 brings you Ethel Barrymore, Brianna Hearn, and Joan Dupre in None but the Lonely Heart. Ladies and gentlemen, your producer is the William Chealy. Greetings from Hollywood, ladies and gentlemen. We are bringing you tonight one of the most honored names in the American theater, Ethel Barrymore. Interpreting the role that won her an Academy Award, she appears tonight in RKO's unusual and moving screen hits, None but the Lonely Heart. Co-star with her is the distinguished actor, Brianna Hearn. Also, June Dupre in her original screen role. Our story is laid in London a few years before the war, but it might be any citizen, just as Ernie Marks might be a citizen of any country, a human symbol of man's restlessness against the background of this changing and exciting world. We bring you now the opening act of None but the Lonely Heart, starring Brianna Hearn as Ernie Marks, Ethel Barrymore as Ma, and June Dupre as Ada, with less than a few as Jim Mordner. Story of Ernie Marks, humble citizen of the city of London, Ernie Marks, who quarrels, hungers, loves and was loves, who search for a free, beautiful and noble life in the second quarter of the 20th century. There's a second hand store with living quarters of joining on the fringes of the London slums. This is home to Ernie Marks. Here his mother runs the shop, and here Ernie retreats after his empty wandering over the face of his native land. From such a journey, Ernie Marks has just returned. Where you been Ernie? I was just talking about Ma, you know me, tramp of the universe. What did you come back home for son, miss me? Can't say I did Ma. Well, anything in the shop need repairing, painting, polishing, doing a pot of gardening. I mean to do better by your Ma love. Here, how about giving your son a kiss, eh, off the floor. Happy couple, aren't we? You better proper respect if what's needed. I get no more from you and I've gotten that father of yours. And that's that. That's that. So you got your choice. What choice? Stay, you'll get out. Take hold here on the shop or don't come back. I'll call all of you anyway to go wandering around the country year in, year out, like a breath of homeless wind. Then I'll teach you all right. Oh, what? Oh, you treat me fine, Ma love. Now, where's me cap? I'm all... Ernie. No, just the people at the old neighborhood, Ma, won't be really off for morning. Here, come on, nipper. Come on, doggie. Ma, that beast you're doing me, Ernie. No, I wouldn't say that, Ma, but part of myself he is. Here we go, doggie. Thank you, Ernie. Oh, good morning, Eggie. You know long, Ernie. Bring yourself in for a cup of cheese. Oh, thanks, Eggie, but me basket's full of breakfast now. Come in anyway. Well, maybe I will. Here, in we go, nipper. Sit down. Music. Music all over the room. What practicing are you, Eggie? It's a living thing, Machino. Howdy, Ma. Oh, goes on like an engine, Eggie. Tower of London, don't do no better. Here, look around at that. Nice, she's drawing them in the neighborhood, isn't she? It's yours, Ernie, whenever you want it. If it takes you with it, do I, Eggie? Well, I've got the piano. Piano need tuning? No. You're the biggest fool I ever met, Eggie. Black is the ace I am. Don't you know that yet? Matter of fact, Ma, just give me the ultimatum. Stay put or stay out, she says. What are you going to do about it? Something. What? Kiss you, maybe. Ernie. Now, play me something, Eggie, something on the cello. Would you like to hear this? No, anything, no matter. This is for you, then, Anne. Number the number you are. That new place down the road. What new place? Well, there's a sign outside. It says Fun Fair. Oh, that. A regular carnival, Ernie. Dancing and shooting gallery. Darts and your fortune told. I don't need my fortune told, Eggie girl. Well, I'll see you tonight. That's right. That night? Oh, you're all I like, you women. I don't go on no timetable like a train. I'm Ernie Mott, I am. Sit is another great smoke. I don't stay put. I understand. Do you? Well, maybe I'll see you tonight. Maybe I will, and maybe I won't. Fine, it works. King for me? That's right. I was watching you at the shooting gallery just now. And anything? I learned that a chapel can put all eight shocks in the rabbit. It's a good matter to know. I'm Mortinois. Jim Mortinois. I suppose to know you. Thought as I you might. You know what's bothering you, pal? A piano. Is that a tune? You know, what about it? What about what? Do I tune it or do I don't? That's you and me on the