All language subtitles for stage.door.1937.720p.hdtv.x264-regret_Track03

♪ LA DA DEE DEE
LA DA DEE DEE DEE DEE ♪

♪ SOO LA TROO LA PEEP
LA TA TEE RASS ♪

♪ DA DA DEE
DA DEE DEE DEE DOO ♪

DO YOU HAVE TO
DO THAT?

PIPE DOWN.

[TELEPHONE RINGS]

GET THAT CUSTOMER,
HATTIE.

IF THAT'S FOR ME,
I'M IN.

♪ THE TELEPHONE,
IT RINGS ♪

♪ AND IT SINGS TRA LA ♪

HELLO?

IS IT FOR ME?

I DON'T KNOW.
MISS JUDY?

♪ MISS JUDY ♪

IT'S YOURS, JUDY.

HUH? OH.

HELLO.
HELLO, HAGS.

LOOK WHAT MOTHER
SENT ME FROM LOUISIANA.

WHAT ARE THEY?

PECANS.

PECANS?
HMM. LET'S OPEN ONE.

MAYBE THERE'S A CHECK IN IT.

Judy:
WELL, I HAD A DATE,

BUT I GUESS
I CAN GET OUT OF IT.

SURE, I'LL GET A GIRL.

WHO?
WHERE IS SHE?

OH.
NOT YOU.

COME ON,
TAKE THEM OFF.

ARE YOU SPEAKING TO ME?

YOU HEARD WHAT I SAID.

TAKE OFF THOSE STOCKINGS
OR I WILL

AND TAKE A LITTLE OF
YOUR HIDE ALONG WITH THEM.
WHAT DO YOU MEAN?

COME ON, GET 'EM OFF.
BUT THEY'RE MY STOCKINGS.

THEY ARE NOT.
IF YOU THINK

I'M GOING
TO GIVE UP MY LUNCH

TO BUY YOU STOCKINGS,
YOU'RE CRAZY.

WELL, YOU OWE ME
A PAIR ANYWAY.

OH, MRS. ORCUTT, LINDA'S
DOING A STRIPTEASE!

YOU CAN GET
A BIGGER CROWD
ON THE STREET.

WHY DON'T YOU SPLIT THEM?
A STOCKING APIECE.

FROM NOW ON, YOU WEAR
YOUR OWN STOCKINGS
OR GO BARELEGGED.

THE PLACES YOU GO,

IT DOESN'T MAKE ANY
DIFFERENCE ANYHOW.

WHAT'S THE TROUBLE?

ARE YOU RUNNING
A THEATRICAL
BOARDINGHOUSE

GIRLS!
OR A GYMNASIUM?

WHAT'S GOING ON HERE?

SHE ACCUSED ME OF STEALING
MY OWN STOCKINGS.

SHE'S SWIPED HER LAST PAIR
OF STOCKINGS FROM ME.

HOW DO YOU EXPECT ME
TO RUN A RESPECTABLE HOUSE--

YOU'RE DOING THE BEST YOU CAN
WITH THE PEOPLE YOU'VE GOT.

I WON'T BE INSULTED
BY THIS LITTLE
GUTTERSNIPE ANY LONGER!

I'LL GUTTERSNIPE YOU!

I WILL NOT HAVE
ANYTHING LIKE THAT

GOING ON IN MY HOUSE!

I WISH YOU GIRLS
WOULD FIND SOME WAY

TO SETTLE
YOUR DIFFERENCES.

I'LL SLAP HER EARS

FLAT AGAINST THE BACK
OF HER HEAD.

I'D LIKE
TO SEE YOU TRY.

WELL, COME ON
DOWN HERE.

I WOULDN'T ROOM
WITH HER ANY LONGER
IF YOU PAID ME.

GOOD! THAT'S
THE BEST NEWS I'VE HAD

IN THE PAST YEAR.

I'M MOVING IN WITH
MADELINE RIGHT AWAY.

IT SHOULDN'T
TAKE YOU VERY LONG.

EVERYTHING YOU OWN
IS ON YOUR BACK.

SHE'S DOWN, SHE'S UP,
SHE'S DOWN.

WHEN THIS BARROOM BRAWL
IS OVER--

WHEN I GET
BACK IN MY ROOM,

YOU'RE THE ONLY THING
I WANT TO FIND MISSING.

HELLO! A RIOT?
HEAVENS, NO!

AT THE FOOTLIGHTS
CLUB?

NOTHING EXCITING
EVER HAPPENS HERE.

8:00? YOU BETCHA.
GOOD-BYE.

I KNEW IT. I KNEW IT.

DO YOU WANT A DATE?

HUH?

I SAID, DO YOU
WANT A DATE?

WITH SOME MORE
OF THOSE LUMBERMEN?

AM I SUPPOSED TO
APOLOGIZE

FOR BEING
BORN IN SEATTLE?

WELL, THE LAST COUPLE
WE WENT STEPPING WITH

WERE MADE OF LUMBER,
ESPECIALLY THEIR FEET.

ALL RIGHT.
YOU CAN STAY HERE

AND GORGE YOURSELF
ON LAMB STEW AGAIN.

HEY, PAT, WANT A DATE?

WAIT A MINUTE.
IS IT FOR DINNER?

YES.

WHY DIDN'T YOU SAY SO
BEFORE YOU SPOKE?

THAT LAMB STEW

HAS GOT ME COUNTING
SHEEP AT NIGHT.

YOU KNOW, YOU'RE
NOT SO PARTICULAR

ABOUT MY FRIENDS
WHEN IT'S FOR DINNER.

WELL, THEY
CAN'T STEP ON YOU

WHEN YOU'RE
SITTING DOWN.

AND YOU MIGHT TRY

BEING JUST A LITTLE
LESS INSULTING THIS TIME.

ME, INSULTING
TO A LUMBERMAN?

WHY, THE VERY IDEA
IS PREPOSTEROUS!

DO WE DRESS?

I SUPPOSE SO.
WE USUALLY DO.

WELL, I'LL
BE THERE, MY PET.

YOU KNOW ME--

THE LUMBERMAN'S DELIGHT.
[CLICKS TONGUE] AHEM.

MR. POWELL'S CAR
IS WAITING FOR MISS SHAW.

I'LL TELL HER.

THANK YOU.

[HUMMING]

IS THAT FOR LINDA?
MR. POWELL'S CAR.

OH, WAIT A MINUTE.
I'LL BE THE CARRIER PIGEON.

OH, LINDA!
MR. POWELL'S CAR IS HERE!

MR. POWELL ISN'T HERE!
JUST HIS CAR!

PEACEFUL LITTLE HAVEN
WE HAVE HERE.

COULD ANYBODY USE

A COUPLE OF TIRED
TYROLEAN PEASANTS?

I'LL TAKE A COUPLE
ON TOAST.

I'LL TAKE
MINE DRY.

HOW WAS
THE MATINEE?

VERY INTIMATE. WE HAD
100 PEOPLE ON THE STAGE

AND 50 IN THE AUDIENCE.

WELL, YOU HAD 'EM
OUTNUMBERED.

THE WHOLE THING
MAKES ME SICK.

WHAT'S GERTA
SICK ABOUT?

5 WEEKS' REHEARSAL
AND 2 WEEKS' PAY.

WHAT'S THE MATTER,
IS THE SHOW CLOSING?

LIKE
A TIRED CLAM.

THAT'S A SHAME.

AW, THAT'S TOO BAD.

WELL, LET'S ALL GO ON RELIEF
AND GET IT OVER WITH.

[KNOCK ON DOOR]

WHAT WOULD
THAT BE?

MICE.

Woman: HOW DO YOU
GET IN HERE?

YOU MIGHT BLAST!

WHAT?

WE DON'T WANT ANY FISH!

GO AROUND
TO THE OTHER DOOR!

CAN'T YOU READ?

DID YOU HEAR THAT?
ANOTHER SHOW FOLDING.

YES, AND IF THEY
KEEP ON CLOSING,

WE CAN MOVE RIGHT
INTO THE STOREHOUSE

WITH THE SCENERY.

[DOORBELL RINGS]
YOU SAID IT.

HATTIE, THE MICE
ARE BACK.

DON'T GO AWAY, TAXI.

HOW MANY DOORS
ARE THERE TO THIS PLACE?

WELL, THERE'S THE TRAPDOOR,
THE HUMIDOR, AND THE CUSPIDOR.

HOW MANY DOORS
WOULD YOU LIKE?

[LAUGHTER]

I ONLY ASKED
A CIVIL QUESTION.

DID YOU WISH TO SEE
MRS. ORCUTT?

I WANT TO SEE
WHOEVER I HAVE TO SEE

ABOUT ACCOMMODATIONS.

WHICH KEEPER'S
ON DUTY TODAY, HATTIE?

[LAUGHTER]

EVIDENTLY, YOU'RE
A VERY AMUSING PERSON.

WELL, IF YOU'LL SIT
OVER THERE,

I'LL GET MRS. ORCUTT.
SHE'S IN THE KITCHEN.

THANK YOU.
THANKS.

IF YOU YOUNG LADIES
WILL PARDON ME,

I SHALL TAKE
THE WOLFHOUNDS

FOR A STROLL
THROUGH THE PARK.

[LAUGHTER]

OH, NEED I
REMIND YOU

THAT MR. POWELL'S
CAR AWAITS WITHOUT?

MAYBE IF YOU SPOKE
A LITTLE LOUDER NEXT TIME,

EVERYONE IN THE HOUSE
COULD HEAR YOU.

OH, I'M SORRY.

I FORGET THAT
YOU'RE OLD AND DEAF.

IF YOU WERE A LITTLE MORE
CONSIDERATE OF YOUR ELDERS,

MAYBE MR. POWELL WOULD SEND
HIS CAR FOR YOU SOMEDAY.

I CAN HARDLY WAIT.

OF COURSE, HE WOULD PROBABLY
TAKE ONE LOOK AT YOU

AND SEND YOU
RIGHT BACK AGAIN,

BUT THEN YOU HAVE TO
EXPECT THAT.
OH, IS THAT SO?

DO YOU KNOW, I THINK
I COULD FIX YOU UP
WITH MR. POWELL'S CHAUFFEUR.

THE CHAUFFEUR HAS
A VERY NICE CAR, TOO.

YES, BUT I UNDERSTAND
MR. POWELL'S CHAUFFEUR

DOESN'T GO AS FAR IN HIS CAR
AS MR. POWELL DOES.

EVEN A CHAUFFEUR
HAS TO HAVE AN INCENTIVE.

WELL,
YOU SHOULD KNOW.

I HOPE YOU ENJOY
YOUR LAMB STEW AGAIN TONIGHT.

I'LL BE THINKING OF YOU

WHILE I'M DINING
ON PHEASANT BORDELAISE.

BORDELAISE, NO LESS!
OOH, GIRLS, LISTEN!

OR MAYBE IT'S CASSEROLE.
I'M NOT QUITE CERTAIN.

BE SURE NOT TO EAT
THE BONES

AND GIVE
YOURSELF AWAY.

DID YOU WISH
TO SEE ME?

THIS IS A THEATRICAL
BOARDINGHOUSE, ISN'T IT?

IT'S CONSIDERED ONE OF
THE FINEST BOARDINGHOUSES.

I WAS SOMEWHAT IN DOUBT
FOR A MOMENT.

ARE YOU THE PERSON I SEE
ABOUT ACCOMMODATIONS?

ACCOMMODATIONS?
OH, YES, INDEED!

I HOPE YOU'LL PARDON
MY APPEARANCE.

WE'VE HAD A LITTLE TROUBLE
IN THE KITCHEN.

I'LL JUST TRY AND SEE
WHAT'S AVAILABLE.

NOW, LET'S SEE.

ANN AND MARY,
THEY ROOM TOGETHER.

I'D LIKE A ROOM
WITH A PRIVATE BATH.

[LAUGHTER]
HA HA!

IS THERE ANYTHING STRANGE
IN THAT REQUEST?

OH, YOU MUSTN'T
MIND THE GIRLS.

THEY'RE JUST FULL OF FUN.

WE'RE LIKE
ONE GREAT BIG FAMILY.

I MAY NOT BE ABLE TO GIVE YOU
JUST WHAT YOU WANT,

BUT I CAN
PUT YOU IN A ROOM

WITH A VERY CHARMING GIRL,
TEMPORARILY.

THAT IS, UNTIL
WE GET A VACANCY.

MM-HMM. HOW EXPENSIVE
ARE YOUR ROOMS?

THEY'RE $13 IF YOU SHARE A ROOM
WITH A GIRL, IN ADVANCE.

THAT SEEMS RATHER HIGH.

ISN'T THERE SOME
REDUCTION BY THE WEEK?

[LAUGHTER]

IT IS $13 A WEEK.

OH, MY MISTAKE.

THAT DOESN'T
INCLUDE LUNCHEON.

THE MEALS
GO WITH THE $13?

OH, YES, INDEED,

AND I MUST SAY WE HAVE
A VERY LOVELY KITCHEN.

OH, I'M SORRY.
I HAVEN'T ANY CHANGE.

OH, WELL,
THAT'S ALL RIGHT.

I EXPECT TO BE HERE
QUITE A WHILE, ANYWAY.

WHAT SHALL I DO
ABOUT MY BAGGAGE?

IT'S IN THE TAXI.

HATTIE! WILL YOU TELL FRANK
TO GET MISS, UH...

RANDALL.
TERRY RANDALL.

UH, RANDALL'S BAGGAGE
OUT OF THE TAXI?

PARDON ME.
MRS. ORCUTT,

HAS MR. HARGRAVES
OF THE GUILD CALLED ME YET?

WHY, NO.

WELL, WHEN HE DOES CALL,
TELL HIM I'VE READ HIS PLAY

AND I COULDN'T
CONSIDER PLAYING IT.

IT'S FAR TOO TRIVIAL.

I COULDN'T CONSIDER P--
HOW DO YOU DO?

MISS LUTHER,
THIS IS MISS RANDALL.

SHE'S GOING TO BE HERE
WITH US FOR A WHILE.

OH, HOW NICE.
ARE YOU IN THE THEATER?

NOT YET,
BUT I HOPE TO BE.

OH, WELL,
WITH PROPER COACHING,

THERE'S NO REASON
TO DESPAIR. I--

IF YOU'LL JUST
COME WITH ME.

I BEG
YOUR PARDON.

HERE ARE YOUR TRUNKS.

JUST TAKE THEM RIGHT UP
TO MISS MAITLAND'S ROOM.

WHAT'S THAT?

OH, THAT'S
ONE OF THE FEATURES

OF THE FOOTLIGHTS CLUB.

IT'S THE CHAIR
BERNHARDT SAT IN

WHEN SHE WAS REHEARSING
QUEEN ELIZABETH OVER HERE.

I WAS IN THE COMPANY.

OH, YOU WERE AN ACTRESS?

MRS. ORCUTT'S PLAYED
WITH ALL THE STARS.

SHE'S SUPPORTED ME
IN LOTS OF MY SHOWS.
HAVEN'T YOU, DEAR?

THAT'S BERNHARDT'S
PICTURE, ISN'T IT?

THEY SAY SHE WAS WONDERFUL.

OH, SHE WAS VERY GOOD,
VERY GOOD IN SOME THINGS.

AS A MATTER OF FACT,

ALTHOUGH IT ISN'T
GENERALLY KNOWN,

BERNHARDT AND I
HAD THE SAME COACH.

I THINK COACHING'S
A WASTE OF TIME.

AFTER ALL, ACTING'S
ONLY COMMON SENSE.

BUT THAT'S ALL A GOOD COACH
APPLIES, IS COMMON SENSE.

IF I DON'T GET
THE RIGHT PLAY SOON,

I MAY DO A LITTLE
COACHING MYSELF.

WHAT IS THIS,
ANOTHER BOAT DOCKING?

MRS. ORCUTT TOLD ME
TO PUT THIS STUFF UP HERE.

YEAH, BUT THIS IS
NOT THE STOREROOM.

YOU'LL LIKE THIS ROOM.
REALLY YOU WILL.

JEAN, THIS
IS YOUR NEW ROOMMATE.

MISS RANDALL,
MISS MAITLAND.

WE'VE MET BEFORE,
AFTER A FASHION.

JEAN'S
A VERY LIVELY GIRL.

I'M QUITE SURE YOU'LL GET ON
VERY WELL TOGETHER.

Terry: OH, I'M SURE OF THAT.

NOW, IF THERE'S
ANYTHING YOU WANT--

NO, NO. I'LL BE
ALL RIGHT, I HOPE.

WHEN DOES YOUR BAGGAGE
GET HERE?

I'M EXPECTING
THE BULK OF IT

IN THE MORNING.

WE COULD LEAVE THE TRUNKS HERE
AND SLEEP IN THE HALL.

THERE'S NO USE
CROWDING THE TRUNKS.

I DON'T KNOW
WHAT WE'RE GOING TO DO

WHEN THE WOLFHOUNDS
ARRIVE.

I HOPE YOU
DON'T MIND ANIMALS.

OH, NOT AT ALL.

I'VE ROOMED WITH A GREAT
MANY OF THEM BEFORE.

YES. I CAN SEE THAT.

FRESH KILL?

YES.
I TRAP THEM MYSELF.

DO YOU MIND IF I ASK
A PERSONAL QUESTION?

ANOTHER ONE?

ARE THESE TRUNKS
FULL OF BODIES?

JUST THOSE,

BUT I DON'T INTEND
TO UNPACK THEM.

I WAS JUST THINKING
IF THE ROOM GOT TOO CROWDED,

WE COULD LIVE
IN THE TRUNKS.

YES.
THAT'S A GOOD IDEA.

YOU DON'T MIND
HELPING ME UNPACK?

OH,
I BEG YOUR PARDON.

YOU'RE NOT THE MAID,
ARE YOU?

OH, THAT'S
QUITE ALL RIGHT.

WHAT A LOVELY DRESS.

WHIPPED UP AT HOME
BY LOVING HANDS, HUH?

EVERY STITCH.

DO YOU COOK, TOO?

NOTHING FANCY.

JUST PLAIN
HOME COOKING.

I'LL BET YOU COULD BOIL
A TERRIFIC PAN OF WATER.

I IMAGINE THAT HALF
THAT BUREAU'S MINE.

YOU DON'T MIND IF
I PUT THIS HERE, DO YOU?

WHY NOT? HELP SCARE
THE MOTHS AWAY.

OOH, A FRIEND
OF THE FAMILY?

HAPPENS TO BE
MY GRANDFATHER.

GRANDFATHER?

WELL, THERE IS QUITE
A FAMILY RESEMBLANCE,

ESPECIALLY
AROUND THE WHISKERS.

THAT'S A FAIRLY INTELLIGENT
OBSERVATION FOR YOU.

I MUST SAY, HE'S
A FAIRLY GENEROUS OLD GUY,

AS GRANDFATHERS GO.

HE ALWAYS TREATED ME
VERY WELL.

I SUPPOSE IF YOU'D
HAD YOUR CHOICE,

YOU'D HAVE PICKED
A MUCH YOUNGER GRANDFATHER.

I SEE THAT IN ADDITION
TO YOUR OTHER CHARMS,

YOU HAVE THAT INSOLENCE

GENERATED BY
AN INFERIOR UPBRINGING.

HMM. FANCY CLOTHES,
FANCY LANGUAGE, AND EVERYTHING.

UNFORTUNATELY,

I LEARNED TO SPEAK
ENGLISH CORRECTLY.

IT WON'T BE
MUCH USE TO YOU HERE.

WE ALL TALK PIG LATIN.

AND I USE THE RIGHT
KNIFE AND FORK.

I HOPE
YOU DON'T MIND.

ALL YOU NEED
IS THE KNIFE.

DO YOU MIND IF I HANG
THESE THINGS HERE?

TEMPORARILY, OF COURSE.

I MUST TAKE MY BATH.

THAT MIGHT HELP.

AND REMEMBER--HALF
THE WARDROBE IS YOURS,

AND IF ANYTHING OF MINE
SHOULD GET IN THE WAY,

WELL, JUST TOSS IT
OUT THE WINDOW.

[LAUGHING]

DID YOU GET
A LOAD OF THAT HAT?

I EXPECTED A RABBIT
TO JUMP OUT ANY MINUTE.

I THOUGHT OLD ORCUTT
WOULD FALL OVER IN A FAINT

WHEN SHE HANDED HER
THAT $50.

IF SHE HAD A $50 BILL,
WHAT'S SHE DOING HERE?

IT MUST HAVE
BEEN COUNTERFEIT.

THERE'S NO SUCH THING
AS A $50 BILL.

