Original subtitles

I KNOW YOU'VE SEEN THIS VIEW

OF TIMES SQUARE, NEW YORK CITY,

SEVERAL THOUSAND TIMES,

BUT I JUST WANT TO LET YOU KNOW WHERE WE ARE.

I PROMISE YOU WON'T SEE IT AGAIN.

LESS FAMILIAR ARE THE SIDE STREETS--

44th AND 45th

SHOOTING WEST TOWARDS 8th AVENUE.

NESTLED IN THIS COMPACT AREA

ARE PERHAPS A DOZEN LEGITIMATE THEATERS.

I'M HARRY PHILLIPS, A PRODUCER OF PLAYS.

IF I SOUND A LITTLE NERVOUS,

IT'S BECAUSE ONE OF MY PLAYS IS OPENING TONIGHT.

YOU CAN TELL BY THE SIZE OF THE TYPE WHO THE STAR IS.

THINGS ARE QUIET NOW, BUT SOON THE DOORS WILL OPEN

FOR THE FIRST-ACT INTERMISSION,

THE TIME BEING 9:25.

AND THE WORD, GOOD OR BAD, WILL BE FLASHED IMMEDIATELY

TO SARDI'S ON 44th STREET,

WHERE IS GATHERED A CROSS SECTION

OF THE THEATRICAL WORLD.

THE MOST REPRESENTATIVE OF THIS GROUP

IS COLLECTED, I'M SORRY TO SAY, AT THE BAR.

THIS IS A PRODUCER

WHO TURNED DOWN NO LAUGHING MATTER

BECAUSE IT WASN'T UP TO HIS STANDARDS.

HERE'S A PLAYWRIGHT

WHOSE OPINION OF THE AUTHOR OF NO LAUGHING MATTER

IS THAT HE COULDN'T WRITE HIS WAY

OUT OF A PAPER BAG.

THIS CHAP IS A SCENIC DESIGNER.

I THREW OUT HIS SETS AND HIM WITH THEM.

THIS ACTRESS WAS THE BEATRICE PAGE OF TWO DECADES AGO.

SHE HASN'T CARED FOR ANOTHER ACTRESS SINCE.

AND HERE ARE A COUPLE OF PRESS AGENTS--

WELL, NEVER MIND THEM.

IT MUST BE TIME FOR THE FIRST-ACT INTERMISSION.

WILLIE WOLFE IS HIS NAME.

THE REASON YOU DON'T RECOGNIZE HIM

IS THAT HIS PICTURE

AT THE TOP OF HIS WIDELY SYNDICATED BROADWAY COLUMN

WAS TAKEN AT LEAST 10 YEARS AGO.

HE'S ON HIS WAY TO SARDI'S

FOR HIS USUAL BETWEEN-THE-ACTS DRINK.

SO THAT YOU WON'T BE SURPRISED LATER,

WE'LL TELL YOU NOW THAT IT'S GINGER ALE.

WILLIE DRINKS NOTHING BUT GINGER ALE.

WILLIE HAS JUST TOLD THEM

THAT THE FIRST ACT IS GREAT.

THE PLAY LOOKS LIKE A HIT.

THIS IS THE KIND OF TALK THAT CAN RUIN

THEIR ENTIRE EVENING.

(APPLAUSE)

MANY HAPPY RETURNS, ALICE.

OH, MY GOODNESS!

IS THIS MY BIRTHDAY?

WELL, IF I'D KNOWN, I WOULD HAVE DRESSED!

I WAS SO DETERMINED TO FORGET

THAT THIS IS MY BIRTHDAY.

HELLO.

MANY HAPPY RETURNS.

AS LONG AS YOU'VE REMEMBERED MY BIRTHDAY,

I HOPE YOU REMEMBERED THE PRESENTS, TOO.

I FEEL I'VE ARRIVED AT SUCH A SILLY AGE.

WHY DO YOU SAY THAT? YOU'RE ONLY 29.

THAT'S AN EXCITING AGE.

THAT'S WHAT I'LL PROBABLY THINK NEXT YEAR.

IN THE MEANTIME,

I THINK 27 WOULD BE SUCH FUN

AND 25 POSITIVELY HILARIOUS.

SHE'S 29 LIKE I'M 29.

She doesn't look much more than that to me.

I MADE THE RESERVATIONS MYSELF.

IN WONDER WHO'S FIGHTING THERE TONIGHT.

(LAUGHTER)

ALL RIGHT, ALL RIGHT,

SO HARRY PHILLIPS HAS A HIT.

A HIT?

THE SECOND ACT FELL RIGHT ON ITS SITZFLEISCH.

TOO BAD!

LET ME BUY YOU A DRINK.

OH, THAT EDDIE PROBISH.

I'VE SAID IT BEFORE--

HE COULDN'T WRITE HIS WAY

OUT OF A PAPER BAG.

HOW THEY EVER EXPECTED TO GET LAUGHS

IN THOSE DREARY SETS...

AND HOW WAS MISS PAGE?

ONLY GREAT.

THERE WAS AN OVATION--

FOR HER, NOT THE PLAY.

HELLO, WILLIE. TWO SCOTCHES.

I WANT YOU TO MEET A CLIENT OF MINE.

WILLIE WOLFE, STANLEY KROWN.

HI.

HOW ARE YOU?

ANY CLIENT OF EDDIE WOODS IS IN TROUBLE.

WHAT HAVE YOU BEEN IN?

I HAVEN'T BEEN IN ANYTHING.

STANLEY'S A WRITER.

OH, A WRITER.

(APPLAUSE)

HELLO, BETTY.

THEY EXPECT A SPEECH.

PLEASE, FELIX.

SHE'S JUST THE TYPE WHO WOULD.

THAT'S MUCH SAFER.

I KNOW IT'S CORNY, BUT IT'S TOUCHING.

I WOULD CALL IT HEARTWARMING,

BUT I HAVE NO HEART.

WE ALL KNOW THAT, HARRY.

(CLAPPING)

SIT DOWN.

YEAH, YOU'VE BEEN NOTICED.

WHY IS SHE CARRYING ON?

SHE COULDN'T EVEN HAVE SEEN THE PLAY.

SHE'S BEEN IN HERE ALL NIGHT.

IT'S AN OLD TRICK TO DRAW ATTENTION TO HERSELF,

SO IF SHE COMES UP FOR A PART,

THEY'LL RECOGNIZE HER.

SHE'S AN ACTRESS?

SOME ACTRESS.

DOES TELEVISION COMMERCIALS.

OPENS DOORS ON REFRIGERATORS.

WHO'S THE GUY WITH THE MENU?

HARRY PHILLIPS, A CLIENT OF MINE.

HER PRODUCER AND HUSBAND.

EX-HUSBAND, I SHOULD SAY.

THEY'VE BEEN DIVORCED SOME TIME NOW.

AND THE CREW CUT?

THE BOYFRIEND.

THIS SEASON'S.

I DON'T KNOW HIS NAME.

NOBODY DOES.

I DON'T THINK SHE DOES.

FUNNY COMBINATION.

WHY?

HARRY DOESN'T MIND THE BOYFRIENDS.

HE OUTLASTS ALL OF THEM.

HE AND BEA ARE THE BEST OF FRIENDS.

YOU KNOW HOW IT IS IN SHOW BUSINESS.

BEA, DARLING, I THOUGHT YOU WERE WONDERFUL.

THANK YOU.

I'M ALWAYS TERRIBLE ON OPENING NIGHTS

BUT NEVER LIKE THIS.

PROMISE YOU'LL SEE ME SOMETIME LATER.

NOT TOO MUCH LATER. WE MAY CLOSE.

DO YOU KNOW--BEA, WHAT'S HIS NAME AGAIN?

YOU KNOW PERFECTLY WELL.

IT'S GEORGE COURTLAND.

THERE'S A SORT OF ROMAN NUMERAL AFTER IT,

ISN'T THERE, DARLING?

YES, IV, THE 4th.

JUST OUT OF THE MONEY, YOU KNOW.

HI, GEORGE.

DID YOU GET ANY TELEGRAMS

I CAN USE IN THE COLUMN?

I WAS TOO NERVOUS TO LOOK AT THEM,

BUT I'LL READ THEM TONIGHT.

REMEMBER, I GET FIRST CALL ON THE FUNNY ONES.

I'M STOPPING IN AT THE STORK AND 21.

MADAME, I KISS ZE HAND.

OH, DARLING.

ONE THING ABOUT WILLIE--

HE ALWAYS MAKES A GOOD EXIT.

YEAH, BUT NOT OFTEN ENOUGH.

LET'S EAT, HUH?

BEATRICE, HONEY.

CAN AN OLD FRIEND TELL YOU HOW WONDERFUL YOU ARE?

I'D LOVE IT.

SIT DOWN AND START LYING.

WELL, LIE NUMBER ONE--

EDDIE, MAY I PRESENT--

UH, WHAT'S HIS NAME AGAIN?

HE'S NEEDLING ME, GEORGE, NOT YOU.

THAT'S IT, GEORGE.

HOW DO YOU DO?

HOW DO YOU DO?

THERE YOU ARE, THE TIMES.

OH, THANK YOU, FELIX.

I'M SURE THE REVIEW IS GOOD.

IT SAYS, "BEATRICE PAGE IS RADIANT,

BUT THE PLAY IS TERRIBLE."

WELL, ANYWAY, I'M GLAD FOR YOU, BEA.

I'M SORRY ABOUT THE PLAY, HARRY.

THERE'LL BE OTHER REVIEWS.

THEY WON'T BE ANY DIFFERENT.

WE'LL BE ROASTED, AND SHE'LL BE RADIANT.

I WANT TO READ THAT PART AGAIN

WHERE IT SAYS I'M RADIANT.

WHO IS, UH, THAT MAN?

THAT'S A NEW CLIENT OF MINE, WRITER.

JUST WRITTEN HIS FIRST PLAY.

GREAT STUFF IN IT, TOO.

JUST PICKED IT UP AT THE TYPING AGENCY.

NOT SOMETHING FOR BEA?

WISH IT WAS.

YOU OUGHT TO MEET HIM ANYWAY.

WOULD YOU LIKE TO MEET SOMEONE

WHO'S WRITTEN A PLAY

WITHOUT A PART FOR YOU?

NOT USUALLY.

BUT I'D LIKE TO STARE AT HIM FOR A CHANGE.

TRY TO REMEMBER GEORGE'S NAME THIS TIME.

ALL I NEED IS A CLUE.

BEA, DARLING, I'D LIKE YOU TO MEET

MR. STANLEY KROWN, MISS PAGE.

HOW DO YOU DO?

HELLO.

MR. HARRY PHILLIPS.

AND LAST BUT NOT LEAST, GEORGE...

UH...

GEORGE...

FOR CRYING OUT LOUD. COURTLAND.

COURTLAND!

HI.

HOW DO YOU DO?

IT'S A SIMPLE NAME.

FOR A SIMPLE FELLOW.

WON'T YOU JOIN US?

THANK YOU.

IT LOOKS AS THOUGH I'M OUTNUMBERED.

OH, UH, CIGARETTE?

NO, THANKS.

DID YOU SEE THE PLAY TONIGHT?

YES.

WELL?

DID YOU SEE THE TIMES' REVIEW?

SOMEBODY READ IT OUT LOUD.

TELL ME, MR. PHILLIPS,

WHY IS IT WHEN SOMEONE HAS A FAILURE

THEY ALL SEEM SO PLEASED?

IT'S ALL RIGHT.

WHEN THEY HAVE A FLOP, I'M PLEASED, TOO.

I SUPPOSE IT'S HUMAN NATURE.

I BELIEVE YOU'VE SUMMED IT UP.

I'M GOING TO ASK THIS QUESTION IF IT KILLS ME.

HOW DID YOU LIKE ME IN THE PLAY?

OH, HE WAS CRAZY ABOUT YOU!

I ALWAYS SAY WHAT I THINK, MISS PAGE.

I HAVE VERY FEW FRIENDS.

I WITHDRAW THE QUESTION.

I THOUGHT YOU WERE CHARMING.

WELL, IT'S A CHANGE FROM RADIANT.

HALF THE TIME.

WHAT DO YOU MEAN, HALF THE TIME?

HALF THE TIME I THOUGHT YOU WERE CHARMING.

THE OTHER HALF, YOU WERE SO SURE YOU WERE CHARMING

IT GAVE ME KIND OF A QUEASY FEELING.

DON'T LOOK AT ME.

I DON'T KNOW WHETHER HE'S KIDDING OR NOT.

YOU WEREN'T WORKING TO ENTERTAIN THE AUDIENCE.

YOU ALLOWED THEM TO BE ENTERTAINED.

YOU WERE CONDESCENDING, PATRONIZING.

YOU WERE SUPERIOR TO THE PLAY

AND THE PEOPLE WHO PAID TO SEE IT.

ONLY HALF THE TIME, DARLING, ONLY HALF THE TIME.

ANYONE WHO'S BEEN GRANTED A GIFT OF TALENT

OWES SOMETHING TO EVERYBODY.

THE GREATEST QUALITY AN ACTRESS CAN HAVE

IS HUMILITY,

AND THAT'S SOMETHING, MISS PAGE,

YOU'LL HAVE TO LEARN.

I THINK I'M BEHAVING BEAUTIFULLY.

I HAVEN'T SCREAMED OR ANYTHING.

