Original subtitles

- Subtitles - Luís Filipe Bernardes

Ladies and gentlemen.

Oh.

That's better.

Although I could not let the curtain ring down tonight...

without expressing in some way my appreciation...

...for your whole-hearted support these many months,

I must confess that I am looking forward to my vacation.

For almost a year now,

every night at a quarter to eleven,

I have died here on this stage.

Died nobly,

died heroically,

died beautifully.

Now, that may be art, ladies and gentlemen, but it gets monotonous!

Tonight, this nose,

this thing of beauty, has come off for the last time,

never to be resumed.

You will believe me when I tell you...

...that your generous applause,

intended I am sure as much for all the members of my company as for myself,

has made this last night of Cyrano de Bergerac...

one that I...

...shall never forget.

Whew!

Happy engagement, John, thanks to you.

Closing is such sweet sorrow that I could say good night...

- Your cape, sir! - My cape.

- My darling. - Darling, you were divine tonight!

You were divine too.

- And your nose, John. - My nose, yes.

- Happy fishing, John. - My blessing on...

- Have a glass of champagne, John. - Champagne, old boy, never touch it.

- Good luck, everybody! - Good luck, John!

Oh, the next is a new play. Modern.

Paul Taylor's writing it.

I don't know, it hasn't been settled yet. Probably Marcia Vale.

And, um...Walter,

I'm lending John my place in the Adirondacks,

you might mention that in your column.

Okay, all right, goodbye.

Oh, um...

- Martin. - Yes, sir?

For me?

For you, Martin.

And Martin, if you get a chance, you, um...

You might put in a good word for Marcia Vale.

- I don't like Marcia Vale. - You...

- We've got to hurry, Martin. - Yes, sir.

Well, good fishing, John.

So long, Charlie.

Oh John, uh...

- About Marcia Vale, is it alright if I... - So long, Charlie.

So long.

Say, Paul.

Say, Paul, you want Marcia Vale for your play, don't you?

Of course. She's the only young actress in town with any talent.

Well, I can't get anywhere. You try him.

I'll see you in your office in the morning.

Okay.

John, you were divine tonight.

I'm always divine.

Well, that takes care of that.

Look, John, before you go. About the girl in Strange Laughter.

Oh, yes, yes. Did Hapgood call?

Yes, sir, we're to pick him up on the way to the station.

Oh, good, good, good.

It, um... looks like Marcia Vale, doesn't it?

Yes, fine, fine... Would you burn that, please?

- What looks like Marcia Vale? - The girl in Strange Laughter.

- Marcia Vale? - Yeah.

- Oh, no. Where's my fishing tackle? - Right here, sir.

I want to see if you packed the right flies.

John, I'm the author, I'm working on the last act.

I've got to know who I'm writing for.

- Scarlet Ivers. - Who?

Trouts will not take Scarlet Ivers at this time of the year.

- I told you to bring my brown hackles. - Yes, sir.

- John, listen... - Where are they?

Right there, sir, in that box. You brought them yourself.

Be practical. We go into rehearsal the 10th.

And who do you want for your leading lady?

You don't know.

Oh yes, I do.

I want somebody with, uh... the spirit of freshness,

with the dauntless fire of youth,

with the, um... radiant, glistening eloquence of true genius.

In other words, I want a promising young actress.

But who? Who have you got in mind?

Brown hackles. These'll get them.

Can't catch fish without flies, eh, Paul?

I hate fish.

I'll have Charlie call you at the lodge in the morning.

Yes, do that, will you?

There he is now!

Got any souvenirs, Mr. Sheridan?

Hello, John, hello!

Your autograph, Mr. Sheridan!

- Does the powder paint hurt your face? - No, no, no.

Thank you, sir!

I've got a train to catch.

Look, lady, a genuine John Sheridan!

Just for a quarter.

- No, thanks. - I'm a sucker for selling.

If you hang on to it, it'll go for a buck.

No, thanks.

Oh, here for nothing. I got two of them.

Thanks just the same.

Good heavens!

A quarter after twelve!

- Where is she? - Who?

- Miss Walker! - Oh, yes, Miss Walker.

Miss, I've gotta catch a train.

Catch it.

- I ordered two stews! - That's alright, this isn't my table.

- Well, where is she? - Who?

Miss Walker, of course!

She's supposed to be here at 6 o'clock.

That's when she's supposed to be here.

And here it's... it's past midnight, see?

- Hm, pretty, a present? - No, I bought it myself.

- Did you get it? - Uh-uh.

What happened? Didn't he come out?

- What was the matter? - Is Mr. Dunlap angry?

- Furious. - I'll change.

You better hurry up.

Who were you talking to?

- Uh, when? - Just now!

- Um, Miss Walker. - Where is she?

Who?

Miss Walker, of course!

Not a trout, sir.

You show me a trout that will take a Scarlet Ivers...

...and I'll show you a trout with a fool for a mother.

Oh, I don't know. We had pretty good luck with them last year up in Nova Scotia.

- With Scarlet Ivers? - With Scarlet Ivers.

For beginners, and women's hats, old boy.

I'm sorry, gentlemen, but this table's reserved.

- For whom? - Oh, they never tell us.

- Won't you come this way, please? - This place is always crowded.

Sam, your Nova Scotia trouts will stab at anything.

I'm talking about a decent, law-abiding fish.

I want two oyster stews. And I'm in a hurry.

Yes, sir.

- Two stews in a hurry. - Two stews.

Quick!

John Sheridan is at one of your tables.

Get it this time.

I'll get it.

Wait a minute. Here. Give them these.

You take mine, honey.

Good evening, Mr. Dunlap.

For salmon, yes, for bass, yes, even for walleyed pike.

Not... Ah! The stew.

- Good evening, Mr. Hapgood. - Good evening, Martin.

- Mr. Sheridan, would you please... - Ketchup.

Your ticket, sir. Your train leaves in five minutes.

We have ten, haven't we?

The Adirondacks Limited leaves at 12:30.

We are going to Maine, Sam.

- Maine? - Caribou Lake, Maine.

Where the stillness of the waters...

...is broken only by the splashing of speckled trout, hm?

- Mr. Sheridan, would you please... - Hot sauce.

But John, Charlie Gilbert thinks we're going to the Adirondacks.

- He'll be disappointed. - We'll be happy.

Away from the darn telephone, away from Charlie Gilbert.

Sam, this is a fishing trip, and by all that is holy....

- Mr. Sheridan, would you mind? - Hm?

- Your autograph. - Oh, yes.

We are going... fishing.

