is this?|- The paper said it was a romance!
Don't tell us your sad stories.|You think we like this?
Look at this. They sit around and talk,|and no action? Nothing happens?
I want my money back.
Stop yapping.|We've got problems of our own.
You can't talk to my wife like that.
I'm a countess with a lot of dough, and|if that's your wife, she's a tub of guts.

- Oh.
- Hey, what are you so nervous about?|- Me? Oh, I'm not.
There's too much pepper in the sauce.|I told you to go easy on the pepper.
Hey, Monk? Are you...
I guess you and the guys are probably|going out again tonight, huh?
No, I'm not. My back is actin' up again.
Give me one of your rubdowns.|I bought liniment.
- Oh, no.|- What?
Well, I... I can't.
- What do you mean, you can't?|- I... I...
I'm sorry. I didn't mean I can't.|I meant I made some plans.
- You made plans?|- Well, I... I did.
I... I said I'd baby-sit tonight.
I just... You know, I ran into Mrs Lorenzo|in the rest... I'm saying the restaurant.
In the street today.|She has some... I don't know.
I think it was a social club meeting|or something she wanted to go to.
- Yeah, it won't be too long.|- Yeah, well, I think it's a great idea.
- Yeah? Good.|- Yeah, because we can use every penny.
- Yeah.|- So what am I gonna do about my back?
Don't worry. You know, I can do some|now and I'll do some when I come in.
You shouldn't move around too much.|Just take it easy.
- If you go baby-sitting, get paid in cash.|- I will.
- Don't let her owe you.|- OK.
- It's a miracle. A complete miracle.|- We want our money back.
I don't pay to watch socialites|staring at us, making nasty remarks.
- Is that what they're doing?|- Last time I looked the priest had cards.
- They were playing pinochle.|- How did this happen?
It's probably those electrical storms.|The air is charged.
Fellas, I depend on the Jewel.
I got personal expenses, I got|no substitute picture to put in here.
I want my money back. This is a swindle.
There's no story. Mrs Lupus likes a story.
You should turn the projector off. This|could be the work of Reds or anarchists.
If he turns off the projector, you'll strand|Tom Baxter out in the world someplace.
- You want an extra guy running around?|- I saw the movie last week. This is not it.
- Where is the Tom Baxter character?|- You'll get your money back.
I want what happened|in the movie last week to happen.
Otherwise, what's life about anyway?
Can't we go in and take a look?|We don't want to stay long.
If you want a seat,|you have to pay admission.
OK. Keep moving, folks.
- Any word about Tom Baxter?|- Nothing yet.
So what are you doing here? We can't|continue the story till Tom gets back.
Oh, we don't mind observing you all.
Yes. My husband is a student|of the human personality.
Oh, yeah? Well, we're not human.
No matter to Harold.|He has trouble with humans.
I have trouble? What,|do I have trouble with the real people?
I suppose you behave perfectly with|Donald? He won't speak to my son-in-law.
I won't speak? The kid is quiet.|He never makes conversation.
- He has to be drawn out.|- I don't like to draw people out.
That's what I said.|He has trouble with live humans.
- Yes. Yes, RKO.|- I want my money back!
I wanna speak to Mr Raoul Hirsch.
Yes, Mr Hirsch.
He's the producer of|The Purple Rose of Cairo, yes.
No, he's not. Just tell him|I have a theatre in New Jersey...
..and there's a crisis with his film.
Yes, this is Mr Hirsch.|What's the problem?
- What?|- They're just sitting around on the screen.
Rita, the Countess,|Larry Wilde, the playboy...
People are demanding their money back.|The theatre is nine-tenths empty.
- Come on, take a walk, will you?|- Look, he just walked out.
Baxter. The communist is screaming,|the priest in reel five is in reel two.
How can he come off the screen?|It's never happened before.
That doesn't mean|it can't happen for a first time.
That's all you need. Hundreds of Tom|Baxters on the loose, running around.
- Hundreds?|- As a lawyer, I advise you to get control.
A character from a film on the loose?
Who knows what he's capable of?|Robbery, murder... I see lawsuits.
I'd charter a plane right away|and I'd get down there fast.
Get me Gil Shepherd.
Sorry I'm not too light on my feet.
- Oh, no, you're a feather in my arms.|- Oh. Monk never took me dancing.
Not even when we first met.|Not even if I begged him.
Really? So it's been bad for you.
Oh, it's been hard for everyone.
You know, living in a world|with no jobs and wars.
You probably never even|heard of the Great War.
- Sorry. I missed it.|- Yeah.
People get old, and sick,|and never find true love.
Where I come from, people don't|disappoint. They're consistent.
- They're always reliable.|- You don't find that kind in real life.
You have.
Is it true they're talking to you|about the life of Lindbergh?
It's nearly set, but don't print it till it's firm.
You were great|in The Purple Rose of Cairo.
Thanks. I was... Did you know I was|singled out by all the East Coast critics?
Mm-hm. The New York Times|said that I was...
I had almost too smouldering|a quality to just play comedy.
Would you play Lindbergh|the way you played Tom Baxter?
Would I...? No, of course not.|Tom was a change of pace for me.
He was... From my earlier roles.
I played Tom Baxter with a kind of|a poetic, idealistic quality that just...