bar. Life's easier than that. Here, take it quickly. The piano won't disturb. Now, why would I take your quit? Just to be a pal? You know, I can't understand a man of your talents. We're in them ranks. Uniform of the independence, Mr. Mortinois. Clothes in your perfect pitch, I suppose you are. Now you understand me. Life's a piece of meat when you know how. Here, what's most of them floating around in here, eh? Victim. That's what they are. Worry, worry and scurry to make a bit of brass, right? Right. Now what's your kind, Mr. Mortinois? Willful and defeat. Take what you want, right? All right. So that's what it's all about. Either be a victim or be a thug. Ah, I suppose you don't want to be me, eh? Like me. Not fear and not bound. Then what? Then what? Those talking to you. Who's the piece of pastry selling the tickets over there? My name's Ada Brantlin. See you, Mr. Mortinois. Er, change, please, Miss. Happy to oblige. Here, who's this Mortinois locator? Runs the place now, doesn't he? Put him back in his hands on it. Well, what are you doing here? That's when the gentleman comes in to converse with me. How do I get in your good books, Ada? You're nice, aren't you? Got lovely fingernails, too. Don't you know any else is good? Who are you, anyway? Name of Ernie Mott, Ada. Tune piano, that's me. Polish furniture, chute load ends with a rifle. You know, Ernie bugs in your arse, then for Ernie Mott. You know how to medicate dogs and cats. Excellent at repairing clocks and other delicate machinery. Why, I invent inventions. What do you invent? Well, I happen to be working on my greatest invention at the present time, a human animal which don't look for a master. It ain't easy. Come closer, Mr. Mott. I like that kind of talk. You do? Sounds brown, he's a muffin man, but I like it. Fair. Now, that brings up just one question made, dear. What? What time do you get off? Half-six, around the bad. Thanks, Ada. See you at half-six. Come on, the best. Come on, doggie. Hey, dear. Characters will sort you out, aren't you? Me, then, what? I saw you just now, giving money to a beggar. Cut so much money, I have to give it away. Oh, him, Moll. Knew him when. When what? When he was a man. Hey, you know what old Ike Weber says? Friend of mine, old Ike, had a pawn shop down the road. Well, Ike once told me this. As I was out walking in school, I saw in the distance what seemed to be an animal. Come up closer, and see he was a man. Come still closer, and see he was my brother. Meaning what? Oh, thank you, little boy. You tired? Always tired. Let's go, Mr. Mott. My strength has a fee to fee. Oh, why not? Quiet as my thank you, Ada. What are you looking at? Your hand on the teacup. Five red frittles on the end of your fingers. Here, listen. Listen to what? Know what, what that was? G sharp. Perfect pitch, that means G sharp. Not one in a million, is that? Very unusual person. Are you? Clearly, of course. And all I want to do is to put my arms around you, and hold you tight, and murder anyone who says a blind word to you. Interesting program, but what's it get me? Only trouble. Then you can take me home. Now. Here's where I live, Ernie. Now, I... You've been a hurry, aren't you? Slate of my thought. Mine is not of the essence with me. No place to go, I'm going there tomorrow. I don't pretend to know what that means. You've never seen me happy home again, nor fight like cats with me, ma, I do. Once me in that silly, dusted business of hers, squeezing pennies out of corpus. No, thank you. You're leaving London? Can't think of any reason not to. Can you? Here, uh, inviting me in, Ada? No. And I'd like to bash you one more. Why, I feel like I know your lifetime, Ada. Do you want to see me cry? No. Then say goodbye, you're leaving in the morning. Don't think this is fair. You're a stranger, I meet you. Suddenly? You ever been in love, Ed? I mean, you make me feel proud of myself again. I don't know why. Still the only man I've met in a million years that gives me the slightest sort of feeling. Say goodbye now, and that's the end of it. I'll drop by the fun fair tomorrow. No. Good night. Goodbye, young boy. In the end, if you wouldn't do what I need, confident. Confident? Yes. Good thing that you won't see me again. Like as the age I am, Ada girl. No future in me for anyone like you. No confidence. Goodbye, Ada. Good night, Ernie Mott. Then you'll buy the clock, I. No questions, Mrs. Mott. It's worth every penny you ask, here, regardless. Thanks, I. Mrs. Mott, maybe your