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1
00:00:10,600 --> 00:00:14,400
Toot-Toot-Tootsie good-bye
2
00:00:14,500 --> 00:00:18,000
Toot-Toot-Tootsie don't cry
3
00:00:18,200 --> 00:00:21,800
The little choo-choo train
that takes me
4
00:00:21,900 --> 00:00:25,400
Away from you, You don't know
just how sad it makes me
5
00:00:25,400 --> 00:00:29,300
Kiss me Tootsie and then
6
00:00:29,400 --> 00:00:32,600
Do it over again
7
00:00:32,600 --> 00:00:36,400
Watch for the mail I'll never fail
8
00:00:36,400 --> 00:00:40,400
If you don't get a letter then
you know I'm in jail Hey, hey
9
00:00:40,500 --> 00:00:43,600
Don't cry, Tootsie Don't cry
10
00:00:43,700 --> 00:00:47,200
Kiss me, Tootsie Good-bye
11
00:01:23,200 --> 00:01:26,400
Get hot Don't cry, Tootsie Don't cry
12
00:01:27,600 --> 00:01:32,700
Good-bye, Tootsie Oh, good-bye#
13
00:01:32,800 --> 00:01:35,500
I'm an artist, and I won't change
a word of my play...
14
00:01:35,600 --> 00:01:37,600
to pander to some commercial
Broadway audience!
15
00:01:37,700 --> 00:01:40,800
I'm not arguing with you!
Do you see me arguing?
16
00:01:40,900 --> 00:01:44,500
Your play is great as is. It's real.
It makes a point. It's confrontational.
17
00:01:44,600 --> 00:01:48,000
- Then why won't you produce it?
- Because I cannot afford another failure.
18
00:01:48,300 --> 00:01:51,400
- David, the play's too heavy.
- But not everybody writes to distract.
19
00:01:51,400 --> 00:01:54,300
It's the theater's duty not just to entertain...
20
00:01:54,300 --> 00:01:56,800
- but to transform men's souls.
- Oh, come on.
21
00:01:56,900 --> 00:02:00,300
You're not at one of your sidewalk cafes
in Greenwich Village. This is Broadway.
22
00:02:00,400 --> 00:02:03,100
- You said you believed in my play!
- What do you want me to say?
23
00:02:03,300 --> 00:02:06,600
I'm tapped out. Maybe if we got some
big-time director interested...
24
00:02:06,700 --> 00:02:09,800
- I could scare up backers--
- No, no, no. I'm directing this play.
25
00:02:09,900 --> 00:02:13,000
Ohh, will you listen to this guy?
Where's your track record?
26
00:02:13,100 --> 00:02:15,800
I won't see my work mangled again.
I've been through this twice before.
27
00:02:15,800 --> 00:02:18,800
Two powerful scripts,
could have been tremendous successes...
28
00:02:18,800 --> 00:02:23,400
and I had to watch actors change my dialogue
and directors misinterpret everything!
29
00:02:23,400 --> 00:02:25,400
I know. I know.
You're an artist.
30
00:02:25,400 --> 00:02:30,400
Let me tell you, kid, that's the real world out there,
and it's a lot rougher than you think.
31
00:02:31,700 --> 00:02:35,600
Ma
He's makin' eyes at me
32
00:02:35,600 --> 00:02:39,500
Ma
He's awful nice to me
33
00:02:39,600 --> 00:02:44,400
Ma, he's almost
breakin' my heart
34
00:02:44,400 --> 00:02:47,700
What are you waitin' for?
Kill them!
35
00:02:49,700 --> 00:02:51,800
Come on. Let's go
get somethin' to eat.
36
00:02:51,900 --> 00:02:54,800
- I feel like eatin' ribs.
- That's a good idea.
37
00:02:54,900 --> 00:02:59,400
I gotta go shoot crap at Tommy's. He's
got a game at the Ansonia. I gotta go.
38
00:02:59,500 --> 00:03:03,100
Somebody's got to let Mr. Valenti know what's going on.
He's at the Three Deuces.
39
00:03:03,300 --> 00:03:06,900
- Why don't you go tell him?
- I promised Bobby Doyle. I can't do nothin'.
40
00:03:06,900 --> 00:03:11,900
- I gotta shoot a game. - What's a matter, Cheech?
Don't you wanna baby-sit his girl?
41
00:03:12,000 --> 00:03:14,000
His girlfriend's
a pain in my ass.
