"The Purple Rose of Cairo" movie script
Text/[United States] Wu Allen
Translation/Lin Ruiyi
When Fred Astaire sang in the background, the opening credits gradually faded out and replaced with an old-fashioned movie poster with a comprehensive picture of painted faces and scenes: on the left side of a black graphic there is a The man in the cork sunhat has a sphinx next to his face and a palm tree in the rest. The camera shifts over the Egyptian scene and a black figure, facing two drawn men in night gowns, one of them holding a glass of champagne. Behind them was an elegant car that showed the charm of the city, parked by a street light in the blurred urban area. The camera then moved to the slender black figure, revealing a woman who is larger than the normal size and deeply involved in the world. The black figure is her flowing long skirt. The top of her sleek hair strands was printed with the title: "Purple Roses in Cairo". Part of the cast can be seen in the gaps in the screen, including Jill Shepard, Beatrice Kelly, Sidney Oliver, and Kate Payson.
When Fred Astaire sang in a low voice in the background, the screen switched to Cecilia's face, she stared at the movie poster that was currently outside the painting in a dream. Behind her was a car parked on the side of the road, and pedestrians were walking on the sidewalk. She was distracted. She covered her mouth with a gloved hand. She heard a loud ping-pong sound, and the singing stopped abruptly. Cecilia was taken aback and looked down.
The camera was pulled back, revealing a jeweled cinema with a marquee. Leaning against a ladder next to the door cover, a man is installing the latest highlight of the show: "The Purple Rose of Cairo". The cinema manager walked to Cecilia and picked up the ping-pong letters that had just fallen to the ground. The noise of passing vehicles and pedestrians on the road can be heard.
Cinema manager (picking up the dropped letters, to Cecilia): Oh, Cecilia, pay attention. Are you OK?
Cecilia (walking to the other side of the road): It's okay.
Cinema manager (call her at the back): You will like this film. It is better and more romantic than the one last week.
[Switch]
Interior view, small restaurant, daytime
A woman with spectacles and a domed bell hat fills the screen. I vaguely heard the sound of cups, pots and saucers colliding and buzzing conversations.
Woman (irritably, it seems to be annoyed): I said that I would serve oatmeal before scrambled eggs.
The camera cuts to a larger scene. The woman is sitting at a small table. Cecilia is wearing a waiter's uniform, picking up the dish of scrambled eggs, and apologizing as she hurries away. She passed several people sitting at the counter and walked to the kitchen side of the counter. Jane, who was also in uniform, was busy wiping the counter. Cecilia began to pour the oatmeal porridge from a big pot into a bowl. You can hear the babble of customers. Small restaurants are booming. The restaurant owner lays hands on the grill in the background.
Cecilia: Oh, sorry, I'm going to serve the porridge right away, sorry.
Man (outside the picture): I want cereal... and a donut.
Cecilia (partially overlapping): Oh... cereal and doughnuts, great. (To Jane) Listen to me, a new movie will be released on "Gem" tonight.
Jane (shakes his head, wipes the counter): I haven't even watched that one last week.
Cecilia (continue to serve cereal, look back at Jane): Oh, you missed it! It's alright! I like Jane Foreman, James Mayer played the role-at first he was a hotel carrying luggage, then became a radio singer, and then became an opera actor. That music is almost gone. (Put the bowl full of oatmeal on the counter)
When Cecilia was talking and serving the cereal, Jane was busy pouring coffee and went over Cecilia's back to get the plate. The two continued to chat while serving the food the customers wanted, closing the dishes, dividing the dishes, taking out the doughnuts from the tray and placing them on the plates.
Jane (send some tableware to a customer sitting at the counter): You know the movie I like is called "America Good."
Cecilia (holding a doughnut, passionately): Oh, yes. I have watched that film twice. Awesome! When she threatened to kill Lou Ayres, that-
Jane (grabbing a plate, interrupting her): I like the look of Lou Ayres. Do you think he was married?
Cecilia: Did he make it-are you crazy? (Wiping his hands on the apron) Yes, he married Ginji Rogers. God, they got married on the boat from Catalina Island. (He holds another bowl of porridge, Jane is wiping the counter) They live in Beverly Hills and sometimes go to Spain on holiday. He was going to marry Laura Lane, but Jinji was more suitable for him. (Shakes his head) She is so touching.
Man (partially overlapping, outside the picture): Where's my toast?
Cecilia (turning to the man outside the picture): Oh, come right away, right away. (Turns off the stove) Ginji was going to marry Jack Ka——
Restaurant owner (outside the picture, interrupt her): Get out, the girls get out, Cecilia.
The short, stout boss in an apron squeezed past the two women.
Cecilia (pick up some toast): I'm sorry.
Restaurant owner (squeezing past Jane): Your sister is slow at work.
Jane (putting a plate under the counter, looking up at the boss): But she is still studying.
Restaurant owner (pick up a paper tray with eggs by the stove): Ladies, it is economic depression now, (squeeze from behind the girls again and return to the grill) If you can’t do well, many people are willing Dry.
Cecilia (turning to look at his away back): No, I can do it well. no problem. (To Jane turning from her side to outside the counter) Qinji always wants to marry Jack Calpeper, (she wants to put a bowl and a saucer when she wants to spread butter on toast) I think Before Ruth Chatterton married George, he asked her out—oh, I—
A plate smashed and Cecilia stopped talking. She looked down in frustration.
Restaurant owner (outside the picture): Look, this is the second time this week.
Cecilia (shakes her head, partly overlapping with the boss): I'm sorry. (Bending down, drawing out) I will pick them all up.
Restaurant owner (across the now empty counter): Hurry up, Cecilia, cheer up.
When the screen switched to a factory outside, there was a relaxing jazz sound. The gloomy brown walls of the factory are in stark contrast with the snow on the ground. There is a pile of scraps on the wall of the factory. Three men in overcoats and caps cast pennies against the root of the wall in the distance. There was a heating stove beside them. When they talk, they still play their games engrossedly.
First coin-operator: Okay, now, Munch, let's start throwing it.
Munch was wearing a cap and there were scars on his face, and he threw out cents.
Coin-operator A (responds): Ah——!
Munch walked to the wall to retrieve his pennies, and he knelt down.
Coin-operator B (outside the picture): Hi, Munch, your wife is here.
Munch looked up at the camera; the screen switched to his point of view, with Cecilia carrying a pack of laundry. She looked tired when she looked at Munch outside the painting.