Lindbergh was a loner.|He was... just self-reliant.
I'd have to work with|my dialogue coach. He's a genius.
Gil, can I see you|for a minute, alone? Excuse me.
Tom Baxter's come down|off the screen. He's in New Jersey.
I spoke to Raoul Hirsch.|Nobody knows how, but he's done it.
- It's not physically possible.|- In New Jersey, anything can happen.
- But I created the character.|- That's my point!
As your agent, I'd hate to see|anything happen to your career.
- Like what?|- Who knows? A double of you is loose.
What's he up to?|Robbing banks? Raping broads?
- Is he?|- Who knows?
- The last thing we need is for you to get...|- Sh!
- Is for you to get a reputation as difficult.|- I'm not... It's not my fault.
Hirsch said, if you can't control your own|creation, nobody'll risk a picture on you.
- I worked so hard to make him real.|- Maybe you overdid it.
- I'll sue my dialogue coach, that louse.|- Fly down there and check into it, quick.
Now it's only one movie house,|but who knows?
- I'm afraid to fly.|- Gil, this is the scandal of all time.
You know what happened|to Fatty Arbuckle's career?
- I'll fly. I'll fly.|- Good.
This is how they drink|champagne in Cairo.
I never had champagne before.|It makes me feel silly.
- It's supposed to.|- Yes.
- The check, as you requested, sir.|- Ah.
- Oh, it's so much.|- I hope you found it to your liking, sir.
- It was superb.|- Wonderful.
My compliments to the chef.|And keep 20 per cent for yourself.
No, make that 30 per cent.
Yes. Quite amusing.
- What is?|- The fake money.
- Fake money?|- Is it play money, sir, or stage money?
Keep 30 per cent for yourself,|and stop looking so serious.
I'll get the maître d'.
Tom, that's not real money!
What do you mean, it's not real money?
Oh, my God. It's...|Do you have any money?
- No. What are we gonna do?|- We're gonna have to make a run for it.
No, I can't run.|My ankles are bed from waitressing.
Just get up. Follow me.
Quick. Get in the car.
Tom, this is not our car.|We don't have a car. We came by foot.
- It doesn't go.|- Of course it doesn't. There's no key.
I don't understand.|This is how I go in a movie.
Tom, this is real life.|They don't start without a key.
- They don't? Let's go.|- You two. Get back here.
- They're leavin'.|- You can't run out on the check.
Deadbeats! Get back here now.
- I'm sorry about the money. I had no idea.|- Oh, that's OK.
It's not gonna be so easy|to get along without it in this world.
- I guess I have to get a job.|- That's not gonna be so easy either.
- The whole country's out of work.|- Well, then, we'll live on love.
We'll have to make concessions,|but we'll have each other.
- That's movie talk.|- You look so beautiful in this light.
But you're not real.
Was that real enough for you?
You kiss perfectly. It's what|I dreamed kissing would be like.
- Come away with me to Cairo.|- Cairo?
We'll live in the desert. Oh, the blue-gold|light of sunset falling over your hair...
I'm sorry. I'm a little tipsy...|from the cham...
- Where's the fade-out?|- What?
When the kissing gets hot and heavy, just|before the lovemaking, there's a fade-out.
Oh, then what?
Then we're making love|in some private perfect place.
That's not how it happens here.
- What? There's no fade-out?|- No.
But when you kissed me,|I felt like my heart faded out.
And I closed my eyes,|and I was in some private place.
How fascinating.|You make love without fading out?
Well, I can't wait to see this.
Well... Listen, I...
I'm not that kind of girl. I'm married.
Cecilia, it's clear how miserable|you are with your husband.
And if he hits you again, you tell me.
I'd be forced to knock his teeth out.
I don't think that would be|such a good idea. He's big.
I'm sorry. It's written|into my character to do it, so I do it.
Listen, I think I'd better go home now.
It's late. It's been a whirlwind of a day.
- Yeah.|- What are you gonna do?
I'll just sleep here at the carousel,|and walk around, drink in the night air.
Enjoy my freedom, and dream of you.
- You got in late last night.|- Oh, yeah. You were out like a light.
I took a hot bath to relax me.
- Wanna get me a cup of coffee?|- Oh, yeah, sure.
There was some big deal|going on at the movie house.
- A crowd when I went to buy cigarettes.|- Yeah?
I couldn't get the story straight. Some guy|ran out the side exit with a customer.
- Who?|- A woman, a guy... An actor.
I don't know|what the cop was talking about.
Well, they don't know|who the woman was?
Some woman dragged out in the dark.
They got real Geronimos|at movie houses.
So I don't like you staying out so late.
I know. I couldn't help it. The Lorenzos|didn't get back till late. I couldn't leave.
- I hope you got paid overtime.|- Sure.
Good, good. Let's have it.
Uh... They didn't have any cash.|I'll have to come back for it later today.
Cecilia, I told you to get paid in cash.
I know, but all they had was big bills|and I was getting late...
- They're gonna fork it over today?|- They will.
Sure. Leave something to you,|you can bet you're gonna get fouled up.
- You have no idea where he went?|- Mr Hirsch, this is awful for us.
- Really difficult.|- Think of me. My reputation, my career.
- We've gotta keep it contained.|- The word's out already.