YOU KNOW, I THINK SHE'S
AS PHONY AS THAT BILL.

I MUST HAVE
MISSED SOME FUN.

I'LL SAY YOU DID.
WHEN SHE ASKED

IF THE MEALS
WENT WITH THE $13,

I THOUGHT I'D BUST
A LIGAMENT.

MAYBE SHE'S A SOCIAL WORKER
DOING A LITTLE SLUMMING.

SHE PICKED
THE RIGHT PLACE.

SAY, SPEAKING OF SLUM,
WHEN DO WE EAT?

WASH YOUR NECKS,
CHILDREN.

THE LAMB'S ABOUT
TO BE SACRIFICED.

I SHOULD WORRY.
TONIGHT'S LUMBER NIGHT.

I WASHED MY NECK
YESTERDAY.

SO DID I.

WELL, I REFUSE TO WASH
MY NECK FOR LAMB STEW.

HERE'S KAYE!

HELLO.

ANY LUCK TODAY?

NO, BUT I'VE GOT
GREAT NEWS.

I ACTUALLY SAW
ONE MANAGER.

THE WHOLE TOWN'S
UNDERWATER!

KAYE SAW
A MANAGER!

WAS IT MUCH
OF AN INTERVIEW?

IT WASN'T AN INTERVIEW.
I JUST SAW HIM

AS HE RUSHED
OUT OF HIS OFFICE.

WELL, AT LEAST YOU KNOW
THERE IS SUCH AN ANIMAL.

WHAT'D HE LOOK LIKE?

LIKE ANY OTHER ANIMAL.

HE HAD ON PANTS, TIE,
AND COLLAR--

DID HE HAVE HOOFS?

SMOKE COME OUT
OF HIS NOSE?

THAT'S WHAT GETS
IN YOUR EYES, SILLY.

DID HE SAY "MAMA"
WHEN YOU SQUEEZED HIM?

I DIDN'T GET
THAT CLOSE TO HIM.

YOU DIDN'T SEE
A MANAGER, DEARIE.

WHAT YOU SAW
WAS A MIRAGE.

COME AND GET IT!

[ALL SHOUTING]

WELL, COME ON,
HENRY.

MOTHER'LL GET YOU

SOME OF THAT LOVELY
LAMB STEW.

MAYBE THERE'S
A MOUSE IN IT.

COMING, KAYE?

I'LL BE ALONG
A LITTLE LATER.

AREN'T YOU
HAVING DINNER?

OH, I'M NOT VERY HUNGRY.

YOU'VE BEEN AWFULLY BLUE
LATELY, HAVEN'T YOU?

WELL, AFTER PLAYING
A WHOLE SEASON

IN POWELL'S OUTER OFFICE,

HE MIGHT AT LEAST
HAVE SAID HELLO.

IT GETS PRETTY DISCOURAGING
ONCE IN A WHILE,

BUT I GUESS
IT'S ALL IN THE GAME.

OH, MISS HAMILTON.

HELLO, MRS. ORCUTT.

I'M AFRAID I MUST--

I KNOW. I KNOW WHAT
YOU'RE GOING TO SAY.

IF YOU COULD LET IT GO
JUST A LITTLE LONGER--

YOU KNOW THE RULES
OF THE HOUSE,

AND IT'S 3 WEEKS NOW.

I KNOW, BUT I'VE PRACTICALLY
BEEN PROMISED A PART,

AND I'M NOT EATING
ANY MEALS HERE.

YOU'RE PUTTING ME

IN A VERY
EMBARRASSING POSITION.

I DON'T WANT
TO BE INCONSIDERATE.

WELL, MAYBE
I COULD GIVE YOU

A LITTLE
MONEY ON ACCOUNT...

SAY, $10?

THAT'S SOMETHING.

THANKS AWFULLY.

HEY THERE, ELLA!

THAT'S STILL A COMMUNITY
TUB, YOU KNOW.

Ella: I'LL BE OUT
IN A MINUTE.

YOU'VE BEEN IN THERE
A HALF-HOUR.

WHAT DO YOU THINK YOU ARE,
A TRAINED SEAL?

Ella:
WHAT'D YOU SAY?

I SAID IF YOU WANT
TO DROWN YOURSELF,

WHY DON'T YOU USE
THE OCEAN?

HEY, KAYE!

WHY DIDN'T YOU
SAY HELLO TO ME?

HELLO, JEAN.
I DIDN'T SEE YOU.

WELL, YOU CERTAINLY
COULDN'T HELP BUT HEAR ME.

OH, DON'T PAY
ANY ATTENTION TO ME.

MY MIND'S BEEN
WANDERING LATELY.

WHAT'S THE MATTER?

OH, IT'S JUST
ONE OF THOSE DAYS.

LET'S SIT DOWN
AND HAVE A GOOD CRY.

ALL RIGHT.

YOU CAN
CRY ON MY SHOULDER.

I'M GOING TO
GO BATHE ANYHOW.

THERE'S
NO CASTING TODAY.

"LEAVE YOUR NAME
AND TELEPHONE NUMBER,

"AND WE'LL GET IN TOUCH
WITH YOU LATER.

MR. POWELL ISN'T SEEING ANYONE
UNTIL THE END OF THE WEEK."

LAST WEEK AND THE WEEK BEFORE
AND THE WEEK BEFORE THAT.

WHERE DID I EVER GET THE IDEA
THAT I WAS A GOOD ACTRESS?

SAY, WHO GOT ALL THOSE
RAVE NOTICES A YEAR AGO?

YEAH, BUT THAT
WAS A YEAR AGO.

OH, BOY,
YOU DO SOUND GLOOMY.

OH, I DON'T KNOW
WHY I'M HANGING ON,

EXCEPT THERE'S
NOTHING ELSE I CAN DO

AND NO ONE
I CAN GO BACK TO,

EXCEPT SOMEONE
I'LL NEVER GO BACK TO.

LISTEN, YOU DON'T HAVE TO
GO BACK TO ANYBODY.

YOU'RE THE BEST ACTRESS
IN THIS WHOLE CLUB.

SOMETHING GOOD'S BOUND
TO BE COMING YOUR WAY.

OH, I HOPE SO,

BUT IT HAD BETTER
BE SOON.

WELL, I DON'T MEAN
TO BE BUTTING INTO

YOUR PRIVATE AFFAIRS,

BUT IF IT'S A MATTER OF
A FEW BUCKS, I'D BE VERY--

OH, JEAN, I'VE
GOT TO GET THAT PART

IN ENCHANTED APRIL.
IT'S BEEN MY WHOLE LIFE.

IT'S ME. NO ONE ELSE
CAN PLAY THAT PART.

IT BELONGS TO ME!

OH, JEAN, I'VE
GOT TO GET THAT PART!

I'VE GOT TO.

AW, HONEY.
AW, GEE, DON'T CRY.

THAT'S ALL THERE IS.
THERE AIN'T NO MORE.

THAT'S WHAT I CALL
A DINNER FIT FOR A KING.

IF YOU DON'T CARE
WHAT YOU SAY.

I'VE GOT MOST OF IT
CAUGHT IN MY TEETH.

WELL, NOW I KNOW WHY
SHEEPHERDERS GO CRAZY.

IT'S THE LAMB STEW.

IF THIS CAT OF YOURS

EVER TURNS UP MISSING
AROUND DINNERTIME,

I'M EATING OUT
THAT NIGHT.

SAY, I BET ORCHID'S HUSBAND
DIED OF WOOL POISONING.

THE COFFEE
TASTES LIKE IODINE.

THEY OUGHT TO SERVE
BANDAGES WITH IT.

YEAH. IT WOULD MAKE
A GOOD LINIMENT.

I CAN'T TELL YOU
HOW INTERESTED I WAS

IN YOUR DISCUSSION
OF TWELFTH NIGHT.

IT WAS
SO INTELLIGENT.

OH, THANK YOU
VERY MUCH.

I'M AFRAID THAT
THE REST OF THE INMATES

DIDN'T SHARE
YOUR ENTHUSIASM.

BARBARIANS.

THEY'VE HAD NO
TRAINING, MY DEAR.

NO TRAINING.

WHY, WHEN I PLAYED
IN TWELFTH NIGHT, EVEN THE--

OH, DID YOU PLAY
IN TWELFTH NIGHT?

YES, I--

I'VE A FEW
OF MY NOTICES HERE

IF YOU'D CARE
TO SEE THEM.

I'D LOVE TO.

OH, HOW LUCKY.
THEY'RE RIGHT ON TOP.

NOW, DON'T
READ THEM ALL,

JUST THE BITS
THAT ARE UNDERLINED.

AND THIS ONE'S
FROM ATLANTIC CITY.

WELL, I DON'T LIKE TO GOSSIP,
BUT THAT NEW GAL

SEEMS TO HAVE AN AWFUL
CRUSH ON SHAKESPEARE.

I WOULDN'T BE SURPRISED
IF THEY GOT MARRIED.

OH, YOU'RE FOOLING.
SHAKESPEARE'S DEAD.

NO!

WELL, IF HE'S
THE SAME ONE

THAT WROTE HAMLET,
HE IS.

NEVER HEARD OF IT.

WELL, CERTAINLY YOU MUST
HAVE HEARD OF HAMLET.

WELL, I MEET
SO MANY PEOPLE.

HANG ON TO YOUR
CHAIRS, GIRLS.

WE'RE GOING TO GET ANOTHER
LOAD OF SHAKESPEARE.

IS IT AGAINST
THE RULES OF THE HOUSE

TO DISCUSS THE CLASSICS?

NO. GO RIGHT AHEAD.

I WON'T TAKE
MY SLEEPING PILL TONIGHT.

IT MIGHT INTEREST
YOU GIRLS TO KNOW

THAT ALL GREAT ACTRESSES
KNEW THEIR SHAKESPEARE.

HOW ABOUT
THEIR ONIONS?

I FAIL TO SEE WHAT
ONIONS HAVE TO DO
WITH SHAKESPEARE.

IF YOU'D LISTEN
TO MISS RANDALL,

YOU MIGHT
LEARN SOMETHING.

I LIKE AMOS 'N' ANDY.

IN MY DAY, WE WERE
NOT ONLY ACTRESSES,

WE WERE TECHNICIANS.

WE LEARNT OUR TRADE
FROM THE GROUND UP.

THAT'S WHAT
WE SHOULD HAVE--A TRADE!

I WANT TO BE
A SWISS BELL RINGER.

I WANT TO DO SOMETHING
WITH MY HANDS.

SIT ON THEM.

YOU'D GET FURTHER WITH
YOUR FEET. THEY'RE BIGGER.

THE TROUBLE
WITH YOU IS,

YOU'RE ALL
TRYING TO BE COMICS.

DON'T YOU EVER TAKE
ANYTHING SERIOUSLY?

AFTER YOU'VE SAT
AROUND FOR A YEAR

TRYING TO GET A JOB,

YOU WON'T TAKE ANYTHING
SERIOUSLY EITHER.

WELL, DO YOU HAVE TO
JUST SIT AROUND

AND DO NOTHING ABOUT IT?

MAYBE IT'S IN THE BLOOD.

MY GRANDFATHER SAT
AROUND TILL HE WAS 80.

WELL, MY GRANDFATHER DIDN'T,

AND IF HE
AND A LOT OF OTHERS

HADN'T CROSSED THE COUNTRY
IN A COVERED WAGON,

THERE'D STILL BE INDIANS
LIVING IN WICHITA.

WHO DO YOU THINK'S
LIVING THERE NOW?

YOU THINK YOU'RE FACING
DIFFICULTIES.

WHAT DO YOU THINK OF THE MEN
WHO CROSSED THE ROCKIES?

DID ANY OF THEM EVER TRY
AND CRASH A MANAGER'S OFFICE?

NO, BUT IF THEY'D WANTED TO,
I'M SURE THEY COULD HAVE,

AND I BET I CAN, TOO.

MAYBE SHE CAN
GET THROUGH THE DOOR

WITH VANISHING CREAM.

COME ON.
WE'LL BE LATE AGAIN.

WELL, THE EDELWEISS GIRLS
MUST BE OFF.

IF WE'RE NOT
ON THE STAGE BY 8:30,

THE ORCHESTRA
GETS LONESOME.

♪ OH, WE ARE THE GIRLS
OF THE EDELWEISS ♪

♪ WE AIN'T SO PRETTY,
BUT WE'RE AWFUL NICE ♪

[YODELING]

[ALL YODELING]

OH, STOP IT!

CAN'T WE EVER HAVE
ANY PEACE AROUND HERE?

QUIET!
OLGA WANTS PEACE!

PEACE AT ANY PRICE!

WELL, YOU CAN'T HAVE
PEACE WITHOUT A WAR.

YOU SOUND VERY SUPERIOR.

WHAT HAVE YOU EVER DONE
IN THE THEATER?

EVERYTHING BUT
BURST OUT OF A PIE

AT A ROTARIAN
BANQUET.

YOU ALL TALK AS THOUGH
THE WORLD OWED YOU A LIVING.

MAYBE IF YOU TRIED TO DO
SOMETHING FOR THE THEATER,

THE THEATER WOULD
DO SOMETHING FOR YOU.

HA!
WHAT THEATER?

IS THERE A THEATER?

I DON'T KNOW.
HAS ANYBODY LOOKED UP
THE SIDE STREETS LATELY?

IT DOESN'T SEEM TO ME
THAT ANY OF YOU

TAKE YOUR WORK
VERY SERIOUSLY.

WELL, NOW THAT
YOU'RE HERE,
WE'RE ALL GIVING UP.

AT LEAST I'M GOING TO
HAVE A TRY AT IT.

IF I CAN ACT,
I WANT THE WORLD TO KNOW IT.

IF I CAN'T,
I WANT TO KNOW IT.

EVEN YOUR BEST FRIENDS
WON'T TELL YOU.

IT'D BE A TERRIFIC INNOVATION
IF YOU COULD GET YOUR MIND

TO STRETCH A LITTLE FURTHER
THAN THE NEXT WISECRACK.

YOU KNOW,
I TRIED THAT ONCE,

BUT IT DIDN'T
SNAP BACK INTO PLACE.

MISS RANDALL'S
RIGHT.

ALL YOU GIRLS
WANT TRAINING.

IN MY DAY--

WHEN KNIGHTHOOD
WAS IN FLOWER.

I BEG YOUR PARDON?

I'M SORRY. I WAS JUST
READING ALOUD.

[DOORBELL RINGS]
OH.

MISS CANFIELD.

WELL, WHO WILL WE
PICK ON NOW?

DON'T PICK ON ME.

MISS JUDY!

DO I HEAR MALES?

MY LUMBER GENTLEMEN.
NO CRACKS.

SORRY I'M LATE.
I GOT STUCK IN TRAFFIC.

HOW DO YOU DO,
MR. DUKENFIELD?

SO NICE
TO SEE YOU AGAIN.

YEAH. I MANAGE
TO GET DOWN ONCE A YEAR.

MEET MR. MILBANK.

HOW DO YOU DO?
HOW DO YOU DO?

YOU KNOW, I'VE KNOWN
THIS LITTLE GAL

SINCE SHE WAS THAT HIGH,
IN PIGTAILS.

WELL,
LET'S SKIP THAT.

YEAH. HA HA HA!

IN THOSE DAYS,
NOBODY EVER THOUGHT

THAT PETE JONES' DAUGHTER
WOULD BE AN ACTRESS.

WELL, THE ODDS
ARE STILL THE SAME.

Both: YEAH. HA HA HA!

SAY, HAVE YOU
GOT A FRIEND?

OH, I HAVE A CHARMING
GIRL FOR YOU.

UH, HERE SHE IS NOW.

OH, JEAN,
I'D LIKE YOU TO MEET

A COUPLE
OF FRIENDS OF MINE.

I THOUGHT YOU SAID
THEY WERE DRESSING.

HA HA HA! DON'T
START ANYTHING HERE.

I'LL RINSE YOUR BACK.

WHY DIDN'T THEY
WEAR THEIR OVERALLS?

OH, DID SHE SAY THAT?
CUT IT OUT.

UH, JEAN, I'D LIKE YOU
TO MEET MR. DUKENFIELD

AND MR., UH,
MR. MILSTREAM.

UH, MILBANK.
WHAT'D I SAY?

MILSTREAM!
HA HA HA!

HA HA. OH, I...I...

WHAT DO YOU DO,
TEAR DOWN THE TREES

WITH YOUR BARE HANDS?

UH, I TOLD YOU
SHE WAS A KICK.

YEAH.
HA HA HA!

I LOVE A SENSE
OF HUMOR.

YES. I CAN TELL
BY THE SIZE OF YOUR SHOES.

AIN'T SHE A CARD?

OH, YEAH!
YEAH!

YOU COME FROM SEATTLE,
TOO, DON'T YOU?

YEAH.
HOW DID YOU KNOW?

OH, YOU CAN ALWAYS
TELL A COLLEGE MAN.

WELL, I--

I GOT A TAXI
WAITING OUTSIDE.

LET'S GET GOING.

IMAGINE THAT, JUDY!
A TAXI!

I'LL BET YOU DRINK CHAMPAGNE
OUT OF SLIPPERS AND EVERYTHING.

WELL, I NEVER HAVE, BUT--

LET'S GO
TO CENTRAL PARK.

THERE ARE A LOT
OF TREES THERE,

AND WE COULD ALL
HANG BY OUR TAILS

AND EAT COCONUTS.

YOU'RE KILLING ME.

PLEASANT
LITTLE FOURSOME.

I PREDICT
A HATCHET MURDER

BEFORE
THE NIGHT'S OVER.

[LAUGHING]

[DOOR OPENS]

HELLO.

HOW ARE ALL YOUR FOLKS?

WHAT HAPPENED
TO YOU?

NEARLY EVERYTHING.

YOU'RE LIMPING.

AM I? OH, SO I AM.

DID YOU EVER DANCE

WITH ONE OF THOSE
SEATTLE ROMEOS?

MAYBE.
I DON'T REMEMBER.

WELL, IF YOU DID,

YOU'D REMEMBER IT,
ALL RIGHT.

WHY DO YOU
GO OUT WITH THEM?

I'LL BITE. WHY DO I?

THEY NOT ONLY
JUMP ON YOU,

BUT THEY BORE YOU
TO DEATH.

I KNOW HOW MANY CORDS OF
WOOD THERE ARE IN A PINT

AND THAT A PINE TREE
IS NOT DECIDUOUS,

BUT HAS ACIDOSIS
OR SOMETHING,

THAT THE OREGON
TIMBERLINE

IS RECEDING SO FAST,

IN ANOTHER 1,000
YEARS OR SO,

THE WHOLE STATE WILL
BE PRACTICALLY BALD.

[LAUGHS]

WHAT AM I TELLING
YOU ALL THIS FOR?

OH, WHY NOT? WE'RE GOING
TO SHARE THE SAME ROOM.

WHY NOT SHARE
OUR TROUBLES?

WE STARTED OFF
ON THE WRONG FOOT.

LET'S STAY THAT WAY.

DON'T YOU EVER GET
TIRED OF QUARRELING?

WHAT'S THE MATTER,
CAN'T YOU TAKE IT?

OH, YES, I CAN TAKE IT,
IF YOU WANT IT THAT WAY.

WOULD YOU MIND IF I ASKED YOU
A VERY HUMBLE QUESTION?

IF YOU ASK IT
IN ENGLISH.

WHAT DO YOU DO
ABOUT AIR IN THIS ROOM?

WELL,
IN THE SUMMERTIME,

WE DO WITHOUT IT
ENTIRELY.

THIS TIME OF YEAR,

WE USUALLY OPEN
THE WINDOWS.

OH.

THIS THING IS STUCK.

HEY, DON'T PULL IT
DOWN FROM THE TOP!

WE'LL HAVE THE WHOLE UPPER
FLOOR IN OUR LAPS.

[STREET NOISES]

[CAR HORNS HONKING]

[TRAIN BELL RINGING]

WHAT DO WE DO
ABOUT THE SIGN?

JUST LEAVE IT THERE.

DON'T THOSE BLINKING LIGHTS
KEEP YOU AWAKE?

THEY WILL IF YOU LIE THERE
AND TRY TO OUTBLINK THEM.

WE USUALLY USE THESE.

WHAT DO I DO WITH THIS,
PUT IT OVER MY EYES?

NO. YOU SWALLOW IT
WITH A GLASS OF WATER.

THAT'S A VERY INGENIOUS
IDEA. THANKS.

WELL, DON'T
GET SENTIMENTAL.

DO YOU GO TO SLEEP
RIGHT AWAY?

SURE. WHAT DO YOU
GO TO BED FOR?