IF I WERE STILL YOUR HUSBAND,

I'D ASK HIM TO STEP OUTSIDE.

BUT AS IT IS, IT'S UP TO MR. COURTLAND.

NOW YOU REMEMBER MY NAME.

VERY WELL. AN ACTRESS SHOULD HAVE HUMILITY.

MR. KROWN, SHOULD A WRITER HAVE HUMILITY ALSO?

NEVER.

HUMILITY CAN RUIN A WRITER.

A WRITER SHOULD BE CONCERNED

ONLY ABOUT PLEASING HIMSELF.

HE SHOULDN'T CARE WHAT ANYONE THINKS

ABOUT HIM OR HIS WORK.

HE SHOULD BE ARROGANT, SELF-CENTERED...

AND EVEN RUDE.

HE ISN'T UNDER CONTRACT TO ME.

WE HAVEN'T A THING IN WRITING.

NO, NO, NO, I'M FASCINATED.

I THINK WE'VE BEEN A LITTLE RUDE OURSELVES, HARRY.

WHY DON'T WE ASK THIS YOUNG MAN

TO HAVE A DRINK WITH US

AND CONTINUE THIS DISCUSSION?

I'M SORRY. I CAN'T.

I'VE GOT TO GO TO WORK.

AT 1:00 IN THE MORNING?

IS THAT WHEN YOU WRITE?

NO, NOT WRITING.

I WORK AT THE WASHINGTON MARKET.

WASHINGTON MARKET?

WASHINGTON MARKET.

SORRY IF I SPOKE OUT OF LINE, MISS PAGE,

BUT I HAVE TO SAY WHAT I THINK.

IT'S A HABIT I'LL HAVE TO BREAK.

GOOD NIGHT.

UH, LET'S SEE,

WHERE WERE WE BEFORE IT STARTED TO RAIN?

OH, HE FORGOT HIS ENVELOPE.

THAT'S HIS PLAY.

I'LL GIVE IT TO HIM TOMORROW.

LET ME HAVE IT.

I'D LIKE TO BROWSE THROUGH IT

WHEN I HAVE THE TIME.

SURE. IT'S JUST LIKE HIM--STRONG STUFF.

THE TRIBUNE IS OUT, MISS PAGE,

IT SAYS YOU WERE SPARKLING.

THANK YOU.

WE KNOW BETTER, DON'T WE, DARLING?

I'M PATRONIZING, SUPERIOR,

AND MUCH TOO SURE I'M CHARMING.

WELL! I DIDN'T KNOW YOU STAYED OVER.

YEAH. I STARTED TO READ THAT KID'S PLAY.

GOT LATE, SO I SLEPT IN THE STUDY.

YOU READ THEM ALL?

YES. MORNING, EMMA.

GOOD MORNING, MISS PAGE.

UH...

WHERE'S MY ORANGE JUICE?

DID HE DRINK THAT, TOO?

HE'S HAD FOUR.

STOOL PIGEON.

YOU KNOW WHAT A FLOP DOES TO HIS APPETITE.

I'LL SQUEEZE SOME MORE.

DID YOU TELEPHONE THE BOX OFFICE?

YEAH. THERE'S PRACTICALLY NO CALL FOR TICKETS.

WE WON'T RUN.

HERE I AM, BROKE AGAIN.

OH, I AM SORRY, DARLING.

WE'LL DO BETTER WITH THE NEXT PLAY.

SAY, WHAT DOES THIS DO TO MY ALIMONY PAYMENTS?

WELL...I WAS THINKING ALONG THE LINES

OF A POSTDATED CHECK.

OH, HARRY, NOT AGAIN.

DO YOU KNOW HOW MUCH YOU OWE ME IN BACK ALIMONY?

I DON'T, BUT I'M SURE YOU DO.

TO THE PENNY.

THERE'S NO ONE IN THE WORLD I'M MORE FOND OF

THAN I AM OF YOU, HARRY,

BUT BUSINESS IS BUSINESS.

$11,201.37.

THAT DOESN'T INCLUDE THE INTEREST,

WHICH IS 670-ODD DOLLARS.

6% DOESN'T STRIKE ME AS VERY FRIENDLY.

AT THE MERCHANTS AND SEAMEN'S BANK,

I CAN GET A LOAN FOR 3%.

THE MERCHANTS AND SEAMEN'S BANK

DID NOT GIVE YOU THE BEST YEARS OF ITS LIFE.

COULDN'T YOU AT LEAST SCRAPE UP THE INTEREST?

NO, BUT I MIGHT MANAGE THE INTEREST ON THE INTEREST.

OH, DARLING, I WONDER WHAT MAKES ME

SO DISAGREEABLE ABOUT MONEY MATTERS.

OTHERWISE, I'M REALLY A RATHER GENEROUS,

WARMHEARTED, THOROUGHLY DELIGHTFUL PERSON.

6% OF $673 IS 6 TIMES--

OH, THANK YOU, EMMA.

I GUESS THERE IS SOMETHING IN THE PAPER TODAY

BESIDES US.

HMM, WOULD YOU FIX MY COFFEE FOR ME, DARLING?

YES.

WITH SUGAR.

SINCE WHEN ARE YOU USING SUGAR?

OH, WELL, I'M SO DEPRESSED.

IT'S MUCH CHEAPER THAN GOING TO AN ANALYST, ISN'T IT?

NO SUGAR.

HMM, IS THAT THE LIGHTER I GAVE YOU FOR CHRISTMAS?

ALMOST. IT'S THE ONE I EXCHANGED

FOR THE ONE YOU GAVE ME FOR CHRISTMAS.

HAVING BREAKFAST WITH YOU LIKE THIS IS SUCH FUN.

DID WE HAVE ANY FUN WHEN WE WERE MARRIED, HARRY?

I'D HAVE TO THINK ABOUT THAT.

NO, I DON'T THINK SO,

NOT AT BREAKFAST ANYWAY.

IT WAS ALWAYS BICKER, BICKER, BICKER, SOMETHING AWFUL.

HOW LONG HAVE WE BEEN DIVORCED, HARRY?

I DON'T REMEMBER EXACTLY. PRETTY LONG, THOUGH.

LONG ENOUGH FOR ME TO PILE UP 11,000 IN BACK ALIMONY.

DON'T WORRY, DARLING, YOU'LL PAY IT,

EVERY CENT.

THERE'S A MR. KROWN HERE TO SEE YOU.

A MR. WHO?

A MR. KROWN.

THE KID FROM LAST NIGHT.

SEND HIM IN, EM.

OH, THAT MR. KROWN.

THE WASHINGTON MARKET MR. KROWN.

HELLO.

HELLO, MR. KROWN.

STANLEY, HOW ARE YOU?

WELL, IF YOU KNEW ME WELL ENOUGH

TO INSULT ME LAST NIGHT,

I KNOW YOU WELL ENOUGH

TO CALL YOU STANLEY THIS MORNING.

WON'T YOU HAVE SOME BREAKFAST, STANLEY?

BREAKFAST? IT'S 12:30.

WON'T YOU HAVE SOME LUNCH THEN?

NO, THANKS. I JUST FINISHED WORK.

I USUALLY GO RIGHT TO BED.

WE'RE NOT KEEPING YOU UP?

NO. I CAME TO SEE YOU.

YOU TOOK A COPY OF MY PLAY LAST NIGHT?

YES.

YOUR OFFICE SAID I MIGHT FIND YOU HERE.

WHAT DID YOU THINK?

WAIT. YOU DON'T GIVE A FELLOW MUCH TIME.

DID YOU START TO READ IT?

YEAH.

THEN YOU FINISHED IT.

IT'S THAT KIND OF A PLAY.

IT NEEDS WORK,

BUT IT IS THAT KIND OF A PLAY.

YOU'RE GOING TO PRODUCE IT?

NO.

IT'S NOT FOR MISS PAGE.

DOES MISS PAGE HAVE TO BE IN EVERY PLAY?

EVERY PLAY I PRODUCE,

HUMILITY OR NO HUMILITY.

WHAT'S IT ABOUT, ANYWAY?

A MOTHER-DAUGHTER CONFLICT,

A WONDERFUL PART FOR A GIRL 19 OR 20.

A CONCERT PIANIST, HAS TO LEAVE HOME.

MOTHER DOESN'T LIKE IT.

THAT'S ALL YOU NEED TO KNOW

IF YOU'RE NOT GOING TO BE IN IT.

WAIT. YOU MADE IT SOUND TERRIBLE.

IT'S NOT THE STORY, IT'S THE SCENES.

THE SCENES ARE POWERFUL.

HERE, LET ME START AT THE BEGINNING.

IN THE FIRST SCENE--

(YAWNS)

EXCUSE ME. THIS IS USUALLY MY BEDTIME.

WOULD SOME COFFEE OR JUICE HELP?

YEAH. I COULD USE SOME JUICE.

IT'S A LONG PLAY,

AND MY THROAT'S KIND OF DRY.

EMMA.

OH, HERE, SQUEEZE THESE.

JUST CAME UP FROM FLORIDA THIS MORNING.

I WONDERED WHAT THOSE BULGES WERE.

I KNEW IT COULDN'T BE THYROID.

THANKS. I'LL HAVE EMMA SQUEEZE THEM.

OH, UH, COULD YOU USE SOME, UH...

RADISHES?

THESE ARE PRIZE RADISHES.

WELL, THANK YOU.

NOW, WHY DIDN'T I KNOW YOU YEARS AGO

WHEN I WAS A STARVING ACTRESS?

WELL, NOT SO MANY YEARS AGO.

FROM HERE ON IN, NOTHING WILL SURPRISE ME.

I LIKE THIS, UH, APARTMENT OF YOURS.

IT'S NOT MY APARTMENT, IT'S MISS PAGE'S.

IT USED TO BE MY APARTMENT,

WHEN MISS PAGE AND I WERE MARRIED.

WELL, MISS PAGE AND I WERE MARRIED--

PERFECTLY TERRIBLE MARRIAGE.

NOW I'M HERE ALL THE TIME.

IN FACT, IT'S MY HOME AWAY FROM HOME.

WELL, LOTS OF TIMES WE WORK LATE,

AND I SLEEP OVER--

WHAT BUSINESS IS IT OF YOURS?

AS A WRITER, EVERYTHING'S MY BUSINESS.

OH, IT IS?

HARRY, I HAVE A WONDERFUL IDEA.

HOW OLD DID YOU SAY THE MOTHER WAS?

OH, 51, 50.

WELL, IF SHE'S 50, THE DAUGHTER COULD EASILY BE 29.

WHY?

BECAUSE THEN I COULD PLAY HER.

MAYBE THERE'S AN IDEA THERE.

MAKE THE GIRL 10 YEARS OLDER?

THAT WOULD SPOIL EVERYTHING.

IT MIGHT MAKE IT MUCH STRONGER.

GIVES THE MOTHER 10 MORE YEARS

TO FRUSTRATE THE DAUGHTER.

A GIRL 19'S A KID, AT 29, A WOMAN.

IT WOULD BE A DIFFERENT PLAY.

MAYBE BETTER.

I'VE THOUGHT ABOUT THIS PLAY FOR 10 YEARS,

AND IT MEANS TOO MUCH TO ME

TO CHANGE ONE LINE,

EVEN FOR A BEAUTIFUL ACTRESS LIKE MISS PAGE.

THANK YOU.

I'VE NEVER REALLY THOUGHT OF MYSELF AS BEAUTIFUL.

ONE ARGUMENT AT A TIME.

I'D BE THE LAST GUY IN THE WORLD

TO TRY AND GET A WRITER TO COMPROMISE,

BUT WHY DON'T YOU EXAMINE YOUR PLAY?

SEE IF A GROWN WOMAN

BEING TIED TO AN APRON STRING

ISN'T MUCH MORE DRAMATIC

THAN A KID'S BEING DOMINATED.

NOW, WHAT'S SO UNUSUAL ABOUT THAT?

I'D HAVE TO GIVE IT AN AWFUL LOT OF THOUGHT.

LET'S SEE...

IN THE FIRST SCENE...

HARRY.

SUPPOSING IT DOES WORK, WHEN COULD WE START?

WELL, THREE OR FOUR WEEKS' REWRITE.

WE COULD GO RIGHT INTO REHEARSAL--

UH-OH, THERE'S GOING TO BE A BIG PROBLEM.

WHAT'S THAT?

THE MOTHER ISN'T AS BIG A PART AS THE DAUGHTER,

BUT IT'S GOING TO BE TOUGH TO CAST.

I CAN'T THINK OF ANYBODY.

WHAT DOES IT CALL FOR?

A TYRANT WITH CHARM.

SHE'S GOT TO BE ATTRACTIVE

AND, WELL, VESTIGES OF GREAT BEAUTY.

HOW ABOUT MABEL TAFT?

MABEL TAFT?

VESTIGES OF GREAT BEAUTY?

DON'T MAKE ME LAUGH.

HA!

CLAIRE KING.

CAN'T ACT.

ANITA BLACK.

AAH!

KATHERINE BLISS.

SHE COULD NEVER DO IT.

HOW ABOUT POLLY CARTER?

SHE HATES ME, AND I HATE HER,

AND YOU KNOW IT!

MAYBE STANLEY HAD SOMEONE IN MIND.

(SNORING)

OH, MORNING, DICK.

GOOD MORNING, MR. PHILLIPS.

THEY'RE ALL HERE.

AH!