Martin, I swear you to eternal secrecy.

- Did you get it? - I got it.

Miss Walker!

Hello, Mr. Dunlap.

Miss Walker, I'd like to talk to you.

Yes, Mr. Dunlap.

On second thought, I wouldn't like to talk to you.

- Yes, Mr. Dunlap. - I'd like you to go away!

Yes, Mr. Dunlap.

Far away!

Goodbye, Mr. Dunlap.

Here it is, the magic key.

John Sheridan's letter to Mr. Gilbert.

- Keep your fingers crossed. - Oh, don't forget your record.

I don't want it. All I need is that letter.

Listen, we spent two bucks on this record.

You certainly ought to show Mr. Gilbert you can sing.

I'm going to show him I can act.

Okay, suit yourself. Be sure and call me with the good news.

I will.

♫ Lover, when I'm near you ♫

♫ And I hear you speak my name ♫

♫ Softly in me ear ♫ ♫ You breathe a flame ♫

♫ Lover, when we're dancing ♫

♫ Keep on glancing in my eyes ♫

♫ Till love's own entrancing music dies ♫

♫ All of my future is in you ♫

♫ Your every plan I design ♫

♫ Promise you'll always continue ♫ ♫ To be mine ♫

♫ Lover, please be tender ♫

♫ When you're tender, fears depart ♫

♫ Lover, I surrender to my heart ♫

♫ All of my future is in you ♫

♫ You're every plan I design ♫

♫ Promise you'll always continue ♫

♫ To be mine ♫

♫ Lover, please be tender ♫

♫ When you're tender, fears depart ♫

♫ Lover, I surrender to my heart ♫

Well, don't send them right away. She never gets up till noon.

Yes, Mr. Taylor.

My, what a beautiful day!

A beautiful day.

Hold it!

I beg your pardon, but you're very lucky I happened along.

- I don't understand. - That car!

- Swoosh, it nearly clipped you. - I didn't see any car.

I know you didn't. You'd have walked right into it.

- But... - I don't like to be rude,

but that's what red lights are for, you know.

To keep automobiles and people from bumping into each other.

- I'm sorry, I just didn't think... - You just didn't think.

Now, there in a nutshell, you have the problem of the whole human race.

People just don't think.

For instance, suppose you had been hit.

Do you carry any means of identification?

A bankbook, a passport, a little card with a telephone number on it?

- Well, really, I never... - I suppose not.

Well, suppose you give me your telephone number.

Suppose I do.

Well, I'd call you.

- Line's busy. - I'll try again.

Sorry, line's out of order.

I'll call the operator and complain.

- The operator won't believe you. - She won't?

You see, you've been complaining too many times lately, about too many girls.

You've been crying... What's the expression, crying, um...

- Wolf? - That's what I mean.

Goodbye.

Red light, partner.

But Martin!

Look, Martin, this is good old Charlie. Surely you can tell me where John is.

I'm sure you can call the lodge, Mr. Gilbert.

You did?

He isn't?

Well, my, my! Now, I wonder where he can be.

But we're pals, Martin.

Remember the lovely wristwatch I gave you for Christmas?

Alright, pipe cleaners.

What's the difference?

Now listen, Martin.

I don't want to get tough about this, but if you don't...

Hello! Hello!

Try the lodge again, Mabel.

- But I just... - The lodge, Mabel!

Yes, sir.

Yeah, the same one.

Well, ring it anyway. Maybe some moose'll answer the phone.

Oh, hello.

Hello. I'd like to see Mr. Gilbert, please.

Have you an appointment?

Well, no, but, um...

I have this letter of introduction from John Sheridan.

- A young lady to see you. - I don't want to see anyone.

But Mr. Gilbert, she has a letter from John Sheridan.

I don't care if she's got a letter from Shakespeare, I don't want to...

From John? Well, don't leave her standing out there, send her in!

Go right in.

Oh, thank you.

Well, hello, Mr. Gilbert.

How do you do?

- How do you do, Miss... - Walker, Kim Walker.

I've just been dying to meet you.

John's told me so much about you.

You know, John says you're the only producer in New York...

...who really recognizes talent when he sees it.

- My secretary said something about... - My, what a cozy office.

And such exquisite taste.

John always says the you're the only producer in New York who...

Pardon me, Miss Walker, but my... Mabel said something to about, um...

Oh, yes, of course, the letter.

Very silly of me now.

Where did I put it? Just a moment... Ah, there it is.

I do hope John's been kind to me.

He's such a dear, isn't he?

A parrot!

My, what a quaint idea.

Oh, I just adore them, don't you?

Look at him... look at her.

Um, look at it.

A harp! I new there was something musical about your face.

I just couldn't make up my mind which instrument it was.

Now I see it all clearly.

- Well Paul! - Good morning, Charlie.

You're just in time. I've got the most wonderful surprise for you.

Oh.

Oh!

- Did you know each other? - Not quite.

Miss Walker, this is Paul Taylor. Paul... Paul's the author of Strange Laughter.

- How do you do? - How do you...

The author?

This really is a great pleasure, Mr. Taylor.

John Sheridan always says you're the only American author...

...who really knows how to write for the stage.

Well, that's fair enough.

- Miss Walker's a friend of John's, Paul. - Oh, that sounds pretty interesting.

I should say it does. The last woman John thought could act was Sarah Bernhardt.

Not only that, a promising young actress who has my warm and sincere endorsement.

Say, you must be the girl he talked to me about just before he left.

Oh, that was very sweet...

- He did? - And you're just as you described you.

- I am? - It's all there.

The radiant, glistening eloquence.

The spirit of freshness, the fire of youth.

- It's amazing. - It's amazing!

I think we can find a small part for Miss Walker, don't you, Charlie?

A small part? Why, Paul, she's perfect for the lead.

Who's perfect for the lead?

Why, she is!

Well, my dear, how does it feel to be John Sheridan's new leading lady?

Just a minute, Charlie.

I'd like to ask Miss Walker a few questions if you don't mind.

No, of course not, go right ahead.

When Sheridan discovered you, did he see you in a play?

Well, um... no.

As a matter of fact, uh...

- I saw him. - He didn't see her in a play.

- Well, now, really, Mr. Taylor... - But he thinks you're very attractive.

- Why, of course, naturally! - Even beautiful, perhaps?

She's standing there, Paul, you can see for yourself.

I do see.

Very attractive. But under the circumstances...

- Under what circumstances? - Yes, under what circumstances?

Well, fun is fun, Charlie.

But I think you'd better get in touch with Marcia Vale.