42
00:03:14,100 --> 00:03:18,000
You gotta see Mama
every night
43
00:03:18,100 --> 00:03:21,500
Or you can't see Mama
at all
44
00:03:21,600 --> 00:03:25,400
You gotta kiss Mama
Treat her right
45
00:03:25,500 --> 00:03:29,100
Or she won't be home
when you call
46
00:03:29,100 --> 00:03:32,700
Now if you want
my company
47
00:03:32,700 --> 00:03:35,600
- Here, doll, take care of this hat.
- You can't fifty-fifty me
48
00:03:35,700 --> 00:03:38,900
- Mr. V. Here?
- Yeah, right this way.
49
00:03:39,000 --> 00:03:42,900
- Nice crowd.
- Yeah, we're packin' 'em in every night.
50
00:03:43,000 --> 00:03:47,200
- Right here.
- Monday night I sat alone
51
00:03:47,400 --> 00:03:51,100
Tuesday night
you didn't phone
52
00:03:51,200 --> 00:03:55,400
Wednesday night
you didn't call
53
00:03:55,500 --> 00:03:59,600
- Done.
- Now that's a load off my mind. How many?
54
00:03:59,600 --> 00:04:03,100
- Four.
- This means we ain't heard the last.
55
00:04:03,100 --> 00:04:06,800
You know Kustabeck's gonna have a fit,
but he'll run scared.
56
00:04:06,800 --> 00:04:09,600
- Maybe.
- Listen, a deal's a deal.
57
00:04:09,700 --> 00:04:15,000
We got midtown. I mean, eh... Mr. Valenti does.
58
00:04:15,000 --> 00:04:17,800
I don't want that kind
of a sheik
59
00:04:17,900 --> 00:04:20,500
Who does his sheiking
once a week
60
00:04:20,600 --> 00:04:25,700
You gotta see Mama
every night
61
00:04:25,800 --> 00:04:28,700
Or you can't see
62
00:04:28,800 --> 00:04:36,600
You can't see Mama
at all
63
00:04:37,500 --> 00:04:39,800
Not at all.
64
00:04:42,600 --> 00:04:45,700
I'm fed up!
I'm fed up, do you hear me?
65
00:04:45,700 --> 00:04:49,900
You can push your torpedoes around all
you want, but I've had it up to here!
66
00:04:50,000 --> 00:04:52,800
- What is it now?
- I am not sharing a dressing room.
67
00:04:52,900 --> 00:04:57,700
I am tired of getting bumped into and stepped on.
None of these bimbos knows how to dance.
68
00:04:57,700 --> 00:05:00,500
- Bimbos!
- They're the best line in New York.
69
00:05:00,600 --> 00:05:02,700
- Bullshit! Bullshit!
- Oh, knock it off.
70
00:05:02,800 --> 00:05:05,200
- Hey, clam up over there. Olive, come on.
- What?
71
00:05:05,500 --> 00:05:08,500
- Olive, it's our anniversary.
- It's not our anniversary.
72
00:05:08,500 --> 00:05:11,000
- You're getting senile.
- It's September 28. Six months to today.
73
00:05:11,000 --> 00:05:13,000
- So?
- I remember it like it was yesterday...
74
00:05:13,000 --> 00:05:15,700
'cause that's the morning
we broke Joey Benjamin's legs.
75
00:05:15,800 --> 00:05:18,500
- Six months? Six months!
- Yeah. Six months.
76
00:05:18,500 --> 00:05:22,600
- And I'm still stuck in this crummy rat trap!
- Olive. I brought you somethin'.
77
00:05:22,700 --> 00:05:24,500
- What is it?
- Open it.
78
00:05:24,500 --> 00:05:28,700
- No, you open it. Can't you see I'm dressing?
- I'll open it. Here. Hey.
79
00:05:28,800 --> 00:05:31,800
- What is it?
- Pearls! What the hell do you think they are?
80
00:05:31,800 --> 00:05:33,900
- Pearls are white.
- These are black pearls.
81
00:05:34,000 --> 00:05:37,800
Don't give me that!
I never heard of black pearls.
82
00:05:37,900 --> 00:05:40,500
Just 'cause you never heard of somethin'
don't mean it don't exist.
83
00:05:40,600 --> 00:05:44,500
What do you think I am? Some kind
of chump? They're black, for God's sake.