- We've gotta keep the crisis local.|- I know the reporters. I can talk to them.
Fine. Some bucks spread around town|will buy us some time. Don't worry.
I mean, we're all so lost.
I know it's rough.|I want the whole cast to know... much I appreciate|your staying on the screen.
I hope you're not|gonna hold this against me, RH.
You created the part of Tom Baxter, Gil.|The facts are undeniable.
I wanna go too.|I wanna be free. I want out.
I'm warning you. That's communist talk.
We have to pull the film|and you have to make good my receipts.
You're pulling a film|because a minor character is missing?
A minor character? Listen to her.
You know, he may not have the most|lines, but the plot turns on Baxter.
I played him with a cheerful bravado.
Who cares how you played him?|He's minor.
I want to get my hands on him.|Right when my career was taking off.
He could be raping|the woman he abducted.
And he's got my exact fingerprints.
You know what they get|for rape in a small town?
Especially by a man in a pith helmet?
If this is a new trend,|our industry's as good as dead.
The real ones want fictional lives,|the fictional ones want real lives.
- Anybody know who that woman was?|- No, it was all so crazy, nobody noticed.
Just two doughnuts|and a coffee to go, please.
Right now, it's chaos.
How can rumours be circulating|at the Brown Derby? It just happened.
Well, squash it, Herbie,|I got a career on the line.
Look, I'll call you the minute I hear.
- Oh, excuse me.|- What are you doing here?
I don't have a pencil|or I'd give you an autograph.
Where'd you get those clothes?
- Pardon me?|- Your clothes. Where'd you get them?
Uh... A little store on Sunset and Vine.
- What are you talking about?|- What are you talking about?
- Excuse me.|- I just bought you these. Two doughnuts.
For me? Well, thank you very much.|I hope you enjoy my next movie.
- You were gonna stay hidden at the park.|- What park?
Tom, what's the matter?|You're acting so peculiar.
Tom? No, no. I'm...
- Wait a minute. Come here.|- What's come over you?
I'm not Tom.|I'm Gil Shepherd. I play Tom.
- What?|- How do you know Tom?
You're... Oh, my God! I don't believe it.
- Gil... I've seen you in lots of movies.|- Look, where's Tom?
- Oh. Broadway Bachelors, right? Right?|- Yeah, well... You know...
- Honeymoon in Haiti?|- I've done six.
- You were a scream.|- Thank you. Thank you very much.
I try to do one a year,|you know, just to keep...
Where's Tom?
- Why?|- Well, he's my character. I created him.
Didn't the man|who wrote the movie do that?
Yes, technically.|But I made him live. I fleshed him out.
But you did a wonderful job.|He's adorable.
Thank you very much.
- What's your name?|- Cecilia.
- Where is he?|- Why?
- Has he done anything wrong?|- Wrong? Like what?
Has he stolen anything|or attacked any females? You?
No. Gosh, no, no.|He's as sweet as can be.
- I played him sweet. I was well reviewed.|- Well, it comes across.
- Good. Look, I gotta speak to him.|- You're not upset with him?
Well, a little, yes. But if I spoke to him,|we could straighten everything out.
- Oh, I don't know.|- Please. I have a right.
Well, it has to be secret. He doesn't|wanna have to go back into the movie.
- He doesn't?|- No, he loves being free.
- He's having the time of his life.|- Oh, my God.
Would you take me to him?|Trust me. Please.
Monk, somebody saw your wife last night|at the Dine and Dance joint.
She's there every night|with the Rockefellers.
She was with this crazy-looking guy|wearing an explorer's hat and breeches.
Breeches? You know, you're nuts.
- She was baby-sitting.|- Right. I guess you know it all.
All right. Who's next?
- Cecilia. I dreamed of us in Cairo...|- Tom.
- Tom, I brought Gil Shepherd.|- Gil Shepherd.
- I play you in the movie.|- You do?
- How dare you run away?|- This is disconcerting.
I'll show you the meaning of|disconcerting. I'm trying to build a career.
I don't want to be in the film any more.|I'm in love with Cecilia.
- You said you weren't angry.|- You can't do this to me. It's my best role.
- I've been critically acclaimed.|- Because of the way I do it.
No, no. Because of the way I do it.|I'm doing it, not you.
- It's me, not him. Isn't that obvious?|- Well, how do you explain that here I am?
Well, because I took you|from the printed page and made you live.
- So I'm living.|- Yes, but for the screen only. Please...
- I want my freedom.|- I don't want another me running around.
- Why? Are you afraid I'll embarrass you?|- Yes, frankly...
- But you created me.|- All right, look. Be reasonable here.
I'm starting to build a career.|Is life up on the screen so terrible?
I want to be with Cecilia.|I'm in love with her.
Tell him to go back.|Tell him you don't love him.
You can't. He's fictional. You wanna|waste time with a fictional character?
You're a sweet girl. You deserve a human.
- But Tom's perfect.|- Yeah, but he's not real.
What good is perfect|if the man's not real?
I can learn to be real. There's nothing to it.|Being real comes very naturally to me.
You can't learn to be real.|It's like learning to be a midget.
- Some of us are real, some are not.|- I say I can do it.
I'm not gonna argue with you.|I'm going back to town.
I'm gonna call my attorney,|the actors' union.