See you in the morning.

Now see here, Paul, when John Sheridan recommends somebody...

I don't care.

Well, I certainly didn't expect to be treated like this...

...after John went to all that trouble writing that letter.

- I'm sure he'll be very upset. - Well, I didn't do anything.

Miss Walker, the leading part in Strange Laughter...

calls for an experienced actress...

...who can convey emotions of the utmost delicacy.

Not for an amateur whose only recommendation...

is that a great artist named John Sheridan took a passing fancy...

Now just a minute, Mr. Taylor.

I never read that part. But why must it be an experienced actress?

- Why not someone with, um... - Spirit of freshness.

- Spirit of freshness and... and... - The fire of youth.

The fire of youth. Thanks.

Be fair, Mr. Taylor. How do you know I'm bad until I've proved it?

Unfortunately you seem determined to prove it with my play.

Marcia Vale.

Don't pay any attention to him, Miss Walker.

Really, Mr. Gilbert, when I came here to see you, I...

Miss Walker, please keep calm about it. John Sheridan likes you and I like you,

and that's all that matters.

- Walter Daniel's out here. - Send him in.

Thanks, angel.

It's Walter Daniels.

You mean the Walter Daniels, the columnist?

Exactly!

Well, Walter, just the man I've been looking for.

Hello, Charlie.

Walter, this is Kim Walker, John Sheridan's next leading lady.

- A pleasure, Miss Walker. - And here's another scoop, Walter.

Next Friday night I'm throwing a party for her at John Sheridan's apartment.

John Sheridan's apartment?

A big party for you next Friday night at John Sheridan's apartment.

Say, that is an item. Congratulations, I wish you all the luck in the world.

Thank you.

I'll need it.

Caribou Lake,

where the stillness of the waters...

...is broken only by the splashing of the rain.

It's mighty damp out.

The wind's changing.

This slight shower should let up at any moment.

Sam, you've been saying that for the last five days.

- Six. - Six days, what's the record?

Summer of '25. See that chair you're sitting in?

That far under water.

Of course that one lasted nine days...

Ooh!

"Blow, winds, and crack your cheeks! Ye cataracts and hurricanoes, spout!

You sulph’rous and thought-executing fires,

Singe my white head!

And thou, all-shaking thunder,

Strike flat the thick rotundity o’ th’ world.

Rumble thy bellyful!"

Sam, we take the Friday morning train back to the city.

Blow!

Is now the wife of Montgomery Chandler,

who, you remember, is Mrs. Buzz Bishop Junior's former husband.

And speaking of romance, Mr. and Mrs. USA,

a little bird tells me...

that the beauteous Kim Walker is soon destined to become the bride of...

Guess who?

That's right! John Sheridan!

And here's another exclusive from Daniels.

Miss Walker has definitely been set for the lead opposite Sheridan...

...in Paul Taylor's new play, Strange Laughter.

At this very moment, a party to announce the big news...

is taking place in John Sheridan's New York apartment...

...with the lucky girl as guest of honor.

Operator, get me long distance.

Long distance?

I want to get Murray Hill 89...

- Miss, er... - Bartlett.

Miss Bartlett, where was Miss Walker born?

In a small town in Texas, Chattanooga.

That's in Tennessee.

This is West Chattanooga... it's in Texas.

Well, that's one way to get ahead in the world.

Personally, I see a more mature actress in the part.

- Like yourself, my dear? - Like myself.

Successful, yes, of course I'm successful.

Charlie Gilbert, possibly the biggest...

In fact, the biggest theatrical producer in New York.

And am I happy?

No.

You know, honey, deep down inside I'm...

I'm just a simple little boy.

- You'd better get that, little boy. - Yes, why?

- The phone. - The phone...

Oh, the phone!

Hello?

Hello, yes, this is John Sheridan's apartment.

No, he's not back from his vacation yet.

I say he's not back...

Who is this? Who is this calling?

Shh, just a minute, please.

Who did you say it was?

Oh, Paul.

Oh, hello, Paul. Say, Paul.

I hope there are no hard feelings about this, er...

Oh, no, on the contrary, old boy.

How's the party?

Fine, fine.

By the way, what's Miss Walker doing?

If it's not too much trouble, I'd like to speak to her a second.

No trouble, Paul, no trouble at all.

Just hang on, old boy.

- Oh, Miss Walker. - Yes.

It's for you, my dear.

For me?

Yes, it's Paul Taylor.

Hello.

Miss Walker, I'd like to congratulate you...

...on the overwhelming success of your plans.

Why, thank you. Thank you, Mr. Taylor.

You needn't thank me, you know exactly what I'm talking about.

A wonderful idea, this party of yours.

Of all the scheming, underhanded,

double-crossing tricks I ever heard of, this is the...

Why, thank you, Mr. Taylor. You're very kind.

- I say, you're very... - Just a minute!

- You're very kind. - I tell you I have no intention...

Mr. Taylor, um... why don't you call me tomorrow?

I have no intention of calling you tomorrow or any other time.

The telephone call is a final warning.

I intend to do everything in my power to keep you out of my play!

You understand, Miss Walker? OUT OF MY PLAY!

Goodbye!

Goodbye, Mr. Taylor.

Was that John Sheridan?

Oh, no, John's on vacation. He won't be back for a couple of weeks.

Thank heaven.

My man will look after you.

210 A.

Good evening, sir.

Good evening, Martin, where are you going?

I left a note on your dresser, sir. I'm sorry things had to work out this way.

- Goodbye, sir. - You're, um...

- Leaving? - Precisely, sir.

I owe it to my self-respect.

- This party. - Precisely, sir.

This party and that girl.

What girl?

Precisely, sir.

I wish you would stop saying "precisely, sir", and tell me why you're leaving.

For ten years, sir, you have shared with me your every secret.

- Yes. - Have I ever once betrayed you?

Never!

Ten why, sir, have you hidden from me the secret of your love life?

What the devil are you talking about?

About this party, those people.

And that young woman...

...whom you have personally selected as your next leading lady.

- Young woman? - Young woman.

- In there? - In there.

No.

You mean you knew nothing about this, sir?

No.

Martin.

- Your hat. - Yes, sir.

- Your coat. - Yes.

Your luggage.

And now get outside and get my baggage out of that taxi cab.

Yes, sir, very good, sir.

- And what is your favorite desert? - Cramford suzette.

- How do you sleep, pajamas or nightgown? - Depends on the season.

- What's your favorite sport? - Oh, there's John!

Mr. Sheridan's back!

What a surprise, Mr. Sheridan.