GOOD MORNING, HARRY.

HELLO, HELLO.

IT'S BEEN A LONG TIME.

WELL, BLESS YOUR HEART.

THIS IS AS SORRY-LOOKING A BEVY OF BIDDIES

AS I'VE SEEN IN YEARS.

YOU DON'T EXACTLY SEND SHIVERS UP MY SPINE, HARRY.

JUST FOR THAT, YOU'LL READ FIRST.

I WANT TO TELL YOU HARRIDANS

THE MOTHER IS TOUGH.

I DON'T EXPECT TO FIND HER AMONG YOU FRUMPS.

BUT ONE OF YOU MAY HAVE BEEN HOARDING

SOME TALENT FOR YOUR OLD AGE.

LISTEN TO HIM!

WELL, OLGA, SHALL WE START?

NOW DICK HERE WILL GIVE YOU THE SIDES.

WE'RE GOING TO DO THE LAST SCENE FROM THE FIRST ACT.

LOOK IT OVER, THEN DICK WILL READ WITH YOU.

OH, AND BY THE WAY, THE YOUNG MAN DOWN HERE,

WHOSE SHOES NEED RESOLING,

IS THE AUTHOR OF THIS PIECE OF STRUDEL.

STANLEY KROWN, OLGA O'BRIEN.

HI, MISS O'BRIEN.

HELLO, MR. KROWN.

I LOVE YOUR SCRIPT,

WHAT I'VE READ OF IT.

THANK YOU.

LET US KNOW WHEN YOU'RE READY.

I'M NEVER VERY GOOD AT COLD READINGS,

BUT HERE GOES.

"I HAVEN'T ASKED YOU WHERE YOU'VE BEEN.

"I DON'T INTEND TO.

BUT IF YOU'RE VOLUNTEERING..."

"THE IDEA'S RIDICULOUS, AND I WON'T HEAR OF IT.

"I KNOW WHAT'S GOOD FOR YOU.

I'VE KNOW WHAT'S GOOD FOR YOU FOR 29 YEARS."

THAT'S FINE, KATHERINE, JUST FINE.

IN FACT, THAT'S ABOUT THE CLOSEST READING

WE'VE HAD SO FAR.

WELL, IT'S THE FIRST TIME I SAW THE SCRIPT.

COLD READING.

DARN GOOD, CONSIDERING.

WHO HANDLES YOU, WILLIAM MORRIS?

YES.

WE'LL BE IN TOUCH.

THANK YOU, HARRY.

WE JUST HAVE TO KEEP LOOKING.

I THINK THAT COVERS EVERYBODY FOR TODAY.

DICK, IS THERE ANYONE ELSE OUT THERE?

NO, SIR.

YOU'D THINK A MOTHER WOULD BE EASY TO CAST.

MOTHERS HAVE ALWAYS BEEN TOUGH.

DON'T LET IT DISCOURAGE YOU.

WE'LL KEEP LOOKING TILL WE GET THE RIGHT ONE.

PHONE SARDI'S

AND TELL FELIX WE'RE ON OUR WAY OVER.

THEN TAKE THE SCRIPTS UP TO THE OFFICE.

OH, MR. PHILLIPS?

YES?

I'D LIKE TO READ FOR YOU IF I MAY.

AREN'T YOU A LITTLE YOUNG

TO PLAY THE MOTHER OF A 29-YEAR-OLD GIRL?

29? SHE WAS JUST 19 THE OTHER DAY.

HOW DO YOU KNOW SHE WAS JUST 19 THE OTHER DAY?

OH, I WORK PART-TIME

AT THE RIALTO TYPING AGENCY.

I READ EVERY PLAY THEY TYPE.

OH, YOURS IS ONE OF THE BETTER ONES.

THANK YOU.

IT NEEDS A LOT OF WORK, THOUGH.

AREN'T YOU A LITTLE YOUNG

TO PLAY THE MOTHER OF A 19-YEAR-OLD?

HOW OLD ARE YOU?

19.

I WANT TO PLAY THE DAUGHTER.

IN FACT, WELL, I MIGHT AS WELL TELL YOU NOW,

I'M GOING TO PLAY THE DAUGHTER.

I'M SORRY, BUT THE PART HAS BEEN CAST.

MISS BEATRICE PAGE IS PLAYING THE DAUGHTER.

OH, NO!

NO, NO, NO, NO!

OH, THIS IS THE END,

THE ABSOLUTE SIAMESE END!

BEATRICE PAGE PLAYING A DAUGHTER!

OH, YOU CAN'T LET THEM DO THIS TO YOU.

DON'T LET THEM DO THIS TO YOUR BEAUTIFUL PLAY!

YOU JUST SAID IT NEEDED A LOT OF WORK.

HOW CAN BEATRICE PAGE PLAY ANYBODY'S DAUGHTER,

EVEN A DAUGHTER OF 29?

SHE'S PLAYING A WOMAN OF 29 RIGHT NOW.

BUT WHO IS SHE FOOLING?

NOT ME. NOT FOR ONE SECOND.

NOT FOR ONE SIAMESE SECOND.

I DON'T KNOW WHETHER TO LAUGH OR CRY.

THE PART DOESN'T NEED THE BEATRICE PAGE CHARM--

THAT TIRED OLD BEATRICE PAGE CHARM.

IT--IT NEEDS YOUTH AND BOUNCE

AND VITALITY AND MAGNETISM.

AND DON'T YOU SEE?

THAT'S ME.

OH, THAT'S YOU, IS IT?

WHO ARE YOU?

WHAT ARE YOU?

SHE LOOKS FAMILIAR TO ME.

I'M SALLY CARVER,

AND I'M AN ACTRESS.

REALLY? WHAT HAVE YOU ACTED IN?

OH, UH, DOZENS OF THINGS.

WHERE?

UH, DOZENS OF PLACES.

WHICH MEANS YOU'VE NEVER ACTED ON BROADWAY

FOR PAY IN YOUR LIFE.

WELL, I'M ONLY 19, AREN'T I?

AND I'M ALREADY ON TELEVISION.

OH, OF COURSE.

YOU'RE THE GIRL WHO DID ALL THE APPLAUDING AT SARDI'S.

SHE OPENS DOORS ON REFRIGERATORS.

I DO MORE THAN THAT NOW.

YOU PROBABLY DEFROST, TOO.

AND I TAKE OUT TRAYS.

I'M VERY GOOD AT IT, TOO.

I'VE HAD A VERY TRYING DAY,

AND IF YOU'LL PLEASE GET OFF MY TOE,

I'D LIKE TO GO SOMEPLACE QUICK AND HAVE A DRINK.

THERE'S A SCENE HERE THAT I'VE BEEN WORKING ON.

IF YOU'LL JUST LISTEN.

"YOU SHUT EVERYBODY OUT,

"BUT I'M TELLING YOU, NOT ME ANY LONGER.

YOU CAN'T SHUT ME OUT."

I'LL BUY YOU A DRINK.

YOU LOOK SHAKEN, TOO.

IT'LL JUST TAKE A SECOND.

"I WANT TO KNOW WHY.

"WHEN YOU'VE GOT EVERYTHING,

"WHY ARE YOU SATISFIED WITH NOTHING?

"WHY DO YOU DESPISE PEOPLE?

"WHY DO YOU DESPISE YOURSELF?

WHY IN HEAVEN'S NAME"--

(DOOR CLOSES)

OH!

I'M GOING TO PLAY THIS PART.

SEE IF I DON'T.

I'M GOING TO PLAY THIS PART,

AND THAT'S THE SIAMESE TRUTH!

(BEATRICE) HA HA HA HA!

HA HA HA HA!

HEY, THAT PLAYWRIGHT OF YOURS

MUST BE A PRETTY FUNNY KID.

STANLEY KROWN IS A WRITER OF UNSHAKABLE PRINCIPLES

AND HIGH INTEGRITY.

THAT KIND NEVER MAKES ANYBODY LAUGH.

THEN WHAT'S HE DOING, TICKLING HER?

A WOMAN'S LAUGH

IS VERY OFTEN JUST A MATING CALL.

HA HA HA HA!

IT MAY BE FUNNY TO YOU,

BUT I'LL TAKE VEGETABLES OVER FLOWERS ANY DAY.

COME ON, BEA.

ONLY A HALF-HOUR TO CURTAIN.

STAY HERE AND FINISH YOUR DINNER.

WE'LL MEET YOU AFTER THE SHOW.

I'VE GOT TO WORK ON THE SCRIPT.

I'M BEHIND ON THE TYPING

WITH THAT HUNT-AND-PECK SYSTEM.

HOW DOES GEORGE SPELL HIS SECOND NAME,

A "D" OR A "DT"?

JUST A "D."

GEORGE WON'T MIND. THE MARKET WENT UP TODAY.

DON'T WORK TOO HARD, STANLEY.

YOU LOOK A LITTLE PEAKED.

DOESN'T HE LOOK A LITTLE PEAKED?

I'M JEALOUS. YOU NEVER TELL GEORGE HE LOOKS PEAKED.

OH, WELL.

FELIX.

YES?

I'M CROOKED.

SORRY, MISS PAGE.

IT WON'T HAPPEN AGAIN.

DROP UP FOR A COCKTAIL TOMORROW, HUH, STAN?

I'LL SET MY ALARM FOR 5:00.

GOOD NIGHT, LAMBIE PIE.

YOU'RE, UH, REALLY LIVING, LAMBIE PIE,

AREN'T YOU?

HE'S ALONE.

HE'S GOOD-LOOKING FROM HERE.

WELL, FOR A WRITER.

WHERE IS IT?

WHAT?

MY THING.

YOU'RE SITTING ON IT.

OH!

WELL, HERE GOES.

UH...

HELLO.

OH, HELLO.

I JUST BET YOU...

YOU DON'T REMEMBER ME.

OH, YES, I DO. IT'S ONLY BEEN TWO WEEKS.

WHO COULD FORGET A CHARACTER LIKE YOU IN TWO WEEKS?

I REMEMBER YOUR NAME-- SALLY CARVER.

PEGGY PRUITT.

PEGGY PRUITT?

I COULD HAVE SWORN IT WAS SALLY CARVER.

WELL, TWO WEEKS AGO IT WAS SALLY CARVER,

BUT TODAY IT'S PEGGY PRUITT.

I WASN'T HAVING MUCH LUCK AS SALLY CARVER,

SO I CHANGED IT, THAT'S ALL.

OH, I'VE HAD LOTS OF NAMES.

YOU SEE, YOU KEEP GETTING TURNED DOWN FOR JOBS

UNDER ONE NAME,

AND THAT NAME GETS A REPUTATION FOR BEING UNEMPLOYABLE,

SO YOU CHANGE YOUR NAME.

OH, I HAVE HIGH HOPES FOR PEGGY PRUITT.

WHAT CAN I DO FOR YOU, MISS PRUITT?

MISS PRUITT.

IT SOUNDS STRANGE.

I JUST TOOK THAT NAME THIS MORNING.

OH, UH, I HAVE SOMETHING VERY INTERESTING

TO SHOW YOU, MR. KROWN.

UH, WOULD YOU LIKE A CUP OF COFFEE?

NO, NO, NO. THANK YOU.

WHAT HAVE YOU GOT THAT'S READY?

SPAGHETTI MARINARA, OUR SPECIALTY.

OH, THAT'S FINE, AND MAYBE A MIXED SALAD

AND A PLATE OF SPUMONE.

I MIGHT AS WELL HAVE THE COFFEE, TOO.

VERY WELL.

TELL ME SOMETHING--

DOES ANYONE IN THE THEATER EVER BUY THEIR OWN DINNER?

OH, NOT IF THEY CAN HELP IT.

YOU SEE, MY TELEVISION SHOW IS OFF,

AND THINGS ARE PRETTY SLOW

DOWN AT THE TYPING AGENCY.

WELL, IF YOUR PLAY SHOULD BE A FLOP

AND PEG PRUITT A SUCCESS,

I'LL BUY YOU A DINNER.

THAT'S THE WAY THINGS ARE DONE IN THE THEATER.

OH, I SHOULD HAVE HAD A MARTINI.

YOU WERE GOING TO SHOW ME SOMETHING.

OH, YES. WHERE IS IT?

OH!

I'M SITTING ON IT AGAIN.

THIS IS A COPY OF THE THEATER ARTS MAGAZINE.

I HAVEN'T SEEN THE LATEST ISSUE.

LATEST ISSUE?

THIS COPY IS SO OLD, IT'S FALLING APART.

AH, TAKE A LOOK AT THAT.

"ALICE BRADY, JAMES RENNIE, AND HENRY HULL

IN A SCENE FROM THE NEW SUCCESS THE FORGOTTEN LIGHT."

WELL, WHAT ABOUT IT?

DON'T YOU NOTICE ANYTHING FUNNY ABOUT THE MAID?

YEAH. WHAT'S FUNNY ABOUT HER?

DON'T YOU RECOGNIZE HER?

IT'S BEATRICE PAGE.

YOU'RE CRAZY.

THAT'S NOT BEATRICE PAGE.

YOU'RE CRAZY.

IT'S NOBODY BUT BEATRICE PAGE.

THE PICTURE'S SO FADED.

HOW CAN YOU TELL?

ANYWAY, WHAT ARE YOU TRYING TO PROVE?

IF SHE PLAYED A MAID SO LONG AGO,

HOW CAN SHE PLAY A GIRL OF 19 TODAY?