son would like to clean the mechanism. He's got the real talent for such things. And he's still the same old trouble. He won't stay home. Proud of the queen's care as he is, and independent. He's leaving for good today. Excuse me for mentioning it, but why don't I talk to him? You've got to help me out. I'm, I'm ill. What do you wife often die of? Mrs. Mott. It might happen sooner than I think. Thinking out loud, it would be very fine if you had your son with you for, for the next few months. You need rest and special consideration. That's impossible with him walking around. He's coming, I. Better talk loud. Yes, Mrs. Mott. Oh, the clock. I'll send my Mr. Lesser for it this afternoon. Thanks, I. Oh, look, and breakfast. Oh, thanks. You leaving now, Ernie? No, never, Ernie. We're on our way. Yeah. What's that you're taking? Just a pill, son. Well, for what? Hmm, just a yeast tablet. Don't think they do you any good, do you? Not you do. See what I mean? See what I mean? Never a minute of peace between us, Mott. Like when the stalk brought you the wrong sort of son. I wouldn't be surprised. You'll never get me to stay in this shop. No, not if I sky fell. Oh, not enough business of sweating pennies out of devils' quarrel and myself, Mott. Let me take the end with both of my legs cut off. Boy, I'd crawl out in the street again. I would. Someday you'll know I'm your only friend. Well, let's set that better. Maybe so. Goodbye, my love. Drop your postcard from the seaside. Hello, Maggie. It's me, Ernie. Oh, I just came to say goodbye, Aggie, dear. What was stopping by last night, dear? Couldn't make it, Aggie. Well, we love to. Rearsal, let's say goodbye. Leave him for good this time, Maggie. Miss me? Well, farewell, if it isn't arced weather. Nice to see you, Ernie. Ernie, I need about two pounds worth of Clark Street's pair. If you're not busy or I'm on the way to Liverpool, Ike, don't they use money in Liverpool anymore? Two pounds worth. A man with your talents, you could finish it in a day. You're a jet. Come on, but today we're mending Clarks. Well, we'll finish, Ike. Good, Ernie. Good. Ernie, dear, did you ever realize your mother was once upon a time maybe the most beautiful woman in the East End of London? What about it? Excuse me if I put a flea in your ear. He's a very thick woman, Ernie. You owe me two pounds, Ike. Pay it. Here. Here is your two pounds. What is it that she's got? A pain for her no good son. Your mother is not a superficial woman. When she gets ill, she gets ill. What is it? Cancer. I recommend you not to say a word to her. Goodbye. Everything with it. Didn't I see you a while back tonight? Westminster Abbey, it was. Yes, standing at the tomb of the Unknown Warrior. Was I? Unknown Warrior. Might have been my boy, you know. Might have been my old man. What's your name? Ernie Mott. As the bacon set to the egg, so pleased to meet you. Henry Twight, my name. Ernest Verdon Mott, if you want it all. How did you come by a railroad title like that? My father rolled up there at Verdon in the war. Now I'm standing here on a bridge at the River Thames, wondering who's better or. Buzz, buzz, buzz, buzz, buzz. A friend of mine put something in my ear. I can't get it out. Buzz, buzz, some of you got it bad. I know all about trouble I do. Son of a bosom, that's what she asks. Son of your nothing. My claim was vested with a world I never made and I don't want none of. There's the river, boy. Help yourself. Oh, looks like worth a new girl, I see. I know a place where it's warm and dry. It's warm and dry in a shop on the road, eh? What shop, boy? What rule? Oh, none of you have business. A shop full of tears is what it is. Buy and sell, sell and buy. A penny and another penny. Take it off kids and old ladies. What a stenchio. Well, don't let your drunk here. I am net dead. Drunk and converted to the fifth commandment. And I'm going to my home. I'll walk with you, verdant. A solid sober light I'll be in this foggy hour of your inebriation. Do the same for you, I would. Sure, boy, sure. Watch the curbs now. What a lovely voice you have, verdant. Lovely. Home lad, home you go. Change of mind. Home to stay, ma. Those of our great illness find the full measure of the latest happiness in the change that has come over the distant winder. For full and diligent he works in her shop. Faithful though it is for him. Now, at the supper table, he was splendid in a new suit of clothes. A surprise gift from his grateful mother. I tell you, ma, I've had