84
00:05:44,600 --> 00:05:49,100
- They probably came from defective oysters.
- The pearls ain't sick.
85
00:05:49,100 --> 00:05:52,800
Black pearls, they're supposed--
What? They're supposed to be black!
86
00:05:52,900 --> 00:05:56,600
- Oh, yeah, yeah, yeah.
- Don't be that way. You know I'm nuts about you.
87
00:05:56,700 --> 00:06:01,100
If you're nuts about me, Nickie,
why don't you get me out of this lousy chorus line?
88
00:06:01,100 --> 00:06:04,700
I came to New York to be an actress.
That's where my gifts are.
89
00:06:04,800 --> 00:06:08,600
You will, baby. You'll be a great
actress. A promise is a promise.
90
00:06:08,700 --> 00:06:12,900
- Yeah, I-- - Come on. Get yourself dressed.
I'm takin' you to Harlem.
91
00:06:13,000 --> 00:06:16,600
- The Cotton Club?
- Yeah, baby.
92
00:06:16,600 --> 00:06:19,800
I'm telling you, they read my play,
they love it. But they're afraid of it.
93
00:06:19,900 --> 00:06:22,200
- It's irrelevant.
- It's not irrelevant!
94
00:06:22,200 --> 00:06:25,200
The point
I'm making is that...
95
00:06:25,200 --> 00:06:29,800
no truly great artist has ever
been appreciated in his lifetime.
96
00:06:29,800 --> 00:06:31,800
- Not one?
- No, no.
97
00:06:31,800 --> 00:06:37,100
- Flender.
- Take, uh, uh... Van Gogh or Edgar Allen Poe.
98
00:06:37,200 --> 00:06:41,100
Poe died poor and freezing
with his cat curled on his feet.
99
00:06:41,200 --> 00:06:44,700
David, don't give up on it.
Maybe it'll be produced posthumously.
100
00:06:44,800 --> 00:06:48,800
You know, I-I-I have never
had a play produced-- That's right.
101
00:06:48,800 --> 00:06:52,900
- And I've written one play every year for the
past 20 years. - That's because you're a genius.
102
00:06:53,000 --> 00:06:56,800
The proof is that both common people and
intellectuals find your work completely incoherent.
103
00:06:56,800 --> 00:07:00,100
- It means you're a genius.
- We all have our moments of doubt.
104
00:07:00,200 --> 00:07:06,100
I paint a canvas every week, take one
look at it and slash it with a razor.
105
00:07:06,200 --> 00:07:10,000
- Well, in your case that's a good idea.
- I have faith in your plays.
106
00:07:10,000 --> 00:07:13,800
- She has faith in my plays because she loves me.
- Also because you're a genius.
107
00:07:13,900 --> 00:07:16,800
Ten years ago, I-I-I kidnapped
this woman from a very beautiful...
108
00:07:16,900 --> 00:07:20,200
middle-class life in Pittsburgh, and
I made her life miserable ever since.
109
00:07:20,200 --> 00:07:23,200
Hey, Ellen, as long
as he's a good man, keep him.
110
00:07:23,300 --> 00:07:27,200
You know, I think the mistake we women
make is we fall in love with the artist--
111
00:07:27,200 --> 00:07:29,200
- Hey, you guys, are you listening?
- Yes, yes.
112
00:07:29,200 --> 00:07:31,900
- We fall in love with the artist, not the man.
- I don't think that's a mistake.
113
00:07:31,900 --> 00:07:34,400
- How is that a mistake?
- The artist makes the man.
114
00:07:34,600 --> 00:07:38,600
She's right. You can't separate 'em.
No, look. Say there was a burning building...
115
00:07:38,700 --> 00:07:42,000
and you could rush in, and
you could save only one thing:
116
00:07:42,100 --> 00:07:47,200
either the last known copy of Shakespeare's
plays or some anonymous human being.
117
00:07:47,200 --> 00:07:49,300
- You cannot--
- What would you do?
118
00:07:49,300 --> 00:07:51,800
- You cannot deprive the world of those plays.
- Correct.
119
00:07:51,900 --> 00:07:54,300
- Phone call, David.
- It's an inanimate object.
120
00:07:54,400 --> 00:07:59,100
It's not an inanimate object!
It's art! Art is life! It lives!
121
00:07:59,200 --> 00:08:02,100
We got the money.
We can do the play.