Let's get out of here.

How?

Well, John, you old son of a gun.

- Hello, Charlie. - Was the fishing good?

The reporters said two weeks.

Where's our young woman?

Oh, there she is. There's Miss Walker.

- Holy smokes, she's fainted. - Well, get some water!

- John, John, she's fainted. - I am quite aware of that. The bedroom.

Charlie.

I would like to be alone with Miss Walker.

Oh, yes, sure, sure, sure.

I...

Where am I?

Miss Walker.

Oh, yes, it's beginning to come back to me now.

Miss Walker, I wish you wouldn't do that.

It's bad.

I fainted and you...

What's bad?

This, um... gesture.

That's for a headache.

Unbearable heat, or... bad news about Aunt Myrtle's knees.

Never a faint.

Not even a phony faint.

Phony?

In my time I've witnessed hundreds of faints.

Good faints, medium faints.

And bad faints.

That was a phony faint.

- But I... - It convinced no one.

- Oh yes, it did! - Who?

I heard a woman say "Get some water."

Somebody always says "Get some water", that's a reflex.

Oh, but I...

- You notice nobody brought any. - How could they, you carried me in here...

I don't want to argue, I'll demonstrate it to you.

Miss Walker, when a young lady faints,

she does not stagger from side to side,

pivot in a complete half circle,

and hurl herself in the arms of the nearest man.

Rather,

when she feels the first premonition, she sways... gently.

The barely perceptible movements of the bodies.

Her arms drop limply to her sides.

Her eyes close... and she swoons gracefully.

...in a sort of folding motion into nothingness.

Why, that was wonderful.

It was nothing at all, really. Who the devil are you?

Well, er... didn't anyone tell you about me?

Just some nonsense about your being in my new play or something.

Oh, um... it isn't nonsense, Mr. Sheridan.

It isn't?

No.

I'd like very much to be in your new play.

Yes. So would Marcia Vale...

and twenty other actresses I could name, all of them experienced.

Have you had any theatrical experience, Miss Walker?

No.

Never been in any plays?

Only in high school.

Only in high school.

Charming.

Who recommended you to Charlie Gilbert?

- You did. - I did?

Yes, you see, we were... I mean, I wrote a letter of recommendation...

...from you about me, and then I tried to get your signature.

I mean, your autograph, but I couldn't.

And then you came in the oyster bar.

On the way to the train.

Yes. And I was the waitress at your table.

- And I asked you for a bottle of ketchup. - And I gave it to you.

And then I said, "Mr. Sheridan, may I have your autograph?"

And I gave it to you.

Signed my name to a letter that I had never written.

Young woman, this is the most outrageous,

not to say the most criminal thing that...

Ah...

Um, just one moment.

Get up.

What is your first name?

- Kim. - Kim.

Smile. And not like that, weakly.

That's better. Put your head on my shoulder.

Now, go limp. That's better.

My hair.

Um... give me your hand, will you?

Shall we go?

Open the door.

- Did you want another? - Please.

- Thank you, Mr. Sheridan. - Not at all.

It's my fault entirely, my dear, I should have wired you that I was coming.

Won't you sit down, Miss Walker?

Thank you, I really think I should.

Forgive me, Martha, Kim must go home.

- Oh, yes, take care of yourself. - Good night, Miss Parker.

- See you later, John. - Did you want another?

Yes, please.

Thank you, Miss Walker.

I'll get my wrap.

- Of course.

Martin.

Have faith, Martin.

Have faith.

- Get my hat and coat, will you? - Yes, sir.

- Where do you live? - Near the river. About six blocks.

I'll walk you home.

Mr. Sheridan.

Mr.Sheridan, you mustn't be angry with me.

Please!

- Forging my name to a letter. - Oh, but I didn't.

- Implying that you wanted my autograph. - Oh, but I did!

- Pretending that you were one of my fans. - But I am one of your fans, Mr. Sheridan.

If you only knew how many times I've stood outside of that stage door.

In the rain even, just to look at you.

That's flattery, I do not like flattery.

Oh, it's the truth. I've seen every one of your plays.

Cyrano de Bergerac, Idiot's Delight, Arms and the Man, Hamlet.

Did you see Richard III?

Sixteen times.

Sixteen times?

Well.

And then Mr. Gilbert said,

"If John Sheridan likes you and I like you, that's all that matters."

I can just see Charlie Gilbert. I must say, Miss Walker,

you're a very clever young woman.

Oh, here's where I live.

Then you are going to help me, Mr. Sheridan?

Oh, yes, indeed I am.

You'd better send me a telegram to say that your grandfather is ill,

and you've got to go back to North Dakota.

Nobody'll ever know.

Oh, but...

But the play.

Aren't you even going to...

You said you liked me.

Yes, I...

I like you as I...

...like my cook, Miss Walker, but I'd hate to have her for my leading lady.

But all I want is...

Good heavens, young woman, you don't even know how to faint properly.

Now...

Good night.

Good night, Mr. Sheridan.

And if you want my advice,

You really go back to North Dakota.

Good night.

Congratulations, darling, on your performance.

What's the matter?

When I saw you come out of that bedroom with John Sheridan's arms around you,

I said, now we're all in. What happened?

He just felt sorry for me.

That's why he didn't say anything.

But he liked you.

He doesn't want to have anything to do with me.

He doesn't think I'll ever be an actress.

Told me to go back to North Dakota.

And I don't even know anybody in North Dakota.

Oh.

So he doesn't want to have anything to do with you.

City desk.

Spell it.

K-I-M, Kim.

Last name?

W-A-L-K-E-R. Walker.

Huh?

The front page? Look, lady, this is a big city.

Every night, some young girl tries to...

Kim Walker?

Say, is she the dame that John Sheridan was...

Uh-huh.

Uh-huh.

We're out here for paper, lady, all we want to do is see the girl.

Shh, you can't see her now.

Why not, lady, after all, we're reporters.

Yeah, madam, this is out job. All we want is a statement.

Alright, I'll make any kind of statement you want. What do you want to know?

- I want to know why we can't see the girl. - Because you can't.

Look, lady, we gotta check. If she's dead or alive, we still gotta check.

- Do you doubt my veracity? - No one's doubting your veracity, madam.

We just want to see her, that's all. She must have some sort of a statement for the press.

I'll answer any question you want to know.

Sure, sure, sure, lady, but where is she? We want to get a look at her.

There's no harm in looking, is there?

Boys, will you please go? I promised to call up the papers as soon as she's awake.

Can't I even get a picture of her in bed, lady?