WELL, I THOUGHT
WE MIGHT TALK.

I'VE HAD ENOUGH TALK
FOR ONE EVENING.

I SUPPOSE YOU'RE WONDERING
WHY I'M LIVING HERE.

MAYBE I AM.

WHY DON'T YOU SELL
SOME OF THOSE CLOTHES

AND LIVE
IN A DECENT PLACE?

ISN'T THIS
A DECENT PLACE?

NO.

BESIDES, I'VE ALWAYS
LONGED TO LIVE

IN AN ATMOSPHERE
LIKE THIS.

MY PET, YOU HAVEN'T
SEEN ATMOSPHERE.

WAIT TILL ABOUT 5:00
IN THE MORNING

WHEN THOSE GARBAGE
TRUCKS START AROUND.

HA HA!

SAY, AM I
GETTING GOOD,

OR ARE YOU
GETTING WEAK?

NO. THAT JUST
STRUCK ME AS FUNNY.

WELL, IT ISN'T
VERY FUNNY TO ME.

IF I HAD
YOUR CLOTHES,

I'D SCRAM OUT OF HERE
PLENTY FAST

AND LEAVE YOU HERE
WITH YOUR ATMOSPHERE.

OH, NO, YOU WOULDN'T.

YOU BARK A LOT,
BUT YOU DON'T BITE.

YOU WOULDN'T SELL OUT
FOR A WARDROBE.

IT'S ALL RIGHT
FOR YOU TO TALK.

YOU'VE GOT YOURS.

LINDA ISN'T DOING
SO BAD, EITHER.

LINDA? OH, THE OTHER GIRL
YOU FIGHT WITH.

WELL, ONE OF THEM.
I DON'T KNOW.

MAYBE YOU TWO GIRLS
HAVE GOT THE RIGHT IDEA.

WHAT IDEA IS THAT?

STOP KIDDING.

OH, YOU MEAN
HAVING A GRANDFATHER.

WELL, CALL HIM
WHATEVER YOU LIKE.

WELL, IF I HAD TO
DO IT ALL OVER AGAIN,

I WOULDN'T
HAVE A GRANDFATHER.

SAYS YOU.

WELL, WHO'S IN A BETTER
POSITION TO GIVE ADVICE

THAN A WOMAN WHO
ALLOWS HER GRANDFATHER

TO BUY HER CLOTHES?

WHAT'D YOU SAY?

I SAID, WHO'S
IN A BETTER POSITION--

NEVER MIND. WRITE IT
ON A PIECE OF PAPER

AND I'LL READ IT
IN THE MORNING.

[TRAIN RUMBLING]

[PIANO PLAYING]

DOWN.

UP, 2, 3, 4.

SWING YOUR HEAD
OVER THERE.

SNAP THE HEADS
OVER THERE.

ALL RIGHT, ALL RIGHT,
ALL RIGHT.

THAT'S ENOUGH FOR TODAY.
GO TO HOME.

I THOUGHT HE'D NEVER
CALL A TIME-OUT.

WE OUGHT TO
GET HIM A WHIP.

GET ME
A WHEELCHAIR.

LET'S RUN THROUGH OUR ROUTINE
BEFORE OLGA GETS AWAY.

IF I'M GOING
TO DANCE ANY MORE,

YOU'D BETTER
DASH HOME

AND GET MY EXTRA
PAIR OF LEGS.

WHY DON'T YOU QUIT
RUNNING AROUND

WITH THOSE LUMBERJACKS
AND GET SOME SLEEP?

SAY, OLGA, WILL YOU
RUN THROUGH OUR ROUTINE

A COUPLE OF TIMES?

WHEN AM I GOING TO GET ANY TIME
FOR MY CONCERT PRACTICE?

OH, BE A GOOD GIRL, OLGA,
AND WHEN WE'RE FAMOUS,

WE'LL BUY YOU
A LOLLIPOP.

OH, ALL RIGHT,
ALL RIGHT.

AND FOR THIS I STUDIED
WITH KOLIJINSKY.

COME ON.

WELL, WELL, WELL.
TONY POWELL. HOW ARE YOU?

HELLO, ALEX.
HOW'S THE NEW SCHOOL?

OH, JUST FINE.
GLAD YOU CAME UP.

NOT THINKING OF PUTTING ON
A MUSICAL, ARE YOU?

OH, NO. I VERY LIKELY
WON'T PRODUCE ANYTHING

UNLESS I CAN FIND
AN ANGEL.

YOU HAVEN'T SEEN ANY
FLYING AROUND HERE, HAVE YOU?

NO, NOT LATELY.

HIT IT, OLGA.

[PIANO PLAYING]

WHO'S THE LITTLE BLONDE?

OH, JUST ONE
OF THE KIDS.

WOULD YOU LIKE
TO MEET HER?

NEVER MIND.
I'LL INTRODUCE MYSELF.

LOOK WHO'S GIVING US
THE ONCE-OVER.

Jean: WHERE?

OVER THERE.

WHO IS IT?

NOBODY
BUT ANTHONY POWELL.

SO THAT'S
LINDA'S SOUL MATE.

WHO'S HE STARING AT?

I DON'T KNOW,
BUT I HOPE IT'S ME.

YOU CAN HAVE HIM.

YOU GIRLS REHEARSING
FOR A MUSICAL?

NO. WE'RE JUST
GETTING OVER THE D.T.s.

HA HA HA!

NICE ROUTINE
YOU'VE GOT THERE.

I HEAR YOURS
ISN'T SO BAD, EITHER.

BUT WE HAVEN'T COME
TO THE BEST PART OF IT YET.

WHAT'S THE MATTER
WITH YOUR GIRLFRIEND?

WELL, I THINK SHE'S
KIND OF NERVOUS, YOU KNOW,

UH, MEETING
A GREAT MAN LIKE YOU.

DO I MAKE
YOU NERVOUS, TOO?

WELL, A LITTLE.

OF COURSE, I WOULDN'T
ADMIT THAT TO YOU.

YOU TWO KIDS EXPECT
TO GO ON THE STAGE?

WELL, WE'RE JUST SORT OF
HOOFING IT AROUND, YOU KNOW,

WAITING FOR SOMEONE
TO DISCOVER US.

WELL, YOU'RE DISCOVERED.

WELL, I DIDN'T MEAN IT
THAT WAY, REALLY.

IT'S JUST THAT
WE'RE WAITING

FOR A NIGHTCLUB
ENGAGEMENT.

SOMETHING LIKE
THE GROTTO, YOU KNOW?

THE GROTTO. MM-HMM.

WELL, I THINK YOU'D
BETTER BE EXCUSING ME.

I GUESS YOU ARE KIND OF
MAKING ME A LITTLE NERVOUS.

HA HA! EXCUSE ME.

YOU KNOW,
THERE'S NOTHING LIKE

A CHEERFUL LETTER
FROM HOME.

PA GOT LAID OFF.

MY SISTER'S HUSBAND
HAS LEFT HER.

ONE OF MY BROTHERS
SLUGGED A RAILROAD DETECTIVE.

I GUESS THAT'S ALL.

"LOTS OF LOVE,
AND CAN YOU SPARE 50 BUCKS?"

HOW'D YOU LIKE THAT
VEGETABLE SOUP TONIGHT?

IF IT'D BEEN
A LITTLE THICKER,

IT WOULD HAVE MADE
NICE HOT WATER.

YES, AND IF SHE
TRIES TO SERVE IT AGAIN,

I'M GOING TO BRING
A BAR OF SOAP TO THE TABLE

AND WASH OUT
A FEW STOCKINGS.

SHE MUST HAVE GOTTEN
THAT MEAT LOAF

FROM THE SMITHSONIAN
INSTITUTE.

I WONDER
WHAT WAS IN IT.

I DON'T WANT
TO KNOW.

BY WAY OF VARIETY,

LET'S COMPLAIN
ABOUT THE FOOD.

IF YOU
WEREN'T SO SNOOTY,

YOU COULD HAVE HAD A DINNER
DATE WITH ME TONIGHT.

YOU CAN HAVE MY SHARE
OF THOSE TIMBERWOLVES.

THEY MAY BE
TIMBERWOLVES TO YOU,

BUT TO ME, THEY'RE
MEAT AND POTATOES.

DON'T YOU KNOW
ANY YOUNGER MEN?

I'M TIRED OF BUYING DINNERS
FOR YOUNGER MEN.

SHE NEEDS A GOOD
BAWLING-OUT.

OH, DON'T START
THAT AGAIN.

START WHAT?

WELL, WE WERE REHEARSING
OUR ROUTINE TODAY,

AND WHO SHOULD WALK UP
TO US BUT TONY POWELL?

SO WHAT?
NOT THE GREAT
ANTHONY POWELL?

HE WAS VERY PLEASANT
TO US AND EVERYTHING,

EVEN WANTED TO KNOW
ALL ABOUT US,

AND SHE RUNS OUT ON HIM

LIKE HE WAS A BED
OF POISON IVY.

I DIDN'T LIKE
THE WAY HE LOOKED AT ME.

YOU SHOULD BE GLAD
HE LOOKED AT YOU AT ALL.
YEAH.

HE MAKES YOU FEEL LIKE
YOU OUGHT TO RUN HOME

AND PUT ON A TIN OVERCOAT.

LISTEN, DON'T FORGET
I'M PART OF THIS TEAM,

AND IF YOU THINK
I'M PRACTICING UP

JUST TO RUN AWAY FROM
MANAGERS, YOU'RE CRAZY!

OH, YOU'RE INTERFERING
WITH MY ART.

HE WASN'T
LOOKING FOR AN ACT.

HE WAS PUTTING ONE ON.

YOU OUGHT TO STOP
AT A FILLING STATION

AND GET PUMPED UP.

SHE AIN'T EXACTLY
A FLAT, DEARIE,

JUST A SLOW LEAK.

IF IT'S NOT FOOD,
IT'S MEN.

CAN'T YOU TALK
ABOUT ANYTHING ELSE?

AND WHAT ELSE IS THERE?

HIYA, KAYE.

WHAT HAVE YOU GOT,
A NEW SCRIPT?

YES.

SAY, DON'T YOU EAT HERE
ANYMORE, YOU LUCKY GIRL?

WELL, SOME FRIENDS
OF MINE ARE IN TOWN,

AND I'VE BEEN SEEING QUITE
A BIT OF THEM LATELY.

NOT SOME OF THOSE
TREE-CHOPPER-DOWNERS, I HOPE.

NO. JUST PEOPLE.

PARDON ME, BUT THERE'S A DUST
STORM BLOWING UP, I FEAR.

[SNOOTY ACCENT]
HOW DO YOU DO?

HAVE WE MET
SOCIALLY?

I HOPE NOT. HEY, THAT'S
A KIND OF A GOOD-LOOKING

PIECE OF JACKRABBIT
YOU GOT THERE.

IT'S JUST
A LITTLE TRINKET

MY AUNT SUSAN
SENT OVER.

SAY, I THINK IT'S VERY UNSELFISH
OF THOSE LITTLE ANIMALS

TO GIVE UP THEIR LIVES
TO KEEP OTHER ANIMALS WARM.

YOU KNOW, THEY'RE
VERY SMART LITTLE ANIMALS.

THEY NEVER GIVE UP THEIR
LIVES FOR THE WRONG PEOPLE.

WELL, YOU UNDERSTAND
THE RODENT FAMILY

MUCH BETTER THAN I DO.

INCIDENTALLY, I SAW
YOUR AUNT SUSAN TODAY,

AND I THINK YOU SHOW
MUCH BETTER TASTE THAN HE DOES.

OF COURSE, IT DOESN'T
MAKE MUCH DIFFERENCE.

YOU CAN BE THINKING
OF A BRIGHT REMARK

WHILE I ANSWER
THE TELEPHONE.

DON'T FORGET
AUNT SUSAN'S CAR

IS WAITING
FOR YOU OUTSIDE.

HELLO?

THIS IS MISS MAITLAND
SPEAKING.

YES?

MR. BURGER?
AT THE CLUB GROTTO?

WHERE? WHEN?

OK, I'LL GO RIGHT OVER.
THANKS EVER SO MUCH.

CALL OUT
THE MARINES, KIDS!

THE DEPRESSION'S
OVER!

WHAT'S THE MATTER WITH YOU?
ARE YOU GOING SCREWY?

COME ON, STRINGBEAN!
HEY! COME ON.

WAKE UP, WILL YOU?
LET'S GET GOING.
WHAT IS IT, A FIRE?

YOU KNOW, THAT WAS GORDON
FROM THE DANCING SCHOOL.

YEAH? WHAT'D HE DO,
PROPOSE?

NO. HE SAID FOR US TO GO
OVER TO THE CLUB GROTTO

AND SEE A MAN
BY THE NAME OF BURGER.

WHAT ABOUT IT?

WHAT ABOUT IT?!

HE'S GOT AN OPENING
IN HIS FLOOR SHOW!

GOOD THING THERE ISN'T
AN OPENING IN THE FLOOR.

YOU'D FALL THROUGH IT.
WHAT'S THE EXCITEMENT?

I DON'T KNOW. I'M
A STRANGER HERE MYSELF.

SHE HASN'T WORKED IN SO LONG,
IF SHE DOES GET THE JOB,

IT'LL PRACTICALLY
AMOUNT TO A COMEBACK.

THEY NEVER SEEM TO BE AT
A LOSS FOR ACTION AROUND HERE.

IT'S A LITTLE
LIKE A 3-RING CIRCUS.

A LITTLE BIT.

THEY'RE A GREAT
BUNCH OF GIRLS.

I THINK SO.

THEY DON'T SEEM TO FEEL
THE SAME WAY ABOUT ME, THOUGH.

OH, YOU MUSTN'T
MIND THEM.

I'M BEGINNING TO FEEL

THAT THERE'S SOMETHING
DEFINITELY WRONG WITH ME.

YOU'RE DIFFERENT,
THAT'S ALL.

WELL, NOW, WHY?
I EAT THE SAME FOOD,

I SLEEP IN THE SAME
KIND OF BED,

I'VE EVEN GOT A CREASE
ACROSS MY BACK

FROM THAT
LUMPY MATTRESS,

AND I'M DOING MY BEST
TO PICK UP THEIR SLANG,

THOUGH I'M NOT SO HOT.

HOW'S THAT?
"NOT SO HOT."

THEY'LL GET TO UNDERSTAND YOU
AFTER A WHILE.

MAYBE YOU'LL GET TO UNDERSTAND
THEM A LITTLE BETTER.

OH, I SUPPOSE SO.

THEY DO MAKE
A LOT OF NOISE,

BUT IT'S JUST
TO KEEP UP THEIR COURAGE
AND HIDE THEIR FEARS.

WELL, NOW, WHAT HAVE
THEY GOT TO BE AFRAID OF?

CERTAINLY THEY'RE YOUNG
ENOUGH TO HAVE COURAGE.

YOUNG ENOUGH
TO HAVE FEARS, TOO.

YOU SAW HOW EXCITED
JEAN AND ANN GOT JUST NOW,

AND THAT WASN'T
A JOB, EVEN,

JUST THE PROSPECT
OF ONE.

YOU DON'T KNOW WHAT IT MEANS,
WAITING AND HOPING

THAT SOME MANAGER
WILL INTERVIEW YOU.

WELL, AT LEAST YOU DON'T
HAVE THAT WORRY.

I SAW YOU IN THAT PLAY
LAST YEAR.

YOU KNOW YOU'RE
A GOOD ACTRESS.

I'M NOT SO SURE
ANYMORE.

HOW DO YOU KNOW WHO'S
AN ACTRESS AND WHO ISN'T?

YOU'RE AN ACTRESS
IF YOU'RE ACTING,

BUT YOU CAN'T JUST WALK
UP AND DOWN A ROOM AND ACT.

WITHOUT THAT JOB
AND THOSE LINES TO SAY,

AN ACTRESS IS JUST LIKE
ANY ORDINARY GIRL

TRYING NOT TO LOOK
AS SCARED AS SHE FEELS.

HERE'S SOMETHING I
DASHED OFF IN THE KITCHEN

I WANTED YOU TO TRY.

BUT, HATTIE,
I'VE HAD MY DINNER.

BUT THIS IS SOMETHING
EXTRA SPECIAL.

I'M PRACTICING COOKING
IN MY SPARE TIME.

WELL, I'M GLAD
THAT SOMEONE

IN THAT KITCHEN
IS PRACTICING.

I'LL JUST
LEAVE IT THERE.

YOU MAY GET HUNGRY
AFTER A WHILE.

IF I DON'T HEAR ANY SCREAMS,
I'LL KNOW I'M A SUCCESS.

Mrs. Orcutt: HATTIE!
COMING!

I TOLD YOU TO WASH
THOSE DISHES. NOW, WHY DO YOU...

SO THAT'S FINAL?

YES, DAD,
THAT'S FINAL.

I'M SORRY.
I THOUGHT BY NOW,

YOU MIGHT HAVE SATISFIED
THIS SILLY WHIM OF YOURS

AND BEEN READY
TO COME BACK HOME.

IF I THOUGHT

THAT I COULDN'T ACHIEVE
ANYTHING BY MYSELF

WITHOUT THE AID OF
THE FAMILY MILLIONS,

I'D FEEL LIKE
A PRETTY SORRY SPECIMEN.

WHY MUST IT BE THE STAGE?
THERE ARE OTHER THINGS
TO ACHIEVE IN LIFE.

I DON'T KNOW WHY.
IT JUST HAPPENS
TO APPEAL TO ME.

WHY DID
GRANDFATHER RANDALL

LEAVE A COMFORTABLE HOME

AND GO OFF PIONEERING
INTO UNKNOWN COUNTRY?

HE MADE SACRIFICES
FOR A REASON--

SO THAT HIS FAMILY COULD
HAVE ECONOMIC SECURITY.

SECURITY FROM WHAT?

SO THAT I CAN LEARN
TO PLAY

A MEAN GAME OF BRIDGE

OR RIDE TO HOUNDS
OR MARRY A POLO PLAYER?

IS THAT WHY
GRANDFATHER RANDALL

ENDURED
ALL THOSE HARDSHIPS?

BUT YOU'VE GOT
THE FAMILY NAME TO CONSIDER.

DON'T WORRY
ABOUT THE FAMILY NAME.

AS FAR AS NEW YORK
IS CONCERNED,

TERRY RANDALL IS JUST
ANOTHER STAGESTRUCK GIRL

FROM THE MIDDLE WEST.
THEY DON'T KNOW ME FROM EVE.

BUT THEY'RE GOING TO,
IF I HAVE ANYTHING
TO SAY ABOUT IT.

I'M SORRY, BUT I CAN'T SUPPORT
YOU IN THIS IDEA ANY LONGER.

FINANCIALLY OR MORALLY?

IF YOU'RE GOING ON
WITH THIS NOTION,

YOU'VE GOT TO
DO IT ALONE.

ALL RIGHT, THEN I'LL
HAVE TO DO IT ALONE.

WHAT IF YOU'RE A FAILURE?
WHAT THEN?

IF I'M A FAILURE,

I'LL BE THE FIRST
TO ADMIT IT.

BUT IT MAY TAKE YEARS
TO FIND OUT.

OH, DAD,
IT MAY TAKE YEARS

TO KNOW ANYTHING
ABOUT ANYTHING,

BUT I'M GOING TO
STICK TO IT.

WELL, UH...
ARE YOU TOO PROUD

TO COME BACK HOME
IF YOU ARE A FAILURE?

I HAVEN'T GOT
THAT KIND OF PRIDE.

YOU WOULD COME HOME
IF YOU FAILED?

WOULD YOU HAVE ME?

WELL, YOU'RE
PRETTY STUBBORN,

BUT YOU'RE STILL
MY FAVORITE DAUGHTER.

WE'LL LEAVE IT THERE.
CHECK, PLEASE.

[MUSIC PLAYING]

WELL, WELL, HELLO,
MR. POWELL. HOW ARE YOU?

SO NICE TO SEE YOU AGAIN.

MISS SHAW,
MAY I PRESENT MR. POWELL?

Both: HOW DO YOU DO?

WON'T YOU JOIN US?
I HOPE I'M NOT
INTRUDING.

INTR--WELL,
I SHOULD SAY NOT.

THERE WE ARE.

HOW MANY TIMES

HAVE WE BEEN
INTRODUCED?

DO YOU HAVE
ANY IDEA?

37, INCLUDING
THIS EVENING.

THANK YOU. I WONDER

IF WE'RE FOOLING ANYBODY
BUT OURSELVES.

YOU'RE IN A VERY
UGLY HUMOR THIS EVENING.