Munch (walking towards Cecilia with open arms): Oh my God, I'm so happy to see you. Do you have money?
Cecilia (outside the painting): Today's tip (towards Munch, inside the painting) is not much.
Munch: Come on, give me something, I've lost all of it. (Received Cecilia’s bag of clothes)
Cecilia (searching her wallet): Hmm. I—I heard that the ice factory is recruiting workers.
Munch (shakes his head and points to the sky): No, there is no work to do, I have been.
Cecilia: Really?
Munch: Yes, I have been. Okay?
Cecilia continued to search her wallet. Munch looked back at his friends impatiently, and could hear them playing in the background.
Cecilia: Harriet Rufus said, you guys know how to throw pennies all day long, and also—seduce the girls in the past.
Munch (looks around, giggling): Well, Harriet Rufus is a stinky skin.
Cecilia (put some change in the palm of Munch's outstretched hand): Listen, I—I—I have to save some for daily expenses, okay?
Munch (returns that bag of clothes to Cecilia, partially overlapped): Okay, okay, okay, yeah. (Check her wallet when putting the change in her pocket) Are you enough? (Holding Cecilia and walking away) What are you doing here?
Cecilia (looking up at Munch while walking): Oh, do you want to go to the movies tonight? There-there was an earlier session there.
Munch: I can't go, I can't go.
Cecilia (almost at the same time): Why?
Munch (gesturing): Well, friends come to play tonight.
Cecilia: Here again?
Munch (gesturing, leaving her a little): Why, don't you like it?
Cecilia (head down): Well, all you did was...drink, roll dice (signs) and... it turned out to be me—I was slapped in the face.
Munch (pauses, gestures): Hey, I have to level it, right? I owe everyone in the town.
They stopped face to face. As Cecilia spoke, Munch turned away, sighed, and put his hands in his pockets. We can see the people throwing cents playing in the background.
Cecilia: You never go home except playing cards and rolling dice. At the same time, I have to—I have to do some cleaning after work to pay for the room.
Munch (raising your voice, categorically declaring): So, what do you want? Did I shut down the factory?
Cecilia (sighs beyond praise): You weren't always like this in the past, Munch.
Munch: Well, I think a lot.
Coin-operator A (in the background): Pick them up.
Munch (with gestures): Do you think I like to find work all over the world? (Look around) These two years have lived like a beggar.
Cecilia (lowering her head): Do you know? I don't know how long I can hold on to such a life.
Munch (sighs, partly overlapped): Listen to me, this country will be normal, and the situation will definitely get better. (Raising Cecilia's hand carrying the burden) I promise.
Cecilia (partially overlapping): Yeah.
Munch (holding Cecilia's with both hands): You know, I love you very much, huh?
Cecilia: You don't care about me anymore. (Staring at Munch enthusiastically) You know, that's why I think if - if we can go to the movie together tonight, you will forget some of your worries.
Munch (partially overlapping): Yeah, yeah, forget my worries. (Gesturing vigorously) Cecilia, you like to sit there and listen to nonsense, okay? I'm going to roll the dice, okay?
Cecilia: (sighs): Cough.
Munch (begins to turn around): Go to the movies by yourself.
Cecilia (turning to look at Munch): Are you molesting those passing girls?
Munch (loudly, overlapping): Hey, listen, you are not my boss, don't show me this look, (pointing to Cecilia) You really think I am a guilty person. (Makes a gesture) Come on, hug me, just give me a hug. (Holds Cecilia, who is full of displeasure, and pats her on the back) Okay? very good. Don't come back late, okay? (Let go of her. She let go of her hand when she walks away) I'll be concerned. (Smiling to Cecilia outside the painting, raising his hand) See you later. (When he turns back and rushes to his people who threw the coins, slap them) Let's play!
When the screen switched to the outside of the Jewel Cinema, cheerful jazz sounded. now it is night. The light on the door cover is bright, and there is a group of moving lights for the brilliant show of the Jewel Theater: "The Purple Rose of Cairo"/R. Tallmed/Raeburn/Morgan. People are bustling with people, some buying tickets, some standing under the door cover, and a few cars have passed by. The screen cuts to the ticket window. We look out from the inside. A man wearing a fedora and glasses stood in front of the ticket window, his head and shoulders full of the picture.
Man: Two tickets, okay.
He picked up the ticket and walked away, and a woman behind him stood at the window. She is wearing bright red lipstick.
Woman: Two.
The next one is Cecilia. She approached the window and leaned forward.
Cecilia: Just one tonight, Doris. (Takes her ticket) Thank you.
[Switch]
interior. Cinema hall. night
When the movie-goers walked into the central hall, they handed their tickets to the leader outside the painting.
Cecilia pushed open the door of the hall from the outside to join the ranks. She was radiant.
Cecilia (hands the ticket to the leader): Good evening, Mr. Ruskin.
The camera followed Cecilia walking by the leader who was in the painting. He tore up her ticket and gave her the stub. She walked through the crowded hall to the counter selling snacks, bought a box of popcorn from the woman behind the counter, and walked through the spring door into the theater. Jazz continues. People walked by in front of the camera.
The camera moved into the projection hall, and the lights were still on in the hall. The cinema was full of people. After people settled in their seats, they chatted. A man stood up and took off his coat. Cecilia is one of the crowd. She came over from the passage and sat down. Jazz stopped. For a time, only the faint sound of conversation could be heard. After Cecilia settled down. The lights in the hall went out. The lights of the projector were projected into the auditorium from top to bottom, and the music of the film rang.
The picture quickly cuts to the movie screen, and we look over the audience's head. The logo of Raidenhua was shown on the screen-there is an antenna on a planet-and the inscription is "produced by Raidenhua Film Company". Turning into the opening captions-black handwriting on a concise background, the camera moved closer to the screen, and it was possible to see clearly that it was written "Purple Roses in Cairo". It looked like a big business card, and one hand took it away. Look at the other one below, which says the lead actor: Robert Tallmedge/Anna Raeburn/Todd Morgan.
The scene quickly cuts to Cecilia. She sits in the rest of the audience, indulging in the film outside the painting, her image is turned on the screen. The "Purple Rose of Cairo" seen from the audience is being screened. The background music of the film becomes an Egyptian tune full of exotic charm. On the black and white screen, Henry, a savvy playboy/writer, sits on a piano stool in the living room of a sloping house. He rests his arms on a white piano, wears a night gown, and smokes cigarettes. The music stopped when he said his lines.