122
00:08:02,200 --> 00:08:04,900
What? When? How?
123
00:08:04,900 --> 00:08:07,900
A single backer
goin' for the whole show.
124
00:08:08,000 --> 00:08:11,200
An old acquaintance. I'm up
at the Cotton Club. I ran into him.
125
00:08:11,200 --> 00:08:14,700
- And no hitches?
- Well, uh--
126
00:08:14,700 --> 00:08:19,000
We'll meet tomorrow and discuss it,
all right? Luxor Baths. Noon.
127
00:08:20,800 --> 00:08:25,200
Are you nuts? You think I'm gonna let
some amateur play the lead in my play?
128
00:08:25,200 --> 00:08:27,900
Did I say "lead"?
Did I say "lead," Mr. Genius?
129
00:08:27,900 --> 00:08:31,000
- Some guy's girlfriend 'cause he's puttin' up the money?
- Did I say "lead"?
130
00:08:31,100 --> 00:08:34,000
I said a part, a role.
I thought maybe Dr. Philips.
131
00:08:34,100 --> 00:08:37,200
- The psychiatrist? It's a key role.
- What key role?
132
00:08:37,200 --> 00:08:40,400
- It's a small part. Key role!
- Who is this woman anyway?
133
00:08:40,500 --> 00:08:44,100
Olive Neal? I don't even know what
she looks like, much less can she act.
134
00:08:44,200 --> 00:08:47,200
He says she's the stuff
that stars are made of.
135
00:08:47,200 --> 00:08:50,100
That's 'cause he's in love with her.
And who is he anyway?
136
00:08:50,200 --> 00:08:54,700
- His name is Nick Valenti.
- How-How-- How do I know that name? What's he do?
137
00:08:54,800 --> 00:08:58,100
- Ah, he's got his finger in a number of pies.
- I don't like the sound of this.
138
00:08:58,200 --> 00:09:01,300
- Look, you wanna get your play on or not?
- I gotta meet her first.
139
00:09:01,300 --> 00:09:03,400
- So you'll meet her.
- I'm conflicted.
140
00:09:03,500 --> 00:09:07,200
- You'll meet her. That's all I'm saying.
- The psychiatrist is not small.
141
00:09:07,300 --> 00:09:12,200
It's not the lead. It's-- It's a
small part. Who do you see in the lead?
142
00:09:12,300 --> 00:09:15,100
- I don't know.
- What about Helen Sinclair?
143
00:09:15,200 --> 00:09:19,100
Oh, sure. I mean, she'd be great.
But can we get her?
144
00:09:19,200 --> 00:09:21,900
Why can't we get her? She's been in
nothin' but flops the past three years.
145
00:09:22,000 --> 00:09:23,900
Yeah, but she's
a major actress.
146
00:09:24,000 --> 00:09:26,100
Was.
147
00:09:26,200 --> 00:09:29,100
She'd be great.
I mean, really, she's brilliant.
148
00:09:29,100 --> 00:09:32,400
- She possess the necessary fire. For the part,
she'd be great. - You really think so?
149
00:09:32,500 --> 00:09:35,200
- I'm glad you think so.
- Think we can get her?
150
00:09:35,200 --> 00:09:39,100
- I sent the script to her agent, Sidney Loomis.
- You did?
151
00:09:39,200 --> 00:09:42,800
- Did I do wrong? Did I do wrong?
- No, no.
152
00:09:42,900 --> 00:09:45,500
- Did I do wrong not checking with you first?
- Not at all.
153
00:09:45,800 --> 00:09:48,500
- If so, I stand corrected. I mean that.
- No, really.
154
00:09:48,500 --> 00:09:52,200
- Helen Sinclair... really.
- Get it out.
155
00:09:52,300 --> 00:09:55,800
- She's great.
- Well, all we can do is hope for the best.
156
00:09:55,900 --> 00:09:59,000
You must be joking!
157
00:09:59,100 --> 00:10:04,100
You want me to play some frumpy
housewife who gets dumped for a flapper?
158
00:10:04,200 --> 00:10:08,300
Don't you remember who I am?
Don't you know who you represent?
159
00:10:08,300 --> 00:10:12,300
- I'm Helen Sinclair!
- Definitely! You are definitely Helen Sinclair.
160
00:10:12,400 --> 00:10:17,100
I look at you and I say Helen Sinclair!
But who better to play that role?