I won't take this lying down.|Nor will Raoul Hirsch.
Nor the police, nor the FBl.
Yes. Yes, we found him.|Gil Shepherd found him.
But he refuses to get back|on the screen. RH is very upset.
No, no, we can't force him.|It's not a crime.
We need a plan.|Yeah, the press is on our side.
It took a few bucks, but they're|gonna keep it quiet for now.
The Tom Baxter in a movie house in|Chicago has been forgetting his lines.
We just got a call from the manager.
If anybody wants me, I'll be|in the bathroom, on the floor, weeping.
Aren't you at all even worried?
What about Raoul Hirsch and the FBl?
- If I can be with you, I'm not going back.|- But I...
No more buts. I was gonna learn|about the real world with you. Show me.
It's beautiful.|But I'm not sure exactly what it is.
Oh, this is a church.|You do believe in God, don't you?
The reason for everything,|the world, the universe.
I think I know what you mean. The men|who wrote The Purple Rose of Cairo.
Irving Sachs and RH Levine,|who collaborate on films.
No, I'm talking about|something much bigger than that.
No, think for a minute.|A reason for everything.
Otherwise it'd be like a movie|with no point and no happy ending.
So there you are.
- I'm lookin' for you.|- Monk. I, um...
This is my husband. This is Tom Baxter.
Explorer, the Chicago Baxters.|I'm charmed to meet you.
- So you wear the breeches.|- What do you want to talk to me about?
I heard you were out|on the town last night.
Yeah, I admit I didn't|tell the truth about that,...
..but things have been|so strange the last 24 hours...
I told you what I'd do to you|if you lied to me!
- Your marriage has come to an impasse.|- And you keep outta this.
- Let's talk.|- No. You're coming home.
Perhaps you don't understand.|I'm in love with your wife.
Close your yap, jackass.|You're in for a lesson...
You're failing to understand.|She's not coming with you.
- She's not, huh?|- Take your hands off.
- No man'll hit the woman I love. Nor any...|- Beat it.
- I'm gonna take you apart.|- Stop it. He's got a terrible temper.
- You, go home.|- It's written into my character. Courage.
Stop it.
- Come on.|- Stop it. What are you doing?
Time for the old one-two.
Up. I think he's had enough.
Sorry about the rough stuff. You all right?
- Yeah.|- Let me give you a hand. There's...
God, it's not fair.
Monk, what are you doing?
- You're comin' home now.|- No, I'm not.
- What did you say?|- I'm gonna stay and see that Tom's OK.
- You're a bully.|- I gave you an order.
I'm tired of your orders.|You could have killed him.
All right. I'm sorry.|I didn't mean it. I hit hard.
You can't just go through life|beating people up.
I'm tellin' you one more time. You comin'?
No, I'm not.
- I'm tellin' you one more time. Comin'?|- No.
- Come on.|- No, I'm not.
The hell with it. I need a beer anyway.
I'll see you later.
- Oh, are you OK?|- Oh. Oh, yeah, I'm fine.
You're not even marked.|Your hair's in place.
No, no. I don't get hurt or bleed.|Hair doesn't muss.
It's one of the advantages|of being imaginary.
- You were very brave.|- Well, I had him too,...
..till he started fighting dirty.
That's why you'll|never survive off the screen.
You were pretty brave, too.|You stood right up to him.
You inspired me.
- Mr Shepherd?|- Oh.
Cecilia, look, I gotta speak to you.
Oh, listen, I've had a crazy morning.|I'm still shaking.
I don't know what to do.|I've struggled my whole life.
Now I'm beginning to break through,|my whole career's going down the drain.
You don't have to worry about that.|You'll always be a great movie star.
Oh, well, that's very nice of you.|But, technically, I'm not really a star yet.
Cecilia, don't... You know,|I mean, I try to carry myself like one.
You know, I do the best I can|as far as that, but "star"?
That's a big word, isn't it? "Star"?
Yeah. Uh... No, no, no. Star? No. No.
And you're not just a pretty face,|you're also a peach of an actor.
Really. I've seen you.|I've seen you a lot. You've got something.
- Is that your opinion?|- Sure, and I see all the movies.
You've got... How can I describe it?
You've got a magical glow.
Oh, boy. Oh, oh.
To hear that from a real person.|That is just...
It's not one of those movie colony bimbos|filling you full of hot air.
That's... Would you get|over here and sit down, please?
Well, you can take it from me.|You're not just a flash in the pan.
You know, it would be very easy for me|to trade on my looks. Just like that.
- Sure.|- I have serious acting ambitions.
You should. You should. You know, I think|you're great in all the funny movies.
Thank you.
I was thinking you should play|some of the more heroic parts.
- I tell my agent that a hundred times.|- Yeah? You know...
You could play, like,|Daniel Boone or someone... Lindbergh.
- Oh, you'd be wonderful as Lindbergh.|- My God. You are a mind-reader.
- We had the same thought? Really?|- I am on the verge of signing for that part.
- No? Really?|- I am. I can taste it.
- Oh, you'll be wonderful.|- Thank you.
There's something inside you. You have|that same kind of lone heroic quality.
You're exactly right.|Everyone has been telling me not to...
- Don't you listen.|- I have been a loner my entire life.
Sure. Anyone can see that. You know,|you're deep, and probably complicated.