Henry (looks out of the picture): Jason, I'm bored. (Exhales a big breath, looking at the camera) I'm tired of cocktail parties and premieres.
The picture is cut to a closer shot of the ongoing film, so there is only the picture of "The Purple Rose of Cairo". Never see the audience anymore.
Henry: I am also tired of watching opera at night and watching horse races on weekends.
Jason (outside the picture): A few days to go...
When Jason started talking, the screen switched to a scene where he was standing behind a bar decorated with art. A cheerful and lively man in an evening dress brought two glasses of champagne to Henry. He walked past some art decorations with seats, a spiral staircase, and large windows that lead straight from the floor to the ceiling, from which you can enjoy the beautiful night scenery of Manhattan. Henry leaned languidly on the piano, facing the glass door leading to the balcony. Jason walked up to Henry as he spoke. Pass him a glass of champagne.
Jason (continued, outside the painting): ... Paris, maybe a suitable place to get plenty of creative inspiration. I can ask George to call the Ritz Hotel to book our usual suite.
Henry (receiving champagne): I'm not talking about going to Paris, I'm talking about going to other places that are completely unfamiliar.
The screen switches to the audience (color). People watched the film outside the picture attentively. A man is eating popcorn.
Henry (outside the painting): For example, Morocco or Egypt.
Rita (outside the painting): Oh...
The scene cuts back to the black and white film "Purple Rose in Cairo," Henry is still standing by the piano, and Jason is still standing by his side. When Rita outside the painting continued to speak, Henry took a sip of champagne and glanced at Rita outside the painting.
Rita (outside the painting): …oh, sailing on the Nile.
A blonde Rita appeared on the screen, she was wearing a soft and elegant dress. She passed the artistic statue and spiral staircase, and walked to the two men.
Rita (in the painting): It sounds so romantic, (swinging hands, walking a step with an Egyptian angle) I already have a suitable outfit to go to the Sphinx.
When Rita stood by a white couch in the foreground, the audience of the film laughed outside the painting. She gracefully took a cigarette from the cigarette case on the coffee table and turned to Henry and Jason.
Henry (overlaps the audience's laughter, puts champagne on the piano, walks to Rita, Jason follows): Hi, we can leave next week. After spending two weeks there, (gesturing, smoking a cigarette), maybe stay in Casablanca or Tangier for a while, and still be able to come back on time for the premiere of my new play.
Rita (smokers) Oh-oh.
Jason (holding champagne): Go to Cairo, Morocco and Tangier...
The camera cuts to the audience (color), facing Cecilia who looks up at the off-screen film, she is completely attracted.
Jason (outside the painting): ...Go to all the exotic and romantic places in the world for the rich.
When the film outside the painting continued to be screened, the face of Cecilia was painted on to the rest of the audience in the auditorium. A couple attentively watching a movie are smiling. The woman pursed her mouth to express her appreciation when she stared at the action outside the painting. The man stroked her shoulder. At this time came the exotic music of "The Purple Rose of Cairo".
Henry (outside the picture): Hi, there is another room here.
The next picture shows the black and white screen and the audience in the movie theater (in color). The audience looked up at the silver screen with Henry, Jason, and Rita in luxurious clothes: they were inside the pyramid. Henry held a flashlight and held Rita's hand. We saw some Egyptian statues with hieroglyphs on the walls.
Rita (looking at the wall around her): Oh, that's great. Everything is so well preserved.
Jason (looks around): It's cute, but I don't want to suddenly feel a bandaged hand around my throat.
The audience roared with laughter, and the black and white picture switched to another pyramid wall. Tom Baxter, wearing a cork sunhat and khaki clothes, just got out of a narrow doorway between this wall. He was carrying a lantern while Rita was breathing hard outside the painting.
Tom: Hey, over there. Who are you guys?
The camera cuts to Cecilia in the audience. She rounded her eyes while eating popcorn to watch the movements outside the painting.
Henry (outside the picture): Oh, we are here for sightseeing. We thought it was only us here.
Jason (outside the picture): You scared me a lot.
The picture cuts back to "The Purple Rose of Cairo". Black and white video fills the screen.
Tom: Oh, I'm really sorry. (To the three people) My name is Tom Baxter, a prospector and adventurer. I do a little archeology work.
Rita: A prospector in real life.
Tom: I came here to look for the purple rose in Cairo. (Gestures) This is an ancient legend that I've been intoxicated with for many years.
The screen switches to the audience (color), they are looking up at the film outside the picture. A man was smoking while watching. For a while, the smoke covered his face.
Tom (outside the picture): A tyrant pinned a purple rose for his queen; now it is rumored...
The scene cuts back to the black and white film "The Purple Rose of Cairo".
Tom (in the painting, continue): ...purple roses grow all over her tomb.
Rita (Admiration): How romantic.
Tom: What are you doing here?
Henry: Oh, we are going back to New York. (Nodding) This is two weeks for people to relieve fatigue and regain their energy.
Jason (gesturing): I said, we can take him back to New York to meet the countess. She loves everyone who wears a cork sun hat.
Henry: Yes.
The reaction of the outside movie audience was roar of laughter.
Tom: I should say that this idea is attractive.
Henry: Oh, then it's settled. You can explain to us what we have seen in the past two weeks, and we can take you to the nightclub.
Tom (shaking his head): This is so exciting, but...I will come. (Laughs) Why not? I mean, if you don't take a little risk, can it still be life?
The soundtrack of "The Purple Rose of Cairo" sounded with cheerful and melodious music. At this time, the scene cut back to Cecilia, who was sitting in the audience. She was almost mechanically eating popcorn (color). She stared at the screen outside the painting.
Tom (outside the picture): Who knows? A fortune teller's remarks I will be lucky in New York.
The scene changes from Cecilia’s face to a trumpeter blowing a trumpet in the black-and-white film: We are watching a later scene in "The Purple Attack in Cairo". When a large band plays with a trumpeter, the black and white film cuts to the entrance of a restaurant/nightclub. Jason, Rita, Henry, Henry's friend Larry, the countess, and Tom gathered around Arturo, the bearded waiter general. Except for Tom still wearing his cork sunhat, everyone else is wearing evening gowns.
Jason: Please find a table for six, Arturo.
Arturo: Six, sir.