SHE'S NOT 19 ANYMORE. SHE'S 29.

WAIT. THEY MUST LIST THE CAST.

"MAID--EILEEN PRENTISS."

WELL?

MY, THIS... SPAGHETTI IS GOOD.

UH, WHAT ARE YOU DOING AFTER DINNER TONIGHT?

ME?

WELL, I--I USUALLY TAKE A BRISK HALF-HOUR WALK.

GOOD FOR THE DIGESTION AND THE FIGURE.

AND, UH, AFTER THE WALK?

WELL, THIS IS NEW YORK.

THERE ARE MILLIONS OF THINGS TO DO,

ONLY I NEVER SEEM TO DO ANY OF THEM.

TONIGHT, LIKE MOST NIGHTS, I'M GOING TO GO HOME,

UNLESS YOU'RE THINKING OF ASKING ME

TO GO TO THE BALLET.

I HATE BALLET.

OH.

UM...

HOW ABOUT COMING UP TO MY APARTMENT?

I FEEL ABOUT MEN'S APARTMENTS

THE WAY YOU FEEL ABOUT THE BALLET.

WELL, A BRISK WALK FROM HERE TO MY APARTMENT

TAKES ABOUT A HALF AN HOUR.

HOW ABOUT IT?

WELL...

O.K.

OH, UH, EXCUSE ME A MINUTE

WHILE I TELL MY GIRLFRIEND NOT TO WAIT FOR ME.

WHEN THE WAITER BRINGS THE SPUMONE,

ASK HIM FOR SOME MACAROONS.

WELL, IT'S FINALLY HAPPENED.

WHAT?

I'VE BEEN HANGING AROUND BROADWAY FOR THREE YEARS

AND NOT EVEN A LEER FROM A PRODUCER,

PLAYWRIGHT, DIRECTOR, OR EVEN STAGE MANAGER,

BUT NOW!

YOU MEAN STANLEY KROWN?

HE INVITED ME UP TO HIS APARTMENT.

I GUESS PEGGY PRUITT HAS MORE APPEAL THAN SALLY CARVER.

WELL, YOU'RE NOT GOING.

INDEED I AM.

HE'LL HAVE A SCRIPT IN HIS APARTMENT.

BEFORE HE KNOWS IT, I'LL BE GIVING HIM A READING.

IT MAY NOT BE WHAT HE HAS IN MIND,

BUT THAT'S WHAT HE'S GOING TO GET.

HE DOESN'T LOOK LIKE HE'D STAND STILL FOR A READING.

MAYBE YOU'D BETTER PHONE ME EVERY 15 MINUTES.

HE'S PROBABLY IN THE PHONE BOOK.

ALL RIGHT, BUT BE CAREFUL.

DON'T WORRY ABOUT ME, PATTY.

HE HASN'T GOT A SIAMESE CHANCE.

COME ON. IT'S GETTING LATE.

WHAT ABOUT MY SPUMONE?

I ATE IT. IT WAS DELICIOUS.

IF YOU DON'T MIND,

I'D RATHER NOT HEAR ANY MORE ABOUT IT.

OH, DON'T BE A CHILD.

SHE'S LYING ABOUT HER AGE.

EVERYBODY IN THE THEATER LIES ABOUT THEIR AGE.

YOU, TOO?

WELL, OF COURSE ME, TOO.

I, UH, I TOLD YOU I WAS 19, DIDN'T I?

IF YOU'RE NOT 19, HOW OLD ARE YOU?

22. PRACTICALLY 23.

YE GODS!

WHAT DO YOU HAVE TO LIE FOR AT 22

OR EVEN PRACTICALLY 23?

YOU'RE NAIVE.

I'M NOT LYING FOR NOW.

I'M LYING FOR 15 YEARS FROM NOW

WHEN I'LL BE 38

AND WANT PEOPLE TO THINK I'M 35.

YOU'RE CRAZY.

YEAH.

I DON'T SEE ANY KITCHEN.

EVEN BACHELORS EAT, DON'T THEY?

WHERE DO YOU DO YOUR, UH, COOKING?

I'LL SHOW YOU AFTERWARDS.

IS THERE A--A DRINK ON THE PREMISES?

AFTERWARDS.

AFTER...WHAT?

LET'S SEE. IS THERE ENOUGH LIGHT?

FOR WHAT?

HERE. YOU SIT HERE.

HERE. CATCH!

OH!

MAYBE A LITTLE MORE LIGHT.

THERE. THAT'S BETTER.

OH.

THIS IS FOR THE SADDLE SORES.

NOW, THREE CARBONS OUGHT TO BE ENOUGH.

THREE CARBONS OF WHAT?

THE CHANGES ON MY PLAY.

THERE'S QUITE A BATCH.

WAIT A MINUTE.

YOU MEAN TO SAY YOU GOT ME UP HERE

TO DO YOUR TYPING FOR YOU?

THAT'S RIGHT. YOU TYPE, DON'T YOU?

SAID YOU WORKED AT THE RIALTO AGENCY.

WELL, YOU'VE GOT ONE FINE SIAMESE NERVE!

DO YOU KNOW WHAT I GET FOR TYPING?

$1.00 AN HOUR. THIS WILL TAKE ME FIVE HOURS AT LEAST!

THAT'S FINE.

THAT'S JUST ABOUT WHAT YOUR DINNER COST ME,

INCLUDING THE TIP.

WHEN YOU FINISH THAT BATCH,

THERE'LL BE ANOTHER.

(TELEPHONE RINGS)

(RING)

(RING)

HELLO.

PATTY!

WHAT?

WHAT'S HAPPENING?

I'M TYPING. THAT'S WHAT'S HAPPENING.

YES, THAT'S WHAT I SAID-- TYPING.

YEAH. WELL, YOU'RE-- YOU'RE RIGHT, PATTY.

PLAYWRIGHTS JUST AIN'T WHAT THEY USED TO BE, THAT'S ALL.

(TYPING)

(PEGGY) HA HA HA!

HA HA HA HA!

HA HA HA HA!

PRETTY FUNNY, HUH?

FRANKLY, STANLEY, I DIDN'T THINK YOU HAD IT IN YOU.

THE FIRST SCRIPT I READ HAD NO LAUGHS.

HARRY THOUGHT IT COULD USE A LITTLE COMEDY, SO I WROTE--

THIS ISN'T A COMEDY SCENE.

IT ISN'T?

THIS IS A NEW DRAMATIC SCENE.

WELL, IF IT IS, STANLEY, YOU'RE IN TROUBLE.

LET ME LOOK AT IT AGAIN.

DO YOU KNOW WHAT IT IS, STANLEY?

CHANGING THE GIRL FROM 19 TO 29,

THAT'S WHAT DOES IT.

THAT'S WHAT'S RUINING YOUR PLAY.

HARRY PHILLIPS DOESN'T THINK SO.

HARRY PHILLIPS IS IN LOVE WITH BEATRICE PAGE.

HOW DO YOU KNOW THAT?

EVERYBODY KNOWS IT BUT HARRY PHILLIPS AND BEATRICE PAGE.

WELL, I'M NOT IN LOVE WITH BEATRICE PAGE.

EVEN IF I WERE, I WOULDN'T CHANGE ONE LINE FOR HER

IF I DIDN'T THINK IT WAS RIGHT.

BY MAKING THE GIRL MORE MATURE,

I MAKE THE PLAY MORE MATURE.

IS THAT WHAT YOU BELIEVE,

OR IS THAT WHAT THEY TALKED YOU INTO BELIEVING?

I MADE SOME COFFEE. WOULD YOU LIKE A CUP?

IS IT FREE, OR DO I HAVE TO DO YOUR LAUNDRY?

AW, DON'T WORRY. IT'S GOING TO BE ALL RIGHT.

ALL YOU HAVE TO DO IS CHANGE THE GIRL BACK TO 19

AND PERSUADE ME TO PLAY THE PART.

I COULD BE PERSUADED, YOU KNOW.

I KNOW.

MMM!

OOH, THIS IS PERFECTLY TERRIBLE COFFEE.

I KNOW.

WOULD IT, UH,

WOULD IT CHANGE YOUR ATTITUDE ABOUT THE BALLET ANY

IF I TOLD YOU I COULD GET TWO PASSES FOR TOMORROW NIGHT?

NO, IT WOULDN'T.

HAVE YOU ANY BROTHERS OR SISTERS?

I'VE GOT A KID SISTER.

WHAT DIFFERENCE DOES IT MAKE?

NONE.

I, UH, I'M AN ONLY CHILD.

THAT'S OBVIOUS.

ARE YOU ENGAGED OR ANYTHING?

AND DON'T ASK ME WHAT DIFFERENCE DOES IT MAKE.

IT MAKES A BIG DIFFERENCE.

TO WHOM?

TO ME.

YOU KNOW, I'M REALLY LOOKING AT YOU FOR THE FIRST TIME...

AS A MALE, I MEAN.

YOU WERE JUST A MAN WHO COULD GIVE ME A JOB.

THAT KIND OF MAN IS ALWAYS ATTRACTIVE, BUT NOW...

LISTEN.

WHY DON'T YOU LOOK AT ME FOR THE FIRST TIME, TOO?

HA HA HA HA!

YOU'VE GOT SUCH A SURPRISED LOOK,

A REAL SIAMESE SURPRISED LOOK.

TELL ME SOMETHING.

WHAT IS THIS SIAMESE BIT YOU DO ALL THE TIME?

OH, IT DOESN'T MEAN ANYTHING.

EVERY PERSON SHOULD HAVE AN EXPRESSION PECULIAR TO HIMSELF.

IT DRAWS ATTENTION.

YOU SEE? IT WORKED WITH YOU.

YOU SEEM TO HAVE A LOT OF CHARACTERISTICS

PECULIAR TO YOURSELF.

OH, ONE GOOD THING ABOUT BAD COFFEE--

IT MAKES YOU SO NICE AND DROWSY.

MY SISTER USED TO HAVE A KITTEN THAT STRETCHED LIKE THAT.

IT MUST HAVE BEEN AN ONLY KITTEN.

(DOORBELL RINGS)

OH, IT'S THE PHONE. I'LL GET IT.

NEVER MIND, PATTY. IT'S ALL--

(RING)

PATTY?

PATTY?

THAT'S FUNNY. THERE'S NOBODY ON THE PHONE.

IT'S THE DOORBELL.

(RING)

(RING)

WELL, HELLO.

OH, HELLO.

IT'S RAINING, SO I THOUGHT I'D DROP UP

AND DRIVE YOU TO WORK.

OH, I'M SORRY.

I DIDN'T KNOW YOU HAD COMPANY.

OH, SHE'S NOT COMPANY.

SHE'S, UH, MISS PRUITT, I THINK.

UH, SHE'S A TYPIST.

I'M NOT A TYPIST.

I'M AN ACTRESS.

OH, REALLY? SO AM I.

I'M BEATRICE PAGE. HOW DO YOU DO?

I'M HELPING HIM WITH THE CHANGES.

OH.

(ALARM RINGS)

NO, NO. IT'S THE ALARM.

IT'S SUPPOSED TO WAKE ME UP AND GET ME TO WORK.

TURN IT OFF AND GET YOUR COAT.

YOU'RE GOING TO THE MARKET IN STYLE.

THAT'S SWELL OF YOU.

I'LL SEE YOU IN A SECOND.

AND ALL FOR ME.

YOU KNOW WHAT MY FIRST JOB IN THE THEATER WAS?

TYPIST AT AN AGENCY.

(TELEPHONE RINGS)

OH, THIS HAS GOT TO BE THE PHONE.

(RING)

HELLO?

HELLO, PATTY.

NO, NO, NO TROUBLE.

NO HITS, NO RUNS.

ONE ERROR.

THAT YOUR CAR?

YES.

OH, MAY WE DROP YOU?

I'M GOING TO WALK HOME.

I LOVE WALKING IN THE RAIN.

YOU'RE CRAZY.

THE WIND IN YOUR HAIR, THE RAIN ON YOUR FACE,

IT'S EXHILARATING!

YOU TWO BETTER GET IN THE CAR.

YOU'RE DARN RIGHT.

WAIT. IT ISN'T RAINING THAT HARD.

IT DOES GIVE YOU A TINGLE.

LET'S WALK HALF THE WAY AND THEN TAKE A TAXI.

OH, JUST BECAUSE THIS LUNATIC--

A LITTLE WATER WON'T HURT YOU.

COME ON.

WHAT ARE WE TRYING TO PROVE?

HELLO, MR. PHILLIPS.

HELLO, WHATEVER YOUR NAME IS.

OH, IT'S STILL PEGGY PRUITT.

I'D RATHER BE ALONE, MISS PRUITT.

I SUPPOSE IF I DON'T ASK YOU TO SIT DOWN,

YOU WILL ANYWAY, SO SIT DOWN.

THANK YOU, MR. PHILLIPS.

I IMAGINE YOU HAVE A DRINK IN THE BACK OF YOUR MIND.

I ASSUMED YOU'D ASK,

SO I ORDERED A PLANTER'S PUNCH.

I READ THAT YOU'RE FLYING TO HOLLYWOOD TO SIGN UP A MOTHER.

IN AN HOUR AND A HALF.

WE START REHEARSALS A WEEK FROM TOMORROW,

AND WE HAVE NO MOTHER.