OH, DO YOU LIKE IT?

IF I HAVE TO
HAVE A STOOGE,

YOU MIGHT AT LEAST GET ME
SOMEBODY INTERESTING.

I HATE THAT WORD
"STOOGE."

I'M RETAINED AS AN ESCORT.

STOOGE IS GOOD ENOUGH.

LET'S GET OUT OF HERE.
I'M BORED TO DEATH.

WHY NOT RELAX?
THERE ARE A COUPLE OF
NEW NUMBERS I'D LIKE TO SEE.

OOH, ARE YOU
GETTING INTERESTED

IN NEW NUMBERS?

SHALL I JOIN
IN THE CONVERSATION

JUST SO PEOPLE THINK
WE'RE ALL TOGETHER?

I THINK I CAN
GET YOU A JOB

WITH
A VENTRILOQUIST.

WELL, WELL. LIFE
IS FULL OF SURPRISES.

COUPLE OF CUTE KIDS,
AREN'T THEY?

YOU THINK SO?

I WONDER WHO THEY ARE.

JUST A LOT OF RIFFRAFF
THEY PICK UP AROUND TOWN.

PARDON ME. MR. POWELL,
YOU'RE WANTED ON THE PHONE.

THANK YOU.
I'LL BE RIGHT BACK.

WHY DON'T YOU TWO DANCE?

REMEMBER, IF YOU GET
ANY WRONG NUMBERS,

YOU CAN ALWAYS GET
YOUR NICKEL BACK.

WELL, SHALL WE DANCE?

NO.

DID YOU HEAR
WHAT SHE CALLED US?

WHAT DO YOU MEAN, US?

I'LL RIFFRAFF HER.
I COULD HIT HER

OVER THE HEAD
WITH THIS STICK.

YOU DID EVERYTHING
BUT POKE HER EYE OUT WITH IT.

THE WAY THAT POWELL
SAT GRINNING AT US,

I COULD HIT HIM, TOO.

THAT'S ALL
WE NEED.

WHAT DO YOU MEAN,
THAT'S ALL WE NEED?

WELL, I HEARD TONIGHT

THAT HE OWNS HALF
INTEREST IN THIS CLUB.

OR DID YOU KNOW THAT?

OH! I THOUGHT
IT WAS KIND OF FUNNY

THAT WE SHOULD HAPPEN TO GET
THIS JOB ALL OF A SUDDEN.

AND THEN CAME THE DAWN.

YOU DON'T SUPPOSE
HE HAD ANYTHING TO DO
WITH OUR BEING HERE?

ATTA GAL, SHERLOCK.

I BETCHA YOU COULD
PUT TWO AND TWO TOGETHER

AND GET SOMETHING
OUT OF IT.

SO THAT'S IT.

OH, DON'T BE A DOPE.

IF HE SMILED AT ME TONIGHT
THE WAY HE SMILED AT YOU,

I'D DO
A 3-POINT COLLAPSE.

MAY I, UH, COME IN?

OH, HOW DO YOU DO,
MR. POWELL?

YES, COME ON IN.

I THOUGHT YOU GIRLS
WERE VERY GOOD TONIGHT.

THANK YOU.
WE THOUGHT SO, TOO.

MIND IF I SIT DOWN?

WHY NOT? IT'S YOUR CLUB.

NOT EXACTLY. I HAVE
A SMALL INTEREST IN IT.

OH, DON'T PAY ANY ATTENTION
TO HER, MR. POWELL.

SHE'S SLIGHTLY BARMY.

YOU DON'T LIKE ME,
DO YOU?

HOW COULD I HELP
BUT LIKE A MAN

WHO TAKES HIS MOTHER
OUT TO A NIGHTCLUB?

THAT WAS YOUR MOTHER
YOU WERE SITTING WITH?

NO, NO. THAT WAS
MY FRIEND'S MOTHER.

OH, THEN I CAN
SPEAK FREELY?

GO RIGHT AHEAD.

I THINK YOUR FRIEND SHOWS VERY
BAD TASTE IN PICKING MOTHERS.

YOU KNOW, I'M, UH...

I'M BEGINNING
TO THINK SO MYSELF.

NOW, MY IDEAL MOTHER
IS YOUNG, BLOND, SLIM,

AND GENERALLY
INTRIGUING.

I'LL SEE IF I CAN GET YOU ONE
FOR MOTHER'S DAY.

HOW DO YOU LIKE THEM--
TALL, FAT, ROUND?

WELL,
ABOUT YOUR SIZE.

THAT WOULDN'T BE
SO EASY.

YOU SEE, I'M NOT
THE STOCK SIZE.

WELL, COULDN'T WE TALK
THE WHOLE THING OVER

AT DINNER SOME NIGHT?

OH, I'M VERY FOND
OF DINNER.

DO YOU SUPPOSE YOU COULD
SEND YOUR CAR AROUND FOR ME?

WHERE WOULD I SEND IT?

I'M LIVING
AT THE FOOTLIGHTS CLUB,

BUT THE TRAFFIC AROUND THERE
IS RATHER HEAVY.

I SEE.

SO I THINK YOU'D BETTER
SEND IT AROUND HERE FIRST.

PERHAPS THAT
WOULD BE BETTER.

SHALL WE SAY, UH,
TOMORROW NIGHT

AFTER THE SHOW?

MOM WILL HAVE
A LAMP IN THE WINDOW.

GOOD NIGHT.

NO. MR. POWELL
ISN'T IN TODAY.

DID YOU HAVE
AN APPOINTMENT? HELLO?

OF COURSE,
I COULD WAIT AROUND

IF YOU THOUGHT THERE
WAS ANY CHANCE--

YOU CAN WAIT
IF YOU LIKE,

BUT I'M SURE THERE'S
VERY LITTLE CHANCE

OF YOU SEEING HIM TODAY.
THANK YOU. I'LL WAIT.

First secretary: HELLO.
I'M SURE I DON'T KNOW.
YOU MIGHT CALL LATER.

NO. MR. POWELL'S OUT OF TOWN
FOR THE WEEKEND.

HOW DO YOU LIKE THAT?
OUT OF TOWN.

I GUESS THAT MUST HAVE
BEEN HIS DOUBLE

PEEKING THROUGH THE DOOR
A LITTLE WHILE AGO.

IMAGINE OPENING A GREAT BIG
OFFICE LIKE THIS

JUST NOT TO SEE PEOPLE.

[WHISTLING]

YOU CAN GO IN.

MAMMY SINGER?

MAYBE WHEN POWELL
LEFT TOWN,

HE FORGOT
TO TAKE HIS SHOES WITH HIM.

HELLO, KAYE.

HELLO.

YOU'D BETTER SIT DOWN.
MR. POWELL'S OUT OF TOWN.

HE'S ON A WORLD TOUR.

BE CAREFUL WHAT YOU SAY.

HE MAY BE HIDING
UNDER THE LINOLEUM.

WE'RE KIDDING. HE ISN'T SEEING
ANYBODY EXCEPT BY APPOINTMENT.

OH, I'VE GOT
AN APPOINTMENT.

I'M GOING TO READ
THAT PART TODAY.

MAY I TOUCH YOU?

YOU'LL KNOCK HIM
OFF HIS CHAIR.

I HOPE SO.

I'VE BEEN STUDYING
ALL NIGHT.

DO YOU HAVE
APPOINTMENTS, TOO?

WE'RE WAITING
FOR RANDALL.

IF SHE DOESN'T CRASH
POWELL'S OFFICE BY 2:00,

SHE'S BUYING US LUNCH.

WE'RE STARTING OFF
WITH CAVIAR.

OH, NOT THAT SMALL
STURGEON KIND,

BUT NICE BIG
WHALE CAVIAR.

Secretary:
OH, MISS HAMILTON.

GOOD LUCK, KID.

THE BEST.

OH, I'M SORRY,
MISS HAMILTON.

YOU CAN'T
GO IN NOW.

I TRIED TO GET YOU
ON THE PHONE.

SOME UNEXPECTED
BUSINESS CAME UP,

AND MR. POWELL

WILL HAVE TO CANCEL
THAT APPOINTMENT.

WELL, I CAN WAIT.

IT'S IMPOSSIBLE
TO SEE HIM TODAY.

YOU'LL HAVE TO MAKE IT
NEXT WEEK SOMETIME.

HE'LL GET IN TOUCH
WITH YOU.

IF I CAN ONLY SEE HIM
FOR 5 MINUTES, I KNOW THAT--

I'M SORRY. YOU'LL HAVE TO
MAKE IT NEXT WEEK.

PLEASE MAKE IT TODAY,

BECAUSE...BECAUSE...

HERE, HERE, YOU MUSTN'T!
OH, SOMEBODY CATCH HER!

GET SOME WATER,
SOMEONE!

YOU GET OUT OF HERE.
WE'LL TAKE CARE OF HER.

I HOPE
IT'S NOTHING I SAID.

PUT HER ON THE COUCH.

WHAT'S HAPPENED?

POWELL BROKE
AN APPOINTMENT WITH HER,

AND WHEN HIS SECRETARY
TOLD HER ABOUT IT,

SHE WENT OUT
LIKE A LIGHT.

SHE'LL BE ALL RIGHT.

GIVE ME THE WATER.

SHE'LL BE OK.

TRY RUBBING
HER HANDS.

COME ON, DARLING.
YOU FAINTED, DEAR.

HE'S A GREAT GUY.

BREAKS AN APPOINTMENT
WITH AN ACTRESS

TO GET HIS SHOES SHINED.

YOU MUST REMEMBER

THAT MR. POWELL
HAS A GREAT MANY--

WHO DOES THAT POWELL
THINK HE IS?

HERE. YOU CAN'T
GO IN THERE.

JUST WATCH ME.

[DOOR SLAMS]

ARE YOU THE GREAT
ANTHONY POWELL?

WELL, WHO MIGHT
YOU BE?

THAT'S NOT IMPORTANT.

BY WHAT RIGHT DO YOU COME
BREAKING IN MY PRIVATE--

BY WHAT RIGHT DO YOU BARRICADE
YOURSELF BEHIND CLOSED DOORS

AND REFUSE TO SEE PEOPLE?

THAT HAPPENS TO BE
NONE OF YOUR BUSINESS.

DO YOU KNOW A GIRL JUST
FAINTED IN YOUR OUTER OFFICE

BECAUSE YOU BROKE
AN APPOINTMENT WITH HER?

I'M SORRY.
I DIDN'T KNOW.

AS LONG AS YOU KEEP
THAT DOOR CLOSED,
YOU'LL NEVER KNOW ANYTHING.

YOU'RE A PRODUCER.
YOU OUGHT TO SEE PEOPLE.

WHY, THE GREATEST ACTRESS
IN THE WORLD

MIGHT BE LIVING OUT THERE
15 FEET AWAY FROM YOU,

AND YOU'D NEVER EVEN
GIVE HER A CHANCE.

ARE YOU THE GREATEST
ACTRESS IN THE WORLD?

NEVER MIND ABOUT ME.
I DON'T NEED YOU,

BUT THOSE OTHER GIRLS DO.
THEY SWEAT AND SLAVE

AND GO WITHOUT FOOD
AND DECENT CLOTHES

IN THE HOPE
THAT SOMEDAY,

SOMEONE LIKE YOU WILL COME OUT
OF HIS OFFICE AND NOTICE THEM.

I'M SORRY, MR. POWELL.

THAT YOUNG WOMAN RUSHED IN
BEFORE I COULD STOP HER.

IT'S ALL RIGHT, MISS ARDEN.
WHAT HAPPENED TO THE GIRL
THAT FAINTED?

SHE'S FINE. HER FRIENDS
ARE TAKING HER HOME.

I'LL RING
WHEN I WANT YOU.

THANK YOU.

SIT DOWN, YOUNG LADY. I WANT
TO HAVE A TALK WITH YOU.

GO AHEAD.
ALL RIGHT, SONNY.

YES, SIR.

SIT DOWN.

ALL RIGHT,
I'M SITTING.

NOW LISTEN,
MY MILITANT FRIEND.

I JUDGE FROM YOUR ATTITUDE

THAT YOU HOLD ME
PERSONALLY RESPONSIBLE

FOR ANY POSSIBLE TRAGEDY

IN THE LIVES OF THE GIRLS
THAT COME UP HERE.
IS THAT CORRECT?

NO, IT ISN'T.
BUT I THINK YOU OUGHT
TO SEE THOSE PEOPLE.

MAYBE THEY'VE GOT
SOMETHING.
WELL, MAYBE THEY HAVE.

DO YOU REALIZE THAT IF
I SAW ALL OF THE GIRLS
THAT CAME UP HERE

THAT I WOULDN'T HAVE
TIME FOR ANYTHING ELSE?

EVERY YEAR,
ABOUT 50,000 GIRLS--

WILL YOU PLEASE SIT DOWN?
YOU'RE MAKING ME NERVOUS.

YES, I'M SITTING.

SAY SOMETHING WORTH
LISTENING TO.

EVERY YEAR, ABOUT 50,000 GIRLS
DECIDE THAT THEY WANT

TO GO ON THE STAGE,
FOR ONE REASON OR ANOTHER.

WELL, 49,500 OF THEM
ARE WRONG.

THEY'D BE MUCH BETTER OFF
HOME WASHING DISHES.

HOW ABOUT THE OTHER 500?
DO YOU SEE THEM?

I COULDN'T SEE THEM
IF I WANTED TO.

THERE ARE AT LEAST
50 GIRLS FOR EVERY JOB.

HOW DO YOU KNOW
YOU GET THE RIGHT ONE?

YOU HAVEN'T EVEN
THE COMMON COURTESY

TO GO OUT THERE
AND SAY NO TO THEM.

AT LEAST THAT WOULD
GIVE THEM SOME CONTACT

WITH THE THEATER.

WELL, YOU'RE ONE
THAT CAN'T COMPLAIN.

I'VE SEEN YOU,
AND YOU'RE NOT THE TYPE.

YOU'RE VERY SMUG,
MR. POWELL, VERY SMUG.

WELL, WHETHER OR NOT
YOU'RE SATISFIED

THAT I'M NOT ENTIRELY
RESPONSIBLE

FOR ALL OF THE ILLS
OF THE THEATRICAL PROFESSION,

MAY I SUGGEST
THAT YOU RUN ALONG

AND LEAVE ME ALONE
WITH MY CONSCIENCE?

I DOUBT IF YOU HAVE
A CONSCIENCE.

MISS ARDEN, I WON'T
SEE ANYBODY ELSE TODAY.

I DON'T CARE WHO--

OH. IS HE HERE?

WELL, HELLO,
MR. CARMICHAEL. COME IN.

HELLO, MR. POWELL.

NICE TO SEE YOU.
HOW ARE YOU?

FINE, THANK YOU.

I HOPE THIS HAS
NOTHING TO DO

WITH THAT OTHER MATTER.

I THOUGHT THAT
WAS ALL SETTLED.

OH, NO, IT ISN'T
ANYTHING LIKE THAT.

THAT'S FINE. SIT DOWN.

NO, THANKS.
HAVE A CIGAR?

NO.
CIGARETTE?

WE JUST HAD A LITTLE
EXCITEMENT AROUND HERE.

YES. I COULDN'T HELP BUT HEAR.
WHO WAS THE GIRL?

OH, I HAVEN'T
THE FAINTEST IDEA.

SOME STAGESTRUCK DAMSEL

SUFFERING FROM
OVEREXCITEMENT.

IS SHE AN ACTRESS?

IF SHE IS, SHE'S
A PRETTY BAD ONE.

I CAN TELL THEM
A MILE OFF.

YOU'RE SURE OF THAT?

I SELDOM MISS.

SOMETHING OUGHT TO BE
DONE ABOUT THESE GIRLS

THAT COME TO NEW YORK
AND TRY TO GO ON THE STAGE.

THEY'D BE SO MUCH BETTER OFF
AT HOME RAISING FAMILIES.

THAT'S WHAT
MY CLIENT THINKS.

CLIENT?

YOU'RE PRODUCING A NEW PLAY
SHORTLY, AREN'T YOU?

ENCHANTED APRIL.
WHY?

WELL, THE CLIENT
I JUST SPOKE OF

IS SOMEWHAT
INTERESTED IN THE THEATER.

I CAN'T MENTION ANY NAMES,
OF COURSE.

YOU KNOW
HOW THOSE PEOPLE ARE.

BUT SOMEWHERE
HE GOT THE IDEA

THAT HE'D LIKE TO DABBLE
IN SHOW BUSINESS.

WELL, FRESH MONEY
IS ALWAYS WELCOME.

UNDER THE CIRCUMSTANCES,

I'M NOT SO SURE THAT
YOU WOULD BE INTERESTED.

UNDER...
WHAT CIRCUMSTANCES?

HOWEVER,
HERE'S THE PROPOSITION.

WE MAY AS WELL
GO OVER IT.

AFTERWARDS,
IF YOU'RE STILL INTERESTED,

WELL...
WE CAN GO ON FROM THERE.

HELLO. HELLO.

NO. THIS IS
THE FOOTLIGHTS CLUB.

FOOTLIGHTS.
NO. FOOT.

HOW CAN IT BE
THE BEACON LAUNDRY

WHEN IT'S
THE FOOTLIGHTS CLUB?

CERTAINLY I'M SURE.
I'M RIGHT IN IT.

IS THAT SO?

WELL, GO WASH YOUR OWN NECK
AND SEE HOW YOU LIKE IT.

HOW'S KAYE FEELING?

OH, SHE'S ALL RIGHT.

WHAT DID THE DOCTOR
SAY WAS WRONG?

MALNUTRITION,
HE CALLED IT.

THAT'S LATIN FOR
NOT EATING.

ALL SHE NEEDS IS
SOME GOOD MEALS--

TRY AND GET THEM--
AND A NICE LONG REST.

WELL, SHE HASN'T WORKED
IN ALMOST A YEAR.

THAT'S JUST THE SAME
AS A REST.

COME HERE.
SHAKE YOUR HEAD.

WHY?

NEVER MIND.
SHAKE YOUR HEAD!

LIKE THIS?
THAT'S WHAT I THOUGHT.

I CAN HEAR IT RATTLE
JUST AS PLAIN.

[LAUGHTER]

OH, WHAT IS...

NOTHING.

WELL, I HOPE DEAR OLD
MR. ANTHONY POWELL

SLEEPS WELL TONIGHT.

WHAT'S THIS I HEAR
ABOUT THE RANDALL GIRL

TELLING HIM OFF
THIS AFTERNOON?

I DIDN'T HEAR
WHAT SHE SAID,

BUT SHE SURE MADE
A LOT OF NOISE.

IT COST US LUNCH,
AND I HATE TO SAY IT,

BUT I AM REVISING
MY OPINION OF HER.

[HUMMING]

HAS MR. POWELL'S CAR
COME YET?

I AIN'T SEEN IT.
I AIN'T HEARD THE HORN.

[DOORBELL RINGS]

OH, MAYBE THAT'S
HIM NOW.

I DON'T SEE HOW SHE'S
GONNA PAY HER DOCTOR BILLS.

IT'S ALL DONE
WITH MIRRORS.

DOES MISS JEAN MAITLAND
LIVE HERE?

YES.

WILL YOU GIVE HER THESE?

I'LL SEE
THAT SHE GETS THEM.

THANK YOU,
HATTIE.

I DON'T THINK
THEY'RE FOR YOU.

OH, YES, I RECOGNIZE
THE FLORIST.

THE BOY SAID
THEY'RE FOR JEAN.

OHH...SO THEY ARE.

LET ME TAKE THEM
TO HER.

WELL, ANYTHING TO SAVE ME
FROM A TRIP UPSTAIRS.

[HUMMING]

LOOKS LIKE THERE'S
A NEW QUEEN BEE

BUZZING
AROUND THE HIVE.

WELL, IT SEEMS TO BE
THE SAME KING.

HOW'S KAYE?

SHE'S FINE.

IT'S SO SILLY OF HER
TO HAVE GONE WITHOUT FOOD.

[SNOOTY ACCENT]
OH, YES, I THINK

IT'S TERRIBLY SILLY
TO GO WITHOUT FOOD.

I DIDN'T MEAN IT
THAT WAY.

WHAT DID
THE DOCTOR SAY?

SHE'S GOING TO BE ALL RIGHT.
I DIDN'T REALIZE THE SITUATION.

I THINK IT'S VERY STUPID OF
HER NOT TO LET PEOPLE KNOW.

IT WAS VERY SWEET OF YOU
TO SEND THE DOCTOR.

I ASKED YOU NOT TO SAY
ANYTHING ABOUT IT.