161
00:10:17,100 --> 00:10:19,900
- Under whose direction? Some novice!
- He's the author.
162
00:10:20,000 --> 00:10:23,600
- Of two flops. - Julian says it was the
directors that messed up those projects.
163
00:10:23,800 --> 00:10:29,300
Julian Marx! I do plays put on
by Belasco or Sam Harris.
164
00:10:29,400 --> 00:10:32,900
Not some Yiddish pants salesman
turned producer.
165
00:10:32,900 --> 00:10:37,200
My ex-husband used to say, "lf you're gonna go down,
go down with the best of them."
166
00:10:37,300 --> 00:10:41,000
- Which ex-husband? - Oh, I don't know which
ex-husband. The one with the moustache.
167
00:10:41,000 --> 00:10:44,300
Listen to me. Authors are very often
the best directors of their own works.
168
00:10:44,400 --> 00:10:47,500
She's dowdy! Sid, the ingenue
has all the hot lines.
169
00:10:47,600 --> 00:10:50,200
Even the female psychiatrist
is a better role.
170
00:10:50,300 --> 00:10:53,200
But the role of Sylvia Poston
is the lead.
171
00:10:53,300 --> 00:10:58,200
Sylvia Poston.
Even the name reeks of Orbach's!
172
00:10:58,200 --> 00:11:01,900
I do Electra!
I do Lady Macbeth!
173
00:11:02,000 --> 00:11:07,300
I do plays by Noel and Phil Barry
or at least Max Anderson.
174
00:11:07,300 --> 00:11:12,000
Helen, listen to me. This is
a major part in a serious play.
175
00:11:12,000 --> 00:11:15,500
And let's face it, Helen. You have
not been in a hit in a long time.
176
00:11:15,600 --> 00:11:19,600
- In a long, long, long time.
- I'm still a star!
177
00:11:21,000 --> 00:11:24,000
I never play
frumps or virgins.
178
00:11:24,000 --> 00:11:26,400
You're a star because you're great,
and you are a great star.
179
00:11:26,400 --> 00:11:28,400
But let me tell you somethin'.
180
00:11:28,400 --> 00:11:30,400
In the last couple of years...
181
00:11:30,400 --> 00:11:33,100
you're better known as an adulteress and
a drunk-- I say this in all due respect.
182
00:11:33,200 --> 00:11:35,600
I haven't had a drink
since New Year's Eve.
183
00:11:35,600 --> 00:11:37,600
- We're talkin' Chinese New Year's.
- Naturally.
184
00:11:37,600 --> 00:11:40,200
Still, that's two days, Sid.
You know how long that is for me?
185
00:11:40,300 --> 00:11:42,900
- What is it, Josette?
- Some flowers.
186
00:11:42,900 --> 00:11:44,900
Well, bring them here,
will you?
187
00:11:44,900 --> 00:11:48,100
The offers are not pourin' in
like they used to.
188
00:11:48,200 --> 00:11:50,600
They're from David Shayne.
189
00:11:50,900 --> 00:11:54,500
"As a small artist to a greater one.
That you merely consider my play...
190
00:11:54,600 --> 00:11:58,100
is all the fulfillment
I require.
191
00:11:58,100 --> 00:12:00,100
Hmm.
192
00:12:02,000 --> 00:12:06,900
- What's he like?
- I hear he's terrific. A genius ready to emerge.
193
00:12:07,000 --> 00:12:10,200
- I have to be billed over the title.
- Where else?
194
00:12:10,300 --> 00:12:14,900
- Approval of the leading man. The star's dressing room.
- This is not even a question.
195
00:12:15,000 --> 00:12:17,400
Approval of
all photos of me.
196
00:12:17,400 --> 00:12:20,000
Oh, it's still not
a very glamorous role.
197
00:12:20,000 --> 00:12:23,900
But maybe I could meet with David.
Maybe we could go over the script.
198
00:12:24,000 --> 00:12:27,900
Maybe there's a few ways
we could find to brighten her up. Hmm?
199
00:12:28,000 --> 00:12:30,100
Why am I nervous?
200
00:12:31,300 --> 00:12:35,300
- That was sad. Clara Bow had it rough.
- She's a doll.
201
00:12:35,300 --> 00:12:39,300
- I'd do anything to be in a movie.
- You're pretty enough.
202
00:12:39,400 --> 00:12:42,700
Do you think you could
ever speak to Mr. Valenti?