Arturo led the group through the crowded nightclub. An eye-catching group of people sat around the table; a few people danced with the big band playing in the background. People's laughter and laughter can be heard besides the sound of music. Potted palm trees line the wall.
The screen quickly cuts to Cecilia who is watching the film outside the picture. She was chewing popcorn; she was fascinated by the story of the movie.
When Cecilia stared at the screen, the scene cut back to the film still being screened. The group sat at a round table near the fence. After they settled down, they heard vague laughter and talk. The music stopped. These people began to applaud, and the band leader outside the painting began to say introductory words.
Band leader (outside the picture): Now, ladies and gentlemen. The Copacabana Band is honored to introduce to you...
The picture cuts to the full-bodied band leader, standing in front of the band in a white tuxedo.
Band leader (continued): ...Miss Kitty Haynes!
The band leader turned around to face the band and began to conduct the next show. When the attractive black-haired Kitty Haynes stepped onto the stage and stood in front of the band, there was thunderous applause. She stood beside the band leader, looked at the customers outside the picture, and began to sing. She wore elbow-length gloves and a long skirt that was dragged to the ground.
Kitty (singing): "Our romantic affairs may be different/Those nosy people can't help but stare at it,/We still don't care, dear/We accept the challenge, dear."
When Kitty sang, the picture cut to the gang's table. An entertainer walked past the camera, and the fascinated Tom stared at Kitty outside the painting. Henry and Rita talked quietly as they looked at the singer outside the picture.
Rita (appreciation of singing): Uh-uh.
Henry (by her side, when he handed Rita a cigarette): I think our little imaginative archaeologist will have new discoveries.
Rita: Hey, life is rising. (When Henry lights his cigarette and laughs softly, she looks at the end of the table) Hey, opening the champagne bar, I think I should make my stomach comfortable.
When the theater audience laughed, Henry lit Rita's cigarette. The picture cuts to both black and white screens and scenes (in color) where the audience is watching a movie in a cinema. Kitty appeared in black on the stage of black and white films.
Kitty (continue to sing): "Let us believe that one day/whatever he will become".
[Switch]
Interior view, small restaurant, daytime
Cecilia looked at the space outside the painting from inside the counter. She absently dried a dish. You can see part of her boss working on the grill. You can hear the conversation of customers and the clinking of dishes.
Man (outside the painting, through the faint noise in the restaurant): Ah, please check out... Ah, ma'am, will you bill me?
Restaurateur (walks towards Cecilia in anger, even with gestures): Hurry up, that gentleman wants the bill.
Cecilia (after a while): Oh, I'm sorry. (Pulls out the bill in his pocket and hands it to the customer outside the picture) I'm sorry.
Cecilia passed by another customer who was drinking coffee and walked to the counter. She stood beside Jane, still wiping her plate, still unsuccessful.
Jane (busy to clean the counter): So, what were you thinking about just now?
Cecilia: Ah, a sloping house, desert...
Jane (shakes his head): Oh, God.
Cecilia (put the plate on the shelf at the top of the stove, continue): ...Kissing on the dancing pool.
Jane (grabbing a plate, smiling): So, you really went to the movies last night.
Cecilia (wraps the towel in his hand with his fingers): Those people are so beautiful. (Shaking his head) They, their conversation is so witty and clever, they do such romantic things.
Jane (almost at the same time): Really.
Cecilia (towards Jane, gesturing): Listening to me, I feel to my heart that the actor playing Tom Baxter is so handsome.
Jane (a customer said partially overlapping as he walked past the camera): Ah, what a pity, I missed it.
Cecilia (quickly scans around, supports Jane, and touches her arm): Hi, do you want to watch that movie after get off work?
Jane (partially overlapping): Yes, I am happy to go.
Cecilia (nodding): I want to watch it again. Well, let's go.
Restaurant owner (outside the picture, almost at the same time): Come on, what is this place, social club? (Walking to Jane and Cecilia in the painting, the latter puts a towel around his neck and leaps to let him walk by) There is enough dirty plate on my side. Hurry, girls, (walking out of the picture from them, impatiently) Hurry.
Jane and Cecilia hurriedly lowered their heads to work, cleaning up the dirty dishes on the counter. The screen switches to the outside of Jewel Cinema. Jane and Cecilia buy tickets at the ticket counter.
Cecilia (to the clerk at the ticket counter, vaguely): Thank you very much.
They walked into the cinema. It was still dark, and there were a few cars parked on the side of the road, as well as passing vehicles and pedestrians. There is light music in the background.
The picture cuts into the cinema. Cecilia and Jane are already sitting in their seats, watching and eating popcorn. "The Purple Rose of Cairo" is being screened.
Tom (outside the picture): Oh, it took me down.
The picture cuts to a black and white screen. Tom wears a cork sunhat, khaki clothes, hands on hips, and looks around the living room of the sloping house, very excited.
Tom (outside the picture): It really suffocated me. You have arranged a pretty good place for yourself here. (Walking into the room, you can see part of the colorful scenery behind him) You know, I haven't slowed down this strength. I was in a tomb in Egypt twenty-four hours ago. I still don't know you interesting people. , And now I am here. (Shakes head in confusion) I'm close to the fringe of Manhattan's crazy weekend.
The screen switches to Jason, who is drinking a bottle of martini at the bar.
Jason (to Tom outside the picture): I hope you enjoy drinking very light martinis.
The picture cuts back to Tom.
Tom (to Jason outside the painting): Oh, no, no, no, thank you. Uh...I think I'm willing to wait for the glass of champagne in the Copacabana nightclub. (Nods categorically)
[Switch]
Interior view, Cecilia's apartment, night
A door with a curtain occupies the screen, and Cecilia's silhouette can be seen, she is unlocking the lock with a key, and then walks in. There is a wall lamp in the aisle above the door. The den itself is dark and there is no music.
Cecilia (closes the door easily): I'm back, Munch.
Cecilia passed a wall shelf with knick-knacks and walked through the dark living room. The camera moves to Munch, half of his body behind the door, speaking to his wife outside the painting.
Munch (with shirt buttoned): Why are you coming home so early? I think I told you that you can go to the movies.
The camera moved back to Cecilia, who was standing in the dark room.
Cecilia (nodding): Yes, I have been.
The camera moved back to Munch in the bedroom, and heard a loud laughter—it quickly figured out its source: a fat and vulgar woman named Olga. She smiled and walked behind Munch, grabbing his arms. She is holding a glass of whiskey. Munch turned and leaned back against the door. They stacked on top of each other and laughed.