NOBODY KNOWS.

I KNOW, BUT PLEASE
DON'T MENTION IT AGAIN.

IT'S NOT
THAT I'M SENTIMENTAL.

IT'S JUST THAT THE WHOLE THING
SEEMS UNNECESSARY TO ME.

MAY I COME IN?

OH, SURE. I GUESS
YOU'LL BE SAFE.

THE EXTERMINATORS WON'T
BE HERE TILL TOMORROW.

HOW DID THEY MISS YOU
ON THEIR LAST VISIT?

I WAS OUT IN SOCIETY

WITH AN OLD BOYFRIEND
OF YOURS.

OH, YES,
SPEAKING OF FUNERALS,

THESE FLOWERS
JUST ARRIVED FOR YOU.

AND YOU BROUGHT THEM UP?
OH, MY LITTLE FLOWER GIRL.

IF I COULD FIND MY PURSE,

I'D GIVE YOU
A A BIG 5-CENT TIP.

I REALLY CAME ALONG
TO GIVE YOU A TIP.

DON'T BOTHER TO READ THE NOTE.
I'LL TELL YOU WHAT IT SAYS.

"11 ROSES
AND THE 12th IS YOU."

YOU'RE DOING
VERY WELL UP TO NOW.

TELL ME MORE.

HIS ROUTINE'S PRETTY MUCH
THE SAME WITH ALL THE GIRLS.

IT ALL ENDS UP
WITH A QUIET LITTLE SUPPER

IN HIS PENTHOUSE,

WITH CHAMPAGNE
AND ALL THE TRIMMINGS

AND THE VIEW AND ALL THAT.

OH, AND THEN THERE'S HARCOURT.
HARCOURT'S REALLY A GEM.

THAT ISN'T HARCOURT
YOU'RE WEARING, IS IT?

NO, MY SWEET.
THAT'S A LITTLE THING
CALLED A STAR SAPPHIRE.

HARCOURT'S THE BUTLER.
HE'S VERY DISCREET, THOUGH.

YOU KNOW, ONE OF THOSE BUTLERS
THAT TIPTOES BACKWARDS.

YES. I KNOW THE TYPE
VERY WELL.

BUT YOU'LL GET
TO KNOW HIM MUCH BETTER.

AND HE'S VERY DEAF.

YOU REALLY WON'T HAVE TO
BOTHER TO SCREAM FOR HELP.

I MUSTN'T FORGET TO TELL YOU
ABOUT THE LIGHTING EFFECT.

IT'S VERY GOOD.

IT GOES WITH THAT
"TIRED LITTLE BOY" ROUTINE.

BUT I WON'T SPOIL IT
FOR YOU.

I'LL LET ALL THAT
COME AS A SURPRISE.

IT MUST BE GALLING
TO YOU OLDER WOMEN

TO LOSE YOUR MEAL TICKET
TO YOUNGER RIFFRAFF.

JUST A LEAVE OF ABSENCE, DEARIE,
AND IN THE MEANTIME,

I HAVE MY LOVELY SABLE COAT
AND MY STAR SAPPHIRE

TO KEEP ME COMPANY.

IT'S LOVELY,

BUT I'M AFRAID YOU
PAID TOO MUCH FOR IT.

THAT'S YOUR MISTAKE.

I'M NOT AS GENEROUS
AS MY AUNT SUSAN.

WELL, GOOD-BYE.
THANKS FOR CALLING.

IF YOU EVER NEED
A GOOD PALLBEARER,

REMEMBER,
I'M AT YOUR SERVICE.

[CLEARS THROAT]

DIDN'T MEAN TO EAVESDROP,
BUT I COULDN'T HELP OVERHEARING.

YOU'RE NOT REALLY
RUNNING AROUND

WITH THAT MAN POWELL,
ARE YOU?

WHY NOT?

WELL, WHY PLAY WITH FIRE
JUST TO SPITE LINDA?

I CAN TAKE CARE
OF MYSELF.

PERSONALLY, I THINK
YOU NEED A GOVERNESS.

WHY SHOULDN'T
I GO OUT WITH HIM?

I THINK
HE'S VERY CHARMING.

SO ARE SNAKES.

BESIDES, IF I DON'T
GO OUT WITH HIM,

I'LL PROBABLY LOSE
MY JOB, AND SO WILL ANN,

AND I'LL BE RIGHT BACK
WHERE I STARTED FROM.

OH, NOW, THAT'S A RATHER
LAME EXCUSE.

YOU GOT ALONG SOMEHOW
BEFORE, DIDN'T YOU?

I'M SICK OF GETTING
ALONG SOMEHOW.

WHY DON'T YOU STICK
TO YOUR IDEALS?

THEY'RE RATHER CRUDE,
BUT THEY'RE ALL RIGHT.

YOU SHOULD TALK!

FOR HEAVEN'S SAKES,
DON'T BRING UP THAT
GRANDFATHER THING AGAIN.

ANYTHING BUT THAT.

BESIDES, IT'S NONE
OF YOUR BUSINESS.

I'M SORRY, MA'AM.

THAT'S A VERY BEAUTIFUL
ERMINE JACKET YOU HAVE ON,

REMARKABLY SIMILAR
TO ONE OF MINE.

OH, UH, I DIDN'T
EXPECT YOU BACK SO SOON.

DON'T THINK I INTENDED
TO BORROW IT OR ANYTHING.

I JUST WANTED TO SEE
HOW I'D FEEL

IN ONE OF THESE THINGS.

DO YOU FEEL
VERY DIFFERENT?

I'LL SAY.

WELL, WHY DON'T
YOU WEAR IT?

DO YOU MEAN IT?

OH, WHY NOT?

YOU MAY AS WELL GO
TO PERDITION IN ERMINE.

YOU'RE SURE
TO COME BACK IN RAGS.

YOU KNOW,
YOU'RE FUNNY.

IN SOME WAYS,
YOU'RE NOT SUCH A BAD EGG.

AS EGGS GO, I PROBABLY
HAVE MY POINTS.

GEE, THANKS.

UH, NOT AT ALL,
NOT AT ALL.

ANYTHING
FOR OLD SEATTLE.

WELL, I'M NOT SURE
ABOUT DINNER.

JUST A MINUTE.

HATTIE, WHAT'S ON
THE MENU TONIGHT?

WHAT DO YOU THINK?

DON'T TELL ME.

I BELIEVE
I COULD MANAGE IT.

YES, I'LL TRY
TO GET ANOTHER GIRL.

8:00. BYE.

OH, WHAT THE WELL-DRESSED
ROOMMATE WILL WEAR.

PARDONNEZ-MOI.

TAKE A LOOK, HENRY.
THAT'S WHERE YOU'LL WIND UP

IF YOU DON'T
BEHAVE YOURSELF.

IF YOUR LINE
ISN'T TOO BUSY TONIGHT,

I HAVE A COUPLE OF LUMBER--

OH! NO, NO, DON'T.

DON'T MENTION
THE WORD "LUMBER."

I AM DINING TONIGHT
ON PHEASANT BORDELAISE

WITH THE PEACH-FUZZ
DRESSING--

WHERE IS BORDELAISE?

SHE DOESN'T EVEN KNOW
WHAT PHEASANT IS.

NATURALLY. THERE'S A DIFFERENCE
BETWEEN PHEASANT AND PEASANT.

MY FRIEND WOULDN'T THINK
OF SERVING PEASANT.

NO, BUT HE'S WILLING
TO TAKE THEM OUT ONCE OR TWICE.

BUT WHEN HE'S THROUGH,
HE'S THROUGH.

THAT'S WHAT I LOVE
ABOUT MY FRIEND.

IT'S ONE THING
TO BORROW A FRIEND'S FRIEND.

IT'S ANOTHER THING
TO HOLD HIM,

IF YOU KNOW WHAT I MEAN.

WOULD YOU MIND
TELLING THE LADY

THAT I DON'T WANT
TO BUY ANYTHING TODAY?

GOOD-BYE, ALL,
AND WHEN I RETURN,

I SHALL TELL YOU HOW
THE OTHER HALF LIVES.

NICE MEETING YOU.

IF IT'S NOT ASKING TOO MUCH,
LET'S NOT BE LATE AGAIN.

LEAD THE WAY, HIGGINS.

YOU DON'T SUPPOSE
SHE WAS BURNED UP,

BY ANY CHANCE, DO YOU?

WHY DON'T YOU TWO HAVE IT OUT
WITH SHARP KNIVES?

HELLO, BILL.

HIYA, PALSIE.
HELLO, ANN.

HELLO. MAKE IT SNAPPY.
WE'RE IN A HURRY.

WHAT'S THE MATTER
WITH HER?

OH, JUST A GROUCH.
WHEN DID YOU GET BACK?

THIS MORNING. THE SHOW
WAS ONE OF THE QUICKER

FLOPS OF THE YEAR,

IN SPITE OF ONE OF
THE BEST PRESS CAMPAIGNS

OF THIS
OR ANY OTHER SEASON.

NO, THANKS.
GAVE IT UP WHEN I WAS 7.

BRIGHT GIRL.
BUSY TONIGHT?

YEAH.

WELL, I COULDN'T
GIVE YOU VERY MUCH TIME

TONIGHT ANYWAY,

BUT HOW ABOUT DINNER
TOMORROW NIGHT?

OH, I DON'T THINK
I CAN VERY WELL.

WHY NOT?

WELL, SINCE WE'VE
GOTTEN THIS JOB,

I HAVEN'T HAD
MUCH TIME FOR ANYTHING.

WELL, YOU HAVEN'T GIVEN UP
EATING, HAVE YOU?

IT ISN'T THAT.
IT'S JUST THAT...

I DON'T THINK WE'D BETTER
SEE EACH OTHER FOR A WHILE.

WHY?

I JUST THINK
IT'S BETTER, THAT'S ALL.

OH.

WHY DO YOU SAY "OH"
LIKE THAT?

WELL, HOW WOULD YOU
SAY IT?

YOU MAKE IT SOUND LIKE
IT MEANT SOMETHING ELSE.

WELL, DOES IT?

WHATEVER I DO
IS MY OWN BUSINESS.

Ann: ARE YOU COMING
OR AREN'T YOU?

OH, SHUT UP.

DID YOU EAT SOMETHING
SOUR FOR LUNCH TODAY?

I'M SORRY, BILL, BUT...

I'VE GOT TO LIVE
MY OWN LIFE FROM NOW ON.

SURE. BUT IT WOULDN'T
INTERFERE WITH YOUR LIFE

IF I WALKED DOWN TO THE
CORNER WITH YOU, WOULD IT?

NO...I GUESS NOT.

WELL, THAT'S 50,000
YOU OWE ME.

WHAT DO YOU WANT TO DO?

ONE SHAKE,
DOUBLE OR NOTHING.

ALL RIGHT, GO AHEAD.

AH, WE'RE EVEN.

DID YOU ENJOY
YOUR SUPPER?

I DIDN'T DARE TO.

WHY NOT?

MAKES IT TOO TOUGH TO GO
BACK TO THAT LAMB STEW.

YOU DON'T HAVE TO GO BACK
TO THAT LAMB STEW
IF YOU DON'T WANT TO.

DO YOU HAVE SUPPERS
LIKE THIS ALL THE TIME?

PRACTICALLY
ALL THE TIME. WHY?

JUST WONDERED.

I WISH I'D BEEN
BORN LUCKY

INSTEAD OF BEAUTIFUL
AND HUNGRY.

YOU CAN'T HAVE EVERYTHING.
BUT YOU ARE BEAUTIFUL.

I'M THE LUCKY ONE.

WILL YOU HAVE
A LITTLE CHAMPAGNE?

NO, THANKS. I WON'T
BE ABLE TO STAND UP

AS IT IS.

BOO!

HA HA HA!

I KNEW SHE WAS
LYING TO ME.

WHO?

HE ISN'T DEAF
AT ALL.

HE HASN'T BEEN.

IT JUST SHOWS YOU,

YOU CAN'T TRUST
PEOPLE NOWADAYS.

THAT'S RIGHT, YOU CAN'T.
DON'T YOU THINK

YOU'D BETTER
HAVE A LITTLE COFFEE?

THAT'S A WONDERFUL VIEW.

OH, YES, IT IS.
IT'S A WONDERFUL VIEW.

IT'S A BEAUTIFUL CITY.
JUST LIKE A FAIRYLAND.

IT'S FULL OF COLOR,
ROMANCE, ILLUSION, GLAMOUR.

MAYBE IT DEPENDS ON WHICH
WINDOW YOU SEE IT FROM.

WELL, YOU SHOULD SEE IT
ONLY FROM HERE.

DO THOSE LIGHTS
KEEP YOU AWAKE?

SO FAR THEY HAVEN'T.

I LOVE NEW YORK
FROM UP HERE.

IT LOOKS ALL ROUGED
AND MANICURED

AND READY TO GO OUT
FOR THE EVENING.

YOU'RE QUITE A LITTLE
PHILOSOPHER, AREN'T YOU?

IT'S PROBABLY
THE CHAMPAGNE TALKING.

MIGHTY GOOD TALK.

THAT'S MIGHTY GOOD
CHAMPAGNE.

LET'S HAVE A LITTLE
MORE OF BOTH.

ALL RIGHT.

WHO ARE
THE 3 LITTLE MEN?

THEY'RE 3 LITTLE FIGURES
I PICKED UP IN THE ORIENT.

ANYONE I SHOULD KNOW?

WELL, NOW, THIS ONE

TAKES CARE OF ALL
GOOD LITTLE GIRLS

WHO WORK VERY HARD
FOR A LIVING.

AND THIS ONE SEES TO IT
THAT THEY MEET

THE RIGHT KIND OF PEOPLE.
AND THIS ONE--

THIS ONE
WENT TO MARKET.

YES, AND HE ALSO SEES TO IT

THAT LITTLE GIRLS DON'T
HAVE TO EAT LAMB STEW.

DID YOU PICK HER UP
IN THE ORIENT, TOO?

NO, NO.
THAT'S MRS. POWELL.

WE'RE NOT DIVORCED
OR ANYTHING LIKE THAT.

AND THAT'S JUNIOR.
FINE-LOOKING BOY, ISN'T HE?

I NEVER BELIEVE
IN MAKING PRETENSES.

LOTS OF MEN WHO ARE
SEPARATED FROM THEIR WIVES

SIMPLY LET IT BE UNDERSTOOD
THAT THEY'RE NOT MARRIED.

I BELIEVE
IN THIS DAY AND AGE

THAT A MAN CAN HAVE
HIS HOME ON THE ONE HAND

AND STILL LIVE HIS OWN LIFE--

THAT IS, ANY MAN
OF CHARACTER.

OH, THAT'S BIG
OF YOU.

WELL, IT HAPPENS TO BE
THE WAY I BELIEVE.

THAT IS VERY BIG OF YOU.

WHY DON'T YOU RELAX?

THERE'S A FEW THINGS

I WANT TO TALK OVER
WITH YOU.

AFTER ALL, YOU MUST
BE VERY TIRED

DANCING ALL EVENING.

HERE. SIT DOWN
RIGHT HERE. THAT'S IT.

OH, THERE YOU ARE AGAIN.

YES, MA'AM.

I'M GLAD YOU'RE NOT DEAF,
BECAUSE IF YOU WERE DEAF,

YOU WOULDN'T BE ABLE
TO HEAR ANYTHING,

AND THAT WOULD BE
TERRIBLE.

YES, MA'AM,
THAT WOULD BE TERRIBLE.

SURE WOULD BE TERRIBLE.

YES, TERRIBLE.
IT WOULD BE AWFUL. YES.

I NEVER KNOW WHETHER HE'S
COMING OUT OR GOING IN.

WHAT HAPPENED?

NOW, ISN'T THAT
MORE RESTFUL?

I THOUGHT
SOMETHING BLEW OUT.

IT DOES IMPROVE
THE VIEW, DOESN'T IT?

IT'S BEAUTIFUL.

IT'S BEAUTIFUL NOW,

BUT THINK OF HOW MUCH
MORE BEAUTIFUL IT WILL BE

WHEN YOUR NAME IS FLASHING
ACROSS THE HORIZON.

"JEAN MAITLAND"
IN LETTERS THAT BIG.

THAT BIG.

ALL RIGHT, THAT BIG.

GOT TO BE BIG ENOUGH
TO KEEP PEOPLE AWAKE.

IT'LL BE BIG ENOUGH.

I'LL BE THE SCULPTOR,
AND YOU'LL BE THE CLAY.

I'LL MOLD YOU INTO
THE GREATEST DANCER

THAT BROADWAY
HAS EVER KNOWN.

I'LL BE PYGMALION.
YOU'LL BE GALATEA.

SOUNDS LIKE
A FAIRY STORY.

ISN'T LIFE A FAIRY STORY,
AND AREN'T GROWN-UP PEOPLE

JUST LITTLE CHILDREN
AT HEART?

OH, I KNOW AT THE OFFICE,

I'M GRUFF ANTHONY POWELL,
THEATRICAL PRODUCER.

THAT'S A POSE.
HERE WITH YOU,

I'M JUST A TIRED LITTLE BOY
WITH A DREAM.

WHO WERE YOU
SUPPOSED TO BE?

HUH?

YOU WERE SUPPOSED
TO BE SOMEBODY,

AND I WAS SUPPOSED
TO BE SOMEBODY.
PYGMALION AND GALATEA.

AND WHO AM I?

YOU'RE GALATEA.

AM I GALATEA?

PYGMALION
WAS A SCULPTOR

WHO CARVED
A STATUE OF A WOMAN

OUT OF MARBLE,

AND THE STATUE
WAS SO BEAUTIFUL

THAT HE FELL IN LOVE
WITH IT.

AND HIS LOVE WAS SO DEEP
AND TENDER AND TRUE

THAT IT WARMED
THE STATUE TO LIFE,

AND THEY LIVED HAPPILY
EVER AFTERWARDS.

DID THEY GET MARRIED?

NO. I DON'T THINK
PEOPLE GOT MARRIED

IN THOSE DAYS.

OH, I THINK
THAT'S TERRIBLE.

WHAT'S TERRIBLE?

THEY DIDN'T GET MARRIED.

BUT SHE WAS
JUST A STATUE.

THAT'S WHAT'S
SO TERRIBLE ABOUT IT.

BUT YOU CAN'T CRY
OVER A STATUE.

THE WHOLE THING'S
A MERRY STORY.

I KNOW, BUT LOOK AT
ALL THE TROUBLE HE WENT TO.

HE DIDN'T GO
TO ANY TROUBLE.

YOU'RE JUST
GETTING HYSTERICAL.

AND BESIDES,
HE HAD A WIFE AND SON

AND COULDN'T GET MARRIED
ANYWAY. HARCOURT!

HE SHOULD HAVE THOUGHT OF
THAT IN THE FIRST PLACE.

SHE WAS PROBABLY MINDING
HER OWN BUSINESS.

Powell: YOU'RE GETTING YOURSELF
ALL EXCITED OVER NOTHING.

COME ON. THE COAT.

I'M NOT EXCITED,

AND IT MAY BE
NOTHING TO YOU,

BUT IT WAS
SOMETHING TO HER.

HE CAN'T DO THAT
TO HER!

YOU BET HE CAN'T.
YOU BET.

WELL, WHY DON'T YOU DO
SOMETHING ABOUT IT?

LISTEN, I'M GOING TO
DO SOMETHING ABOUT IT

THE VERY FIRST THING
IN THE MORNING.

NOW, YOU RUN ALONG
AND GET SOME SLEEP

AND DON'T YOU WORRY
ABOUT A THING.

I'LL HAVE MY LAWYER
STRAIGHTEN THE WHOLE THING OUT.

WHAT THING?

WHATEVER THERE IS
TO BE STRAIGHTENED OUT,

NOW, I'LL SEE THAT
IT'S STRAIGHTENED OUT.

DON'T WORRY YOUR PRETTY HEAD
ABOUT A THING.

OH, YOU'RE WONDERFUL.

HARCOURT'S RIGHT HERE.

HARCOURT WILL SEE YOU
TO YOUR CAR.

THAT'S A GOOD GIRL.

YOU'RE WONDERFUL.

THAT'S RIGHT.
YOU'RE WONDERFUL

AND I'M WONDERFUL,

AND HARCOURT'S
WONDERFUL.

THE WHOLE THING
IS WONDERFUL.

WHEW!

♪ A PENTHOUSE
ON PARK AVENUE ♪

♪ WAY IN THE MIDST
OF THE SKY ♪

♪ IT CERTAINLY SEEMS
RATHER HIGH ♪

♪ IT CERTAINLY IS
RATHER HIGH... ♪

YOU SEEM TO BE RATHER
HIGH YOURSELF.