WE HAVE A WELL-TYPED SCRIPT, THANKS TO YOU,

ALMOST ENOUGH MONEY, BUT NO MOTHER. I THINK IT'S VERY SAD.

HOW MANY DRINKS HAVE YOU HAD, MR. PHILLIPS?

INNUMERABLE,

AND IF I CAN PRONOUNCE INNUMERABLE,

I HAVEN'T HAD ENOUGH.

MAKE IT A DOUBLE THIS TIME.

I KNOW WHY YOU'RE UPSET.

IF I TOLD YOU TO SHUT UP,

YOU'D KEEP TALKING.

YOU'RE FLYING TO THE COAST,

AND BEATRICE PAGE ISN'T EVEN HERE TO SEE YOU OFF.

I BET IT'S THE FIRST TIME IT'S HAPPENED, TOO.

IT USED TO BE THAT IF I WENT TO THE POLO GROUNDS,

SHE PUT ME ON THE SUBWAY TRAIN.

AND WHERE IS SHE TONIGHT?

OUT TO SOME STUPID PARTY

WITH THAT SUPREME IDIOT STANLEY KROWN.

I KNOW BECAUSE I ASKED HIM

TO TAKE ME TO THE BALLET TONIGHT.

THEY'RE THE HOTTEST ROMANCE OF THE CENTURY.

THEY'RE MAKING BUMS OUT OF TRISTAN AND ISOLDE.

OH, I THINK IT'S DISGRACEFUL.

WHY DOESN'T SHE LEAVE HIM ALONE?

WHAT DOES SHE WANT WITH HIM?

AS LONG AS A MAN AS YOUNG AND ATTRACTIVE AS STANLEY

LOOKS AT HER THE WAY HE DOES,

SHE HAS THAT WONDERFUL FEELING

THAT SHE'S STILL IN THERE PITCHING.

ALLOW ME TO MIX A METAPHOR.

SHE FEELS THAT THE DOOR HASN'T CLOSED ON HER YET.

EVERY WOMAN HAS ONE FOOT IN THERE

TRYING TO KEEP THAT DOOR FROM SLAMMING SHUT.

THE FOOT IS BARE. IT'S BROKEN AND BRUISED.

IT'S BLEEDING FROM EVERY TOE,

BUT IT'S IN THERE.

AND DON'T LOOK SO DISDAINFUL.

YOU'LL BE DOING THE SAME THING YOURSELF.

I BETTER GET MY CHECK AND GET OUT OF HERE.

ALL RIGHT.

I CAN UNDERSTAND HER GOING FOR HIM,

BUT WHAT DOES HE SEE IN HER?

HERE I AM FLINGING MYSELF AT HIM,

AND THERE'S NO SENSE IN BEING MODEST.

I'M FAIRLY ATTRACTIVE, AREN'T I?

WELL, IF I WERE 10 YEARS YOUNGER

AND THE PLANE WAS LEAVING AN HOUR LATER, I--

THE HORRIBLE PART OF BEA'S DUSTING OFF GEORGE COURTLAND

IS THAT I CAN'T SIGN HIS NAME ANYMORE. THANK YOU.

NICE TRIP, MR. PHILLIPS.

THANK YOU, JIMMY.

LOOK, RIGHT NOW YOU HAVEN'T GOT A CHANCE.

YOU SEE, BEA IS GLAMOUR.

SHE TAKES HIM TO ALL THE SNAZZY PARTIES.

HE MEETS NOT THE BEST PEOPLE,

BUT THE BEST-KNOWN PEOPLE.

THIS IS A BIG LEAP FROM WASHINGTON MARKET.

HE'S IN A WHIRL.

WELL, I'M NOT GIVING UP.

YOU'RE JUST A GOOD LITTLE MAN

FIGHTING A GOOD BIG MAN.

IT'S DEMPSEY AND CARPENTIER ALL OVER AGAIN.

DEMPSEY, CARPENTIER? I WASN'T EVEN BORN YET.

BEA KNOWS ALL ABOUT DEMPSEY AND CARPENTIER.

SHE PROBABLY REFEREED THE FIGHT.

HI, HARRY.

I'VE BEEN TRYING TO CALL YOU ALL DAY LONG.

I HAVE NO PHONE.

I'VE GOT A PART FOR YOU--

FOURTH ROAD COMPANY OF THE NIGHT IS BLUE.

YOU PLAY TENTS, GYMNASIUMS, EVEN THEATERS.

IT'S THE INGENUE LEAD.

INGENUE LEAD?

I'LL LEAVE YOU TWO TO SETTLE THE DETAILS.

I'VE GOT TO GO OUT INTO THE WILD BLUE YONDER AND FIND A MOTHER.

YOU'RE NOT MAKING A MISTAKE, EDDIE. SHE'S GOOD.

ONCE I ALMOST HEARD HER READ.

GOODBYE, PEGGY.

GOODBYE, EDDIE.

GOODBYE, WRITERS, PRODUCERS, DIRECTORS,

AGENTS, BALLET DANCERS.

GOODBYE, EVERYBODY.

FLIGHT NUMBER 125 FROM WASHINGTON

NOW ARRIVING GATE NUMBER 3.

HARRY. I THOUGHT I'D NEVER GET HERE ON TIME.

WHAT'S THE MATTER, THE PARTY DULL?

THE UNEMPLOYED ACTORS WERE ENTERTAINING.

THEY'LL NEVER KNOW I'M GONE.

(CLERK) SORRY, EXCESS. 15.80.

OH, MY. THIS IS HEAVY.

WELL, IT'S WAY OVER 40 POUNDS.

YOU'LL HAVE TO PAY EXCESS.

$1.50, $2.00-- WHAT'S THE DIFFERENCE?

DON'T BE SILLY. WHY SHOULD YOU PAY ANYTHING?

THE AIRLINE DOESN'T NEED THE MONEY.

HARRY.

COME ALONG. COME ALONG. FOLLOW ME.

DON'T MAKE A SCENE.

BE QUIET.

GIVE ME THAT BAG, WILL YOU?

EXCUSE ME.

WHAT ARE YOU GOING TO DO?

NEVER MIND.

PUT THIS IN YOUR POCKET.

PUT IT IN YOUR POCKET.

FOR PETE'S SAKE.

WHY ARE YOU BRINGING THIS?

THE FRAME WEIGHS A TON.

PUT THIS IN ONE POCKET.

I'M SORRY.

GOT THE OTHER.

DON'T WORRY. EVERYBODY DOES IT.

AT LEAST PRETEND TO BE MAKING A PHONE CALL.

CARRY THAT. PRETEND IT'S A BOOK.

I DON'T KNOW WHY YOU'RE NOT THE WORLD'S RICHEST WOMAN.

BECAUSE A CERTAIN SPENDTHRIFT I KNOW OWES ME LOTS OF MONEY.

COME, THOMAS.

HERE YOU ARE.

THERE'S THE TICKET.

WHERE'S THE BOY PLAYWRIGHT?

HE'S STILL AT THE PARTY.

HOWEVER DID HE LET YOU GO?

I SLIPPED SOMETHING INTO HIS DRINK.

VERY FUNNY.

A QUARTER OF A POUND OVER.

WHAT?

THERE'S NO CHARGE.

THERE'S YOUR BAGGAGE CHECK AND GATE PASS.

THANK YOU.

YOU MIGHT AT LEAST THANK ME.

IT'S WONDERFUL-- A MAN YOUR AGE BEING JEALOUS.

IT'S EVEN MORE WONDERFUL YOU BEING ABLE TO MAKE ME JEALOUS.

OH, WHAT'S THE MATTER?

YOU'VE BEEN THROUGH GEORGE COURTLAND,

ROGER BAKER, JOHNNY MORROW,

AND ALL MY OTHER LITTLE HARMFUL FLIRTATIONS.

I'VE GOT A FUNNY FEELING ABOUT STANLEY KROWN. HE'S DIFFERENT.

YES, HE IS DIFFERENT.

STANLEY WORRIES ME.

HE'S NOT BEHAVING ACCORDING TO FREUD.

A YOUNG, CHARMING GIRL THROWS HERSELF AT HIM--

PEGGY PRUITT?

YEAH.

I GOT HER A JOB

IN THE ROAD COMPANY OF THE NIGHT IS BLUE.

YOU DID, EH?

YES, I DID.

SHE NEEDED THE JOB, DIDN'T SHE?

YOU DID IT BECAUSE SHE NEEDED THE JOB, EH?

NOT TO GET HER AWAY FROM STANLEY?

OH, HARRY. TAKE CARE OF YOURSELF.

I DON'T KNOW WHAT I'D DO WITHOUT YOU.

I'LL TAKE VERY GOOD CARE OF MYSELF.

THANKS FOR TAKING MY PICTURE ALONG.

A PLEASURE.

BEA,

BY ANY CHANCE DID YOU REFEREE

THE DEMPSEY- CARPENTIER FIGHT?

OH, FOR ME? CELERY.

EMMA.

MR. KROWN.

YEAH.

A YOUNG LADY WANTS TO SEE THE RUN-THROUGH--

A FRIEND OF YOURS.

WHAT'S HER NAME?

CLAUDIA SOUVAINE.

CLAUDIA SOUVAINE.

I DON'T KNOW A CLAUDIA SOUVAINE.

SHE SEEMS TO KNOW YOU RIGHT WELL.

WHERE IS SHE?

IN THE LOBBY.

ALL RIGHT.

CLAUDIA SOUVAINE?

OH.

THEY LOVE THAT SORT OF NAME ON THE ROAD.

ONLY I'M NOT ON THE ROAD ANYMORE.

THEY FIRE YOU ALREADY?

I GAVE MY NOTICE.

WHAT FOR?

IT'S A STUPID PART ANY OF 10,000 INGENUES CAN PLAY.

IT'S A WASTE OF MY TALENT.

YOU KNEW THAT BEFORE YOU TOOK THE PART, DIDN'T YOU?

YEAH, BUT...

YEAH, BUT WHAT?

I DIDN'T KNOW I'D BE MISSING YOU SO MUCH.

OH.

IT WASN'T SO BAD IN HAZELTON AND SCRANTON

AND PLACES LIKE THAT,

BUT AS WE KEPT GOING FARTHER WEST, I...

DID...YOU MISS ME ANY?

UH, WELL, I, UH...

I WAS SO BUSY.

YOU CAN BE BUSY AND STILL MISS A PERSON.

I WAS BUSY, TOO.

I THINK I DID THINK ABOUT YOU NOW AND THEN.

AREN'T YOU TOUCHED BY WHAT I DID--

I MEAN, GIVING UP A JOB AND EVERYTHING?

WELL, OF COURSE I'M TOUCHED.

WHO WOULDN'T BE? BUT...

ALSO I THINK YOU'RE A LITTLE TETCHED.

WHAT'S THE MATTER?

THAT'S A NICE, WARM SMILE.

I LIKE IT.

UH,

UH, YOU LOSE SOME WEIGHT?

YEAH, A POUND OR TWO.

ARE YOU WORRIED ABOUT ME?

UH, YES. I DON'T KNOW WHY I SHOULD BE,

BUT I'M WORRIED ABOUT YOU.

THANK YOU FOR WORRYING ABOUT ME.

LOOK, AFTER THE RUN-THROUGH,

WE'RE GOING OUT FOR COFFEE AND SANDWICHES.

YOU WANT TO JOIN US?

I WAS HOPING YOU'D ASK ME.

I WAS PLANNING TO ANYWAY,

BUT I WAS HOPING YOU'D ASK ME.

READY, MR. KROWN.

OH, THANKS.

OH, COULD I WATCH IT, JUST FROM THE BACK?

SURE. LOOK, IT'S JUST A RUN-THROUGH--

NO SCENERY, NO LIGHTS.

YOU CAN'T GET MUCH REACTION FROM 10 AUDIENCE MEMBERS.

DON'T WORRY ABOUT ME.

I KNOW ALL ABOUT RUN-THROUGHS.

NO, MOTHER. I WON'T WAIT.

I'VE WAITED FOR 10 YEARS.

I REFUSE TO BE TREATED AS A CHILD ANY LONGER.

AND WHEN YOU GROW UP,

YOU CAN FIND ME AT THE HOTEL TREMONT.

CURTAIN!

O.K., MR. PHILLIPS?

I'LL CHECK THE NOTES LATER.

O.K., PEOPLE. NOT BAD.

PRETTY GOOD.

PRETTY GOOD? NOT BAD? WHY, IT'S GREAT,

AND THAT'S NOT A WORD I USE VERY OFTEN.

BILL, WHAT DO YOU THINK?

ONE ACT'S ALL I WANT TO SEE.

IF THAT 5% IS STILL OPEN, YOU'LL HAVE MY CHECK TOMORROW.

BLESS YOU AND YOUR BLACK MARKET MONEY.

DICK, THE ENTIRE COMPANY ON STAGE, PLEASE.

WHAT'S THE MATTER? I CAN SEE YOU DIDN'T LIKE IT.

IT'S DREADFUL. I'M FURIOUS.

THEY TOOK YOUR PLAY ABOUT A YOUNG GIRL

AND MADE HER A WOMAN, AND NOW IT'S--IT'S NOTHING.

I DIDN'T BELIEVE A WORD OF IT.

NOT A WORD, HUH?

FOUR WEEKS ON THE ROAD, AND YOU KNOW MORE THAN THESE PEOPLE.

I DON'T CARE ABOUT THEM. WHAT DO YOU THINK ABOUT YOUR PLAY?

