- 2 weeks ago
In this episode, a young client, Rod Blakley, seeks Paladin's help regarding his former girlfriend, Faye Hollister. He claims she was forced into a marriage with Pete Hollister and is being held against her will. Blakley hires Paladin to secure ten minutes alone with the married woman, who apparently has aspirations of becoming an opera singer. Paladin takes on the unique job, navigating the delicate and potentially dangerous situation involving the distressed woman and her husband.
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Short filmTranscript
00:00Hospitality towards strangers is a Western virtue. If you gentlemen don't
00:19see fit to practice it, you will force me to use this gun.
00:30Hey, you. My name ain't boy, not hey, you.
00:59There's a man named Paladin living in this hotel.
01:01Yeah, Mr. Paladin is up in street 205. You want to send a message?
01:06I'll deliver it personally.
01:07Oh, Mr. Paladin, very busy. He can't be bothered with visitors.
01:11I'm no visitor. This is important.
01:13But Mr. Paladin, give strong order not to disturb him. You wait here.
01:27Yes, what is it?
01:28Your name Paladin?
01:29Mr. Paladin, I told him not to bother you. But him no understand English.
01:33Well, what do you want? That's your card?
01:38Oh, well, if you want to talk business, come back in the morning. I'm busy this evening.
01:39I've got $1,000 for the man who can help me.
01:43But you promised.
01:44As I told you I'm busy this evening.
01:45Please close the door on your way out.
01:46Now, look. I rode 50 miles to talk to you. And you're going to listen or I'll bust you
01:48out.
01:49your jaw.
01:50your jaw.
01:51Okay.
01:52Come on.
01:53Come on.
01:54Oh, well, if you want to talk business, come back in the morning. I'm busy this evening.
01:59I've got $1,000 for the man who can help me.
02:00But you promised.
02:02As I told you I'm busy this evening. Please close the door on your way out.
02:03Now, look. I rode 50 miles to talk to you. And you're going to listen or I'll bust your jaw.
02:09Hey, boy. Please take care of the young man.
02:11Toss him in the alley.
02:12No, he may not.
02:13No, he may not.
02:14I told you I'm busy this evening. Please close the door on your way out.
02:16Now, look. I rode 50 miles to talk to you. And you're going to listen or I'll bust your jaw.
02:34Hey, boy. Please take care of the young man.
02:37Toss him in the alley.
02:38No, he might die of pneumonia. Put him in a room and have the manager bill me. Thank you. Hey, boy.
02:45Now, my dear, you wanted to see the Barbary Coast.
02:49Oh, but I'd so much rather.
02:52Sorry about last night. I lost my head.
03:07All right. What's your proposition?
03:09It's a woman, Mr. Paladin. I got woman trouble.
03:14$1,000 worth?
03:15We were going to be married.
03:17I was ramrodding chief cattle buyer for Pete Hollister.
03:20He sent me off to Texas to buy some cattle.
03:22And when I got back to the ranch, she was Mrs. Hollister.
03:24What did she do before that?
03:25When you were the intended bridegroom?
03:27Singer in the Orofino in Fresno.
03:29Sings like a bird. You ought to hear her.
03:32She was too good for that.
03:33She's too good for Hollister, too. He forced her into marrying him.
03:36Mr. Blakely, I've found that forcing a woman to do anything is very difficult.
03:41Yeah? Well, he did it just the same.
03:43Paid me a year's wages. Had me thrown off the ranch.
03:46Did the lady ever explain her change of affection?
03:49No. I never even got a chance to talk to her.
03:52When I did try to get back on the ranch, a couple of his hands jumped me, beat me up.
03:56I really need your help, Paladin.
03:58I'm not for hire as a homebreaker.
04:00All I want to do is talk to Faye.
04:02To find out whether she's Hollister's prisoner or...
04:04I'm not for hire as a homebreaker.
04:06All I want to do is talk to Faye.
04:08To find out whether she's Hollister's prisoner or...
04:10I'm not for hire as a homebreaker.
04:12I want to talk to Faye.
04:14To find out whether she's Hollister's prisoner or...
04:16Or his wife.
04:18How much time do you figure you need?
04:21Ten minutes.
04:23Then I'll know whether she still loves me or not.
04:27Ten minutes, a thousand dollars.
04:30Will you take the job?
04:34If you understand that I'm not being hired to break up another man's marriage,
04:37I'll get you the ten minutes.