YOU MUST HAVE HAD
A PRETTY GOOD TIME TONIGHT.

I'LL SAY.
IT WAS WONDERFUL.

OH, YES.
THE VIEW WAS WONDERFUL.
THE SUPPER WAS WONDERFUL.

I WON $50,000.
AND HARCOURT IS WONDERFUL.

AND WHO'S HARCOURT?

WHAT'S HIS NAME?

DO YOU KNOW
YOUR OWN NAME?

IT'S GOING TO BE
IN LETTERS THAT BIG.

NO. THAT BIG.

WHOSE,
YOURS OR HARCOURT'S?

YOU SAID IT.

AND HE'S GOING TO
DIVORCE HIS WIFE

AND MARRY GALATEA.

AND WHO'S GALATEA?

I--SHE'S A STATUE.

SHE SHOULD NEVER
HAVE GOTTEN MARRIED

IN THE FIRST PLACE.

BUT IT'S GOING
TO BE WONDERFUL.

YES, I'M SURE
THAT EVERYTHING'S

GOING TO BE VERY WONDERFUL.

THE VIEW IS WONDERFUL.

AND HARCOURT'S WONDERFUL,
AND YOU'RE WONDERFUL.

AND YOU'RE WONDERFUL.
AND I'M WONDERFUL, TOO.
NOW, COME ON.

LET ME HELP YOU
TAKE OFF YOUR THINGS.

WE'RE ALL GOING TO GO
TO THE WEDDING.

AND YOU'RE GOING TO
BE THERE, TOO.

I'LL BE THERE.

HARCOURT'S GOING TO
MARRY GALATEA,

AND WE'RE ALL
GOING TO LIVE TOGETHER

IN A GREAT BIG SIGN.

AND I FEEL TERRIBLE.

BUT ISN'T IT WONDERFUL?

AND TOMORROW
YOU'RE GOING TO HAVE

A WONDERFUL HANGOVER,

AND THAT WON'T BE
SO WONDERFUL.

IT'S WONDERFUL.
IT'S WONDERFUL...

[LAUGHTER]

WELL, THAT'S MY STORY.
HOW DID YOU GET IN THEATER?

HOW DID ANY OF US
GET IN THE THEATER?

I'VE NEVER EVEN
BEEN IN THE THEATER

EXCEPT AS A SPECTATOR.

WHERE'D YOU FIRST
GET THE BUG, JUDY?

I GUESS IT
STARTED WITH ME

WHEN I WAS
A LITTLE GIRL.

I WENT TO SEE
A CIRCUS,

AND THERE WAS
A BEAUTIFUL LADY

IN PINK TIGHTS.
WASN'T YOU, WAS IT?

NO. I DON'T LIKE PINK.

SHE WAS RIDING
A LARGE WHITE HORSE.

ARE YOU SURE IT WASN'T
A PURPLE COW?

WELL, WHATEVER IT WAS,
HERE I AM--

NO HORSE, NO JOB,
NOT EVEN THE PINK TIGHTS.

IS MR. POWELL'S CAR
CALLING FOR YOU

AT THE GROTTO TONIGHT?

MR. POWELL'S CAR
CALLS FOR ME EVERY NIGHT.

I WAS JUST WONDERING.
I SAW MR. POWELL

AT THE COLONIE BAR
THIS AFTERNOON

WITH ANOTHER YOUNG LADY.

HOWEVER, YOU'VE DONE
MUCH BETTER THAN I EXPECTED.

I DIDN'T THINK
YOU'D LAST THIS LONG.

IS MADAME CERTAIN

SHE HASN'T BEEN
SEEING THINGS?

MADAME IS QUITE CERTAIN.

BUT YOU'LL PROBABLY
GET A NOTE LATER

SAYING HE'S BEEN DETAINED
ON BUSINESS.

WHEN MR. POWELL
DOESN'T SEND HIS CAR,

HE ALWAYS SENDS A NOTE.

HE'S QUITE COURTEOUS
THAT WAY.

THIS IS WHERE I CAME IN.
LET'S GET GOING.

I EXPECT THIS
TO BE THE BEST PLAY

I'VE EVER PRODUCED.

EVERY ACTRESS
ON BROADWAY

HAS BEGGED TO PLAY
THE PART OF JEANETTE.

AS A MATTER OF FACT,

IT'S ONE OF THE BEST
PARTS EVER WRITTEN.

ISN'T THAT
MORE RESTFUL?

ON THE CONTRARY,

IT MAKES ME RATHER
UNCOMFORTABLE.

WHY DON'T YOU RELAX

AND LET ME TELL YOU
THE STORY OF THE PLAY?

GO AHEAD.

THE SCENE OPENS
ON LONG ISLAND.

IT'S A BEAUTIFUL,
BEAUTIFUL DAY IN SPRING.

AND JEANETTE--
THAT'S THE CHARACTER

I WANT YOU TO PLAY--
IS BROKENHEARTED.

HER HUSBAND'S
ABOUT TO LEAVE HER.

ARE YOU SURE THAT
YOU BROUGHT ME HERE

TO DISCUSS THE PLAY?

WHY DO YOU ASK?

WELL, I'M A RATHER
SUSPICIOUS PERSON.

YOU WANT TO BE
A STAR, DON'T YOU?

MM-HMM. UNDER
THE PROPER CIRCUMSTANCES.

WHY DON'T YOU SIT
BACK ON THE COUCH?

YOU'LL BE MORE COMFORTABLE.

WOULD YOU LIKE
TO SEE YOUR NAME

BLAZING
ACROSS THE HORIZON--

IN BIG LETTERS,

BUT IT'S GOT TO BE
A GOOD-SIZED SIGN.

I'M USED TO THAT.
SO IS JEAN MAITLAND.

WHAT'S SHE GOT
TO DO WITH IT?

ARE YOU IN LOVE
WITH HER?

I THOUGHT SO.
NO.

SHE'S JUST A LITTLE GIRL
IN WHOM I TOOK AN INTEREST.

AS A MATTER OF FACT,

SHE'S BECOMING MORE
OR LESS OF A PEST.

SAY, WHAT ARE YOU,
A DISTRICT ATTORNEY?

NOT EXACTLY.

WHAT HAS JEAN MAITLAND TO DO
WITH THIS DISCUSSION?

DO YOU WANT TO PLAY
THIS PART OR DON'T YOU?

I'M REALLY
TREMENDOUSLY FLATTERED,

BUT HOW DO YOU KNOW
THAT I CAN ACT?

BECAUSE I KNOW.

HOW DO YOU KNOW?

YOU'VE NEVER SEEN ME
ON THE STAGE.

AND HOW DO YOU
KNOW THAT?

BECAUSE I'VE NEVER BEEN
ON THE STAGE.

BUT I--I DID SEE YOU
PERFORM IN MY OFFICE.

I WASN'T PERFORMING
THAT DAY.

WELL, WHETHER YOU WERE
PERFORMING OR NOT,

I DO KNOW AN ACTRESS
WHEN I SEE ONE.

I DON'T SEE
HOW YOU CAN TELL--

DO YOU EVER STOP
ASKING QUESTIONS?

I'D JUST LIKE
TO KNOW WHY--

YOU DON'T HAVE
TO KNOW ANYTHING.

I'LL DO THE TALKING.
WHETHER YOU WERE ACTING

IN MY OFFICE OR NO, YOU DID
SHOW FIRE AND EMOTION,

AND THAT'S WHAT
I NEED IN THIS PART.

BUT I'M NOT
AN EMOTIONAL PERSON.

YOU WILL BE WHEN
I GET THROUGH WITH YOU.

I'LL MOLD YOU INTO ONE.

OH, I DON'T WANT
TO BE MOLDED.

I BELIEVE IN ACTING
WITH MY BRAIN.

WELL, I'LL MOLD YOU
ONE OF THOSE ALSO.

HARCOURT. WILL YOU
HAVE SOME CHAMPAGNE?

NO, THANKS.

GO AHEAD.
YOU MIND IF I DO?

[DOORBELL BUZZES]

WERE YOU EXPECTING
SOMEONE, SIR?

GET THE CHAMPAGNE.
I'LL ANSWER THE DOOR.

DO YOU MIND IF
I ANSWER THE DOOR?

WELL, HOW DID YOU
GET UP HERE?

HAVE YOU GOT A WOMAN
IN THIS APARTMENT?

WHO WANTS TO KNOW?

WHO HAS
A BETTER RIGHT?

NOW, SEE HERE,
I'M IN A VERY BAD HUMOR!

YOU GET DOWNSTAIRS
THE WAY YOU GOT UP.

HOW CAN YOU
SHOUT AT ME

AFTER ALL YOU
PROMISED LAST NIGHT?

I'M NOT SHOUTING

AND I DIDN'T PROMISE
ANYTHING!

WHERE IS SHE?

SAY, BY WHAT RIGHT

DO YOU COME CRASHING
INTO THIS--

SO IT'S YOU.

HELLO.

SAY, WHAT IS THIS?

THAT'S
WHAT I'M ASKING.

MR. POWELL WAS JUST TELLING ME
THE PLOT OF A PLAY.

SO THAT'S HOW YOU HAPPENED
TO BE ON THE FLOOR.

COME ON, GET UP.
THAT ISN'T WHERE I LEFT YOU.

WHAT IS THIS,
A FRAME-UP?

TONY, DARLING,
CONTROL YOURSELF.

DON'T TONY DARLING ME!
NOW, YOU COME ON.

GET UP OUT OF THERE.

AND YOU GO HOME
IMMEDIATELY.

I'LL GO HOME WHEN YOU HEAR
WHAT I'VE GOT TO SAY.

WELL, SAY IT
AND GET IT OVER WITH.

SHE CAME UP HERE TO SIGN
A CONTRACT TO DO A PLAY.

WHAT'S SHE GOING TO
SIGN IT WITH, CHAMPAGNE?

HARCOURT,
CALL THE MANAGER.

OH, YOU NEEDN'T GET
ANY MANAGER.

I THOUGHT I WAS
IN LOVE WITH YOU,

BUT I SEE MY MISTAKE NOW.

I ONLY WENT OUT WITH YOU
IN THE FIRST PLACE

TO SPITE LINDA.

YES, YOU'D BETTER HIDE
YOUR FACE,

YOU DOUBLE-DEALING,
DOUBLE-CROSSING--

DARLING, I DIDN'T KNOW
WHAT I WAS DOING.

MY OWN ROOMMATE,
AND YOU PREACH IDEALS--

YOU AND YOUR GRANDFATHER.

LOOK, I'VE HAD ENOUGH
OF THIS NONSENSE.

PREACHES IDEALS
SO SHE CAN CHISEL

WHEN MY BACK IS TURNED.

WELL, YOU CAN TAKE
YOUR OLD RED FOX CAPE.

I'LL NEVER BORROW
ANOTHER THING AGAIN FROM YOU

AS LONG AS I LIVE,

AND DON'T TRY TO BORROW
ANYTHING FROM ME, EITHER.

PLEASE DON'T
START THAT AGAIN.

I HOPE YOU TWO SNAKES WILL
BE VERY HAPPY TOGETHER.

AND YOU, TOO,
YOU REPTILE.

NEVER MIND.

[SLAM]

[TERRY LAUGHING]

WHAT'S SO FUNNY?
EVERYTHING.

WELL, IT ISN'T FUNNY
AT ALL.

WHAT DO YOU
SUPPOSE SHE THINKS?

EXACTLY WHAT
I WANT HER TO THINK.

BUT WHY?

WHY?

WELL,
FOR SEVERAL REASONS.

IN THE FIRST PLACE,
I LIKE HER.

SHE WON'T LIKE YOU
VERY MUCH AFTER THIS.

OH, SHE'LL SEE
THE LIGHT IN TIME.

YOU MEAN YOU'D JEOPARDIZE
YOUR OWN REPUTATION?

AREN'T YOU A KIND
OF A GIRL SCOUT?

JUST A GIRL
WHO USES HER BRAIN.

ANYHOW, I WANTED TO
SHOW YOU THAT I CAN ACT.

YOU ARE A FAKER.

OH, WE'RE BOTH FAKERS.

ISN'T FAKING
THE ESSENCE OF ACTING?

WELL, IT MAY APPLY
TO ACTORS,

BUT IT DOES NOT
APPLY TO ME.

YOU, YOU'RE A BIGGER
FAKER THAN I AM.

THAT'S LIBEL.

NOT IF I CAN
PROVE IT.

NOW, THIS YOUNG MAN'S
YOUR SON, ISN'T HE?

PLEASE KEEP MY FAMILY
OUT OF THIS.

IF HE IS YOUR SON,
HE MUST BE A LOT
OLDER THAN YOU ARE,

BECAUSE THAT PHOTOGRAPH
HAS BEEN USED TO ADVERTISE

A CERTAIN MILITARY ACADEMY
FOR A GREAT NUMBER OF YEARS.

WELL, B-BUT HOW
DO YOU KNOW?

BECAUSE MY BROTHER
WENT TO THAT ACADEMY.

AND THIS LADY WHOM
YOU PRETEND IS YOUR WIFE,

SHE'S DONE
A LOT OF POSING

FOR THE FACE POWDER ADS,
I BELIEVE.

MY FRIEND, YOU HAVE
JUST BROKEN UP

A VERY, VERY
CONVENIENT MARRIAGE.

I THINK THAT WE
UNDERSTAND EACH OTHER.

NOW,
WHAT ABOUT THE PLAY?

OH, YES, YES.
WHERE WERE WE?

WE WERE
IN LONG ISLAND.

OH, YES. THE SCENE OPENS
ON LONG ISLAND.

IT'S A BEAUTIFUL,
BEAUTIFUL DAY IN SPRING,

AND, UH, JEANETTE--
THAT'S THE CHARACTER--

YES. THAT'S ME.

THAT'S RIGHT...
IS BROKEN-HEARTED.

SHE IS ABOUT TO LOSE
HER HUSBAND--

NOT EXACTLY THE WAY I JUST
LOST MY WIFE, BUT, UH...

SHH!

SHE'S COMING.

Hattie: ♪ LA DA DA DEE
LA DA DA DEE ♪

WHERE IS EVERYBODY,
HATTIE?

I DON'T KNOW. WHERE
DO YOU WANT THEM TO BE?

MADELINE TOLD ME
SOMEONE DOWN HERE
WANTED TO SEE ME.

IF THERE'S SOMEBODY HERE
TO SEE YOU,

WE'D BETTER TURN ON THE LIGHTS
AND GIVE THEM A CHANCE.

[HAPPY BIRTHDAY
BEING PLAYED ON PIANO]

All:
♪ HAPPY BIRTHDAY TO YOU ♪

♪ HAPPY BIRTHDAY, DEAR KAYE ♪

♪ HAPPY BIRTHDAY TO YOU ♪

ENOUGH CONFETTI--

I'VE GOT TO
SWEEP IT UP!

[LAUGHTER]

IT'S FOR YOU, ANN.

IT'S FOR YOU, ANN.

[TOOTING HORNS]

I FEEL LIKE CRYING.

OH, NO.

I DON'T--

NO SPEECHES
AT THIS BANQUET, THOUGH.

YOU SIT RIGHT HERE.
YOU'RE THE GUEST OF HONOR.

I SEE YOU REMEMBERED
THE RIGHT NUMBER OF YEARS.

WE WON'T TELL ON YOU
IF YOU DON'T TELL ON US.

TAKE A BIG BLOW
AND MAKE A WISH.

NO. WAIT A MINUTE.
I HAVE TO TURN THE LIGHTS OFF.

MAKE A WISH.

QUIET, EVERYBODY.

AND DON'T TELL US
WHAT IT IS. THAT'S FATAL.

I GUESS EVERYONE
KNOWS WHAT IT IS

WITHOUT MY TELLING THEM.

IT'S COMING TRUE.
I CAN FEEL IT IN MY BONES.

SHE MADE IT.

IT'S SO BEAUTIFUL,
I HATE TO CUT IT.

THAT'S ONE OF
HATTIE'S CAKES.

MAYBE YOU CAN'T
CUT IT.

I RESENT THAT!

BE CAREFUL YOU DON'T
DROP IT ON YOUR FOOT.

GIRLS, I HAVE THE MOST
WONDERFUL NEWS.

MAYBE THE HOUSE
IS ON FIRE.

I'VE JUST BEEN TALKING
TO TERRY RANDALL.

WHAT'S WONDERFUL
ABOUT THAT NEWS?

MAYBE SHE'S
HAD AN ACCIDENT.

Miss Luther: SHE'S GOING
TO PLAY THE LEADING PART

IN ANTHONY POWELL'S
NEW PLAY.

Eve: RANDALL?

Miss Luther:
ISN'T THAT EXCITING?

AND I'VE ONLY BEEN COACHING
HER SUCH A SHORT TIME.

Eve: MAYBE THAT'S WHY
SHE GOT THE PART.

WHICH--WHICH PLAY
IS SHE GOING TO DO?

HIS NEW PLAY.

ENCHANTED APRIL?
YES.

THE PART
OF JEANETTE?

ISN'T IT HARD
TO BELIEVE?

PERHAPS YOU GIRLS
WILL CHANGE YOUR OPINION

OF MISS RANDALL AFTER THIS.

PERHAPS YOU'LL CHANGE
YOUR OPINION OF ME, TOO.

AND PERHAPS YOU'LL PAY
MORE ATTENTION

TO YOUR THEATRICAL TRAINING.

POOR KID. WE CAN'T EVEN
HAVE A BIRTHDAY PARTY

WITHOUT RANDALL

OR SOMETHING ELSE
CRABBING IT.

WHY DON'T YOU LEAVE
RANDALL ALONE?

SHE HASN'T
HARMED ANYONE.

NO, BUT SHE ALWAYS LOOKS LIKE
SHE'S READY TO START.

OLGA'S RIGHT.
SHE HASN'T HARMED ANYONE.

ALL SHE DID WAS STEAL
THE PART YOU WANTED TO DO.

IT WASN'T MY PART
BECAUSE I WANTED IT.

LAST YEAR I TOOK
A PART AWAY FROM A GIRL

WHO WANTED IT.

NO, THIS IS DIFFERENT.

IT ISN'T DIFFERENT.

ISN'T THERE ENOUGH
HEARTACHE IN THE THEATER

WITHOUT OUR HATING
EACH OTHER?

HONEY, YOU'RE CRYING.

I'M CRYING
BECAUSE I'M HAPPY.

I'VE HAD MY MOMENT
IN THE THEATER,

AND I THINK TERRY
DESERVES HER CHANCE.

IF YOU SAY ANYTHING TO HER,

THAT WON'T GET THE PART
FOR ME, WILL IT?

THERE'S GOING TO BE
OTHER PARTS AND OTHER PLAYS.

THIS IS MY BIRTHDAY
AND I'M GOING TO BE HAPPY!

THE DEVIL WITH THE THEATER!

[SOBBING]

ALL RIGHT, FOLKS,
PLACES, PLEASE.

WE'LL TAKE THIS SCENE
OVER AGAIN FROM THE BEGINNING.

GO RIGHT AHEAD.
GO AHEAD.

HERE SHE IS NOW,
COMING UP THE GARDEN PATH.

OH, WHAT ARE WE
GOING TO SAY TO HER?

I DON'T KNOW.

THE POOR CHILD--SHE'S
PROBABLY BROKENHEARTED.

YOU BETTER LET ME
TALK TO HER FIRST.

WELL? COME ON, MISS RANDALL,
THIS IS YOUR CUE!

I'M SORRY.
I DIDN'T KNOW

THAT YOU WERE
REHEARSING AGAIN.

IN THE THEATER,
MISS RANDALL,

WE ARE SUPPOSED TO
COME IN ON CUE.

YES, BUT THERE ARE
SOME MEN OUT THERE

FOOLING AROUND
WITH ROPES AND THINGS.

WOULD YOU
ASK THEM TO STOP?

WE FIND IT NECESSARY
IN THE THEATER

TO HAVE MEN FOOLING AROUND

WITH ROPES AND THINGS,
MISS RANDALL.

NOW, IF YOU'D JUST PAY
MORE ATTENTION TO YOUR CUES

AND NOT CONTRADICT
SO MANY TIMES,

YOU MIGHT
GET BETTER RESULTS.

YOU NEEDN'T BE
SARCASTIC ABOUT IT.

I APOLOGIZE DEEPLY.

NOW GET OUT
AND COME IN ON CUE.

ALL RIGHT.
DON'T GET EXCITED,

FOR HEAVEN'S SAKE.