duds like these in all my born days. Yeah, delighted, son. Oh, make me give it the knees, this surprise of yours. You surprise me most and take and hold here the way you hand. Ah, expect you to do something for me tonight, ma. What? Well, let's stroll around a bit. Maybe you see a film. There are two important seats. Oh, go on, Saws. I'm old enough to be your mother. Ah, come on, ma. Come on, do it. Couldn't, son. Too rich for my blood. Besides, sleep's a blessing. Oh, what's wrong? Something with you? Nothing at the store. Ernie, my pill. Yes, ma. Yes, ma. Yes, ma. On a man, he's the yeast tablet. I've got him, ma. Here. Er, glass of water. Thanks, son. Tell me, eh? That's all. What, here? No, ma. No, we're full up to here. Then what are you sitting around for? Go on out. Enjoy yourself. Good change you want here. Ah, I'll see you in the right room when you did. Thanks, ma. Los, you want all to go then? Thanks, ma. Come on, night in. Your new hat. Some cookies. Mrs. Mott. You're about Mrs. Mott. What are you doing here, Marshmott? You alone? I'm alone. Like to do a bit of business, mother Mott? Don't you, mother Mott, me. I've told you a dozen times. I'm not in business. It's all stolen goods. Easy now, dearie, Mrs. Mott. Used to be just a pound here and a pound there. It's all changed, dearie, Mrs. Mott. Give out 500 pounds. And what's the income of this shop compared to a sum like that, eh? 500 pounds. Shoplifting. Save your breath, Mrs. Mott. Me and my friends do the lifting. You just do the selling. What's wrong about that? You heard me. No bid. Ears, ma, Mott, I said to myself, Little and make enough to live out her life in peace, I says. And may believe a bit for her boy, too. Good old mother Mott, I says. And what do you say? I say, get out, Mrs. Snowden. Call me up if you do. I tend to change your mind. You know where I'll be. 500 pounds, not less. Say that again, either do. I said, I'm sorry you've come back. I said, I'm sorry I ever saw you. Have you been all this time? We don't, ma'am. My shop, helping out. And after five weeks, you suddenly decide to look me up again. Hey! Yeah, this is your house, sir. Invite me in. No. I was a certain party. Don't happen to like me meeting you. Who would that be? Jim Mordenois. Mordi? What, a flash boy? Now, how has he crept into your scientific young life? Didn't say he had. There's about 20 good pieces left in me, but you'll never get one. Told him so. More than once. Yeah, and that's bad. Is it? All right, say goodnight, and let's forget it all. One next Wednesday? Do I see you like we said or not? Take me down to sleep? Anything you like, can you do? Do you know that? Always. Okay. Well, well, boy, you're crushing me to a pulp. One more kiss. Save it for Wednesday. Good night, honey. Lines aren't a nightly calling anymore? Well, come on in. Well, saw you like it, Aggie. Just get home. Yes, been playing at a club dinner. Well, I put on some coffee. Well, no thanks, no. Aggie, you were fortune teller. Somewhat. Well, I'm one of the princes of the great romance. What'll I do? Add it. It's not with you, Aggie. That's no news, is it? Oh, really? And you're a fool. You're clever. You're human, but you're a fool. You're trying to tell me that you love another girl. Oh, no. Will we expect while you're staying home? Oh, no, no. That isn't why, Aggie. I'm in Marzill. Lost garden, a packet looks. Oh. All roads lead to Marzill. Well, what do we start talking about? Nothing about it, Kate. Well, I better make a move. I've got an idea. Marzill sleeps every night. Then, wait a minute. Don't worry for me. I'm here if you need me. If I love you, it's something I can't do. People are what they are and love what they love. And you can't change it or take it away from you, the thing I feel for you. So, say what I'm into jacking about. Now kiss me goodnight and go on home. Thanks, Aggie. Good night. Well, Mrs. Martin, here is the inventory. Everything in your shop with the value. What's it all come to, Ike? A little more than 200 pounds. 