Olga (laughs): I'd better go.
Olga smiled and drank, and hobbled into the living room facing Cecilia.
Munch (laughs): No, don't go, just stay. (The camera follows Olga, frames him) This is Cecilia.
Immediately afterwards, Munch walked to Olga and Cecilia. Cecilia walked from Munch and Olga to the bedroom outside the painting without saying a word. Munch is holding a stack of cards.
Munch (Cecilia turns around and continues): Ah, this is, uh, my friend, Olga Olga is an acrobat. (Laughs nervously)
Olga (laughing, drinking and gestures, almost talking to Munch at the same time): I am not. (Pulling up his coat from the sofa mutteringly) I have to go home.
Munch (Shanhu's stack of cards): Oh, no, come on. Come on, I am here to predict the future for you.
Olga (to the door): No...you are drunk.
Munch (following Olga who has already painted): Ah, what do you mean by being drunk? I am not drunk.
Olga (beyond the painting, begins to close the door behind her casually): Drunk, drunk.
Munch (pointing to the bedroom): Come on, don't shy away from her. (Gesturing) She is my wife, or she wants to be my wife. (Standing at the door, when he yelled Olga down the stairs, he opened the door a bit wider) Hi, Olga, come on, I will use cards to make a trick for you.
When Munch was chasing her on the stairs outside the painting, Olga's weird laughter could be heard.
Munch (outside the painting): Olga!
From below there was the echo of their laughter, and the sound of their footsteps on the stairs could be heard. The front door opened, and we saw Cecilia slowly walking towards the door. She closed the door, and froze for a moment with her back to the camera. Light music "Tommy Dorsey" sounded, and the screen turned to an open suitcase on the bed. We saw Cecilia's hands angrily packing boxes. She pressed her clothes hard against the bottom of the box. When the camera cuts to the front door of the living room, the music continues. Munch walked into the room and closed the door. He took off his coat and looked in the direction of the bedroom. He was wearing a cap and his face was not accurate.
Munch (toss off his coat and walks to the kitchen): Are there any meat rolls left? (Bending over to look at the refrigerator) Uh, what you made yesterday was delicious.
The screen cut back to Cecilia, where Munch was looking through the door. She was still packing up the suitcase on the bed in a huff.
Munch (outside the painting): What are you doing?
Cecilia (panting): I want to move out.
Cecilia strode into the living room through the doorway, and painted after the kitchen passed by Munch. When he spoke to her outside the painting, she strode back from Munch. He was framed in the door frame and wall lamp. Hear the sound of pulling another drawer open.
Munch (gesturing and rubbing the J hat in his hand): What are you talking about? What's wrong? ……what? Because of the past? (Going towards Cecijua outside the painting, making gestures) For Olga, is that what happened? It's ridiculous for this. That's weird. (Laughs) I mean, if this is for Olga, you will make yourself a bigger fool than ever.
Cecilia (wrapped Munch with his hands full of things, squeezes Munch away): I'm sorry.
Cecilia walked back to the bedroom, turned her back to Munch and continued to pack her things. The bedroom was bright, in contrast to the dark living room where Munch was.
Munch (turning around and gesturing to Cecilia through the doorway, only seeing him in part): She is Joe Caruso's sister, I just changed a card trick to show her.
Cecilia (goes back to the living room and glances at Munch): Your underwear is behind.
Cecilia strode into the bathroom. The camera followed until she disappeared in the bright house. Munch walked into the painting while continuing to explain his situation, and he stood in the dark near the bathroom doorway.
Munch (outside the painting): I put it there this morning (inside the painting). Now listen, Cecilia, you made a mistake. (Gesturing, still holding his hat) Well, I apologize, I am drinking. You know what virtue I will become when I drink. Darling, do you think that means I don't love you?
Cecilia (strides out of the bathroom, pushes Munch away again, and walks over with my arms full of toiletries): I move away.
Munch (following Cecilia): You can't go, I need you. (When Cecilia wears a hat in front of the mirror with her back to him, he stands at the door of the bedroom) And, and you know that I love you. You see, I made a mistake.
Cecilia (turning from the mirror, looking at Munch and shouting): You don't love me!
Munch: Well, baby, forget it.
Cecilia (expresses suspicion, raises her voice): You don't love it. You treat me badly, you hit me. (Go out of the room from Munch again)
Munch (strikes to Cecilia outside the painting): Look, I beat you because you are out of control. I never say beat and beat, I always warn you first, (pointing to her) If you are unruly, I will beat you up.
The camera moved to the front door, and Cecilia was struggling to put on her coat in tears.
Cecilia: I'm leaving now.
Munch (outside the painting): Now listen, Cecilia, I don’t know who it is (walking towards Cecilia in the painting) and stuffing your head with unrealistic crazy thoughts, but I have had enough NS.
Munch strode back to the kitchen, his pleading tune suddenly turned into anger. He sat at the dining table and kept yelling at Cecilia outside the painting.
Munch (struggling to pick his hat over the table, continue): I want to eat dinner. (Smoothing hair) Bring me the meat rolls!
Cecilia (outside the painting): Uh, haha. (Running past him again)
Munch (stands up from the table and returns to the comforting tone): Forget it, Cecilia, you know I can't live without you. (Entering the bedroom, Cecilia is closing her suitcase, gesturing) I walk towards you like a child.
Cecilia (turning to look at Munch angrily): This can't be done.
Cecilia went straight to the closet in the bedroom, turned around and tied her suitcase tightly. When he continued to plead with her, she turned her back to him and ignored him.
Munch (gesturing violently): Look, I'm sorry, I mean I'm really sorry. Didn't I apologize? I drink, I do stupid things. It's not me, it's whiskey.
Cecilia (grabbing her suitcase, pushing Munch open at the door, crying): I'm leaving, Munch, I'm leaving.
Munch (turns to Cecilia, who is now painted): Ah, Jesus Christ, I can't reason with you. (Gesturing) Okay, let's go. Let me see how far you can go. Let's go, let's go, you didn't make it last time. Go and see what the real world outside looks like. (He froze when the door closed) Let's go, you will be back. (Going to the front door) You are just bluffing. You are just pretending. (Opens the door and yells down the stairs) You will be back!
There was the sound of closing the apartment door downstairs. Munch ignored it.