04:39When do we start?
04:42Just as soon as we finish this coffee.
05:00Well, it's a nice little place.
05:02Yeah.
05:03How do you figure we should go in?
05:05Let's try the front door.
05:24Uh-oh.
05:25Here comes trouble.
05:26Who are they?
05:27Those are the ones who jumped me last time.
05:35Well, Rod boy, it's been a long time.
05:37We kind of figured maybe you'd learn your lesson last time.
05:41Now get moving.
05:43What's the matter, gentlemen?
05:45Is there a law against paying a social call on Mr. Hollister?
05:48There's a law against him being on this ranch.
05:51A Hollister law.
05:53And that's enough.
05:54Not this time.
05:55I'm going in.
05:56You're going out.
05:57I'm going out.
05:58In a box.
06:09Hospitality towards strangers is a western virtue.
06:12I hope you gentlemen will see fit to practice it from now on.
06:15Now get on the horse.
06:24All right.
06:25Let's see Mr. Hollister.
06:35Now just stand there.
06:40I'll go in the front door.
06:41You better go around the back.
06:42What for?
06:43While I'm talking to Mr. Hollister, perhaps you can talk to his wife.
06:46What happened to you?
06:47Who's he?
06:48My name is Powell.
06:49Well, that's done, boss.
06:50What happened to you?
06:51Who's he?
06:52My name is Powell.
06:53Well, that's done, boss.
06:54He come here with Rod Blakely.
06:55You two better go get cleaned up.
06:56I'll go.
06:57I'll go.
06:58I'll go.
06:59I'll go.
07:00I'll go.
07:01I'll go.
07:02You two better go get cleaned up.
07:04I'll go.
07:05What happened to you?
07:15Who's he?
07:16My name is Pellett.
07:17That's done, boss.
07:20He come here with Rod Blakely.
07:22You two better go get cleaned up.
07:29So Blakely's going to have me murdered, huh?
07:32Nobody's going to be murdered, Mr. Hollister.
07:33You and I are just going to sit down
07:36and have a nice, quiet little talk
07:37for exactly ten minutes.
07:39Why ten minutes?
07:40Because that's how long Blakely wants to talk to your wife.
07:43Where is he?
07:44Probably with Mrs. Hollister.
07:46Now, wouldn't you like to sit down and make yourself comfortable?
07:49She's gone.
07:51What did you do with her?
07:53She heard you were coming.
07:55So she asked me to hide her out.
07:56That's a lie.
07:58You knew if I came back, she'd go with me.
08:00Go away with you.
08:01Why do you think I had you kicked off of this ranch?
08:04She didn't want you hanging around.
08:05Now, why don't you grow up?
08:21If you didn't have that gun,
08:22I'd beat the brains out of both of you.
08:24I'm not interested in disproving that.
08:29I'm looking for Mrs. Hollister.
08:31Well, go ahead and find her.
08:32But remember, she's my wife.
08:34I'll remember.
08:36I'm going to see Peg.
08:38No matter what you do, Pete.
08:39I'm going to see her.
08:40I'm going to see Peg.
08:53Now, remember this.
08:54If either of you set foot on this ranch again,
08:56I'll personally see that you're killed.
08:57Now, get them.
09:10You hear it?
09:24Yeah.
09:25Yeah, that's Fay, all right.
09:26He's got it locked up.
09:27I promise you, 10 minutes, you'll get it.
09:29Come on.
09:40I promise you, 10 minutes, you'll get it.
10:10Come on.
10:40Come on.
10:42Rob.
10:43Faye.
10:44Are you all right?
10:45Oh, you don't know how glad I am to see you, Rod.
10:47You're entitled to your 10 minutes alone.
10:49Mrs. Hollister, very nice to see you.
10:52I tried to run away to San Francisco, but Pete caught me.
10:58He kept me locked up, put me out here like a, like an animal.
11:03Faye, I love you, and I'm going to get you out of here.
11:07Will you take me to San Francisco?
11:09That's what I want more than anything.
11:11I'll take you anywhere you want to go if you'll marry me.
11:16I'm sorry to interrupt.
11:17There's activity at the house.
11:18They seem to have noticed their guards missing.
11:20Come with me, darling.
11:22Blakely!
11:23I know you're in there.
11:24Come on out.
11:26All right, Rod.
11:27I'll leave him.
11:28If you can get me off this ranch.
11:29You coming out, Blakely, or are we coming to get you?