I JUST CAN'T HEAR ANYTHING
WITH THESE PEOPLE...

ALL RIGHT.
GO AHEAD.

THE POOR CHILD--

SHE'S PROBABLY
BROKENHEARTED.

YOU BETTER LET ME
TALK TO HER FIRST.

[MONOTONE] HELLO, MOTHER.
HELLO, DAD. HELLO, KATE.

THE CALLA LILIES
ARE IN BLOOM AGAIN.

SUCH A STRANGE FLOWER--
SUITABLE TO ANY OCCASION.

I CARRIED THEM
ON MY WEDDING DAY

AND NOW I PLACE THEM HERE

IN MEMORY OF SOMETHING
THAT HAS DIED.

Dad: HE NEEDS
A GOOD THRASHING.

Mother:
YOU POOR CHILD.

ARE YOU GATHERED HERE
TO MOURN,

OR HAVE YOU COME
TO BRING ME COMFORT?

YOU KNOW,
THERE'S STILL SOMETHING

NOT QUITE RIGHT
ABOUT THAT LINE.

YOU MIGHT LEARN
TO READ IT CORRECTLY.

THAT WOULD HELP.

I DON'T SEE WHY
YOU SHOULD OBJECT

TO AN INTELLIGENT
SUGGESTION.

I'VE WRITTEN SEVERAL
IMPORTANT PLAYS, MISS RANDALL.

ONE OF THEM RECEIVED
THE PULITZER PRIZE.

HAVE YOU WRITTEN
ANY PLAYS?

THERE'S AN OLD SAYING

THAT YOU DON'T HAVE TO BE
A HEN TO KNOW A BAD EGG.

NOW, MISS RANDALL, THERE'S
NOTHING WRONG WITH THE PLAY.

NOW, I'LL EXPLAIN THIS
SCENE TO YOU ONCE AGAIN.

THIS WOMAN'S HUSBAND
HAS DECIDED TO LEAVE HER,

AND SHE'S BROKENHEARTED.

NOW, CAN YOU
UNDERSTAND THAT?

YES, I CAN
UNDERSTAND THAT,

BUT YOU TOLD ME TO BE
LIGHT AND SOPHISTICATED.

Director:
ON THE SURFACE!

BUT INSIDE, HERE,
YOUR HEART IS BROKEN.

THERE'S A SMILE
ON YOUR FACE

AND YOU'RE CRYING
IN YOUR HEART.

WELL, I DON'T SEE
HOW YOU CAN DO

TWO THINGS
AT THE SAME TIME.

I REFUSE TO SIT QUIETLY BY
AND SEE MY PLAY BUTCHERED.

MR. POWELL, AS LONG AS
EVERYONE AROUND HERE

IS PUTTING IN
THEIR TWO CENTS' WORTH

SOMEWHAT PROMISCUOUSLY,

I SHOULD LIKE TO
REMIND YOU THAT I HAVE

A BROADWAY REPUTATION
TO CONSIDER.

I DON'T SEE

WHAT YOUR BROADWAY
REPUTATION HAS TO DO

WITH WHAT WE'RE
TALKING ABOUT.

GIVE ME A LIGHT,
WILL YOU?

HMM?
Powell: MISS RANDALL.

I'LL HAVE TO ASK YOU

TO PAY ATTENTION
TO THE DIRECTOR.

WELL, WHAT AM I
SUPPOSED TO DO.

WALK AROUND LIKE A PUPPET
OR USE MY INTELLIGENCE?

YOU'RE TO DO
AS YOU'RE TOLD!

Terry:
DON'T YELL AT ME!

I AM YELLING
AT YOU!

ALL RIGHT. I, UH...

IF YOU THINK
I'M SO TERRIBLE,

WHY DID YOU
HIRE ME FOR THE PART?

THAT'S WHAT I'D
LIKE TO KNOW!

TEMPORARY INSANITY,
PROBABLY.

NOW GO AHEAD AND DO
AS YOU'RE TOLD!

WELL--I--THE--

GO AHEAD
AND DO IT!

I AM DOING IT,

BUT THE ONLY THING THAT
I'D JUST LIKE TO MAKE--

HOW LONG HAVE YOU
BEEN COACHING THIS GIRL?

I'VE ONLY
HAD HER A MONTH.

INCREDIBLE.
NO ONE COULD POSSIBLY

GET THAT BAD
IN A MONTH'S TIME.

WOULD YOU MIND
A SUGGESTION?

ANYTHING, PLEASE.

I WAS WONDERING...

COULD YOU POSSIBLY
SEE AN OLDER WOMAN

IN THE PART?

I DON'T KNOW WHAT
I'M GOING TO DO.

WHERE'S THIS FELLOW
CARMICHAEL?

I'VE GOT TO GET OUT
OF THIS CONTRACT SOMEHOW.

HE OUGHT TO BE HERE
ANY MINUTE.

THERE HE IS NOW.

Terry: HI, MOTHER.
HELLO, DAD. HELLO, KATE.

CALLA LILIES ARE IN BLOOM AGAIN.
SUCH A STRANGE FLOWER...

WELL, MR. POWELL,
HOW'S EVERYTHING GOING?

I'VE GOT TO GET OUT
OF THIS CONTRACT.

I'M AFRAID
THAT'S IMPOSSIBLE.

WHO IS THIS MYSTERIOUS
CLIENT OF YOURS?

THE HEAD OF SOME COMBINE
TRYING TO RUIN ME?

I DON'T UNDERSTAND.

YOU LISTEN TO THIS REHEARSAL
AND YOU'LL UNDERSTAND.

ISN'T SHE TURNING OUT
AS WELL AS YOU EXPECTED?

SHE MAY HAVE POSSIBILITIES,

BUT RIGHT NOW
SHE'S A RANK AMATEUR,

ABOUT AS EMOTIONAL
AS A FISH,

AND SHE'S A NUISANCE
IN THE BARGAIN.
SHE QUESTIONS EVERYONE--

THE DIRECTOR, THE WRITER,
THE ACTORS.

I DON'T SEE HOW
THIS PLAY

IS GOING TO BE
ANYTHING BUT A FLOP.

IS THAT SO?

WELL, YOU SEEM TO BE
PLEASED ABOUT IT.

WELL, AFTER ALL,
IT'S MY CLIENT'S MONEY.

BUT I TOLD YOU I'D
GIVE YOU THE MONEY BACK

AND SOME TO BOOT
IF YOU LET ME OUT
OF THE CONTRACT.

I'M SORRY.

IS YOUR CLIENT,
BY ANY CHANCE,

IN LOVE WITH THIS GIRL?

WELL...
TO TELL YOU THE TRUTH,

I BELIEVE HE IS.

IT TAKES ALL KINDS OF PEOPLE
TO MAKE A WORLD.

Terry: MR. POWELL!

COMING. COMING!

I DON'T UNDERSTAND
ANYTHING HE SAID.

HE TELLS ME TO LAUGH AND CRY
AT THE SAME TIME.

I DON'T KNOW WHAT I'M DOING.

THAT'S PLAIN TO BE SEEN.
NOW, COME ON.

LET'S GET THIS THING
ORGANIZED HERE.

GO AHEAD
AND GET IT ORGANIZED...

[PIANO PLAYS]

DO YOU THINK MY DRESS
IS FANCY ENOUGH

TO WEAR TO OPENING NIGHT?

FOR RANDALL'S OPENING,
YOU OUGHT TO WEAR BLACK.

OH, HUSH. SHE WAS NICE ENOUGH
TO GIVE US FREE TICKETS.

SHE WANTED TO BE SURE
SOMEONE WAS IN THE AUDIENCE.

OOH. "OH, THE NIGHT
WAS GROWING OLD

AS SHE TRUDGED
THROUGH SNOW AND SLEET."

"HER NOSE WAS
LONG AND COLD...

Both: "AND HER SHOES
WERE FULL OF FEET."

LOOK. DON'T YOU
LIKE MY DRESS?

DON'T YOU THINK
IT'S PRETTY?

WELL, WHERE'D YOU GET THAT?

YOUR MOTHER SEND IT TO YOU
FROM LOUISIANA?

OH, YES. SHE MAKES
ALL MY CLOTHES.

WHAT ARE THOSE THINGS
THERE? PECANS?

NO. JUST DOODADS.

GOT TO HAVE
35 CENTS.

FOR WHAT?

FOR TERRY'S FLOWERS.

OH, DON'T MAKE ME LAUGH.

COME ON. COUGH UP.

WE'VE ONLY GOT $3.85.

WE NEED AS MUCH
AS WE CAN GET.

ALL RIGHT. I'LL GIVE A DOLLAR
IF IT'S FOR HER FUNERAL.

SHE TRIES HARDER
TO HATE PEOPLE

THAN ANYONE I KNOW.

HERE. KEEP THE CHANGE.

HEY, WAIT A MINUTE.

YOU'RE SO FOND OF FEUDS,
YOU OUGHT TO LIVE

IN THE KENTUCKY
MOUNTAINS.

COME ON. WE HAVEN'T
GOT MUCH TIME TO EAT.

GOT TO STOP AT THE FLORIST
ON THE WAY.

THIS WILL BE
MY 35th PERFORMANCE

AS A SPECTATOR.

CHEER UP, MARY LOU.
SOMEDAY THE PEOPLE ON THE STAGE

WILL SIT AND WATCH THE AUDIENCE
AND YOU'LL BE A SENSATION.

Mary Lou: OH, HUSH.

SO LONG, STRINGBEAN.

I SHALL SEE YOU
AT THE THEATER.

HEY, YOU'RE NOT
GOING TO CATCH

THE OPENING TONIGHT,
HUH?

NO. I'M GOING TOMORROW
AND CATCH THE CLOSING.

YOU GALS TALK AS THOUGH
YOU WANT HER TO BE A FLOP.

NOT EXACTLY,

BUT AS LONG AS SHE'S
GONNA BE A FLOP,

I'M GONNA BE THERE
AND SEE IT.

SHE'S SORE BECAUSE TERRY

TOOK MY BOYFRIEND
AWAY FROM HER.

WHAT DO YOU MEAN,
BOYFRIEND?

TIRED LITTLE BOYFRIEND.

YOU KNOW, SOMEDAY
I'M GOING TO BE LUCKY

AND RUN INTO YOU
WHEN I'M CARRYING

A BOWL OF GOLDFISH, TOOTS.

WHOO! GET ME.
AIN'T I THE ONE?

OOH, LOOK AT HER.

WILL YOU SEW ME
INTO THIS?

I'LL GET OUT OF IT
BY MYSELF.

GEE, YOU LOOK
ALL DRESSED UP.

I AM DRESSED UP.

ARE YOU
GOING ALONE?

NOT MACKINTOSH.
I GOT A BEAU.

WHO?
WHO?

THE BUTCHER'S HELPER.

HE WAS A LITTLE HARD
TO BREAK DOWN,

BUT AFTER I TOLD HIM
I HAD PASSES,

HE NEARLY CUT HIS THUMB OFF
IN THE EXCITEMENT.

WHY CAN'T I
GET A BUTCHER?
[DOORBELL RINGS]

BE STILL, MY HEART.
MAYBE THAT'S HIM NOW.

HATTIE, THIS
IS YOUR NIGHT.

YOU'VE GOT TO
MAKE AN ENTRANCE.

I'LL GET
THE DOOR.

YOU GET HER
OUT OF HERE.

HEY, HATTIE,
HAVE A HEART!

HELLO!

HELLO. IT'S RAINING.

OH. IS THAT
WHAT IT'S DOING?

KIND OF WET.

YEAH, RAIN USUALLY IS
THIS TIME OF YEAR.

HATTIE WILL BE
RIGHT OUT.

SAY, BUTCH, I WANT YOU
TO MEET MISS FARNSBARN,

MISS FANNISBESS, MISS FRANCE,
AND MISS DUFF.

HOW'D YOU KNOW
MY NAME WAS BUTCH?

OH, SAME WAY YOU KNEW
IT WAS RAINING.

SAY, BUTCH, THERE'S SOMETHING
I WANT TO TALK TO YOU ABOUT.

YOU KNOW, ONE OF THESE DAYS

WHEN HATTIE COMES
DOWN TO THE MARKET

TO GET SOME OF THAT NICE LAMB,
YOUR HAND SHOULD SLIP

A LITTLE CHICKEN RIGHT
IN THERE WITH THAT LAMB.

GIRLS, ISN'T HE HANDSOME?

YOU KNOW, SOME PEOPLE
DO THINGS LIKE THAT

FOR OTHER PEOPLE,
AND OTHER PEOPLE

DO THINGS LIKE THAT
FOR SOME PEOPLE,

AND I THINK YOU SHOULD
DO IT, DON'T YOU?

WHY DON'T YOU COME IN
AND GET THE MEAT SOMETIME?

OH, I WILL.

YOU KNOW, I WAS DOWNTOWN
THE OTHER DAY.

I WAS TELLING THE GIRLS THAT I
SAW YOU STANDING IN THE WINDOW,

AND YOU HAD YOUR WHITE COAT ON,
AND YOU WERE WONDERFUL.

I'D LIKE TO TURN
MY BACK ON YOU SOMETIME

WHEN YOU HAVE
A HANDFUL OF KNIVES.

OH, HATTIE,
BUTCH IS WONDERFUL.

HE'S PROMISED THE NEXT TIME
YOU GO SHOPPING

TO GET SOME CHICKEN ALL MIXED UP
IN THE LAMB. REMEMBER, BUTCH?

NO, I DIDN'T
EXACTLY--

HATTIE, DON'T DO ANYTHING
A BUTCHER CAN DO.

I'LL DO SOMETHING
FOR YOU SOMETIME.

I'LL PUT POISON
IN YOUR SOUP.

HEY, BUTCH,
YOU GOT A FRIEND?

UH-UH.

HE SAYS UH-UH.

THE, UM...

UH, CALLA LILIES
ARE IN BLOOM AGAIN.

SUCH A STRANGE FLOWER--
SUITABLE FOR EVERY OCCASION.

UH...I CARRIED THEM
ON MY WEDDING DAY,

AND NOW I PLACE THEM HERE

IN MEMORY OF SOMETHING
THAT HAS DIED.

CUE FROM HIM--
ARE YOU GATHERED HERE TO MOURN,

OR HAVE YOU COME TO--

I THOUGHT I TOLD
YOU TO REST.

OH, I CAN'T
REMEMBER A LINE!

OF COURSE YOU CAN'T.

NOBODY CAN AN HOUR
BEFORE CURTAIN TIME

ON OPENING NIGHT.

WHEN YOU PUT YOUR FOOT
ON THAT STAGE,

IT WILL ALL COME BACK
AS IF BY MAGIC.

SUPPOSE THEY
DON'T COME BACK?

OH, THEY'LL COME.
SOMEHOW THEY ALWAYS DO.

HAVE SOME TEA--

NO, DARLING. REALLY,
I COULDN'T EAT ANYTHING.

THANK YOU.
YOU'RE SWEET.

DEAR, I'LL LEAVE
THE TEA HERE.

THE CALLA LILIES ARE IN--
I CAN'T REMEMBER THAT.

CALLA LILIES ARE IN BLOOM,
BLOOM, BLOOM, BLOOM.

SUCH A STRANGE FLOWER.

UH...THEY SEEM
TO BE USEFUL ON--

I DON'T KNOW WHAT IN THE DICKENS
THEY'RE USEFUL ON OCCASION.

I'LL NEVER BE ABLE
TO REMEMBER--

KAYE.

THE DOCTOR TOLD YOU
TO STAY IN BED.

I'M NOT GOING TO
STAY IN BED

WITH ALL THIS
EXCITEMENT GOING ON.

BUT YOU MUSTN'T
DISOBEY ORDERS.

I WAS GOING TO COME
AND SEE YOU BEFORE I LEFT.

KEEP HER CHEERFUL, KAYE.
SHE'S GOT FIRST-NIGHT NERVES.

YOU KNOW.
YOU'VE HAD THEM.

I MUST HURRY ALONG
AND GET MY--

YOUR COAT
AND GALOSHES ARE THERE.

OH, YES.
THANK YOU.

AND, DEAR, DON'T LET HER
DO ANY MORE REHEARSING.

I'LL SIT ON HER.

IT WOULD BE RAINING
IN THE BARGAIN.

IT'S--
IT'S THAT FIRST SPEECH.

IF I COULD ONLY
GET THROUGH THAT,

I'D BE ALL RIGHT.

WOULD YOU MIND
WATCHING, KAYE?

UM, THE CALLA LILIES
ARE IN BLOOM AGAIN.

SUCH A STRANGE FLOWER--
SUITABLE TO ANY OCCASION.

MAY I
MAKE A SUGGESTION?

I WISH YOU WOULD.

THE WAY YOU HOLD
THE FLOWERS--

I'VE ALWAYS THOUGHT

THAT JEANETTE WOULD
HOLD THEM

AS SHE WOULD A CHILD.

THEY NEVER HAD A CHILD,
YOU SEE, AND--

OH, I SEE.

DO YOU SUPPOSE THAT'S
WHAT THE AUTHOR INTENDED?

I'M SURE HE DID.

AND WHEN SHE SAYS,

"IN MEMORY OF SOMETHING
THAT HAS DIED," SHE--

KAYE, YOU KNOW
THIS PLAY.

IT'S NOT A PLAY!

IT REALLY HAPPENED...
TO SOMEONE I KNOW.

DARLING, YOU
MUSTN'T DO THAT.

THIS ISN'T JUST YOUR NIGHT.
IT'S MY NIGHT, TOO.

YOU'VE GOT TO BE
A SUCCESS TONIGHT.

YOU'VE GOT TO GIVE
A GREAT PERFORMANCE...

NO MATTER WHAT HAPPENS.

IS SOMETHING
THE MATTER?

NO. I'M JUST EXCITED,
THAT'S ALL.

HERE, YOU SIT DOWN
AND I'LL GET YOU SOME TEA.

THE CONDEMNED WOMAN
DRANK A HEARTY SUPPER.

I FELT THE SAME WAY.

I FELT LIKE RUNNING
AND HIDING FROM EVERYONE.

BUT AFTER
THAT OPENING SPEECH,

THERE'S A THRILL
YOU'LL NEVER FORGET.

IT'S A THRILL
THAT ONLY COMES ONCE.

THRILL? I CAN'T MAKE OUT

WHETHER IT'S A THRILL
OR AGONY.

IT'S BOTH.

Miss Luther:
AREN'T YOU READY YET?

COME.
WE'LL HAVE TO HURRY.

WELL, HERE I GO.

IT'S THE OPENING
NIGHT, YOU KNOW.

BE QUICK, DEAR.

WISH HER LUCK, KAYE.

YES, DARLING,
WISH ME LUCK.

GOOD-BYE.

TERRY!

I WANT TO GIVE
YOU THIS.

A GIRL GAVE IT TO ME LAST YEAR
ON MY OPENING NIGHT

AND IT BROUGHT ME LUCK.

DARLING, YOU'RE SWEET.

I WISH YOU WERE
GOING TO BE THERE

TO HOLD MY HAND.

I'LL BE THERE...
IN SPIRIT.

Miss Luther: ARE YOU COMING
OR ARE YOU NOT?

WELL...

[WOMAN SINGING]

HERE SHE COMES.

[EXCITED CHATTER]

GOOD LUCK! GOOD-BYE, TERRY.
GOOD LUCK.

[ECHOING]
GOOD LUCK. GOOD LUCK. GOOD LUCK.

Man: 5 MINUTES TO CURTAIN.

5 MINUTES, MISS HAMILTON,
PLEASE. 5 MINUTES.

DON'T WORRY, MISS HAMILTON.
EVERYTHING'S GOING TO BE FINE.

PLACES NOW. PLACES, PLEASE.
READY, EVERYBODY.

ARE YOU READY, MISS HAMILTON?

IT'S A BOUGHT-OUT HOUSE.

EVERYBODY IN THE WORLD'S
OUT THERE.

YOU HAVEN'T A THING
TO WORRY ABOUT.

Woman: GOOD LUCK.

Man: ALL RIGHT, NOW.
STAND BY, PLEASE.

EVERYBODY IN THEIR PLACES NOW.
READY, MISS HAMILTON?

[APPLAUSE]

YOU HEAR THAT?

THAT'S ALL FOR YOU.
THIS IS YOUR NHT.

[APPLAUSE GROWS LOUDER]

♪ JUST GIVE ME A SAILBOAT ♪

♪ IN THE MOONLIGHT ♪

♪ AND YOU ♪

[WOMAN SCREAMS]

[HYSTERICAL CRYING]

WHO'S THAT?