200 pounds. Ah, better go through and his generous hand than a year. Look at him working out there, Ike. Never know the same boy, would you? In his heart, Annie has always been good, Mrs. Martin. Irregardless. There's such a thing as prayers being answered, you know. Face, Ike. Oh, it's been a real friend, you have. Anytime, Mrs. Martin. Pleasure, Irregard. You really think you want to dance? No. Want to know why? Three reasons. One, don't dance with enough. Two, it's too hot. And three, what are you doing sitting at our table, Mr. Martin, Ike? Very nice. Since I owned this place, Mr. Martin, I invited myself over. Thought you were an agent, like this wine. The evening's young early, dear. Don't get up for it. What kind of wine is this, Mr. Martin, Ike? And what's so funny? Well, I thought everybody over 16 knew champagne when it did his gizzard. Well, I won't be 16 till next March. Well developed, the boy, ain't ya? If you're going to starve, of course. Well, Ike likes me. He won't fight with me. Why should I like a mug like you? You know what I like about you, Martin? Get attitude. Either kill or make it. But by the way, Ada, I bought the fun fair today. You mean the hand? Ada, how about a dance? Oh, uh, didn't see you, Mr. Mordenor and Solly. Mr. Mordenor, don't mind. I said love, too. And now we're all alone, Mr. Mock, you and me. How's your ma doing that shop of hers, who told you about that? She'd interest a minute to find out. Why? Because you're a cut above the usual article that floats so bad. Only a cut? Well, there's that attitude again. Ada's interested in you, it seems. Oh, nothing special, Mordenor. And I'm interested in Ada. Very special. I'm going to do something for you, Mock. Lock the stuff in your pocket. Work for me, and you'll start at 50 pounds a week. Breaking who's next. Don't you think you're being rude? I've been after Ada too long to lose her even for a second. She knows it. Now, you know it, too. But Ada won't wear you, it seems like. Ada always was a bit giddy. I recall a couple of weeks at Brighton. We shared a joining room. Now, wait a minute, Mordenor. You're a young and excitable Mock. You see, Ada is Mrs. Mordenor. Didn't you know? Here, come back, Mock. Sit down. Is he my name? Yes, he is my name. Well, he told me he was all in the family. But it isn't my name now. It's two years next month with the bull. Sorry, it won't wash, Ada Ducks. I don't know. Let's get some better. Quick, the word in the slot. There's the door. Let you in, and they'll let you out. Good night. Tell me what you've got on your mind to say, son. Is it that you're leaving London again? Oh, no, no, Marla. If I ain't leaving you, you're all in the press and me thinking things have been going so extra fine. What if you weren't, son? What's wrong? What's wrong, Mar? I'll tell you what's wrong. But one thing is wrong for me to be in a shop taking pennies from kids. Taking their pennies week after week. So sometime, months from now, maybe, they'll have given us enough to pay for a pair of second-hand shoes. What else can poor folk do? Oh, Mar said we're springing Joey in a canary bird. All she's got for half a crown so she can eat. Oh, she can eat, Mar. Joey, all she's got in the world. You give her a crown, son. They'll be good to you. Good to me that you don't, Mar, say, twist. Oh, the day of tomorrow may be. What about the next day and the day after that, eh? What are you looking for, eh? That's what I'm looking for, peace. Without having to snatch it from the smaller dump. I want peace with all the trimmings. Don't find nothing like that in this world, not an hour time, son. No way to beat it, boy. Well, either way, Mar, you stop being a hare, you travel with the Owens. Who are you off to? No, no, no, no, no, take a walk. Maybe find the Owens. Snowden, Mrs. Mott. Mrs. Mott, is it? Changed your mind, my lady? Five hundred pounds, you said. Five hundred pounds profit. Not less than five, dear, Mrs. Mott. Come in, and I'll tell you about it. Come in. Well, you're at the fun fair, Ada. More than I said, you've gone home. What do you want, Ernie? Talk to me? Very mysterious, this room with a girl you love. I ought to hate you, the bad girl. Tell me, Ernie, what do you want you to see in this other room? Yes, then, that's our kitty. The little girl of all mine, please. Well, what a wallop you're giving me, Ada. Put your face up, I'll come home. Ernie, your arms put your arms around her. You can see, touch my hand, and I don't want any more trouble in my life. No more, I've had enough. I've got to tell you something, Ada. I've, well, I've joined up with Mordino. I want to make some money. Don't have to make it quick. Only really? I'm sorry I ever see you. You've joined Mordino and you're as good as me. I'm bars right now. You just see if you'll see that you do time, Jim Will. I'm sorry I ever see you. My, my, what a girl. Don't you ever get tired of saying goodbye? No, no, you don't. Don't touch me, Ernie, ever