203
00:12:43,000 --> 00:12:45,500
- Mr. Valenti knows everybody. He'll do the right thing.
- That's right.
204
00:12:45,600 --> 00:12:49,200
I hear he's gonna make Olive Neal
a Broadway star.
205
00:12:56,500 --> 00:12:59,100
Go, go, go!
206
00:12:59,200 --> 00:13:01,600
Where'd it happen?
207
00:13:01,600 --> 00:13:05,100
Who'd they get?
Oh, Jesus!
208
00:13:05,200 --> 00:13:08,400
All right, I'm gonna be
at Olive's for about an hour.
209
00:13:08,400 --> 00:13:11,700
You get some more guys downstairs
and call me back on the Masucci thing.
210
00:13:11,700 --> 00:13:14,900
- This is for Leo Kustabeck, you hear me?
- Hey!
211
00:13:15,000 --> 00:13:19,000
- You said this was the lead. It's a smaller part.
- All right.
212
00:13:19,000 --> 00:13:21,700
- I got no time now.
- It's a smaller part. I don't believe it.
213
00:13:21,700 --> 00:13:24,700
- They just got Vinny and Sal outside a movie house.
- I counted the lines.
214
00:13:24,700 --> 00:13:28,600
- Sylvia Poston is the lead. I'm just backing her up.
- You hear what I said?
215
00:13:28,600 --> 00:13:33,200
- I'm tired of backing people up. I wanna be the lead.
- Julian says you're a doctor.
216
00:13:33,200 --> 00:13:37,000
- A doctor. I don't wanna be a doctor.
I wanna be the lead. - A head doctor. It's a big part.
217
00:13:37,000 --> 00:13:39,700
A head doctor,
but it ain't the lead.
218
00:13:39,700 --> 00:13:42,400
- So don't try and snow me.
- You'd squawk if they hung you with a new rope.
219
00:13:42,500 --> 00:13:45,500
I know a lead when I see a lead,
and this ain't the lead. -
220
00:13:45,500 --> 00:13:49,200
- A lead is on every single page.
A lead has lots of scenes. - Hello? Oh, Vito.
221
00:13:49,300 --> 00:13:54,100
- Ya heard? Get everybody together at the garage.
- I don't get to kiss nobody.
222
00:13:54,100 --> 00:13:57,100
- No, I want it done today! What is it with you?
- Hey!
223
00:13:57,100 --> 00:14:01,300
- You wanna take your business outta here?
We got guests! - Call me back.
224
00:14:01,400 --> 00:14:04,500
- I got trouble here.
- I don't care about your trouble.
225
00:14:04,600 --> 00:14:07,200
- What am I supposed to do?
Just foot the bills around here? - I don't care.
226
00:14:07,300 --> 00:14:12,400
- And I want my say with this Broadway big shot too.
- Okay, just don't embarrass me.
227
00:14:12,500 --> 00:14:16,100
- I'm lookin' out for your interests, okay?
- Miss Olive?
228
00:14:16,100 --> 00:14:20,400
- There's a Mr. Marx and--
- I know, I know. Send 'em in, Venus.
229
00:14:20,500 --> 00:14:22,700
- Listen. When they get here...
- What?
230
00:14:22,800 --> 00:14:26,100
- Charm 'em a little, baby.
- You're the one that needs charm lessons.
231
00:14:26,200 --> 00:14:29,400
- I told them you're a great actress.
- I am a great actress.
232
00:14:29,400 --> 00:14:32,500
Nick Valenti!
Say hello to David Shayne.
233
00:14:32,600 --> 00:14:35,100
- David, how are you?
- Hello. I'm Olive.
234
00:14:35,200 --> 00:14:37,200
- This is Olive Neal.
- Charmed, charmed, charmed.
235
00:14:37,300 --> 00:14:40,300
- Come on in. Come on.
- Come on in.
236
00:14:40,400 --> 00:14:43,300
- Hey, Dave, she read your play. She thinks it's great.
- Yes, I read your play.
237
00:14:43,400 --> 00:14:46,200
It's thrilling, turbulent,
a page turner.
238
00:14:46,300 --> 00:14:48,800
Charmed, charmed,
charmed, charmed.
239
00:14:49,100 --> 00:14:51,300
She's a great little actress.
Just needs a break.