OHH!
KAYE--IT'S KAYE!

SHE JUMPED BEFORE
I COULD STOP HER.

KAYE JUMPED?

SHE'S LYING OUT THERE
IN THE RAIN.

CALLING CAR 19.
CALLING CAR 19.

GO TO 87 WEST 58th STREET.
AMBULANCE CALL.

GIRL LEAPED OUT WINDOW.

POSSIBLE SUICIDE.

MORRIS TALKING.

GOOD EVENING,
MR. POWELL.

GOOD EVENING.

WELL, LOOKS LIKE
A PACKED HOUSE.

THAT'S BECAUSE THEY DON'T KNOW
WHAT'S IN STORE FOR THEM.

LOOKS LIKE
THE BOYFRIEND.

THIS IS A VERY BAD
PLACE TO STAND.

WHY?

WE'RE LIKELY TO BE
TRAMPLED TO DEATH

WHEN THEY START
RUNNING OUT.

POOR DARLING.

YOU SHOULDN'T HAVE
TOLD HER.

SHE ISN'T RESPONSIBLE
FOR KAYE'S ACT.

SHE IS RESPONSIBLE.

IT WAS KAYE'S PART.
IT WAS KAYE'S LIFE!

BUT NOW IT'S TOO LATE.

KAYE IS DEAD.

PLEASE.

KAYE IS DEAD...

KAYE, WHO NEVER
HARMED ANYONE.

IT'S ALL BECAUSE
SHE HASN'T ANY HEART,

BECAUSE SHE'S
MADE OUT OF ICE.

I CAN'T LISTEN
TO YOU ANYMORE.
YOU MUST LEAVE.

OH, I'M LEAVING.

I'M GOING TO GO SIT
OUT FRONT

BECAUSE KAYE
ASKED ME TO BE THERE.

AND THEN EVERY LINE
SHE READS,

I'M GOING TO SAY, "THAT
SHOULD HAVE BEEN KAYE'S LINE."

AND EVERY MOVE YOU MAKE,

I'M GOING TO SAY,
"THAT SHOULD HAVE BEEN KAYE."

KAYE, WHO'S LYING IN A MORGUE,
ALL BROKEN AND ALONE.

I DARE YOU
TO GO ON TONIGHT.

I'VE GOT TO GET
OUT OF HERE.

I'M NOT GOING ON.

YOU'VE GOT
TO GO ON!

WHY DIDN'T
SOMEONE TELL ME?

I'D HAVE GIVEN UP
A THOUSAND PARTS

RATHER THAN HAVE THIS HAPPEN.

I'M GOING TO GO
OUT THERE AND TELL THEM

I'M NOT GOING TO GO ON,
AND I'M GOING TO TELL THEM WHY.

YOU CAN'T THINK
ONLY OF YOURSELF.

KAYE IS DEAD.

YOU HAD NOTHING
TO DO WITH THAT.

I CAN'T.

THERE ARE 50 LIVING PEOPLE
DEPENDENT ON YOU.

THIS SHOW MAY MEAN
AS MUCH TO THEM
AS IT MEANT TO KAYE.

THE USHERS,
THE PROPERTY MEN,

THE OLD WOMEN WHO
CLEAN OUT THE THEATER--

EACH ONE OF THEM
HAS THE RIGHT TO DEMAND

THAT YOU GIVE AS GOOD
A PERFORMANCE AS YOU CAN.

THAT'S THE TRADITION
OF THE THEATER.

OH! HANG THE TRADITION
OF THE THEATER!

I'M THINKING OF KAYE.

VERY WELL,
THEN THINK OF KAYE.

ARE YOU GOING TO
LET HER DOWN?

YOU'VE GOT TO GIVE
THE PERFORMANCE
SHE WANTED YOU TO GIVE.

THEN PERHAPS, WHEREVER SHE IS,
YOU MAY BRING HER PEACE.

[KNOCK ON DOOR]

Man: 3 MINUTES
TO CURTAIN.

MISS RANDALL,
3 MINUTES TO CURTAIN.

ALL RIGHT. WE'RE COMING.
WE'RE READY.

PICK YOUR EXIT.
IT WON'T BE LONG NOW.

HERE SHE IS NOW,
COMING UP THE GARDEN PATH.

WHAT ARE WE
GOING TO SAY TO HER?

I DON'T KNOW.

THE POOR CHILD--

SHE'S PROBABLY
BROKENHEARTED.

YOU'D BETTER LET ME
TALK TO HER FIRST.

HELLO, MOTHER.
HELLO, DAD.

THE CALLA LILIES
ARE IN BLOOM AGAIN.

SUCH A STRANGE FLOWER...

SUITABLE TO ANY OCCASION.

I CARRIED THEM
ON MY WEDDING DAY,

AND NOW I PLACE THEM HERE

IN MEMORY OF SOMETHING
THAT HAS DIED.

Dad: HE NEEDS
A GOOD THRASHING.

Mother:
YOU POOR CHILD.

HAVE YOU GATHERED HERE
TO MOURN,

OR ARE YOU HERE
TO BRING ME COMFORT?

HOW COULD A GIRL
LIKE YOU

FALL IN LOVE
WITH A MAN LIKE THAT?

I'VE LEARNED SOMETHING
ABOUT LOVE

THAT I NEVER
KNEW BEFORE...

I NEVER KNEW BEFORE.

YOU SPEAK OF LOVE
WHEN IT'S TOO LATE.

HELP SHOULD COME TO PEOPLE
WHEN THEY NEED IT.

WHY ARE WE ALWAYS
SO HELPFUL TO EACH OTHER

WHEN IT'S NO
LONGER ANY USE?

MY DARLING...

THOSE ARE NOT
THE LINES.

NO, BUT IT'S
THE MOOD.

Terry: THIS IS MY HOME.
THIS IS WHERE I BELONG.

LOVE WAS IN THIS HOUSE ONCE,

AND FOR ME IT WILL ALWAYS
BE HERE--NOWHERE ELSE.

Dad: SURELY YOU'RE
NOT GOING TO SEE HIM.

Terry: OF COURSE
I'M GOING TO SEE HIM.

HE'S COMING TO ME
TODAY TO SAY GOOD-BYE.

SAY GOOD-BYE.

AND ONE SHOULD
ALWAYS LISTEN CLOSELY

WHEN PEOPLE SAY GOOD-BYE

BECAUSE SOMETIMES
THEY'RE--

THEY'RE REALLY
SAYING FAREWELL.

[APPLAUSE]

LISTEN. I'M UP AT THE THEATER
IN POWELL'S PRIVATE OFFICE.

GET A COUPLE OF PHOTOGRAPHERS
OVER HERE RIGHT AWAY

AND DON'T ARGUE WITH ME.

THIS RANDALL GIRL'S
GOING OVER BIG.

HEAR THE APPLAUSE?

DID YOU HEAR IT?

AND WAIT TILL I TELL YOU
WHO SHE IS.

BOY, THIS IS PLENTY HOT.

LOVE COMES BACK
TO ITS ANCIENT DWELLING.

THE OLD, OLD LOVE
THAT WE KNEW OF YORE.

[APPLAUSE]

TERRY RANDALL!

WHAT'D I SAY?
WHAT'D I SAY?

COME ON,
COME ON.

HOLD IT.

TAKE A BOW.

YEAH, COME ON.
THEY WANT YOU.

THEY'RE CALLING
FOR YOU.

WHO'S CALLING
FOR ME?

YOU ARE A SUCCESS,
DARLING.

THEY WANT
A CURTAIN SPEECH.

THEY DO?

YES, YES. GO ON.
SAY SOMETHING.

I SUPPOSE THAT
I SHOULD THANK YOU

ON BEHALF OF THE COMPANY,

AND I KNOW THAT I'M GRATEFUL
TO YOU FOR YOUR APPLAUSE,

BUT I MUST TELL YOU
THAT I DON'T DESERVE IT.

I'M NOT RESPONSIBLE
FOR WHAT HAPPENED

ON THIS STAGE TONIGHT.

THE PERSON
YOU SHOULD BE APPLAUDING...

[VOICE BREAKS]
DIED A FEW HOURS AGO--

A YOUNG
AND BRILLIANT ACTRESS

WHO COULD NO LONGER
FIND A SPOT IN THE THEATER.

AND IT WAS FOR HER,
MORE THAN FOR ANYONE ELSE,

THAT I WAS ABLE TO GO ON,

AND I HOPE THAT
WHEREVER SHE IS,

SHE KNOWS AND UNDERSTANDS
AND...FORGIVES.

[APPLAUSE]

Man: THAT'S THE ODDEST
CURTAIN SPEECH I EVER HEARD.

HELLO, POWELL.

HELLO.
HOW'D YOU LIKE THE SHOW?

A LITTLE HEAVY,
BUT THE GIRL'S GOOD.

WHAT IN THE NAME
OF TIME

WAS THAT CURTAIN
SPEECH ALL ABOUT?

I DON'T KNOW WHAT IT WAS ABOUT,
BUT SHE'S A SENSATION,

AND I JUST FOUND OUT
SOMETHING ELSE.

WHAT'S THAT?

THAT GUY WITH CARMICHAEL
IS HER FATHER.

AND THE LAUGH'S ON US.

HE'S NOBODY BUT HENRY SIMMS,
THE WHEAT KING.

WHEAT KING? WHAT
A PUBLICITY HOOKUP.

DON'T WORRY, I SPREAD IT AROUND.
THERE'S THE OLD MAN NOW.

WELL, CARMICHAEL, WHAT ARE YOU
LOOKING SO BLUE ABOUT?

WE'VE GOT A HIT
ON OUR HANDS.

THAT'S WHAT
I'M AFRAID OF.

I NEVER DOUBTED IT A MINUTE.
YOU MIGHT INTRODUCE ME.

OH, YES.
MR. POWELL--

GLAD TO KNOW YOU,
MR. SIMMS.

YOU DIDN'T FOOL ME
FOR A MINUTE.

I KNEW WHO YOUR DAUGHTER
WAS ALL THE TIME.

TO BE HONEST, MR. POWELL,

THIS HASN'T WORKED OUT
THE WAY I EXPECTED.

WELL, CHEER UP.

YOUR INVESTMENT WILL NET YOU
A QUARTER OF A MILLION DOLLARS.

WHAT GOOD WILL THAT DO ME
IF I LOSE MY DAUGHTER?

WELL, THAT'S THE PRICE
OF SUCCESS. HA HA HA!

OH, BRENT, I FORGOT.
GET A BIG BASKET OF FLOWERS

AND SEND IT TO RANDALL'S
DRESSING ROOM RIGHT AWAY.

PUT THIS ON TOP.
HURRY IT UP.

SHALL I PUT A FEW
SPRIGS OF WHEAT IN IT?

NEVER MIND THE SARCASM.
GO ON. HURRY.

OH, ELSWORTH!

YOU'RE JUST THE MAN
I'M LOOKING FOR.

I KIND OF PUT IT OVER
ON THE BOYS, DIDN'T I?

YOU MEAN THE WHEAT
KING'S DAUGHTER?

YES.

SHE DOESN'T NEED
THAT KIND OF PUBLICITY.

I KNOW IT. THAT'S WHY
I KEPT IT QUIET.

SHE HAS RATHER
A STRANGE QUALITY.

REMINDS ME VERY MUCH
OF THAT GIRL

YOU BROUGHT OUT
LAST YEAR.

YES?

WHAT WAS HER NAME?
OH, HAMILTON.
HAMILTON.

YES.
MISS KAYE HAMILTON.

WHAT EVER HAPPENED
TO HER?

SHE'S STILL AROUND.

STRANGE QUALITY.

DON'T FORGET TO MENTION
IN YOUR REVIEW

THAT RANDALL IS ANOTHER
ANTHONY POWELL DISCOVERY.

MY DEAR, YOU'LL NEVER KNOW
HOW GOOD YOU WERE TONIGHT.

YOU WERE SIMPLY WONDERFUL.

THAT WASN'T ME
OUT THERE TONIGHT.

IT WAS SOMEONE ELSE.

IT'S ONLY AFTER WE
HAVE SUFFERED

THAT WE CAN MAKE
THE AUDIENCE FEEL WITH US.

DOES SOMEONE HAVE TO DIE
TO CREATE AN ACTRESS?

IS THAT WHAT
THE THEATER DEMANDS?

IT TAKES MORE THAN
GREASEPAINT AND FOOTLIGHTS

TO MAKE AN ACTRESS.

IT TAKES HEARTBREAK
AS WELL.

[DOOR OPENS]

DON'T TRY
TO SAY ANYTHING.

WE'LL GO TO HER.

WHERE ARE
YOU GOING?

WE'RE GOING
TO SEE KAYE.

BUT YOU CAN'T LEAVE NOW.
THERE ARE PEOPLE HERE--

THE PRESS,
PHOTOGRAPHERS.

YOU'RE AN ACTRESS NOW.
YOU BELONG TO THOSE PEOPLE.

[KNOCK ON DOOR]
Man: MAY I COME IN?

YOU SEE THEM FOR ME.

BUT--TERRY, I...

[POUNDING ON DOOR]

HELLO! HELLO!
ANYONE THERE?

COMING, COMING,
COMING!

WELL, I THOUGHT
YOU'D NEVER LET ME IN.

WHERE'S MISS RANDALL?

SHE'S GONE.

GONE? BUT I'VE GOT
AN OFFICE FULL OF PEOPLE--

REPORTERS, SOCIETY EDITORS,
PHOTOGRAPHERS!

WHY DIDN'T YOU
KEEP HER HERE?

YOU KNOW THE THEATER
BETTER THAN THAT!

SHE HAD AN ENGAGEMENT
SHE COULDN'T BREAK.

AN ENGAGEMENT?

WHAT'S MORE IMPORTANT
THAN HER CAREER?

WELL, IT ISN'T MY FAULT.

OF ALL
THE COLOSSAL NERVE!

I BUILD A STAR OVERNIGHT
AND SHE RUNS OUT ON ME!

CAN YOU IMAGINE THAT?

I'VE GOT AN OFFICE
FULL OF PEOPLE

AND SHE RUNS OFF
SOMEWHERE

ON SOME KIND OF A DATE
OR SOMETHING.

WHAT'LL I DO
WITH THESE?

I DON'T CARE WHAT
YOU DO WITH THEM.

GET THEM OUT OF HERE!

WAIT A MINUTE.

CAN YOU IMAGINE?
OF ALL THE COLOSSAL NERVE.

TAKE A WOMAN
OUT OF A WHEAT FIELD

AND MAKE A STAR
OUT OF HER.

WELL, I DON'T DESERVE
ANY BETTER.

OPENING NIGHT, TOO.

THAT'S GRATITUDE
FOR YOU.

SPEND TIME AND EFFORT
TO BUILD A PRODUCTION,

AND THEY RUN OUT ON YOU!

I HAVEN'T ANY SENSE
TO BEGIN WITH.

WORK WITH PEOPLE
LIKE THAT...

[HUMMING]

DON'T TAKE IT
SO HARD, EVE.

IT ALL MAY BE
A MISTAKE.

I'LL NEVER PUT MY TRUST
IN MALES AGAIN.

WHAT'S HAPPENED
TO EVE?

SHE'S BROKENHEARTED.
HENRY'S IN THE CAT HOSPITAL.

AN ACCIDENT?

HE JUST HAD
A LITTER OF KITTENS.

WELL, THAT'S EASY TO SOLVE.
CHANGE HIS NAME TO HENRIETTA.

I'M COMPLETELY
DISCOURAGED.

THE MIRACLE
HAS HAPPENED.

MARY LOU'S
GOT A PART.

NO! WHERE?

BERGEN'S NEW SHOW.

THE SOUTHERN
ACCENT DID IT.

I'M SO THRILLED,
I WANT TO SCREAM. AAH!

DO YOU FEEL
BETTER?

READ YOUR PART,
MARY LOU.

OH, I'M SUPPOSED TO BE
A GIRL FROM THE SOUTH,

AND I'M WITH A LOT
OF OTHER GIRLS,

AND I SAY, "LET'S GO
UP TO WESTCHESTER."

GO ON.

THAT'S IT.

THAT'S IT?

WELL, YOU DON'T
READ IT RIGHT.

YOU SHOULD SAY,
"LET'S GO UP TO WESTCHESTER."

Eve: OH, NO, JEAN,
THAT'S ALL WRONG.

YOU'VE GOT TO SAY,
"LET'S GO UP TO WESTCHESTER."

Joan: LET'S GO UP
TO WESTCHESTER.

All: LET'S GO UP
TO WESTCHESTER.

LET'S GO UP TO WESTCHESTER.

LET'S GO UP TO WESTCHESTER.

Hattie:
HEY, EVERYBODY!

HERE COMES
THAT BLUSHING BRIDE.

[CHEERING]

♪ HERE COMES THE BRIDE ♪

♪ DA DA DA DA ♪

GOOD-BYE, EVERYBODY.

I GOT TO CATCH
A 6:00 TRAIN.

THANKS FOR EVERYTHING

AND, YOU KNOW,
THE SHOWER AND ALL.

AND IF ANY OF YOU HAMS
HAPPEN TO COME UP TO SEATTLE,

THE HOUSE OF MILBANK
IS ALWAYS OPEN TO YOU.

I THOUGHT THE PEOPLE OUT
THERE LIVED IN TREES.

ONLY IN THE SUMMERTIME.

IN THE WINTERTIME,
WE LIVE IN BURROWS.

OK. SHE'LL BE
RIGHT THERE.

YOUR BRIDEGROOM
WON'T HOLD THAT TAXICAB

IF YOU DON'T HURRY UP.

WELL, GOOD-BYE,
EVERYBODY.

NOW THAT I'M GOING,

I FEEL LIKE HAVING
A GOOD CRY.

SAY, YOU SHOULD WEEP.

IT'S THE FIRST JOB
YOU'VE HAD IN A YEAR.

CHEER UP.
WE'RE ALL GONNA COME

TO YOUR WOODEN ANNIVERSARY.
COME ON. HEAVE.

All: ♪ HERE GOES THE BRIDE ♪

♪ HERE GOES THE BRIDE ♪

GO BACK TO SEATTLE.

SEND US AN OLD
WOODEN SHOE, MAYBE.

POOR KID.
WHY SHE HATED TO LEAVE

A DUMP LIKE THIS
IS A MYSTERY.

OH, I KNOW
HOW SHE FEELS.

TO ME, IT WOULD BE
LIKE LEAVING

THE HOUSE
WHERE I WAS BORN.

AT LEAST SHE'LL HAVE
A COUPLE OF KIDS

TO KEEP HER COMPANY
IN HER OLD AGE,

AND WHAT'LL WE HAVE?

SOME BROKEN-DOWN MEMORIES
AND AN OLD SCRAPBOOK,

WHICH NOBODY WILL LOOK AT.

WE'RE PROBABLY
A DIFFERENT RACE OF PEOPLE.

MAYBE.

[DOORBELL RINGS]

TONIGHT I FEEL LIKE SITTING
OUT IN THE MOONLIGHT

HAVING SOMEBODY
HOLD MY HAND.

GOOD EVENING.

WHO DO I SEE
ABOUT ACCOMMODATIONS?

MISS ORCUTT!

SHE'LL TAKE CARE
OF YOU. COME IN.

THANK YOU.

HELLO? HELLO, BILL.

DON'T BE SENTIMENTAL.
REMEMBER, YOU'RE A HAM AT HEART.

NO, THAT WASN'T ME.
IT WAS A FRIEND OF MINE.

UH, HOW'S THE NEW
JOB COMING ON?

WOULD YOU LIKE ME
TO CARRY A MESSAGE

TO YOUR LATE,
LAMENTED AUNT SUSAN?

HOLD ON. GANGRENE
JUST SET IN.

NO MESSAGE. I DON'T USE
THAT KIND OF LANGUAGE.

I JUST THOUGHT I'D ASK.
I JUST WANTED
TO KNOW IF MAYBE

YOU'D LIKE TO TAKE
AN OLD GIRLFRIEND OUT...

A GIRL JUST LEFT YESTERDAY.
I THINK YOU'LL BE
INTERESTED IN THIS.

IT'S ONE OF THE FEATURES
OF THE FOOTLIGHTS CLUB.

IT'S THE CHAIR
BERNHARDT SAT IN

WHEN SHE MET QUEEN
ELIZABETH OVER HERE.

I WAS IN THE COMPANY.

I THINK YOU'LL LIKE IT HERE--
IT'S LIKE ONE GREAT BIG FAMILY.

I'LL SHOW YOU YOUR ROOM.

ONE OF THE GIRLS
GOT MARRIED, YOU KNOW.