again. Why do you a job at all? Well, what can I lose? Me. Do you hear that, me? Don't you see that I love you, Ernie, but it's me or him. And if it's me, we've got to go away. Why go away? Mordino, that's why. I've never seen him so jealous before you'll do something to him. Oh dear, dear, you talk so wild. Yes or no, Ernie. What worries you, my kitty? I could leave her with my arm. No, it's not your kitty, Ada. Oh, I'm so crazy about you. Is it? No, it's... Well, it's my mom. She's very ill, Ada. Couldn't ever leave her now. That's the ending, Ed. No. It give me time to use my brain and look about. What do you think? Hey, look, it's my birthday tomorrow. Just give me a bit of time for a gift, eh? All right, then. Just...just time to think. I don't be afraid, Ada. Don't be afraid. I thought you were with Carson, the boys. In case you forgot, you got a job tonight. That first shop in the Brompton Row. Oh, I forgot, Jim. Plenty of time. Oh, uh...smoke? Thanks. Nice cigarette. Okay, she got there much? Today's my birthday. A present from the ma. That and the may. Your ma knows what's what. A friend of mine's in trouble, more than one. Coppers? Girl. He loves a girl. And she loves him. All happy then. No, no, there's a...there's a third party. Acting like a dog in the manger, eh? The girl don't like him, see? But he's a big boy and he's promised to make trouble. Well, what's your friend's name? Name of her name? Oh, like you. Well, what's the big boy's name? Name of Jim. Like you. Well, if your friend's as good looking as you, what's he gonna get married for? Waste of time, eh? Him. Well, what's up, Taz? A pawn of Ruby Ringlock with Jim, just went to the shop to get him. They tell me the police took him. Why? It's totally unprofitable. They said... Well, is it, Taz? What's the difference, Jim? They won't give it to me. It's an old trick, eh? Saying the police took it. Get your brother and not her. Warm up a car. Don't paint Jim this red. Come on, what? We'd have to go to that pawn shop and straighten things out, but, Taz... You warm up the job in the Brompton Road. I can wait. You're coming with us. Now! No! No, you must believe me! I do have my style the most! The police took my ring! Now, maybe you'll tell us what it is, Mr. Isaac Webber. And Mr. Lester told you the truth. The ring was stolen profitant. Get a dirty, conniving, ignorant cook. And just to teach you a lesson, we're helping ourselves. Snip over the counter, Taz. Anything you like. Take it. Right, Jim. Go with him, lads. I said, go with him. Oh, kid. Look at what we've got back here. Makes me mouth-walk. A warped chain ring. Hey, hurry, of course. Never had too much fun in my life. Would you find your ring yet? I believe I am, Jim. Believe me, one ear could be it. It's near enough, anyway. What about it, I.T.? Thought you said that crap it took you. No, boy, lies. Now, stop this stupidity and leave my shop. He's still standing, Kosh. What we're doing with him? Show you, Jim. Watch this, Mott. We've got a castle down here. You take a cigarette, Mott. You shove him a bloke's face, you see? My face? What's the big idea, Mott? Jolt and me. Who's next? You want it next day? Who's next? Get up, Kosh. We're leaving. And for you, Mr. Webber, open your mouth about this. And I'll fix you and you, Mr. Lester, good. See? You're not driving back with us, Mott. I'll walk back. Sort of this. Turn your stomach, did it? I think about your feelings. We call on someone like your girlfriend. Let's go, Tess. Wash your hands again. Turn your times and done it tonight. Some things wash off, and some things don't, Mott. Going through stroll. You might, Mott. We should post this car for me. That's Webber. All right. Don't forget now. I wanted to price a lovely and peaceful... No, Ashon. Don't forget, Mott. Yeah. Don't know who that could be, do you? Caster, Mott. Bar-boot. Sit still, Mott. Mott, go. That's you, Bedouin Boy. Dad, surprise surprise. Come here, Mott. I want you to meet a friend of mine. Enred, quite as far. The way you've been hiding, bad, bewitched. Bedouin fruit I am, Bedouin. All doing a rare old trade. That will affect just so some in the pub near the fun fair. What's up, Dad? They're in trouble, son. Lord, you know his right-hand man, sir. Have you now heard it in the pub? Some sort of plan to slosh you about. You and some girl. Wait here, Dad. Arp-a-mo right there to a son of my own with a pair. Oh, Mott. There's a friend, son. Going with him. Mott needs some advice about treating his