- I won't even wake her up! - Shh!

That's out of the question, after all, she's still a little weak.

There she is!

Oh, no, fellas...

How about it, Miss Walker, why did you try to kill yourself?

What?

Is this the first time you've tried to commit suicide?

- When did you see Sheridan last? - Nora.

- Miss Walker, what is it, love or career? - Nora.

Now calm down, darling, there's nothing to worry about.

Make yourselves comfortable, boys, I'll be with you in a minute.

Who are all those people in the living room?

I'll, um... I'll explain it to you.

- I don't understand. - You will.

I still don't understand.

When did I commit suicide?

Suicide?

It's all right, dear. I did it for your own good.

You told those people, those reporters that I...

- Why? - Because of John Sheridan.

John...

The police.

- The police! Listen, here's what you'll tell them

- I'm going to get out of here. - Look, darling, I did this for you.

Don't you understand? Whether he wants to or not, John Sheridan's got to see you again.

For the papers. What's more, he's got to make up with you for the papers.

- Because, listen... Oh, Kim! - Let me go, Nora.

- Darling, this is your big opportunity. - If you don't let me go...

You saw those reporters out there. This story'll be on every front page by morning.

- I don't care! - Alright.

If you want to throw yourself and your future out the window, go ahead.

Do you really think it could work?

My, my, my.

Have faith, Martin, have faith.

Men, they're all alike.

It's a lesson, that's what it is.

- No man will ever break my heart. - Poor Mr. Sheridan.

This will just ruin his breakfast.

The toast!

- Good morning, Esther. - Good morning, sir.

- Good morning. - Good morning, sir.

- Good morning, Martin. - Good morning, sir.

No, no, Mr. Sheridan isn't up yet.

Sorry, I can't disturb him.

Lynn Haydn for Goodman's new play, I don't see that at all.

I'm sorry, Mr. Sheridan isn't up yet.

What's the matter, don't they know I never answer the phone before noon?

It's about Miss Walker, sir.

If Miss Walker calls, tell her I'm out.

Confound that girl, I never want to see her again.

What's the matter with her?

- John! John! - Hello, Charlie.

John, have you seen this? It's terrible.

It's very bad, it's my wrong profile, the lighting is atrocious,

- Send them one of my new ones. - John, for heaven's sake, read it!

"Because of Him."

"Young actress attempts suicide" Martin, why didn't you tell me about this?

Sir, I tried to...

This is absurd, this is preposterous, that's a plot!

A plot, what kind of a plot?

How do I know what kind of a plot? Only it's happened!

John, please think carefully, you took her home last night.

That has nothing to do with it.

Will you concentrate! Didn't you say anything that might have wounded her,

hurt her, driven her to this?

Nothing! What's that? Oh, my pill.

- And yet. - And yet what?

There might have been a sob in her throat as she said good night.

- A sob? - A tear on her cheek as she turned away.

A tear, John?

Charlie,

you don't really think I'm responsible for this?

Well, don't you?

Yes.

I do.

Ah, blind, blind, blind.

She was like a wounded bird, Charlie, a stricken dove.

I didn't mean to hurt her.

But I was...

Thoughtless.

Ah, that we could recall the inadvertent slip, the idle irony,

the heedless rebuff.

But I am wasting time on useless speculation.

I will go to her.

Yes.

I will go to her.

And she will know that I am man enough to say that I've been...

A fool.

Second Mr. Rice, act 2, scene 3.

Scene 5.

Oh, yes, yes.

Martin, you'd better send for the car, quick!

John Sheridan's on his way up.

See, I told you those guys should have stuck around.

- Hi, Mr. Sheridan. - Do you have a statement, Mr. Sheridan?

Big smile, John.

- Where is she? - This way, Mr. Sheridan.

You won't stay long, she's still quite weak.

No, Miss Foster.

I'll be back, boys.

Thank you, thank you so much.

Miss Walker.

Mr. Sheridan.

You mustn't hate me, Mr. Sheridan.

I don't hate you, my dear.

I don't...

What's all this?

You've always been my favorite.

Really?

Both sides.

I've been such a little fool, Mr. Sheridan.

I do hope this doesn't get into the papers.

- What about the papers? - It mustn't get into the papers.

They wouldn't understand.

They'd say it was all your fault.

Miss Walker.

What drove you to this drastic expedient?

After you left last night,

I sat here alone.

In the dark.

- Thinking. - Yes.

I was through.

A failure.

I'd never become an actress.

I started to cry.

- And then... - Something came over you.

Something came over me.

I ran to the window.

I looked down at the street.

And for one... horrible moment,

Your whole life flashed before your eyes.

Flashed before my...

How did you know?

Get up!

Come here!

Have you ever been spanked, Miss Walker?

No, you're not going to spank me.

No.

No.

Unfortunately I can't afford to.

Because in spite of an exceedingly bad performance,

you seem to have the whole of New York convinced that you tried to kill yourself.

- And that I'm a... - A heel.

- Heel. - But you're not a heel.

That is our secret, Miss Walker.

You and I are going out tonight.

- You mean nightclubbing? - Nightclubbing.

- Mr. Sheridan, you're a darling. - I hate the places, just call me John.

Shall I wear this dress, Mr. Sheridan, or do you like this one?

You might as well get used to calling me John.

Yes, sir... John.

Don't ham that up, please.

- Yes, John. - That's better.

Let's go.

You and I always seem to be going out of bedrooms...

...facing photographers. Shall we?

Fixed? All right?

Nora.

Gentlemen, we have a statement for the press.

- Miss Grant, I've got it! - Good!

Yes, I finally got it.

- The girl commits suicide. - Oh, no.

You need a happy ending.

I need an ending that'll fit the character, and that's it.

That's life. You read about it every day.

That's just the trouble.

You read about it every day, so you don't want to see it on the stage too.

What do you want to see, fairy tales?

Cinderella stories all the time?

- I don't want to see that. - Well, what else would the girl do?

Torn between two men, trapped by her own emotions.

Page 1, column 5.

Why, that's...

Kim Walker attempted suicide.

Anybody you know?

Nothing to live for. She said she had nothing to live for.

Oh.

Miss Grant.

- I did this. - What?

I drove her to it.

Yes, it's all my fault.

Your fault?

Well, she wanted to be in my play. I refused.

Why, I even insulted her.

If the girl had nothing to live for, it's because of me.

Well, Miss Grant, I've got to do something.

Well, I've got to hand it to you, you're a very clever little girl.

Yes, ma'am.

Uh, would you go to the library?