YOU'RE AFRAID TO TELL ME.

IT'S MY FIRST PLAY.

IF ALL THESE PEOPLE EXPERIENCED IN THE THEATER--

DON'T YOU KNOW NOBODY TELLS THE TRUTH AT A RUN-THROUGH?

I'M TELLING YOU THE TRUTH BECAUSE I LOVE YOU.

IT'LL BE A FIASCO IN WASHINGTON.

O.K., THAT'S YOUR OPINION.

THANK YOU.

IF I LIED, YOU'D BE FALLING ALL OVER ME

THE WAY YOU'RE FALLING ALL OVER THAT WOMAN.

SHE'S RUINED YOUR PLAY.

NOW, LISTEN--

SHH! SHH!

I WANT YOU TO LEAVE THAT WOMAN--

I MEAN MISS PAGE-- OUT OF THIS.

YOU, THE THEATER TOUGH GUY,

YOU CAME OUT OF WASHINGTON MARKET,

AND NOBODY COULD TELL YOU WHAT TO DO.

THEY TOLD ME HOW TO GET A STAR LIKE BEATRICE PAGE.

BEATRICE PAGE'S TWISTING YOU AROUND HER LITTLE FINGER.

IT'S AS PLAIN AS THE SIAMESE NOSE ON YOUR SIAMESE FACE.

THAT'S ENOUGH.

YOU'RE TOO DUMB TO KNOW IT

AND TO KNOW I'D BE WONDERFUL FOR YOU,

OR MY NAME ISN'T CLAUDIA SOUVAINE.

IT ISN'T, OR IT WON'T BE NEXT WEEK.

YOU AND BEATRICE PAGE-- WHY, IT'S PITIFUL.

AN EAGLE SWOOPING DOWN ON AN INNOCENT SPARROW

AND CARRYING HIM OFF--

SHUT UP AND GIVE THE ACTORS A CHANCE.

GET OUT AND NEVER COME BACK.

I NEVER WANT TO SEE OR HEAR FROM YOU AGAIN OR--

WHAT ABOUT THAT SANDWICH AND DRINK YOU INVITED ME OUT FOR?

Get out!

OH, THEY'RE LOVELY.

THANK YOU.

SOME MORE TELEGRAMS.

OH, THANK YOU, DARLING.

OH, THANK YOU, HARRY, FOR THE ROSES.

THEY'RE LOVELY.

WHATEVER DID YOU USE FOR MONEY?

YOUR ALIMONY PAYMENT.

NEVERTHELESS I AM TOUCHED.

ROSES ALWAYS MAKE ME WANT TO CRY. LONG-STEMMED ROSES.

(KNOCK ON DOOR)

COME IN.

HI.

HELLO, STANLEY.

Y-YOU NERVOUS?

YEAH.

I, UH, BROUGHT YOU A LITTLE SOMETHING.

DARLING, YOU SHOULDN'T HAVE.

THE PLACE'S FILLED WITH FLOWERS ALREADY.

WELL, THESE AREN'T EXACTLY FLOWERS.

THEY'RE, UH, STRAWBERRIES, PRIZE STRAWBERRIES.

OH, WELL, THANK YOU, STANLEY.

WE'LL, UH, WE'LL EAT THEM AFTER THE SHOW.

MARKET HERE'S ALMOST AS GOOD AS NEW YORK'S.

THEY MADE ME A PRESENT OF THESE.

PROFESSIONAL COURTESY, NO DOUBT.

DID YOU, UH, SPEND ALL DAY AT THE MARKET?

NO. I WALKED ALONG THE POTOMAC RIVER.

AGAIN?

WELL, THE VIEW SEEMS TO SETTLE MY STOMACH.

IT'S BEEN CHURNING EVER SINCE WE CAME TO WASHINGTON.

THANK YOU.

THIS IS THE MOST IMPORTANT NIGHT OF MY LIFE.

IN A COUPLE HOURS, I'LL KNOW WHETHER I BELONG IN THE THEATER

OR BACK TO FRUITS AND VEGETABLES.

ANOTHER BATCH OF WIRES.

THANK YOU.

AND A COUPLE FOR YOU.

I DIDN'T KNOW YOU HAD ANY FRIENDS.

IT'S FROM EDDIE WOODS.

"10 WORDS WISHING YOU AND MY 10% GOOD LUCK."

FOR 20 YEARS, HE'S SENT THAT SAME WIRE TO HIS CLIENTS.

WHO'S THE OTHER ONE FROM?

"I LOVE YOU...

CLAUDIA SOUVAINE."

CHEAPSKATE. ONLY THREE WORDS.

SHE'S PROBABLY LIKE EDDIE WOODS--

SENDS THE SAME TELEGRAM TO EVERYONE.

(KNOCK ON DOOR)

COME IN.

FIVE MINUTES, PLEASE, MISS PAGE.

WELL...

NO, DON'T--DON'T WISH ME LUCK. I'M SUPERSTITIOUS.

BUT YOU MAY KISS ME.

OH, COME ON. COME ON.

YOU HAVEN'T GOT ALL NIGHT. DO YOU MIND?

FOR LUCK.

I HOPE YOU WATCHED AND LEARNED SOMETHING.

WELL?

NOT A TRACE OF HIM.

I PHONED THE HOTEL AND HAD HIM PAGED AT THE BAR.

IT'S TOO EARLY TO CALL THE HOSPITALS AND POLICE STATIONS.

I CAN'T GET OVER IT.

YOU SAY HE DIDN'T COME BACK FOR THE THIRD ACT.

HE DIDN'T EVEN STAY FOR THE END OF THE SECOND.

WAS IT THAT BAD?

THE CURTAIN WENT UP, AND NOTHING HAPPENED.

IN ALL MY YEARS IN THE THEATER, I DON'T KNOW WHY.

LET'S GO BACK TO THE HOTEL.

MAYBE THE BARTENDER WILL KNOW WHY.

WAIT. YOU GO BACK.

I HAVE AN IDEA WHERE HE MAY BE.

DRIVER.

DRIVER, STOP HERE.

I CAME TO APOLOGIZE FOR RUINING YOUR PLAY.

THERE WASN'T ENOUGH OF A PLAY TO RUIN.

WELL, WHATEVER THERE WAS I RUINED.

YOU DON'T REALLY BELIEVE THAT.

OF COURSE I DON'T.

I THOUGHT I WAS QUITE WONDERFUL.

WHY DID YOU SAY IT?

THE FIRST TIME WE MET,

YOU SAID THAT AN ACTRESS SHOULD HAVE HUMILITY.

I'M HAVING HUMILITY.

I ALSO REMEMBER YOUR SAYING SOMETHING ELSE--

THAT A WRITER SHOULD BE ARROGANT.

YOU WERE VERY DEFINITE ABOUT THAT.

AN ACTRESS SHOULD BE HUMBLE. A WRITER SHOULD BE ARROGANT.

YOU DON'T LOOK VERY ARROGANT TO ME.

I FOUND OUT I'M NO WRITER.

I'M A FRUIT AND VEGETABLE MAN.

I'M GOING BACK TO WASHINGTON MARKET.

NO, YOU'RE GOING RIGHT BACK TO WORK ON THE PLAY.

I WORKED ON THAT PLAY A WHOLE YEAR--

FROM 6:00 AT NIGHT UNTIL 3:00 IN THE MORNING--

ON THE SUBWAY GOING TO THE MARKET AND ON THE SUBWAY BACK.

I THOUGHT ABOUT IT SHAVING

AND THOUGHT ABOUT IT SHOWERING.

I'VE HAD IT. FORGET THE WHOLE THING.

NO, I WON'T.

WE'LL CLOSE THE PLAY.

I'LL GO TO EUROPE FOR A VACATION.

YOU'LL WORK ON THE PLAY EVERY MOMENT I'M GONE.

WHEN I RETURN, WE'LL START ALL OVER AGAIN--

MORE REWRITING, MORE REHEARSAL,

AND WE'LL HAVE A HIT.

WE'LL HAVE THE BIGGEST SMASH SINCE--

POP McNALLY.

POP McNALLY?

OUR HIGH SCHOOL BASKETBALL COACH

USED TO GIVE JUST THE SORT OF PEP TALK

IN BETWEEN HALVES WHEN WE WERE LOSING.

WELL, DID IT WORK?

NOT ONCE. WE HAD THE LEAGUE'S WORST TEAM,

AT LEAST WHEN I WAS ON IT.

THIS ISN'T A LOCKER ROOM,

AND THERE'S A BIG DIFFERENCE BETWEEN ME AND POP McNALLY.

HE DOESN'T WANT TO MARRY YOU.

WHAT?

I SAID, "HE DOESN'T WANT TO MARRY YOU."

WELL, HE--HE NEVER MENTIONED IT ONE WAY OR THE OTHER.

WELL, I SHOULDN'T HAVE MENTIONED IT EITHER.

I WANTED TO MARRY YOU, BUT NOT ANYMORE.

I DON'T MIND PEOPLE FEELING SORRY FOR THEMSELVES,

BUT WHEN THEY ENJOY IT.

IF YOU WERE REALLY MISERABLE,

YOU'D BE STARING AT A BLANK WALL.

BUT YOU'RE BEING UNHAPPY ON THIS BEAUTIFUL RIVER,

STARING AT THE JEFFERSON MEMORIAL.

I WANTED TO MARRY YOU,

BUT NOW, IN YOUR OWN IMMORTAL WORDS,

"FORGET THE WHOLE THING."

NOW, IS THERE A TAXI HERE,

OR DO I HAVE TO RUN BACK TO THE HOTEL?

LET'S TRY ONE FROM DOWN HERE.

HOLD IT JUST LIKE THAT.

LOVELY!

DARLING, LET'S SEE IF I'VE GOT EVERYTHING STRAIGHT.

YOU'RE GOING TO PARIS, ROME, ISRAEL, AND SCANDINAVIA.

HOME AFTER LABOR DAY, MARRY STANLEY, OPEN THE PLAY.

OR IS IT THE OTHER WAY AROUND--

OPEN THE PLAY, THEN MARRY STANLEY?

IT'S MARRY STANLEY FIRST.

ANY WORD FROM HARRY YET?

I DON'T KNOW WHERE HE IS.

HIS NOSE NEEDS POWDER.

TAKE MISS PAGE. I DON'T WANT ANY MORE PICTURES.

O.K. YOU DON'T SELL PAPERS.

HOW ABOUT BY THE PIANO?

I'LL ONLY BE A MINUTE.

LOOK REAL SWEET, DARLING.

MY NOSE NEEDS POWDER.

HOLD IT LIKE THAT.

THAT'S IT.

(DOORBELL RINGS)

(DOORBELL RINGS)

OH. HELLO, CLAUDIA.

IS IT STILL CLAUDIA?

MR. KROWN, ONE LAST PICTURE--

YOU AND MISS PAGE IN A CLUTCH, HUH?

KEEP YOUR BACK TO THE CAMERA.

YOU CAN SCOWL AS MUCH AS YOU LIKE.

ISN'T HE SWEET?

MR. PHILLIPS.

MR. PHILLIPS!

HARRY...

WHERE HAVE YOU BEEN?

NONE OF YOUR BUSINESS.

WHAT DO YOU THINK OF BEA MARRYING STANLEY?

THE THREE OF US WILL BE VERY HAPPY.

I'LL FIX YOU SOME FOOD.

SHE CAN'T WAIT TO KNOW WHAT I THINK ABOUT IT.

TRUE ENOUGH.

IS THE ENGAGEMENT BROKE?

SEE IF MY GUESTS NEED ANYTHING.

I'LL SAY THIS TO YOU AGAIN, MISS PAGE--

HE'S A LOVELY BOY, BUT HE AIN'T NO HARRY PHILLIPS.

EVEN HARRY PHILLIPS AIN'T NO HARRY PHILLIPS ANYMORE.

LISTEN HERE. YOU KNOW SOMETHING?

YOU'RE LIABLE TO HAVE THE SHORTEST ENGAGEMENT ON RECORD.

YOU SOUND SO TIRED.

I JUST GOT OFF A PLANE.

WHERE WERE YOU?

LOTS OF PLACES.

WHY DIDN'T I HEAR FROM YOU?

WHY DIDN'T YOU ACCEPT MY CALL?

WHY SHOULD I ACCEPT A COLLECT CALL?

DON'T FORGET TO INVITE ME TO THE WEDDING.

I CRY AT WEDDINGS.

EVERYBODY ELSE WILL BE LAUGHING.

SO YOU THINK THE WHOLE THING'S CRAZY?

BEA, YOU KNOW IT'LL NEVER WORK.

THAT'S WHAT THEY SAID ABOUT THE WRIGHT BROTHERS

AND ABOUT THE STEAMBOAT.

NOT ME. I KEPT ENCOURAGING ROBERT FULTON.

IF YOU CAN'T BE SERIOUS, GET OUT.

YOU'VE--YOU'VE PLAYED COMEDY LONG ENOUGH

TO KNOW WHEN A THING'S FUNNY.

HOW CAN YOU TAKE A SILLY, CHILDISH THING LIKE THIS--

WHAT IS THIS?

THE VERY LATEST BERMUDA ONIONS,

A SORT OF GOING-AWAY GIFT FROM STANLEY.

WELL, LET'S SEE.

YOU OUGHT TO BE MARRIED JUST IN TIME FOR CANTALOUPES.