- Can I buy you lunch?|- Me?
- Please? I love talking to you.|- I was just gonna go upstairs.
- No, really. Come on.|- Really?
I open myself up around you like no...|Have you ever been to Hollywood?
- Come on, no. Of course not.|- I would love to take you to Hollywood.
I would... Can I make a confession?
- Sure.|- My real name, it's not Gil Shepherd.
It's Herman Bardebedian.
- Really?|- Yeah, I've been a cab driver for, oh...
- Boy, do you have a pretty face.|- Come on.
You do.
Hi, big boy.
- You alone?|- Oh, hello.
Uh, well, I'm alone for now,|but later I have an appointment.
Or should I say rendezvous?
Good for you.|Where'd you get the funny suit?
- What, this?|- Yeah.
You coming from a costume party?
No. No, I'm Tom Baxter of the Chicago|Baxters. Explorer, poet, adventurer.
Just back from Cairo, where I searched|in vain for the legendary purple rose.
- How about that?|- Well, who are you?
- My name's Emma.|- Oh, that's lovely.
- What do you do, Emma?|- I'm a working girl.
And what do you do,|you delicate creature?
Anything that'll make a buck.
Well, we Baxters never|really had to worry about money.
I'll bet. You wanna come along with me?
- Where to, Emma?|- Where I work.
I think you might have a good time.
Sounds enchanting.|I'm up for new experiences.
I may be able to help.
- Hi, girls. This is Tom.|- Hi there, ladies.
- Don't you all look enticing?|- I know what you want.
You wanna be the great white hunter|and you want me to be the tiger.
- I don't get it.|- You will if you can afford it.
- I met Tom out at the amusement park.|- Oh, no. That's my hat.
Uh, yes, I was thinking about something.
- I can imagine.|- Two of us at the same time?
I was thinking about deep things.
About God and his relation|with Irving Sachs and RH Levine.
I was thinking about life in general.|The origin of everything we see about us.
The finality of death and how almost|magical it seems in the real world,... opposed to the world|of celluloid and flickering shadows.
- Where did you find this clown?|- For example, the miracle of birth.
I suppose|some of you ladies are married?
- Not any more.|- No?
Then the absolutely|astonishing miracle of childbirth...
..with all its attendant feelings|of humanity and pathos.
- I stand in awe of existence.|- Do you wanna tie me up?
- Tie you up?|- Yeah.
Oh, that's very funny.
A nice sense of humour.|The absurd non sequitur.
- What's your name, sweetheart?|- Martha.
That's the same|as the ambassador's wife.
- Why didn't you bring the ambassador?|- Well, he's still up on the screen.
But do you share my sense of|wonderment at the very fabric of being?
The smell of a rose.|Real food. Sensuous music.
- I've got a child.|- You do?
Oh, I see. You're a widow. Oh, poor thing.
I got two kids and he's right about|giving birth. It is a beautiful experience.
I never had a baby.|I was pregnant, but I lost it.
- Sorry to hear that, Emma.|- It always makes me cry to think about it.
You'll get another chance. I'd be surprised|if all you ladies weren't married soon.
Especially by the way you dress.|It's so seductive to a man.
- Do you like these stockings, Tom?|- Oh, they're just divine.
What kind of a club is this, anyhow?
- God, Tom, you're a scream.|- He's terribly sweet.
He is. I wouldn't mind|doing him for nothing.
- Me neither. Plus, he's cute.|- OK. You can count me in.
We'll take you into the bedroom and give|you an experience you'll never forget.
- And it's on us.|- I came here for a new experience.
Well, now you're gonna get|a champion roll in the hay.
- What? There's hay in the bedroom?|- You ever been to a brothel before?
- What's a brothel?|- You must be kidding.
- A brothel, a bordello, a whorehouse.|- I'm not following.
We go to bed with you,|and make love, and you pay us.
Only, because you're so sweet,|we want to treat you to a party.
Boy, this doesn't ring a bell|with anything I know.
Oh, come on, buddy.
- You know about making love, don't you?|- I can't make love with you.
- Don't tell me you don't like women?|- Or you were wounded in the war?
No. I'm in love with someone else.
Not in love.|We're talking about making love.
- But I love Cecilia.|- Well, so what? Marry Cecilia.
- This is just for fun.|- I couldn't do that, Emma.
Ladies, my gracious!
Don't think I'm not|appreciative of your offer.
I must say the concept|is totally new to me.
But I'm just... I'm hopelessly|head over heels in love with Cecilia.
She is all I want.|My devotion is to her, my loyalties...
Every breath she takes|makes my heart dance.
This guy just kills me.
Are there any other|guys like you out there?
Lawson's Music Store.
This store has been here|since I was a kid.
Mm. I wish I could play an instrument.
My other ambition in life|is to be a great classical violinist.
Thousands cheering me,|night after night...
- I can play the ukulele.|- You can?
Uh-huh. My father taught me|before he ran away.

* I'm Alabamy bound
* There'll be no heebie-jeebies|hangin' round
* Just gave the meanest|ticket man on earth
* All I'm worth
* To put my tootsies in an upper berth
* Just hear that choo-choo sound
* Whoo-whoo! I know that|soon we're gonna cover ground
* And then I'll holler|cos the world will know
* Here I go
* I'm Alabamy bound
* I'm Alabamy bound
That was wonderful. That was wonderful.|Oh, I never... It's like a dream.