You know what this means, John?

It means a million dollars worth of publicity.

And you know who you owe it to?

Not to me, not to good ol' Charlie, no, sir.

You owe it all to this little lady right here.

- Would you sit down? - Yes, sir.

Well, I guess I'll run along.

Oh, aren't you going to take me home, Mr. Gilbert?

Oh no, oh no.

When the time comes, good ol' Charlie can make an exit in the best way.

Good night.

Mr. Sheridan, uh...

Would you mind getting me a cab?

Surely.

He's wrong, you know. You're not only a very clever little girl,

you're a very nice little girl.

And you had a very tough assignment tonight and you handled it well, quite well.

- Do you really think so? - Yes, I do.

Um... when they took our picture at the table and...

And I held on to your arm and looked into your eyes,

did you like that?

It was a nice touch, but it was a bit overdone.

Oh, um... you mean the arm?

No, it's the eyes, it's...

It takes years of practice to get the right look in the eyes.

But you'll learn how to do that in time.

You have promise.

And in a few years,

Very few years possibly, I want you to come to me again.

And now I'll get your cab.

Uh, send a cab to, uh...

I like that.

Go ahead.

Go on.

♫ Oh Danny Boy ♫

♫ The pipes, the pipes are calling ♫

♫ From glen to glen ♫

♫ And down the mountain side ♫

♫ The summer's gone ♫

♫ And all the roses falling ♫

♫ It's you ♫ ♫ It's you must go and I must bide ♫

♫ But come ye back ♫

♫ When summer's in the meadow ♫

♫ Or when the valley's hushed ♫ ♫ And white with snow ♫

♫ It's I'll be here in sunshine ♫ ♫ Or in shadow ♫

♫ Oh, Danny boy, oh, Danny boy ♫

♫ I love you so ♫

♫ But when ye come ♫ ♫ And all the flowers are dying ♫

♫ If I am dead, as dead I well may be ♫

♫ Ye'll come and find ♫

♫ The place where I am lying ♫

♫ And kneel and say ♫ ♫ An Avé there for me ♫

♫ And I shall hear ♫

♫ Though soft you tread above me ♫

♫ And all my grave ♫

♫ Will warmer, sweeter be ♫

♫ For you will bend and tell me ♫ ♫ That you love me ♫

♫ And I shall sleep in peace ♫

♫ Until you come to me ♫

Catch.

We'd, um...

...better get to work.

Do you mean that?

Come on.

Hello.

Hello.

What are you doing here?

I've been here for hours. Miss, Walker, I've go to talk to you.

- Now? - I know it's awfully late, but...

I came here straight from the train, your friend said you'd gone out.

Well, come in.

- I'm glad you went out, I', glad... - Shh,

You'll awaken her.

I'm glad you got over it so soon.

- Over it? - I can't tell you how awful I feel...

...knowing that I'm responsible for what you did.

Or tried to do.

Oh.

No matter what the papers said, I know the truth.

I behaved abominably.

But words spoken in anger, in the heat of the moment,

Even at the time I didn't mean them.

Please say you'll forgive me.

Mr. Taylor, there's something you ought...

Please, Miss Walker, I know how I must have seemed to you.

Rude, selfish, even cruel.

But you must see my side.

I like my new play, I think it's going to be a good play.

It's a wonderful play.

I mean, it should be.

But only if it's done well.

You see, the girl must be a creature of warmth, of passion, of...

...fire.

So, when I was handed a beginner for the role, an unknown,

you can imagine how I felt.

I don't blame you.

Thanks.

But... well...

Mr. Taylor, I can play a creature of...

of warmth,

passion,

fire.

I can be the girl in your play.

You can?

All I need is a...

All I need...

A chance.

Kim.

I've been an idiot.

I've looked at you, but...

it seems I've never seen you before.

I think I've always felt that...

Yes, Paul?

You're so young, so beautiful.

Why shouldn't you play that girl?

You'll have your chance.

It'll be my chance too.

I brought a copy of the play with me.

I want you to...

Where did you get this?

What?

This script, the script of my play.

Oh... Mr. Sheridan gave it to me.

Sheridan?

Yes, tonight.

You mean you were with Sheridan tonight?

Yes.

Oh.

When you tried to kill yourself last night...

That's what I've been trying to tell you. I didn't try to kill myself.

- You didn't? - No.

You see, the papers had the story and John...

John Sheridan,

came by to see me and...

...and then we went out together so it would look right for the papers.

It was a publicity stunt.

- Well, no, not exactly, it... - I know what you mean.

The whole thing was a trick.

Apparently you fooled John Sheridan, but you haven't fooled me.

You see, there's lots of people like you in any business.

Willful, unscrupulous people who make up in ambition what they lack in talent.

I think I know how to handle them.

Good night, Miss Walker.

"Dr. Adams."

You're on, John.

Gloves... scarf... gown.

- "Dr. Adams." - "Hm-hmm?"

"I was very proud of you today."

A... sink... towel, please.

The towels will be upstage.

"Nobody else in the world could have performed this operation, except you."

"I was good, wasn't I?"

"Thank you." Towel...

"My coat, please."

Paul, I don't think I should get the coat here.

Why?

I think I could make better timing if I didn't get it till the next line.

Well, why don't you try it?

- Shall we go back a few lines? - Yes, um...

"Nobody else in the world could have performed this operation, except you."

"I was good, wasn't I?"

Towel. "My coat, please."

Towel, towel, towel...

"Did you see, um, Miss Forbes..." Now hand me the coat, dear.

- "Yes, I did." - "Uh, how is she?"

- "She would like..." - You see, Paul... Pardon me.

You see, Paul, that gives me more time for the transition.

It's all right with me.

Let's go on.

"Uh, did you see Miss Forbes?"

"Yes, I did."

- "How is she?" - "She'd like to talk to you, Dr. Adams."

"She's waiting outside, do you mind?"

"No, I don't mind."

Cross. "I'll see her."

"Come in, Miss Forbes."

Pick up your cue, Miss Walker.

Oh! Yes...

Miss Walker!

That's a brick wall.

Use the door.

Oh... pardon me.

"Come in, Miss Forbes."

"I didn't expect to see you today."

Pause.

"Why did you come?"

"I had to see you."

"To thank you for what you did."

Now, um...

Start that again, Miss Walker.

"I had to see you."

"To thank you for what you did."

Just a minute.

You see, you're not getting any feeling into that line.

Once more, please.

Paul, I really think you should let us go through this scene.

It's hard enough to end the last scene out of continuity.

I like to handle it my way, John.