11:31Miss Hollister, you stay here and keep down.
11:32Come on, Rod.
11:33We're not leaving Faye.
11:34Rod, leave her here.
11:35She's another man's wife.
11:36Sorry.
11:37Can't do it.
11:38Well, that's your choice, not mine.
11:40Huh?
11:41Guess we have to shoot our way out, huh?
11:42We haven't got a chance.
11:43You know a better way?
11:44You know a better way?
11:45No.
11:46No.
11:47No.
11:48No.
11:49No.
11:50No.
11:51No.
11:52No.
11:53No.
11:54No.
11:55No.
11:56No.
11:57No.
11:58No.
11:59No.
12:00No.
12:01No.
12:02No.
12:04There's a way in front.
12:05Maybe.
12:06Wait me!
12:08All right.
12:14All right.
12:17All right.
12:20I'm going to give you just two minutes to come out of there and surrender.
12:27Two minutes, d'you hear?
12:44You got ten more seconds, Blankley!
12:52Five...
12:54Three...
12:56Two...
13:04Oh, shoot!
13:05You'll hit my wife!
13:09Get to your horses!
13:26Get that game off of me!
13:41Get that game off of me!
13:43You...
13:48Oh, my God.
14:18They went this way.
14:48Oh, my God.
15:18I let him wait in your room.
15:21Is it all right?
15:21Well, that's fine.
15:22Thank you, A-boy.
15:23Hey, Mr. Paladin, he, uh...
15:33You weren't satisfied to get out of that place in one piece.
15:35You had to bring her here with you.
15:37Paladin, I wish you'd stop hammering at me.
15:39I told you, we're two people in love and we're going to get married.
15:41And that's all there is to it.
15:42How do you expect to support her while she's waiting for a divorce?
15:45Her tastes aren't exactly inexpensive, you know.
15:47Hayboy tells me she's in the most opulent suite in this hotel.
15:51We'll work it out.
15:52We talked it over last night.
15:53The most important thing is...
15:54The most important thing to her is to join that opera company.
15:56Do you think launching an opera career is inexpensive?
15:59That's no longer any concern of yours.
16:01You've done the job you were hired for.
16:03Now, here's your thousandth hours.
16:04And what are you going to do with Hollister when he gets here?
16:06Which should be soon.
16:11Come in.
16:14Well, good morning.
16:17Morning, darling.
16:19Oh, careful, dear.
16:21I've just had my hair done.
16:23And how are you this morning, Mr. Paladin?
16:26That's a very attractive dress.
16:27Do you like it?
16:29I found it downstairs in that quaint little shop.
16:32Luckily, it just fit me perfectly.
16:35Oh, I charged it to my bill here.
16:37Is that all right, dear?
16:39Oh, sure.
16:40Sure, you have to have clothes.
16:42Wouldn't you like to sit down, Mrs. Hollister?
16:44Well, thank you.
16:49You had breakfast?
16:51May I call downstairs for something?
16:52No, no.
16:53I never eat a thing before noon.
16:55Just some lemon juice.
16:56My voice, you know.
16:59Well, my voice teacher arranged an audition with me for the opera company.
17:04Oh, I'm certain I could be some help.
17:06I have a very good friend, Signor Vittorio Bottolini,
17:09formerly of La Scala and now the foremost opera impresario in the United States.
17:13I'm certain I could arrange a private audition.
17:15Mr. Paladin.
17:17Would three o'clock be convenient?
17:18Oh, but I don't have my music.
17:23I'll need an accompanist.
17:24I'd be honored to accompany you.
17:26You?
17:28Well, all right.
17:29But do you know La Sonambula?
17:32La Sonambula?
17:34You're not going to sing that, are you?
17:36Well, why not?
17:37Well, because it's a piece of sticky, sentimental drivel.
17:42The sleepwalker.
17:44But I've studied it so hard.
17:47Mrs. Hollister, you're not a sleepwalker.
17:49You're a warm, vibrant, full-bodied woman.
17:57Besides, that piece is best sung by a coloratura, and you're not a coloratura, are you?
18:01No, I'm a lyric.
18:03I knew a woman like you would have a full-bodied voice.
18:07Let me see.
18:09The Marriage of Figaro, there's an opera that was written for you.
18:12When I heard La Noce de Figaro,
18:14the meaning of love cried out for a woman like you.
18:19Oh, Mr. Paladin.