Munch: Maybe a week, maybe an hour, but you will be back.
Munch slammed the front door shut. The picture cuts to——
Exterior, street, night
The picture is a panoramic view of an uninhabited, black hole main street. A lone car leaned on the side of the road; street lights lined up beside the empty sidewalk. As Cecilia was walking in the street, she saw her suitcase gleaming. When the camera switched to the same lonely Cecilia, a lively jazz sounded. She gripped the collar of her coat tightly. The evening breeze was blowing in her hair, and she stopped suddenly and looked straight ahead.
The screen switched to Jewel Cinema from her point of view. It is also so lonely and cold as this street, the light on the door cover is off, and the bold words of the wonderful show, "Purple Rose in Cairo" can be seen. After a while, the camera moved back to Cecilia, the evening breeze still blowing her hair. She started pacing again, she lowered her head, perplexed.
The picture turns into a neon light in the window: Tafern. The jazz music is mixed with the laughter and singing of this prosperous bar. When the camera moves back to the desolate street, customers in the bar can be vaguely seen through the blinds. Cecilia walked slowly on the sidewalk, still carrying her suitcase, and at the same time grabbing her coat. You can see part of the walking prostitute Emma, her face occupies the left side of the picture. Cecilia was in the dark shadow behind her.
Emma (looking at the bar window outside the picture): Oh, my goodness, look at these guys. (Turns to her companion) Come on, baby, let's make some money.
The two women walked into the bar outside the painting from the camera. Cecilia stood behind them, grabbing her suitcase and big collar. She didn't move. After a while, the sound of jazz awakened, and Cecilia slowly turned around and stepped on the way she had come. Her walking figure faded out in the darkness. [Switch]
Interior view, Cecilia's apartment, night
When Cecilia unlocked the door, her silhouette could be seen from the front door with the curtain. She lifted the suitcase and entered the black hole apartment. Hear the sound of jazz. She closed the door. He walked heavily into the living room. The loud snoring sound replaced the weakened music. Cecilia stood in the middle of the room with a suitcase in her hand. [Switch]
Interior view, small restaurant, daytime
The image of a beautiful woman sitting at a small table fills the frame. She is wearing a coat and a hat. I heard the clinking of dishes and customers in the background.
Women: I ordered bacon and tomatoes, (frowning) you gave me ham and dry cheese.
The camera shook to Cecilia, who stood at the small table with her back to the camera. There was a man sitting on the opposite table. A fedora hat hung on the coat hook nearby.
Cecilia (takes the plate): I will take it away, madam.
Cecilia hurriedly left the table, almost bumping into Jane in the passage. The small restaurant was full of people.
Jane (holding a towel in her hand, gestures excitedly): Cecilia, I want you to meet someone.
Cecilia (almost simultaneously): Who?
Jane (gesturing): Hey, remember that I told you that I should pay attention to the right people?
Cecilia (defyingly): Oh, forget it.
Jane (pushing Cecilia to a table): Come on, as long as you don't have prejudices.
Cecilia (sighs): Hey.
Jane (to a single man sitting at the table with his back to the camera): This is my sister Cecilia, (to Cecilia) This is...
The camera quickly pans to the man sitting at the table. We looked behind the two women and saw his beaming round face fill the picture.
Jane (outside the picture): ... Mr. Teddy Ashcroft.
Cecilia (She has her back to the camera, nodding): How are you?
Teddy (smiling): Nice to meet you.
The picture cuts to the point where Jane and Cecilia look down at Teddy who is now outside the painting.
Jane (pokes Cecilia's arms with a smiley face): Teddy is an exterminator.
Teddy (smiling, the camera returns to his face): Yes. At Merson Pest Control Company. My specialty is mice and silverfish.
Cecilia (she looked very uncomfortable when the camera returned to the two women, but nodded her head as best as she could): Nice to meet you.
Teddy (outside the picture): Good meeting, happy meeting.
Male customer first (yelling outside the picture): Waitress, please, my hamburger!
Cecilia (turning around, partially overlapping): Coming.
Male customer B (outside the picture): Can you bill me?
Cecilia (turns to the source of the sound): Coming soon. (She dropped a plate, and the sound of ping-pong shocked her) Oh...oh...
Restaurant owner (outside the picture): Just do it.
The picture cuts to the restaurant owner, who looks very stern. He is standing in front of the grill.
Restaurant owner (to Cecilia outside the picture): That's it, Cecilia. you are fired. roll!
Cecilia was stunned. She and Jane stood in front of the Venetian blinds in the restaurant and looked at the boss outside the painting.
Cecilia (pleading): But I will pay for it. I will be more careful.
Restaurant owner (outside the picture): Go out. (In the painting, did not leave his grill) Go, take off the apron, and go home. you are fired!
Jane (the camera cuts back to her and Cecilia, who are looking at the boss outside the picture): If she leaves, I will also go.
Restaurant owner (camera facing his squeezed face): It's right for me.
The camera quickly pans back to Jane and Cecilia.
Cecilia (shaking her head, looking at Jane): She didn't mean that. You, you have children. (To the boss outside the picture) No. She didn't mean that.
Restaurant owner (he didn't leave the grill when the camera panned back to him): Then tell her not to be nosy. you are fired.
The screen returned to Cecilia, who looked strangely tranced, walking on the sidewalk near the Jewel Cinema. She folded her arms across her chest. She walked past the door cover and started to cry. The noise of passing vehicles and pedestrians can be heard in the background. A street performer played the accordion feebly. She stopped suddenly and framed the door cover she had just walked through. Its bold text reads: "The Purple Rose of Cairo is being shown."
[Switch]
Interior, cinema, daytime
Several spectators were sitting in the dark movie theater. Over their heads and backs, we can see the black and white screens. "The Purple Rose of Cairo" is being screened. Before Rita, Henry, Jason, and Tom (worn in his soft sunhat) enter the screen, there is a brief empty shot of the foyer of a sloping house, and only a pile of suitcases are seen. Henry and Rita continued to walk into the living room outside the painting, and Jiali put down his luggage; Tom stood near the hall and looked around. Hear the brisk soundtrack of the film.
Henry (outside the picture): Ah. Back from Egypt (in the painting, towards the living room). From Bedouin to Broadway.