dog fear. War to Spaniel. He home late? No, can't say that. Don't fret. Nipper, come on, boy. Come on. That's too bad, Mott. I'm fair. Hard to come in out with, Ada. May need some help. What's the dog for? In case you need some help, too. Oh, one of those things, I. Very agronizing thing, Lord. I should shake. Still out of tune. Agronizing. Ernie. Get back up, Ada. You're leaving. Hello, Mott and Paul. He wants to see you. He got there in the old folks. Who else is with him, Dad? He's a lounge. He wants to see Miss Franklin, too, now. I guess we're better obliged. Come on, Ada. Come on, keep Mr. Mott in our waiting. Just thought you'd like to hear what I got to say, too, Ada. It's short, and it's sweet. Mr. Mott, the holiday is over. But both of you, I don't want you two meeting again. See, that's the way Jim appealed to me. I'm a reasonable man. You understand me, don't you? Stop seeing Ada, or you'll wake up at the bottom of the river. Because love you're looking for goes to the films. Personally, I don't believe in it. What do you believe in, Jim? Nothing. Simple ain't it? Nothing in the old, wide world. Now, if you'll excuse me, I'm going to the nightclub. You see, Mott, I'm a machine. I ain't human. You can't beat a machine. First thing in the morning, Ada. We're taking out a marriage license. Are we? Wonder what the weatherman promised you for tomorrow. Lucky rain, followed by school is starting soon. Meet her, Ada. Nothing's trying back here, but... I'm scared to meet the future Mrs. Ernest Bird and Mott. Who is the future Mrs. Evie? The emerald stormed the crystal palace. It wants a cab, don't it? I could hear you. Oh, don't be more procedure. Hop in these and dreams on. Starting tomorrow with five or six pounds and a sunny personality. Are we? Supposing I'll wed off with Jim. That's a good thing to say. Suppose I went off to the North Pole, right? I don't know what I'm saying anymore, Ernest. Why don't we go away so much for two of us? Clearly, we couldn't do it, Ada. Pick nipper and get in the cab. Nothing's on me while the dogs are here. Dad, you go with her, too. Where are you off to? Something to best say to Morty and I. What couldn't be said in front of a lady? See you in the morning. It's a few moments later. I've only walked to the nightclub in search of Jim Morty and I. A car draws up to the curb. In the car are two of Morty and I's gangsters. Cops and his brother, Sam. Taking a stroll, Mr. Morton, and a bit clutched by, a nice night for it. No offense about that at the nightclub. No, not at the nightclub. Nice car you're driving, Ted. Steal it. I'll be in. We're all the way to the club. You meeting Jim there? Yes. Bag of sport down there tonight. Well, I'm in the mood for sport tonight. Would you want to sit with us up town tonight? I'll be more comfortable back here. Been a long day, ain't it? That's what I was thinking. I watched that road, Taz, just went through a red light. Money of a cop's noise. Amazing how it's getting things for rushing a light. Cop did see it, Ted. Oh, couple of coppers. Ah, seeing things, Morty. These white cars are stopping after us. Hold on to your feet. Step on it, Taz. Don't spare the horses. Why do you need cops? Cops help with all the traffic. Just keep their eyes on that road. You're losing ground, Ted. Can't get any more out of this. Let me put blet on the floor now. This is the police car. This is the police car. Keep going. Perhaps we still can lose them. Or something when he's empty my car. I'll wake up too much weight with him. Not that car. Will you do it yet, Cosh, boys? Morty, not prepared, this is. He's out coming out of the corner. Don't look, guys. Taz, drop us those cold new airs. I'm driving. Nice. The hell is now, then, coppers? Hold on this. Taz, watch it. See you on that door. Get him out of here. A sergeant, the petrol. Still refused to tell us who you are? Been going through what was in your pocket. Two things here that interest me. A cigarette case and a postcard. Not posted. None of your cheap nasty silver or gold cigarettes. Oh, no. Full Latinum. Lucas, sir. Take this postcard. It's addressed to our Weberist wire. Get him on the phone. I'll talk to him. We'll find out who you are soon enough, laddie. But in front of the police station, Mr. Mott, go on home now. I ate my bail, did you, Art? You shouldn't forget you. No, Wilma. Everything with 60,000, Mr. Lesser. In the hospital from the beating your friends gave him. I stood you bail for 100 pounds. You'll have to be at