"I Love My Baby"...|* My baby loves me
* I don't know nobody as happy as we
* She's only twenty and I'm twenty-one
* We never worry, we're just havin' fun
* Sometimes we quarrel|and maybe we fight
* But then we make up the following night
* When we're together,|we're great company
* I love my baby
* And my baby loves me
- That was wonderful.|- Oh, that was... You know.
After the Lindbergh movie,|you should do a musical, really.
- I did one bit in one once. It's...|- I know. I saw Dancing Doughboys.
- Dancing Doughboys. You remembered.|- That was great.
You turned to Ina Beasley and said...
.."I won't be going south|with you this winter."
That's... Right. "I won't be going|south with you this winter."
"We have a little score to settle|on the other side of the Atlantic."
"Does this mean I won't|be seeing you ever again?"
"Well, 'ever' is a long time."
"When you leave, don't look back."
You remember that perfectly.
And then I took her in my arms...
..and I kissed her,|knowing it was for the last time.
God, you're beautiful, Cecilia.
- Was it fun, kissing Ina Beasley?|- Oh, you know, it was a movie kiss.
We professionals|can put that stuff on just like that.
It looked like you loved her.
Oh, my goodness.
- Feel my heart.|- Oh, I...
I... I have to...|Thank you so much for the ukulele.
- Oh, don't be offended. I didn't mean...|- I'm not offended. I'm just confused.
I'm married. I just met a wonderful man.|Fictional, but you can't have everything.
- Look, can I see you later?|- No, no. I'm meeting Tom.
My own creation plagues me.
- Anything happening out there?|- No.
Life is amazing.
One minor character takes some action|and the world is turned upside down.
What if he never comes?|We just drift till they shut the projector?
- Will you shut up?|- He'll be back. I feel it.
I don't wanna sit around.|That's what they want.
- Who?|- The bosses.
Look at us! Sitting around,|slaves to some stupid scenario.
Meanwhile, fat cats in Hollywood|are getting rich on our work.
- Please, stop it.|- Studio heads, writers, movie stars.
- Stop it.|- But we're the ones who sweat.
- We're the characters on the screen.|- You're a Red.
I say unite, brothers,|unite and take action.
- Shut up and sit down!|- What action?
- You're working my last nerve.|- Wait. Shut up.
What if all this is merely semantics?
- How can it be semantics?|- Well, let's just readjust our definitions.
Let's redefine ourselves|as the real world...
..and them as the world|of illusion and shadow.
You see? We're reality, they're a dream.
You'd better calm down. You've been|up on the screen flickering too long.
- It's confirmed.|- I was afraid this might happen.
Tom Baxter tried to leave the screen|in St Louis, Chicago, Denver and Detroit.
- And he almost made it in Detroit.|- It looks bad.
The movie houses in those towns|are in pandemonium.
- There's no way to keep the lid on it.|- I see hundreds of lawsuits.
- Let's pull the picture outta release.|- In those towns?
No, everywhere. Something's|obviously gone very wrong here.
The best course of action|is to shut down, take our losses,...
..and get outta this mess|before it really gets out of hand.
Can you imagine hundreds|of Baxters flying around wild?
Right. And you responsible|for every one of them?
The best thing to do is to quit|while there's only one out there.
- What do we do about him?|- We get him back in the picture.
Then we turn off the projector|and burn the prints.
- And the negative.|- Shame. It was such a good picture.
- I missed you. You're late.|- I'm sorry. I came as quickly as I could.
- I love you.|- Oh, thank you.
Tom... My feelings are so jumbled.
I know. You're married and you're|old-fashioned and I'm a whole new idea.
But the truth is you're unhappily married.
- I'm gonna take you away from all this.|- Yeah. I... I know you love me.
Cecilia, I do love you.|Don't you share my feelings?
Well, that's just it.|You're some kind of phantom.
Look, I don't wanna talk any more|about what's real and what's illusion.
Life's too short to spend time|thinking about life. Let's just live it.
- Live it how?|- Well, we'll begin with dinner.
- Listen, I've only got a few dollars.|- We're not gonna use your money.
That's all we have.|Unless you've done something?
Well, the moon'll be full, the stars'll|be out, and we're going stepping.
- But we're broke.|- Leave that to me.
- It's him! Tom, you're back.|- I want you to meet my fiancée, Cecilia.
- Tom...|- This... Well, you know them.
- It's not possible.|- I'm in the world of the possible.
Yeah? Well, you'd better get|back in the story, you weasel.
Ah. You anticipate me.
- Follow me.|- Saints preserve us.
- He just comes and goes like he pleases.|- Come on.
- Oh! Where am I?|- But she can't be in here.
- Why not? My money's good up here.|- I feel so light.
- Like I'm floating on air.|- It upsets the balance.
- So what? He's back, isn't he?|- I told you he'd be back.
- Can we get on with the plot now?|- How can we with her here?
She's here with me and I'll sock any man|who makes her feel unwanted.
Well, it's about time you got back.
We finally go to the Copacabana.|None of us have eaten in ages.
- The Copacabana!|- I'm bringing a guest.