18:23Well, I know a little theater just on the street.
18:25It's dark in the afternoons,
18:26and I know I can get the use of it for two hours,
18:28the use of a piano.
18:30And in the meantime, I suggest that you get some rest.
18:40Hurry to dance, Jean.
18:44Mr. Blakely.
18:49Oh, isn't it wonderful, Rod?
19:02Just what you wanted, Faye.
19:04To think Mr. Paladin knows Bottolini.
19:07Why didn't you tell me about Mr. Paladin before?
19:17Hey, boy.
19:19Oh, Mr. Paladin.
19:20Hey, boy.
19:21In the next couple of hours,
19:22there'll be a gentleman looking for me or for Mr. Blakely.
19:24He's tall and has gray hair.
19:26Oh, I catch you.
19:27Mr. Paladin, out of town on business.
19:30No, you don't catch.
19:31Mr. Paladin will be at the old theater down the block
19:33at 3 o'clock this afternoon.
19:353 o'clock?
19:36In theater?
19:37That's right, hey, boy.
19:37It's a command performance.
19:41Command performance?
19:42Command performance?
19:42Command performance by露吧
19:55Oh, what's the plus?
20:00Hoy que sapete
20:03que cosa hay amar
20:08I warned you, Blayton, wait, Pete, not now.
20:15This is her big chance.
20:16Let her finish.
20:17Then we'll settle everything once and for all.
20:20For her sake, Pete.
20:38Then we'll settle everything once and for all.
20:53Well, Senor Badalini?
21:08Now maybe you'll come home and start acting like a wife.
21:14Oh, no, I'm not, Pete.
21:16I'm going on with my career and there's nothing you can do to stop me.
21:19Well, Senor Badalini says that there's a remote possibility
21:23that perhaps in five or six years with intensive training...
21:26I've been studying for quite some time now, Mr. Paladin.
21:29Mrs. Hollister, to be a fine singer requires sacrifice,
21:34a good deal of old-fashioned sweat,
21:37and not a little bit of humility and understanding.
21:40And money.
21:42Where are you going to get money?
21:44I'll get along.
21:46Rod will help me.
21:47Won't you, Rod?
21:48Well, sure I will.
21:50Maybe in a couple of years after we've bought a ranch and gotten it rolling.
21:54A ranch?
21:55A couple of years?
21:57Well, that's the important thing, isn't it?
21:59Getting married, having a home of our own?
22:01Sure, I want you to sing, but later when I can afford it.
22:05I see.
22:06I should have known you were nothing but a cheap tin horn.
22:10Now, just a moment.
22:11Well, I'm glad I found out now.
22:14Because you make me sick, bleeding about true love.
22:19Bravo.
22:20That's a fine performance.
22:22And what does that mean?
22:23It means you've just shown yourself to be a spoiled, selfish woman.
22:28Mr. Paladin, you're talking to my wife. Remember that.
22:32I'll remember.
22:33I wouldn't have it any other way.
22:35That is a marriage made in heaven.
22:37You two really deserve each other.
22:44Mr. Paladin, I've taken about all I'm going to take from you.
22:48Now, you're going to take it from me, now that you don't have your gun!
22:53You can see.
22:54Come here.
22:56I can see.
22:58Let's go.
23:00Come on, sir.
23:02No.
23:04No, no.
23:24Pete.
23:25Pete, do you hurt?
23:27He hurt?
23:31No more than I was when you left, Faye.
23:36Is this the way you're gonna be, Faye?
23:38Going through life always taking and taking and taking
23:41and never giving anything unless you get back twice over?
23:46I'm ambitious, Pete.
23:48If I got any kind of chance,
23:51I'd be awful grateful to you.
23:52Because the older you get, the more foolish you become.
23:59I'll give you the chance.
24:00You know that.
24:06Don't be grateful.
24:09I know what I'm bargaining for.
24:14Mr. Paladin, this is the best money I ever spent.
24:22Thank you, sir.
24:32That's fine, Vittorio.
24:33Thank you very much.
24:44Here's for the haircut.
24:46And this is for your excellent performance yesterday.
24:52Gracias, senor.
24:54It was a pleasure to oblige you.
24:57If you weren't such an excellent barber, I'd recommend that you go on the stage.
25:00You're a very convincing actor, senor Bottolini.
25:04I'll tell you a secret.
25:08I was not acting.
25:16I was not acting.
25:46I was not acting.
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