All right, old boy.

"I had to see you, to thank you for what you did."

"It wasn't necessary." Walk. "Sit down."

"Thank you."

"There are so many things I want to talk to you about."

"I don't know where to start."

- "Can I..." Paul I think I should walk on this line, old boy.

All right, see how it feels.

Your last line again, please, Miss Walker. And try...

Try to give some sort of performance.

- What's the matter with you today? - Nothing, why?

Oh, it's just, really... Miss Walker, I'm sorry.

"There are so many things I want to talk to you about."

"I don't know where to start."

"Can I help you?"

"No. No, I don't think so."

"I..."

"You see, Dr. Adams..." Hold it!

- What's wrong now? - The next speech, I don't like it.

"You see, Dr. Adams", that's all.

- Oh, but the script has... - I'm changing it.

- I don't understand you. - Oh, it's quite simple.

The heart of the scene is in the next two speeches.

I want to get at them without a melodramatic outburst.

"You see, Dr. Adams".

Come along, Miss Walker.

- "You see, Dr. Adams..." - No, no, no.

"You see, Dr. Adams".

- "You see, Dr. Adams," - Well...

Let it go.

- What happens next? - Just follow the script.

I know, old boy, in this script it comes to her big speech.

That's right, just change it, you say it instead of her.

- Does that make sense? - Yes, of course it does.

Who would have a deeper insight into the girl's emotions?

The girl herself, worried, heartsick, torn with hysteria?

- I think the girl. - Or you, the master surgeon.

Shrewd, cold, analytical.

- I think the girl. - Yes, the girl.

You, of course! Well, just try it, John, you'll see what I mean.

Your cue, Miss Walker.

Miss Walker.

- "You see, Dr. Adams..." - Now add the line...

"I know what you want to say."

- I don't think it'll work, old boy. - Please, John.

All right.

Miss Walker.

- "You see, Dr. Adams." - "I know what you want to say."

"During the last few weeks something happened to me,

I kept on walking and talking as I always did,

I worked as hard as ever, I had breakfast in the morning...

...and dinner at night, the clock didn't stop, the days went by,

the world, my world has changed."

- Beautiful, John! - Nonsense, it's not my speech!

Now, John, bare with me just for a minute, will you?

Just try going on.

"Look at me, Vivian!"

"Are you still in love with Tony Randall?"

What are you doing that for?

- What? - No, no, no. Miss Walker.

Why did you turn away?

Oh, I thought, I...

Miss Walker, it's traditional on the stage...

...to follow the director's instructions, not to improvise on your own.

Now, we don't want to break all the traditions in our first acting attempt, do we?

I'm sorry.

John, please.

"Look at me, Vivian. Are you still in love with Tony Randall?"

"Are you?"

"I... I don't know."

"I want to tell you something. I don't want you to look at me while I'm speaking."

"I thought about you for a long, long time."

"I lay awake at nights and thought about you."

"I thought about your face."

"Your smile."

"Your soft voice on silent afternoons."

"About the way you walked."

"The way you move your arms, the way you listen to music."

"Well, I'm in love with you."

"You know that, don't you?"

"I hope for it."

"All the time."

"You're in love with me."

"Yes."

"So much."

"So very much."

Hold it!

Miss Walker!

You know we're not in high school here, we're on the stage.

You're supposed to be in love with this man.

You love him, if you know what that means.

- Can't you give it a little... - Paul, I've had enough of this.

I ran through this particular scene with Miss Walker last night...

...and she was excellent in it. Excellent!

I do not know what you are trying to do, but I will not stand for it any longer!

Naturally she's a little nervous, the way you...

I'm sorry, she just won't do.

The girl's blundering, amateurish.

Completely lacking in sincerity.

- She'll never be able to act! - Now look here, old boy...

I'm entitled to express my opinion.

Your opinion yes, but when it comes to criticizing,

a delicate, sensitive young female in public, that's...

Now look what you've done.

- What have I done? - She's crying.

She's nor crying, she's acting.

She's nor acting, I know it when I see it, she's crying.

- What do you want me to do about it? - It's essential for you to apologize.

Either she stays in this play or I will have no part in it.

All right!

All right, you win.

You'll have to get yourself another director.

Look here, Paul.

For heaven's sake, stop crying!

Oh, Mr. Sheridan, you were... you were so kind to me.

You're going to mop yourself up, he's gone.

And that was a nice piece of acting. You'll do very well in the profession.

And now, children, page 1, Dr. Adam's laboratory.

Places, please!

- Oh! - I'd like to speak to you.

- I'm on my way out. - Mr. Taylor, is this true?

- Is what true? - This story in the paper.

Yes, quite true.

You want your name taken off Strange Laughter.

- I do indeed. - The day before it opens?

The day before it opens.

Why?

It happens to be a bad play.

I don't like my name to appear on bad plays.

How do you know it's a bad play?

- Miss Walker, I didn't invite you to... - You haven't even attended one rehearsal.

You're just doing this out of spite to get even with me.

I'm not going to listen to any hysterical female.

- Oh, I'm sorry, but... - I'm dressing.

Oh.

Mr. Taylor, I'll make a bargain with you.

The dress rehearsal starts in about an hour.

Please come, and if you still think...

...honestly think that the play is bad because I'm in it, well,

- I'll step out. - A magnificent gesture.

It isn't a gesture.

I'm just, well... I'm just leaving it up to you, that's all.

And who sent you up here, anyway, Charlie Gilbert?

- No, it sounds more like John. - No one sent me up here.

- Please come to the dress rehearsal. - I'm sorry, I have a previous engagement.

- But I promised... - Look, Miss Walker,

I'm expected downstairs in a few minutes, so if you don't mind.

I'm not leaving this room!

Now see here.

I'm not leaving this room until you do and then I'm going to follow you.

Do you want me to call the house detective?

I'm going to follow you until you promise to come to the dress rehearsal.

I have no intention...

Yes?

Yes, I'm right on my way down.

- Miss Walker... - Shall we go?

I'm sorry, Miss Walker,

I'm afraid I'll have to ask you to stay here.

♫ Goodbye forever ♫

♫ Goodbye forever ♫

♫ Goodbye ♫

♫ Goodbye, goodbye ♫

♫ Hark, a voice from far away ♫

♫ Listen ad learn ♫ ♫ It seems to say ♫

♫ My love tomorrow shall be as today ♫

♫ All the tomorrows shall be as today ♫

♫ The cord is frayed, the cruse is dry ♫

♫ The link must break ♫ ♫ And the lamp must die ♫

♫ Goodbye to hope ♫

♫ Goodbye, goodbye ♫

♫ Goodbye to hope ♫

♫ Goodbye, goodbye ♫

Okay, she's gone.