Won't Kitty Haynes be surprised?
- Table for seven, please, Arturo.|- Yes, sir. Seven?
- Seven.|- That's impossible. It's always six.
- We have an extra.|- Seven, Arturo.
This person?
* So let's not speak of love sublime
* Because time brings on a break-up
* There'll be no tears|and no emotional scenes
* To spoil my make-up
* And when the end comes,|I'll take up the slack...
- Would you like some more champagne?|- Oh, thank you.
I don't know what they're charging you,|but those bottles are filled with ginger ale.
- That's the movies, kid.|- I don't care. I love every minute of it.
* I'm waiting, domesticating
* Every Sunday, Monday
* One day at a time
* Let's take it one day at a time
* Let's take it one day at a time
Bravo! Bravo!
Thank you. Thank you.
- Who are you?|- Oh, I just... I came with Tom.
You sing so beautifully.
What the hell is this? We're supposed|to meet and marry. Who's the skirt?
- My fiancée.|- Oh, wait. I...
- He met her in New Jersey.|- What is this?
Kitty, she's real.
- Kitty!|- Quick. Pour ginger ale on her.
- Call Father Donnelly.|- What's all the fuss?
Uh, nothing, Arturo. We were just leaving.
- Come on, let's go.|- Leaving where? Hey, I'm all mixed up.
- I'm gonna show Cecilia the town.|- Are we just chucking out the plot, sir?
Exactly. It's every man for himself.
Then I don't have|to seat people any more.
I can do what I've always wanted to do.
- What's that?|- Hit it, boys!
- I had such a wonderful time.|- Me, too.
Where are all the others?
- Well, probably just still dancing away.|- Oh.
Why, does it matter?|I wanted to get you alone.
It's so beautiful here.
Oh, the white telephone. Oh...
I've dreamed of having a white telephone.
Your dreams are my dreams.
My whole life, I've wondered what it would|be like to be this side of the screen.
You see that city out there waking up?|That's yours for the asking.
My heart's beating so fast.
Gil. What are you doing here?
I came in here to think.|What are you doing here?
I took her on a date. All right?|Now, can't you just leave us alone?
- No, I can't leave her alone. I'm jealous.|- You're jealous?
What do you want me to say?|I can't get Cecilia out of my mind.
Gil, do you mean that?
Oh, for God's sake,|would you go back to Hollywood? Please.
I'm embarrassed to admit it, Cecilia.
You know you said I had a magical glow?
It's you. You're the one that has one.
And even though we've just met,|I know that this is the real thing.
You can't be in love with Cecilia.|She's in love with me.
- Why don't you re-enter the film?|- I'm never going back.
- I can't believe it. They're at it again.|- Tom, will you get back up here?
See, Tom? You're ruining everything.
- You're ruining everything.|- Without me, there would be no you.
I could have been played|by Fredric March or Leslie Howard.
You're wrong. The part's too insignificant|to attract a major star.
- Insignificant?|- Like hell! What are you talking about?
- What do you mean?|- I am not a minor character.
I haven't been able to think of anything|since we met. I have to have some time... show you what real life can be like|if two people really care for each other.
Last week I was unloved.|Now two people love me...
..and it's the same two people.
- Go with the real guy. We're limited.|- Go with Tom. He's got no flaws.
Go with somebody,|child, cos I's gettin' bored.
She'll marry me.|You're wasting your time.
Will you get back on the screen? I'm|trying to tell Cecilia I'm in love with her.
I love you. I'm honest, dependable,|courageous, romantic and a great kisser.
- And I'm real.|- Let's go, Cecilia.
Choose one of them,|so we can settle this thing.
The most human of attributes|is your ability to choose.
Wait a minute. If she chooses Tom,|how are we gonna end the story?
- We'll be stuck here for ever.|- Father Donnelly can marry us right here.
That won't stand up.|The priest has to be human.
The Bible never says|a priest can't be on film.
- No, I'm already married.|- Come away with me to Hollywood.
- Just like that?|- Just like that.
Do something impulsive|for once in your life.
Just throw your stuff in a valise|and come away with me. Really.
- And don't forget that ukulele.|- What ukulele?
Look, I love you. I know|that only happens in movies, but I do.
- Cecilia, you're throwing away perfection.|- Don't tell her that. We need Tom back.
- It's so romantic.|- Oh, women.
Well, I'm... I'm crushed. I'm devastated.
Tom, try to understand,.
You'll be fine. In your world, things|have a way of always working out right.
I'm a real person. No matter how tempted|I am, I have to choose the real world.
I loved every minute with you.
And I'll never forget our night on the town.
You're better off with us, old sport.|You really are.
Can we get on with|"The Purple Rose of Cairo"?
If anyone wants me, I'll be in reel six.
- Kitty's waiting for you.|- Lord have mercy. What a day.
What a day.
Your explorer friend's OK?|I saw him walking around town with you.
Yeah, he's OK. No thanks to you.
I didn't mean to be so rough on him.|I get jealous over you.
- Do you?|- Christ, you know I do.
I know I treat you rough. It's my way.|It doesn't mean I don't feel for you.
- What are you doin'?|- Leaving.
- Here we go.|- You don't feel for me.
All you feel for is yourself.|Your beer, your card games, your women.