Jason (put down his suitcase): Despite this, I am not a religious person. I swear here that I will never fly across the Atlantic when the temperature is unstable, and I will never see other camels again. . (Goes to the bar and covers his stomach) Who wants a drink? (Clap your hands expectantly)
The picture cuts to a row of seats in the cinema (color). Cecilia walked into the picture and sat on her seat, the makeup on her eyes smudged from crying. She is holding a box of popcorn. She wiped her eyes with a tissue, changed her nose, and looked at the screen.
Rita (outside the picture): Oh, I can’t wait to change this outfit and go to the nightclub to play.
Henry (outside the picture): So, children, let's not waste time. Copacabana’s after show will begin in ten minutes, and we are going to meet the countess and Larry Wilder.
The scene cuts back to the scene of watching the black and white film over the back of the audience in the cinema. Tom dressed in expedition attire is looking around. We have seen this scene before.
Tom (hands on hips, looking around the slope-top house): Oh, it took me down. It really suffocated me. You have arranged a pretty good place for yourself here. (Go down a few steps to the living room. Behind him is the view of Manhattan.) You know, I haven't slowed down this energy. I was in a tomb in Egypt twenty-four hours ago, and I still don’t know you. Interesting character, and now I am here. ——I'm close to the fringe of Manhattan's crazy weekend.
Jason (with a bottle of martini in front of the bar, as before): I hope you like a very light martini.
The scene cuts back to Cecilia, who is watching the off-picture film, and she is still crying in whispers.
Tom (outside the painting): Oh, no, no, no, thank you. Uh...I think I'm willing to wait for the glass of champagne in the Copacabana nightclub.
The picture changed from Cecilia's tear-stained face to black and white film. The film has begun to show another scene. The opening captions we have seen fill up the screen. The background music is an exotic theme song. At the beginning is a large business card, written in handwriting "Purple Roses of Cairo". Take this card away with one hand, revealing the second handwritten business card with the lead star, Robert Tallmedic/Anna Ray Byrne/Todd Morgan. The business card is turned into the scene of watching the black and white screen over the back of the audience (in color) in the cinema. Delilah, a tall black maid in uniform, was patting a few pillows in the bedroom of the sloped house. Exotic music stops.
Delilah (looking at Rita outside the picture): Miss Rita, are you on your mind? (Slap a pillow loose and put it back on the bed) Because after you come back from the pyramid, it will be different from before.
Pulled behind the camera, framed into the weary Rita leaning on the couch. She turned her back to Delilah and was putting on her nail polish.
Rita: No, it's really fine. I'll be alright.
The camera zooms closer to "Purple Rose in Cairo" and we only see the black and white screen. The bedroom can now be clearly seen, with the satin-stitched headboard and double bed, exquisite lamps and coffee table, as well as frilly curtains and cut flowers.
Delilah (stretching the bedspread): I don't expect this to have anything to do with the explorer Tom Backs.
Rita (vaguely while painting her nails): Yo, why are you talking about this?
Delilah (gesturing): He speaks in a very romantic tone.
Rita (puts the nail polish brush into the bottle, smiles sweetly): Yeah... (dry nails in the air, blow) Hurry up, Delilah, let me put the bath water.
Delilah (goes to the bed, facing Rita's back on the couch): Yes, ma'am. Do you want big foam or "Ace" brand milk?
The bedroom scene turns into another paragraph of the subtitles. This time is part of the name of the film crew of "Purple Rose of Cairo" in small handwritten fonts. When the exotic music sounded, the other hand took the business card away, revealing another handwritten business card: Diagonal person: Raoul Hirsch.
The picture cuts to Cecilia sitting in the audience (color). The film refreshed her heart, and she stopped crying. Relaxed music began.
Rita (outside the picture): Oh...
The scene changes from Cecilia's face to the black and white film screen seen from the back and head (color) of the audience. Rita is in the painting, wrapped in fur around her neck and wearing travel clothes. She is standing in the living room of the sloping house, behind which is the colorful view of Manhattan. We have heard this scene before, but we haven't seen the picture. This group has just returned from Egypt.
Rita (in the painting, continue): ...I can't wait to change this outfit and go to the nightclub to play.
Next, I saw Henry on the black and white picture. He stood at the other end of the living room, lighting a cigarette with a lighter on the table.
Henry (put the lighter back on the table): So, children, let's not waste time. Copacabana’s after show will begin in ten minutes, and we are going to meet the countess and Larry Wilder.
The movie switches to the hall. Tom is wearing that cork sunhat and khaki clothes, standing and looking around the sloped house, with his hands on his hips-we have seen this scene twice.
Tom (looks around): Oh, squeeze me. It really suffocated me. You have arranged a pretty good place for yourself here. (Go down a few steps to the living room. Behind him is the view of Manhattan.) You know, I haven't slowed down this strength. I was in a tomb in Egypt twenty-four hours ago. I still don't know you. Interesting characters... (Pause for a moment, looking at the audience outside the painting)
The camera cuts to the colorful audience, facing Cecilia sitting in her seat. She was watching the movie, her cheek resting in one hand. When Tom stopped slightly, she straightened up, startled. The rest of the audience was scattered in their seats to watch the film. The lively music continues.
Tom (outside the picture): ...and now I'm here-I'm close to the edge of the Manhattan Crazy Weekend...
When Tom's voice-over was over, Cecilia reacted. She glanced at the audience around her, moved her body in her seat, and cut the screen to Tom who was watching the black and white film from the back and head of the audience in the theater.
Tom (shakes his head and looks out at Cecilia outside the painting): My God, you must really like this film.
The picture cuts back to the audience, facing Cecilia who is caught in the scattered audience.
Cecilia (pointing to herself, looking at Tom outside the picture): Me?
A woman in the front row of Cecilia looked back at her.
Tom (outside the picture): You have stayed here...
The current picture is of Tom who is much bigger than the real person on the black and white screen seen from the audience (color).
Tom: ...a whole day, I have seen you here twice before.
The camera moved back to Cecilia's closer shot, where she sat, unable to believe what had happened.
Cecilia (pointing to herself, looking up at the screen): Are you talking about me?
The camera moved back to Tom's closer shot on the black and white screen.
Tom (Looking down at Cecilia outside the painting): Yes, you-you-you-this is the fifth time you have watched this film.
The camera quickly pans towards Rita (close-up) in the black and white scene.
Rita (whispering reminder): Henry, come here...hurry up!
The picture cuts back to Tom who is older than the real person (close-up).
Tom: I have to talk to you.