IT MAKES ME A LITTLE HESITANT

TO BRING FORTH MY SLIGHT OFFERING.

YOU BROUGHT ME A PRESENT?

IN A WEAK MOMENT.

OH, HARRY.

NEEDLESS TO SAY, IT'S NOT REAL GOLD.

WELL, IT IS TO ME.

WHY DO YOU HAVE TO MARRY HIM, BEA?

WHY CAN'T IT BE LIKE GEORGE COURTLAND, ROGER BAKER, JOHNNY MORROW?

YOU SAID IT ONCE YOURSELF, HARRY.

STANLEY IS DIFFERENT.

OH, I DON'T KNOW.

MAYBE I'M GETTING SCARED.

EVERYBODY HAS THEIR MOMENTS WHEN THEY'RE SCARED.

WITH ME, IT'S USUALLY QUARTER OF 5:00 IN THE MORNING.

I KNOW BECAUSE I LOOK AT MY WATCH.

MAYBE YOU'RE RIGHT, HARRY.

MAYBE THE WHOLE THING IS CRAZY, BUT...

I NEED STANLEY.

HE--HE MAKES ME HAPPY.

WELL, DON'T YOU WANT ME TO BE HAPPY, HARRY?

I JUST WANT YOU TO BE SURE, BABY.

BABY...

YOU HAVEN'T CALLED ME BABY IN...

WHEN WAS THE LAST TIME YOU CALLED ME BABY?

I REMEMBER EXACTLY WHEN,

BUT THE CHILDREN MAY BE LISTENING.

AT LEAST I WON'T HAVE TO PAY ALIMONY ANYMORE.

THAT'S TRUE. YOU WON'T.

OF COURSE YOU'LL STILL OWE ME THE BACK PAYMENTS.

YOU'RE NOT CANCELING THE BACK PAYMENTS?

YOU OWE IT TO ME.

YOU'RE KIDDING.

YOU KNOW I'M NOT.

YOU'RE GETTING MARRIED.

I DON'T SEE ANY CONNECTION BETWEEN MY GETTING MARRIED

AND MONEY YOU OWE ME.

AFTER I BOUGHT YOU THIS MAGNIFICENT GIFT?

IT ISN'T EVEN REAL GOLD!

THAT'S THE LIMIT!

EVERY KISS, EVERY LOOK I EVER BESTOWED UPON YOU,

EVERY KIND THOUGHT I EVER HAD ABOUT YOU,

I TAKE BACK!

SUE ME FOR THE MONEY!

I'LL CARRY IT TO THE SUPREME COURT!

HARRY!

HARRY!

(TELEPHONE RINGS)

HARRY?

STAN.

(HARRY) YEAH, WHAT'S UP?

I SEE A STOCK COMPANY IN MAINE'S DOING THE UNHAPPY HOLIDAY.

HOW COME?

THAT'S WHAT I'D LIKE TO FIND OUT.

I'M STILL REWRITING.

WHY DON'T WE GET BEA'S CAR,

DRIVE UP THERE, AND TAKE A LOOK AT THE PLAY?

MAYBE WE'LL FIND A MOTHER IN IT.

DRUCILLA'S GONE BACK TO HOLLYWOOD. SHE WAS NO GOOD ANYHOW.

O.K., YOU ARRANGE IT.

HEY, LISTEN, I GOT TWO LETTERS FROM BEA TODAY.

ONE WAS FROM NICE. ONE WAS FROM VENICE.

THAT'S NICE. SAVE ME THE STAMPS.

(ROMANTIC PIANO MUSIC)

WE'RE A FEW MINUTES LATE. I'LL GET THE TICKETS.

TWO FOR PHILLIPS, PLEASE.

I'M SORRY, MR. PHILLIPS.

WE COULDN'T HOLD THE TICKETS PAST 8:30.

THEY DIDN'T HOLD THE TICKETS.

WE'LL HAVE TO STAND IN THE BACK.

LOOK WHO'S IN THE PLAY.

WHAT DO YOU KNOW? AND CLARA MOOTZ YET.

OH, HENRY.

I STOOD OUTSIDE LISTENING.

I DIDN'T WANT TO INTERRUPT.

I THOUGHT IT WAS MOTHER.

I DO MY REHEARSING WHEN MOTHER ISN'T AROUND.

YOU'VE PASSED THE BEING-SPANKED STAGE.

HENRY,

MOTHER DOESN'T SPANK. SHE HAS A PAINED SMILE.

IT'S MUCH WORSE THAN SPANKING.

(ACTOR) IT'S NONE OF MY BUSINESS.

SHE'S DOING THE FIRST VERSION.

YEAH. I WONDER...

WELL, MAYBE IT IS MY BUSINESS.

I DON'T CARE. SHE'S GREAT.

THE PLAY IS GREAT, TOO.

YOU SAID THAT FOUR TIMES.

I'VE HAD FOUR DRINKS.

ONCE A DRINK IS NOT TOO OFTEN.

IF YOU HAD GUTS, YOU'D TAKE THE PLAY FROM ME

AND CAST CLAUDIA OR WHATEVER HER NAME IS

AS A 19-YEAR-OLD GIRL AND HAVE A BIG HIT.

THAT IS, IF YOU HAD GUTS.

WHO'D TELL BEA?

YOU'RE ENGAGED TO HER.

WELL, YOU WERE MARRIED TO HER.

(WOMAN LAUGHING)

HELLO, CLAUDIA.

THE, UH, NAME IS CLARA MOOTZ.

OH, YES, YES.

WHAT ARE YOU DRINKING?

BEER.

BILL, SEE IF YOU CAN FIND US A CORNER TABLE.

CERTAINLY, CLARA.

JACK, GET US TWO BEERS

AND TELL MORTIE AT THE PIANO I'M HERE.

O.K.

HE KNOWS WHAT I LIKE.

THEY...WORSHIP ME.

IN THE MEANTIME, WHY DON'T WE DANCE?

WILL YOU TELL ME SOMETHING?

WHY CLARA MOOTZ?

IT HAPPENS TO BE MY REAL NAME.

COULDN'T BE.

WELL, IT IS, AND I'M STICKING TO IT.

I'M THROUGH WITH NAME CHANGING AND ALL OTHER PRETENSES.

WHAT HAVE YOU BEEN DOING WITH YOURSELF?

OH, UH, NOTHING MUCH.

WHAT DO YOU HEAR FROM BEATRICE?

OH, UH, NOTHING MUCH.

WHAT SORT OF SUMMER HAVE YOU BEEN HAVING?

HOT?

YEAH, KIND OF.

I'M TRYING TO MAKE CONVERSATION.

I'M SORRY, CLARA.

IT'S JUST THAT I CAN'T GET USED TO YOU.

AT THE THEATER, I WAS COMPLETELY BOWLED OVER.

I WAS GOOD, WASN'T I?

GOOD? YOU WERE...

WELL, THIS-- THIS NEW MANNER YOU HAVE...

THE NEW YOU. YOU'RE...YOU'RE--

OH, BILL HAS A TABLE FOR US.

THEY CLEARED OUT SOON AS I TOLD THEM

WHO IT WAS FOR.

OH, THANKS.

HERE WE ARE.

UH, WE'D LIKE TO BE ALONE, JACK.

OH, SURE.

OH, AND PLEASE SEE THAT WE'RE NOT DISTURBED.

O.K.

ALL RIGHT,

TELL ME ABOUT THE NEW ME.

WELL, YOU'RE SO MUCH MORE SELF-ASSURED

IN A SO MUCH LESS OBNOXIOUS WAY.

THAT'S VERY TRUE.

WHEN I KEPT SHOUTING WHAT A GREAT ACTRESS I WAS,

I REALLY DIDN'T QUITE BELIEVE IT.

I WAS AWFULLY AFRAID THAT MAYBE I WASN'T.

NOW, I KNOW. I'M GOOD.

NOT GREAT YET,

BUT GOOD.

AND IT'S HAD A STRANGE EFFECT ON ME.

I DON'T HAVE TO SHOUT AT PEOPLE ANYMORE.

I'M ACTUALLY HUMBLE.

TO MY GREAT SURPRISE I'VE DISCOVERED

THAT I'M REALLY A VERY NICE PERSON.

YES, YOU ARE.

AND YOU LOOK DIFFERENT, TOO.

YOU'RE... YOU'RE MUCH MORE, UH...

WELL, YOU KNOW WHAT I MEAN.

I KNOW WHAT YOU MEAN.

DO YOU REMEMBER THE NIGHT,

THE NIGHT I CAME TO YOUR APARTMENT TO WRESTLE

AND REMAINED TO TYPE?

DO YOU REMEMBER MY SAYING TO YOU,

"I'M REALLY LOOKING AT YOU FOR THE FIRST TIME"?

YES.

WELL, THAT'S WHAT'S HAPPENING NOW.

YOU'RE REALLY LOOKING AT ME

FOR THE FIRST TIME.

ONLY IT'S TOO LATE NOW.

THE TIMING IS ALL WRONG.

TWO PEOPLE HAVE TO LOOK AT EACH OTHER

FOR THE FIRST TIME

AT THE SAME TIME,

OR IT'S NO GOOD.

YEAH. FUNNY, HUH?

NO, NOT VERY.

HEY, YOU'RE THE QUEEN AROUND HERE.

CAN'T YOU GET THEM TO PLAY SOMETHING ELSE?

I LIKE IT.

WHERE ARE YOU STAYING?

DOWN THE ROAD WITH SOME OF THE KIDS.

MAYBE I COULD WALK YOU HOME.

NO.

NO, IT'S MORE OF A LANE THAN A ROAD,

AND IT'S A VERY PRETTY LANE,

AND IT'S A BEAUTIFUL NIGHT.

NO, WE'RE NOT GOING TO FALL INTO THAT TRAP.

WHAT'S HAPPENING TO US, SALLY?

WHY DID YOU CALL ME SALLY ALL OF A SUDDEN?

I DON'T KNOW. I--I DIDN'T REALIZE I HAD.

BUT YOU DID.

MAYBE IT'S BECAUSE IT'S THE FIRST NAME

I KNEW YOU UNDER.

MAYBE THAT'S WHY IT'S THE NAME THAT STUCK.

MAYBE BECAUSE IT'S THE SWEETEST NAME.

NOW, YOU TELL ME THIS.

YOU CALL ME THE WRONG NAME,

YOU SAY THE WRONG THINGS.

FOR A WRITER, YOU'RE A TERRIBLE DOPE!

GO FINISH YOUR DRINK WITH HARRY PHILLIPS.

GOOD LUCK WITH BEATRICE PAGE.

GOOD LUCK WITH YOUR PLAY.

GOOD LUCK WITH EVERYTHING!

YOU DON'T HAVE TO TELL ME A THING.

I'M A LIP READER.

YOU FIND OUT WHO GAVE THEM PERMISSION

TO DO THE PLAY?

NO, WELL, IT SEEMS EDDIE WOODS--

I DON'T KNOW.

I WISH BEA WERE BACK FROM EUROPE.

WHAT'S THE MATTER? DO YOU MISS HER?

SURE. SURE, I MISS HER.

THAT'S NOT THE IMPRESSION I GOT LAST NIGHT

WHEN YOU WERE PLAYING FOOTSIE WITH MISS MOOTZ.

FORGET LAST NIGHT.

SHE'D GIVEN A GREAT PERFORMANCE,

THE ORCHESTRA WAS PLAYING, THERE WAS A WATERFALL,

AND I HAD A COUPLE OF BEERS. SO FORGET IT.

O.K., I'LL FORGET IT IF YOU WILL.

HARRY, THERE'S A BIG DIFFERENCE BETWEEN CLARA AND BEA.

CLARA'S SO...

SO...

WELL, YOU KNOW.

NO, I DON'T KNOW. I'M STUPID.

WELL, TAKE BEA.

BEA'S SO...

WELL, I WISH SHE WERE BACK FROM EUROPE.

YOU DO?

YES, I DO.

FUNNY THING YOU SHOULD MENTION BEA JUST NOW.

WE'RE ONLY ABOUT AN HOUR'S DRIVE

FROM HER MOTHER'S HOUSE.

BEA'S MOTHER?

SHE NEVER MENTIONED HAVING A MOTHER.

WELL, SHE'S THAT KIND OF A MOTHER.

WHY DON'T WE DROP IN ON HER?

NO. IT'S LATE. I WANT TO MAKE NEW YORK.

O.K., YOU'RE GOING TO HAVE TO MEET HER SOONER OR LATER.

IS THIS THE PLACE?

YEAH, HOP OUT. I'LL WAIT HERE.

AREN'T YOU COMING?

I'D BETTER NOT.

THE OLD LADY KEEPS HOUNDING ME ABOUT BACK ALIMONY. GO ON.

I'M NOT FACING ANY STRANGE WOMAN ALONE.

YOU'VE GOT TO INTRODUCE ME.

WELL...ALL RIGHT.

GO AHEAD, RING THE BELL

OR USE THE KNOCKER OR SOMETHING.

WHAT'S THE MATTER? WHAT ARE YOU SO NERVOUS ABOUT?

MR. PHILLIPS.

MR. KROWN.

EMMA, I DIDN'T EXPECT TO SEE YOU HERE.

THAT GOES DOUBLE FOR ME.

ARE YOU TAKING CARE OF MISS PAGE'S MOTHER

WHILE MISS PAGE IS IN EUROPE?