Thanks.

Down?

♫ Falling leaves and fading trees ♫

♫ Lines of white in a sullen sea ♫

♫ Shadows rising on you and me ♫

♫ Shadows rising on you and me ♫

♫ The swallows are making them ♫ ♫ Ready to fly ♫

♫ Wheeling out on a windy sky ♫

♫ Goodbye to hope ♫

♫ Goodbye, goodbye ♫

♫ Goodbye to hope ♫

♫ Goodbye, goodbye ♫

♫ What are we waiting for ♫ ♫ Oh, my heart ♫

♫ Kiss me straight on the brow ♫ ♫ And part again ♫

♫ Again, again ♫ ♫ My heart, my heart ♫

♫ What are we waiting for, you and I ♫

♫ A pleading look, a stifled cry ♫

♫ Goodbye forever ♫

♫ Goodbye forever ♫

♫ Goodbye ♫

♫ Goodbye ♫

Don't do that.

You're like a fly buzzing around. What's the time?

We have 8 minutes before half hour, sir.

How could he do this to you? But he's not gonna get away with this, John.

I'll sue him for everything he has.

And the marquee. Paul's written a good play.

He'll be glad enough to have his name on it in the morning, don't...

What's the time, I asked you that before.

Come in!

- Oh, how is she? - A little better. She's gonna be alright.

What's the matter with her, what's the matter with Kim?

Calm down, William, I'm the bad temperament around here.

Remember your blood pressure.

- I'll be in Miss Walker's dressing room. - Very good, sir.

- Will you have the pill, sir? - No, thanks!

Very good, sir.

Moping at a time like this. The girl's good, she's wonderful.

She's on the threshold of a great career.

You know women, there are some things more important than their career.

You'd better wait here. I know women. At any rate, I think I know this woman.

Come in.

- Oh, it's you, John. - Hello, my dear.

We have a few minutes, I thought you wouldn't mind a little chat.

That's very kind of you.

Sothern and Marlowe.

What?

Oh, Sothern and Marlowe, they were married, you know.

One of the happiest couples in the history of the theater.

I didn't know that.

Yes, yes.

Ah, Lunt and Fontanne.

- Who? - Lunt and Fontanne,

They're married too, but of course you knew that.

Their life is the theater, why shouldn't they share it together?

You know, Kim,

when two people work closely together, in plays, for instance,

they get to know each other pretty well.

Uh-huh, I suppose they do.

Oh.

Theatrical marriages seem to work out.

- It seems to be in the very nature... - Well, they don't always work out, John.

Well, I mean, um... look at Smith and... Smith and LaRue.

And who?

You probably never heard of them, but they were very famous actors.

They got married and... poof.

Poof, hm?

- Divorced six weeks later. - Tsk-tsk-tsk.

And then... then there was, um...

Um, you know, um... Mantle and McDougal.

What about them?

Three days after they were married, poof.

She shot him.

How dreadful.

Come in.

For you, Miss Walker.

Oh, thank you.

Oh, they...

They're from you, John.

Thank you.

From a fellow actor to a fellow actress.

You're very sweet.

Well, I'm glad that I have amused you.

I'll see you on the stage, my dear.

Yes, Joe.

Some, um playwrights...

...are very lucky fellows.

- Oh, it's warm. - That was a very fine second act.

I'm enjoying it immensely.

It was awful, I couldn't get my car started at all.

That's the way I like them, ham and eggs. Straight up.

The line was busy, otherwise I'd have gotten in touch with her.

- Kim Walker's her name. - Never heard of her.

- Aren't they wonderful? - Swell!

I had a terrible time trying to get the tickets. Connections, you know.

Swell!

Say, do you have a match, fellow?

Thank you.

I can't stand it. Do you know it's been raining for seven days?

I thought I'd die when she turned around.

She had my dress on. Exactly the same material.

In my opinion it was his finest play.

I can't understand why he had his name taken off.

That's my lead line.

"Paul Taylor's new play at the Mercury, which he refused to acknowledge,

is his best to date.

Sheridan's performance doesn't hurt it any.

Well, you know John, he always comes through.

Well, let me tell you something, that girl darn near stole the second act.

- No! - Well, I happen to think that she did.

I didn't say anything.

I hope the last act is as good as the second.

It's a wonderful performance, but who wrote the play?

Who cares?

- "Did you see Miss Forbes? - "Yes, I did."

- "How is she?" - "She wants to talk to you, Dr. Adams."

"She's waiting outside. Do you mind?"

"No, I don't mind."

"I'll see her."

"Come in, Miss Forbes."

"I didn't expect to see you today."

- "Why did you come?" - "I had to see you."

- "To thank you for what you did." - "It wasn't necessary. Sit down."

"Oh, thank you."

"There are so many things I want to talk to you about."

- "I don't know where to start." - "Can I help you?"

"No. No, I don't think so."

"You see, Dr. Adams,"

"During the last few weeks, something happened to me."

"I walked and talked as I always did."

"I worked as hard as ever."

"I had breakfast in the morning and dinner at night."

"The clock didn't stop and the days went by, but... the world..."

How's it going?

- "My world has changed." - "Look at me, Vivian."

"Are you still in love with Tony Randall?"

"Are you?"

"I don't know."

"I want to tell you something, but I don't want you to look at me while I'm speaking."

"I thought about you for a long, long time."

"I lay awake at nights and thought about you,"

"I thought about your face, your smile, your soft voice,"

"in silent afternoons."

"About the way you walk, the way you move your arms, the way you listen to music."

"I'm in love with you."

"You know that, don't you?"

"Oh, I... I hoped for it.

"All the time."

"No, Vivian, no! Why don't you tell me the truth?"

"Why don't you tell me the truth? Look at me, Vivian!"

"I know you don't love me."

- John! "Don't say a word, now. Be silent!"

John, that's wrong. It's "You are in love with me."

- They're changing the ending! - Wait a minute, wait a minute!

"I don't want tenderness, I don't want pity!"

- Stop, stop! - Shh!

- What's he doing, is he crazy? - I don't know.

"I can't go begging where I could be king."

"Go, Vivian, go!"

"Look straight ahead!"

"Walk down the stairs and down the long white corridor..."

"...into the arms of the man destined for you."

"The arms of the man you love."

"Go, Vivian, go.

Curtain!

- Subtitles - Luís Filipe Bernardes