Bow Street Court. They are till tomorrow 9.15. Thanks, Art. Listen, Mr. Mott, you're flying yourself in your own past. You realize that? Here. You need a few crits for incidentals. Oh, well, one's enough, Ike. Yes, thanks. And no matter what anyone says, your mother is a wonderful person. Now, Ike, it's earn all right. Howing through the rain. Wait here, Mr. Clyde. I'll get him. Come in, Ernie. Come in. Oh, Ike, what's up? Couple of friends of yours are here. Name of Nipper, name of Christ. What's that? Nipper? That's what? Where have you been all night? What? You were more worried about me? Being in the right shoe about your Oliver. Oh, I didn't know you knew Eggie Dan. It didn't. Brought your dog back to the shop, though. Nobody home. Eggie, fetched, stop by. Where's Mark? Er, gone out for a bit, Ernie. And where were you? Oh, just seen out here that I've lived. Where'd she go? Mark, huh? Ah, have a nice job on the floor as you care for it, Ernie. Where'd Mark go? Where is she? The police came last night. What? There were things your Mark couldn't explain to me. Your cigarette case, where it came from. Other stuff, too, Ernie. What stuff? Stuff dragged out a cupboard. What about Mark? They took her, Ernie. There was a Mrs. Snowden. And I think some others. Poor, poor girls. Biggie's shop looking gang this side of the room, a cop has said. They got her inside, you mean? Pinched? Come on, Vardoon. Man, come on. We'll go down there now. There is a sort of, a piece of sort of smell. Mr. Mark? Yes? That's why I... Be here when you get back for doing boy. Here, but this isn't the... What's down here? Why are you, old girls? Well, I'll settle here. Didn't you know that? That door. The nurse will tell you everything I expect. Your mother's in here, Mr. Mark. Go in. Wait, Ernie. How much, how much time do they give it? It might be tonight. It might be a week. She's very ill. Your son's here to see you, Mrs. Mark. Just ten minutes, and you mustn't up-press yourself. Ernie. Oh, Ernie. How's me daughter, eh? Hello, Ernie. Where have you come from? Oh, Ernie. Oh, I've not been. Have a look at ya. Rainin' out. Oh, wait, there's water, Mark. The ice this morning. What I can't understand, Mark, what do you invent for? What's the matter with you? Hideout. The scenery run down, son. You're getting daddy trouble and the ice. It's been a good friend of mine. For you. Don't be near long, Mark. I'm gonna get married one of these days. Don't forget. That's right. Find a nice girl to take care of you. Good girl. Yes, Mark. Son, daddy is not cheap. Head on his shoulders. Love means life. Think face, child. Mark, no, no. Mark, this is just not Ernie. Ernie, Mark. Oh, my God. You've got her all upset. You have to meet her. Oh, no, Mark. I'll meet the mother, Mark. It is good night. It is good night. Boy, you can go back down and see her tomorrow. Funny thing, this is where we met you and me. In that same spot over the river. What you thinking, son? I'll just be off the way. Just as she's expecting me. She'll be worried. See, I bought this toy for a kitty, then. Listen. She gave it to me last night. See, that is. Note? For me? Yeah. For me, Mark, I just couldn't face it. For your sake and mine, I'm going back with you. I tried to be different, but it's best this way all around. I hope you pray you will forgive and forget Ada Branson. Stop playing the burden. What are you thinking now? On dreaming, dad? Put her run, girlie, tallie. I should say so. Well, here's where I leave you, Verdun. Leave me? If you'll ever leave me, you old lopsided muggins. We'll see you sooner. Now sooner. Oh, no, it's all written in the book. Oh, all right, dad. In the book. Once again, our spotlight turns on Ethel Barrymore, Brianna Hearn, and June the Prey to reappear for their curtain call. And Ms. Barrymore, along with all our thanks, I'd like to tell you how much personal pleasure it's given me to work with you again. Thank you, Mr. Killies, for the longer we were on the stage together. What were you two appearing in? When it was back on Broadway, I was playing Paris to Ms. Barrymore's Julius, and a very charming Julius she was. Thank you, Mr. Killies. Good night. Good night. Good night, and all our thanks. This is William Killies saying good night to you from Hollywood. Last night, where Francis Robinson was Aggie, Lester Matthews as Jim, Norman Field as Ike, Eric Snowden as White, and Ray Novello, Gloria Gordon, Jeff Corey, Raymond Blount, Claire Vardera, Edwin Cooper, and Charles C.