WHAT'S THAT?

TELL MRS. PAGE WE'D LIKE TO SEE HER.

MRS. PAGE?

YES, MRS. PAGE. GO ALONG.

SHE'S IN THE WORK SHED.

ALL RIGHT--

OH, NO. I'LL GO.

I'LL TELL HER YOU'RE HERE.

OH, MISS PAGE.

MISS PAGE, HE'S HERE.

WHO?

HIM. MR. KROWN.

STANLEY?

AND HE TALKS AWFUL FUNNY.

HE SAYS, "ARE YOU TAKING CARE OF MISS PAGE'S MOTHER?"

HOW DOES HE KNOW THAT I'M HERE?

WHY DOES HE THINK I HAVE A MOTHER?

MR. PHILLIPS. HE SEEMS TO THINK SO, TOO.

HE SAYS--

OH! OH, NOW I GET IT.

WHY THE CONTEMPTIBLE, THE DESPICABLE,

THE DIRTY, ROTTEN--

I KNOW WHAT YOU'RE THINKING,

AND YOU'RE NOT THINKING HALF ENOUGH.

WELL, LOOK AT THE WAY I LOOK!

YOU--YOU GO AND STALL THEM.

MAKE THEM A DRINK, AND I'LL FIX UP.

YES, MISS PAGE.

OH!

MISS--MRS. PAGE WILL BE RIGHT IN.

IN THE MEANTIME,

WOULD YOU GENTLEMEN LIKE A DRINK--

OH.

ONE BOTTLE OF LIQUOR IN THE WHOLE HOUSE.

(DOOR OPENS)

HELLO, BEA.

BEA.

HELLO, STANLEY.

YOU CAN'T BE HERE.

I SAW YOU OFF ON A PLANE TO EUROPE.

I KNOW.

I GOT OFF AT BOSTON.

BUT ALL THOSE LETTERS I RECEIVED FROM EUROPE.

A VERY SIMPLE MATTER TO ARRANGE.

AND THIS MOTHER BUSINESS?

I HAVEN'T HAD A MOTHER FOR 20 YEARS.

THIS WAS JUST HARRY'S IDEA TO GET YOU HERE.

I DON'T GET IT.

WHY DID YOU SAY YOU'RE GOING TO EUROPE?

I SAY EVERY YEAR I'M GOING TO EUROPE,

THEN I SNEAK UP HERE TO HIDE OUT.

HIDE OUT?

WHY?

WHY?

SO I CAN RELAX AND PUT ON WEIGHT,

LET MY HAIR GO AND BE AS SLOPPY

AND CAREFREE AS I LIKE.

SO I CAN PUT BEHIND ME, FOR A WHILE,

THE DIETING AND THE MASSAGING

AND THE HAIR DYING AND THE BEAUTY PARLORING

AND ALL THE OTHER LITTLE TORTURES THAT MY PROFESSION--

AND MY VANITY-- INFLICT UPON ME.

IN SHORT, SO THAT FOR TWO HEAVENLY MONTHS

OUT OF THE YEAR,

I CAN BE MY AGE.

WHY CAN'T YOU BE YOUR AGE ALL YEAR?

YOU ASK AN ACTRESS TO GIVE UP BEING 29?

WHEN YOU'RE AN OLDER AND WISER PLAYWRIGHT, STANLEY,

AND YOU WRITE A PLAY FOR A WOMAN OF 34,

OR 35, OR EVEN 40,

YOU'LL FIND THAT THE ACTRESS WILL COME TO YOU

AND SAY, "WHY DOES SHE HAVE TO BE 34?

"OR 35, OR EVEN 40?

WHY CAN'T SHE BE...29?"

IT'S SUCH A WONDERFUL AGE.

CAN YOU BLAME US FOR LINGERING AND LINGERING AND LINGERING

AND THEN FINALLY HAVING TO BE DRAGGED THROUGH?

AND IT ISN'T ONLY IN THE THEATER.

LOOK AT THE AUDIENCE SOMETIME.

IT'S FULL OF 29s.

SPEAKING OF 29--

I'M NOT SPEAKING TO YOU.

NEVERTHELESS, SPEAKING OF 29,

STANLEY AND I SAW THE UNHAPPY HOLIDAY

AT LAKE MANAPAC LAST NIGHT.

OH? REALLY?

YES, AND CLARA MOOTZ PLAYED THE LEAD.

CLARA MOOTZ ALIAS CLAUDIA SOUVAINE,

ALIAS PEGGY PRUITT, ALIAS SALLY SOMETHING OR OTHER.

BEA, WHAT I DON'T UNDERSTAND IS

WHY'D YOU LET ME SEE YOU?

I DIDN'T HAVE TO KNOW.

NO...

NO, YOU DIDN'T.

BUT ALL SUMMER LONG, I SAT ON THE PORCH HERE

ROCKING AND THINKING ABOUT YOU AND ME.

WE HAD SOME WONDERFUL TIMES TOGETHER, STANLEY.

AND I FELT SOME WONDERFUL THINGS TOWARD YOU,

BUT IT WASN'T LOVE.

I ROCKED MYSELF INTO THAT REALIZATION.

YOU KNOW, WHEN EMMA TOLD ME THAT YOU WERE HERE,

AT FIRST, I GOT PANICKY. I--I DIDN'T WANT TO SEE YOU.

THEN I KNEW IT WAS NO USE.

YOU'D FIND OUT SOONER OR LATER.

E. HARRY PHILLIPS WOULD SEE TO THAT, WOULDN'T YOU, DEAR?

I CERTAINLY WOULD.

MAY I TELL YOU SOMETHING ELSE?

THE MOMENT I SAW YOU, I KNEW YOU'D BEEN HAVING

THE SAME SORT OF SUMMER.

HARRY, WHEN YOU MENTIONED CLARA

DID YOU SEE HIS FACE LIGHT UP?

LIKE A CHEAP ROMAN CANDLE.

TELL ME, DID YOU PLAY THE MAID

IN THE FORGOTTEN LIGHT YEARS AGO?

YES, UNDER ANOTHER NAME.

I, TOO, HAVE HAD MANY NAMES,

BUT NOTHING, NOTHING LIKE MOOTZ.

WELL, STANLEY,

NOW WHAT?

WELL, THE-- THE WHOLE THING

IS SUCH A SURPRISE. I--

I REALLY DON'T KNOW...

LOOK, BEA, A FEW YEARS' DIFFERENCE IN AGE, WHAT DOES IT MATTER?

ON YOUR TOES, BEA.

HE'S GOING TO BE GALLANT.

NO, I--

THANK YOU, STANLEY. THAT'S SWEET OF YOU.

I'M TOUCHED.

IF I WERE YOUNG AND FOOLISH,

YOU'D MAKE ME CRY.

IN FACT, I WISH YOU WOULD GO,

BECAUSE I HAVE A FEELING

THAT IN A LITTLE WHILE,

I'LL BE CRYING ALL OVER THE PLACE.

BEA--

NEVER MIND. I'LL TAKE CARE OF HER.

HERE ARE THE CAR KEYS.

DRIVE TO NEW YORK OR SOMEPLACE.

DRIVE TO LAKE MANAPAC.

THAT'S WHERE YOU REALLY WANT TO GO.

GO ON. BEAT IT.

SOMEBODY'S ALWAYS TELLING ME TO BEAT IT.

BEA...

DO YOU WANT TO KILL ME?

COULD I GET YOU A CIGARETTE

OR A DRINK OR SOMETHING?

BEA, COULD I ASK YOU JUST ONE QUESTION?

WAS IT YOUR DOING THAT THE LAKE MANAPAC PLAYERS

GOT AHOLD OF STANLEY'S PLAY?

I WROTE EDDIE WOODS... FROM EUROPE.

WHY DID YOU DO IT?

OH, I DON'T KNOW.

BUT EVER SINCE WASHINGTON, I HAD A FEELING--

I HATED TO ADMIT EVEN TO MYSELF--

THAT MAYBE BY MAKING STANLEY CHANGE HIS PLAY

WE'D RUINED IT.

I JUST WANTED TO SEE.

AND DID YOU?

I SNEAKED INTO THE THEATER THE OTHER NIGHT.

OH, DON'T LOOK AT ME

AS THOUGH I'D DONE SOMETHING NOBLE.

IT WASN'T NOBLE AT ALL.

I KEPT HOPING THE PLAY WOULD BE TERRIBLE

AND CLARA WOULD BE EVEN WORSE.

BUT SHE WASN'T, WAS SHE?

NO.

SHE WAS WONDERFUL.

AND THE PLAY WAS EVEN MORE WONDERFUL.

AND THAT'S WHAT YOU'VE GOT TO DO, HARRY--

PRODUCE THAT PLAY THE WAY IT WAS WRITTEN

WITH THAT GIRL IN THE LEAD.

WHAT AM I GOING TO DO ON OPENING NIGHT?

I WON'T EVEN BE ABLE TO GO NEAR THE THEATER.

BEA.

BEA, I JUST THOUGHT OF SOMETHING.

SOMETHING CRAZY.

WHAT?

PLEASE LISTEN TO ME

AND THEN YOU CAN HIT ME.

BUT SUPPOSE YOU WERE TO PLAY THE MOTHER?

JUST SUPPOSE.

EVERYONE WOULD SAY HOW COURAGEOUS

OF BEATRICE PAGE TO PLAY A WOMAN OF 50.

SHE'S NOWHERE NEAR IT.

I AM NOWHERE NEAR IT.

SUPPOSE YOU HAVE A FEW GRAY HAIRS.

THEY'LL THINK IT'S DYED.

THEY'LL SAY WHAT A GREAT ARTIST,

TO DYE HER HAIR GRAY FOR A PART.

I DON'T WANT TO SET FOOT ON STAGE AGAIN.

BEA, YOU KNOW THE TROUBLE WE'VE HAD CASTING THE PART.

YOU'RE THE ONLY WOMAN IN THE WORLD WHO COULD PLAY IT.

YES, I KNOW.

AND WITH THAT MOOTZ KID PLAYING THE DAUGHTER,

NOT THAT THE PART'S ANY BETTER,

WE'LL HAVE THE BIGGEST HIT OF OUR LIVES!

OH, I DON'T KNOW.

I DON'T THINK SO.

ANYWAY, I DON'T WANT TO DISCUSS IT.

SUDDENLY, I FEEL I CAN'T STAY

IN THIS HOUSE ANOTHER NIGHT.

YOU DON'T HAVE TO. LET'S GET OUT.

YOU MEAN NOW, TONIGHT?

SURE. IS THERE A TRAIN?

A HORRIBLE ONE, BUT A TRAIN.

OH, WE'D NEVER MAKE IT. 15 MINUTES.

JUST THROW A COAT OVER.

YOU'VE GOT CLOTHES IN NEW YORK.

GET MY COAT AND MY PURSE.

WE MAY NOT MAKE IT.

WE CAN TRY!

EMMA!

YES?

YOU'RE DRIVING US TO THE STATION! HURRY!

I MAY NOT HAVE ENOUGH MONEY FOR THE TICKETS.

WE'LL RIDE THE RAILS.

WE'VE ONLY GOT 12 MINUTES.

HARRY.

WHAT'S THE MATTER?

I WAS THINKING. THE GIRL IN THE PLAY

IS GOING TO BE 19 OR 20.

YEAH, BUT--

THEN WHY'S THE MOTHER HAVE TO BE 50?

WHY CAN'T SHE BE...39?

COME ON, FOR PETE'S SAKE!

WE'LL MISS THE TRAIN.

WELL, I WAS NERVOUS AGAIN TONIGHT.

ANOTHER OPENING NIGHT.

ANYWAY, IT'S 11:30,

AND THANK HEAVEN IT'S ALL OVER NOW.

SO, HARRY PHILLIPS FINALLY HAS A HIT.

A LUCKY ONE, TOO, I HEAR.

THE KID, HE'S A ONE-PLAY PLAYWRIGHT.

YOU'LL NEVER HEAR FROM THAT STANLEY KROWN AGAIN.

(APPLAUSE)

HOW GOOD WAS SHE REALLY, HARRY?

VERY GOOD.

NOT AS GOOD AS THE PLAY.

NOT NEARLY AS GOOD AS YOU.

YOU'LL GET ALL THE NOTICES. WAIT AND SEE.

IT'LL TAKE HER FIVE YEARS,

BUT SHE'LL BE BETTER THAN I.

THEY'RE VERY MUCH IN LOVE, AREN'T THEY?

I DON'T ENVY THEM.

THEY'LL MARRY AND GO THROUGH ALL THE CRISES

AND BICKERINGS AND HEARTBREAKS OF YOUNG LOVE,

AND WE'VE GOT ALL THAT BEHIND US.

WE OLDER PEOPLE REALLY KNOW HAPPINESS.

YES, BUT IT'S TAKING US TWO MARRIAGES

TO GET TO THAT STAGE.

CAN I HAVE YOUR AUTOGRAPH?

YES, INDEED.

THERE YOU GO.

THANK YOU.

WAIT A MINUTE.

AT LEAST LET ME GET IN FIRST.

WE'RE NOT REMARRIED YET, YOU KNOW.

I'M SORRY. I WASN'T THINKING.

WHAT'S THE MATTER?

HARRY, ARE YOU REMARRYING ME

TO GET OUT OF THE BACK ALIMONY?

OH, FOR PETE'S SAKE!