- OK. I'm gonna turn over a new leaf.|- It's too late, Monk. Too late. I'm going.
I shoulda left a long time ago. I would've,|except I was scared of being alone.
So what now? Some chump's|fillin' your head with big ideas?
No, no. I got a chance to change my life.|I'm moving to Hollywood.
Listen. I said I was sorry about being|rough with your friend. Let's shape up.
- It's too late. Monk.|- Like hell it is. I said, like hell it is.
Don't give me that bigheaded stuff.|I'm the guy that can slap you down.
Go ahead and hit me, Monk. Go ahead|and hit me. I'm leaving anyway.
This never woulda happened|if you didn't meet that guy.
And we woulda just|gone on the same way...
..till we were too old|to even hope for better.
But I did meet him. I did meet him, and|I have feelings for him, and he has for me.
- What about me?|- I still care for you, if you can believe it.
But out of the blue, for the first time|in my life, somebody's in love with me.
No, but... but you just met each other.
Love at first sight|doesn't only happen just in the movies.
Cecilia, don't go. You hear me?|I said don't go. Now, wait a minute.
- I said don't go. You stay here!|- So long, Monk.
- You take care of yourself.|- Oh, yeah? All right, well, go. Go.
See if I care. Go, see what it is out there.|It ain't the movies.
It's real life.|It's real life, and you'll be back.
You mark my words. You'll be back.
- Cecilia, what are you doing?|- Meeting Gil Shepherd.
- They all gone.|- They... What do you mean?
- They went back to Hollywood.|- Gil, too?
Mr Shepherd, yeah. As soon as Baxter|went back up on the movie screen,...
..he couldn't wait to get outta here.
He said this was|a close call for his career.
I think he's gonna play Charles Lindbergh.
Don't forget, Cecilia. Fred Astaire|and Ginger Rogers start today.
* Heaven, I'm in heaven
* And my heart beats so|that I can hardly speak
* And I seem to find the happiness I seek
* When we're out together|dancing cheek to cheek
* Heaven, I'm in heaven
* And the cares that hung|around me through the week
* Seem to vanish|like a gambler's lucky streak
* When we're out together|dancing cheek to cheek
* Oh, I love to climb a mountain
* And to reach the highest peak
* But it doesn't thrill me half as much
* As dancing cheek to cheek
P S 2004
Pact of Silence The
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD1
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD2
Paid In Full
Paint Your Wagon 1969 CD1
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Palabras Encadenadas
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Pan Tadeusz
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Panda Kopanda (Panda! Go Panda!)
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Panic Room 2002
Paper The 1994
Paradine Case The (1947)
Paradise Found
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Paradise Villa 2000
Paragraph 175 (Rob Epstein Jeffrey Friedman 1999)
Paraiso B
Parallax View The 1974
Paran Deamun (1998)
Parapluies de Cherbourg Les
Paraso B
Parent Trap The CD1
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Paris - When It Sizzles (1964)
Paris Texas CD1
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Parole officer The
Party7 2000
Pasolini Volume 2
Passage to India CD1
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Passion 1982 30fps
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Patch of Blue
Pather Panchali (Satyajit Ray 1955)
Pathfinder 1987
Patlabor - The Movie - 1990
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Paul McCartney Back In The US CD1
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Pauline At The Beach
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Payback 1999
Peace Hotel The (1995)
Pearl Harbor
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Peep Show 1x1
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Peeping Tom (1960)
Peking Opera Blues (1986)
Pelican Brief The
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Pepe le Moko
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Perfect Blue
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Perfect Score The 2004
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Pet Sematary
Petek13th part 7 A new blood
Peter Pan
Peter Pan (2003)
Peters Friends
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Phantom The
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Philadelphia Story The 1940
Phone - Byeong-ki Ahn 2002
Phone Booth
Phouska I (The Bubble 2001)
Pianist The
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Pickup On South Street 1953
Piece of the Action A 1977 CD1
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Pieces Of April
Pietje Bell
Pink Panther The - A Shot In The Dark (1964)
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Planet of the Apes 1968
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Planets The 1 - Different Worlds
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Planta 4
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Platoon (Special Edition)
Play It Again Sam
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Plumas de Caballo
Plunkett and Macleane
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Pod Njenim Oknom (Beneath Her Window)
Poika ja ilves
Point Break - CD1 1991
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Pokemon - Movie 1 - Mewtwo Strikes Back
Poker (2001) CD1
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Pokrovsky Gates The 25fps 1982
Pola X 1999 CD1
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Police Academy (1984)
Police Academy 2 Their First Assignment 1985
Police Academy 3 Back in Training 1986
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Police Story (2004) CD1
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Police Story 2
Poltergeist 2 The Other Side 1986
Poltergeist 3 (1988)
Poolhall Junkies
Pork Chop Hill
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Pornographer The
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Pornostar (Poruno Suta)
Port of Call (1948)
Portrait of a Lady The
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Possible Loves - Eng - 2000
Post Coitum 2004
Postman Blues (1997)
Posutoman Burusu
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Practical Magic
Predator (1987)
Prem Rog
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Prick Up Your Ears
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Prince and the Showgirl The
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Princess Mononoke
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Profondo rosso
Project A CD1
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Psycho (1960)
Psycho - Collectors Edition
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Public Enemy The
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