He started to leave the black and white screen. The audience was surprised and began to hold their breath. The picture cuts to the shocked Cecilia, who is unable to move in her seat. When the rest of the audience shouted in the background, the scene quickly cut back to Tom. He really walked out of the black and white screen, walked into the cinema, and returned to the colors of life.
The camera cuts to a woman wearing a hat, she is in the last row of the movie theater. She fainted with a yell, and the camera quickly panned back to the screen (shot from the back and head of the audience). The colorful Tom jumped off the stage and began to board the middle aisle. The spot where Tom stood just now in the black and white film is empty. Henry on the black and white screen walked to the side and reached where Tom had stood. He looked out at the audience. Rita followed him closely. The audience (color) sentimental commotion.
Henry: Listen, likable guy, your position is wrong.
Rita: Tom, come back here, our story is only halfway through.
Tom (partially overlapped with Rita's words, looking back while walking, still gesturing): Leave me alone. I want to look around here. You play yours.
Tom wore a cork sunhat and walked to the row where Cecilia was sitting. He bent over to speak to her. His face fills the frame. The audience kept screaming. The film actors outside the painting continued to plead with him. The relaxing music continued to reverberate, and Tom ignored it all.
Jason (outside the picture): Our story can't continue!
Tom (to Cecilia outside the painting): Who are you?
The camera cuts to Cecilia's hesitant face, and she looks up at Tom outside the picture.
Cecilia: My name is Cecilia.
The camera cuts to a panicked female leader in uniform. She stood on the passage and shook the flashlight. The audience continued to react in various ways.
Female leader: I'll call the manager!
When the camera moved back to Tom, she turned and ran back to the doorway of the side porch. Like the foreground, he leaned on a few empty seats and talked to Cecilia.
Tom (holding Cecilia's hand and pulling her out of the seat): Let's go outside and find a place to talk.
Cecilia (let him pull it up), but...you are in the movie!
Tom (run into the aisle with Cecilia, bypassing the first row, you can see a corner of the black and white screen showing the legs of his film colleagues): No, Cecilia, I am free! Having performed the same monotonous regular performance two thousand times, I am free!
They walked arm in arm through an exit with a curtain on the side. The picture cuts back to the black and white film screen. Anxious Henry was yelling, Rita stood on the edge of the black and white screen, looking down at Tom who was running away from the painting.
Henkan (towards Jason standing in front of the scenery window in the background): It is called Father Donnelly.
Rita: Tom! (She puts her hands and face on the invisible black and white screen, as if sticking to the glass. She can't get out) [Switch]
Interior view, behind the cinema, daytime
Cecilia and Tom entered the bright sunshine through the back door of the cinema. We saw them in the back view, at the end of a short alley. The foreground is the other end of the alley, a corner of the grocery store. Several people walked past the grocery store on the sidewalk in front of the camera, temporarily blocking the men and women. The window of the grocery store reflects the traffic on the road. The man and woman talked and walked towards the side of the alley, getting closer and closer to the camera. The fast-paced jazz sounded.
Cecilia (panting, holding her hat with one hand): I don't understand. What's the matter? who are you?
Tom (voices very excited, pushing Cecilia forward): Who am I? You have watched this film five times. I am Tom Baxter, poet, explorer, and adventurer, and I belong to the Baxter family in Chicago.
They stopped at the entrance of the alley, and Tom held on to the side wall of the grocery store and looked at both sides enthusiastically. There were also a few unconcerned pedestrians passing by.
Cecilia (breathlessly): Ah, yes. I know that you are Tom Baxter, and you are entangled with the nightclub singer Kitty Haynes, but I still don’t—
Tom (looking at Cecilia, interrupting her when she let go of her hand, and putting her hand in his pocket at the same time): There is no need to do this again.
Cecilia (buttons on her coat, looking at Tom puzzled): What do you mean?
Tom (gesturing): Here, I came out before the wedding. I am free.
Cecilia: Do you have to marry her?
Tom (referring to the side wall of the movie theater): I don't have to marry when she is there.
Cecilia (fingers around the strap on her purse): You don't want to marry her? She is so beautiful.
Tom (nodding): She is not suitable for me. She is too thin.
Tom grabbed Cecilia's hand again and started running back into the alley.
Cecilia (she held on to her hat when Tom pushed her): Kitty Hayes, is that nightclub singer skinny?
Tom (stopping at the end of the alley in the background): I need a hiding place. (Looking at Cecilia, then let go of her hand) Look, I will never go back, because I met you.
Cecilia (looking around): A hiding place? A hiding place?
Cecilia walked in front, Tom followed closely, and they walked out of the picture. The camera cuts to the inside of the movie theater. The manager and the hostess enter the picture from the back of the movie theater. Behind them is the door.
Cinema manager (looking at the movie screen outside the picture): What happened? what happened?
The camera cuts to the black and white screen (looking from the back and head of the audience). Rita, Jason, and Henry stood in the living room of the sloping house, near the front of the screen, looking out at the manager outside the picture.
Jason (gesturing): Tom is gone. He just walked out like that.
The camera is close to actors in black and white films. There are only black and white films on the screen.
Henry (looking at the manager outside the picture and making gestures): I don't know how he did it. I can't go out.
Jason: This is purely... (The following words are unintelligible, I saw him turn his back and put his hands in his pockets)
Rita (pointing to the manager outside the picture, yelling): This is simply disgusting. I am the heroine and should not suffer this crime.
When Henry and Jason murmured at each other, the camera turned back to the cinema manager (color), who was standing next to the panicked female lead.
Cinema manager (looking at the actors in the black and white film outside the painting): He left the film? Oh my goodness, okay, don't panic. (Touching his mouth) Just stay there and keep calm. (Starting to run up the aisle, the female leader follows)
The screen cuts to black and white action scenes.
Henry (looks at the manager outside the picture, puts his arms folded): Keep calm? Are you crazy? (Continuously muttering something anxiously)
Jason (muttering, overlapping with Henry's words, not very clear at the beginning): What do you mean, "keep calm"?
Father Donnelly (to Rita, Henry and Jason through the murmur of the crowd): Did someone call the priest?
Henry (looking at the priest, Jason was also looking at the priest at the same time, still talking endlessly): Thank God, you are here.
Father Donnelly (turns his face to the camera): Wait, this is the second book.
Jason (gesturing): That's the problem.
Father Donnelly (shakes his head, puzzled): I should come later.
Father Don
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