240
00:14:51,400 --> 00:14:54,400
- What have you been in, Miss, uh--
- Olive. Olive. Olive.
241
00:14:54,400 --> 00:14:56,400
- Call me Olive, honey.
- You smoke? - No.
242
00:14:56,500 --> 00:14:59,300
- Olive, ah, your-- well, your experience?
- I love the play.
243
00:14:59,300 --> 00:15:01,700
- Well, I, uh--
- Oh, she ain't got no experience.
244
00:15:01,800 --> 00:15:04,200
- I do too. I have too.
- She's a natural.
245
00:15:04,300 --> 00:15:06,300
- I have experience.
- They ain't talkin' dancin', Olive.
246
00:15:06,400 --> 00:15:09,800
- He doesn't know what he's talkin' about.
- You don't mean dancin', do you?
247
00:15:09,800 --> 00:15:14,500
She used to wiggle at this joint in Hoboken.
Pick up quarters off the tabletops with her--
248
00:15:14,600 --> 00:15:17,800
- Hey! Butt out, why don't ya! They're talkin' to me!
- I'm tryin' to break the ice.
249
00:15:18,100 --> 00:15:21,100
- Who wants a drink?
- I'll have a double anything. Be great.
250
00:15:21,200 --> 00:15:23,400
- No, I have an ulcer.
- Venus, a double whiskey.
251
00:15:23,500 --> 00:15:27,100
- Make it two, Venus.
- Do you want the blue stuff or the green?
252
00:15:27,200 --> 00:15:30,700
- The imported, dummy.
- Oh, you mean from the clean bathtub.
253
00:15:30,800 --> 00:15:32,600
Mm-hmm.
254
00:15:34,200 --> 00:15:38,200
- So you never acted before?
- Honey, honey. Yes, I have acted.
255
00:15:38,300 --> 00:15:42,900
I have acted. I've acted a lot.
I was in a musical revue. Can you light this for me?
256
00:15:43,100 --> 00:15:46,700
Geez. No manners.
No gentleman.
257
00:15:48,100 --> 00:15:50,800
Yeah, I did a musical revue
in Wichita.
258
00:15:50,800 --> 00:15:54,600
Maybe you heard of it. It was called
Leave A Specimen. I had two songs.
259
00:15:54,700 --> 00:15:57,800
Two numbers. Two thrilling, show-stopping numbers.
260
00:15:57,900 --> 00:16:00,700
I'm actually feeling
a little sick, really.
261
00:16:00,800 --> 00:16:03,200
I'm actually feeling a little faint.
Can we sit down?
262
00:16:03,300 --> 00:16:09,200
So, one thing I was wonderin' is who's
gonna be playing the part of Sylvia Poston?
263
00:16:09,300 --> 00:16:11,600
Only Helen Sinclair.
264
00:16:11,600 --> 00:16:15,800
Helen Sinclair?
I never heard of her.
265
00:16:15,900 --> 00:16:20,500
- Uh, you follow the theater?
- What are you trying to insinuate?
266
00:16:20,600 --> 00:16:22,500
Hey, don't
gimme that shit!
267
00:16:22,600 --> 00:16:27,300
You tell Masucci he don't play ball,
I'll come down there, I'll chop his fuckin' legs off!
268
00:16:27,300 --> 00:16:30,900
Don't you pay any attention to Nick.
He's in one of his depressed moods.
269
00:16:31,100 --> 00:16:35,300
I'll cut his throat. I'll come down there,
I'll pull his guts out through his windpipe!
270
00:16:35,400 --> 00:16:37,500
- Ya hear me?
- What'd ya do? Walk up?
271
00:16:37,600 --> 00:16:39,600
- No!
- You're sweating like a pig.
272
00:16:39,600 --> 00:16:43,700
- I have a bit of a blood sugar situation now and again.
- Blood sugar?
273
00:16:43,800 --> 00:16:47,500
- What is that?
- Olive, you-- you like the play?
274
00:16:47,500 --> 00:16:51,200
- Mmm. It's sad.
- Well, it's a tragedy.
275
00:16:51,300 --> 00:16:55,300
I'll say, but I got some ideas
how we can goose it up.
276
00:16:55,400 --> 00:16:58,000
- Ideas?
- Mm-hmm. I go to the movies all the time.
277
00:16:58,200 --> 00:17:03,200
- I got a million clever ideas.
- You burn it down, Cheech! Burn it down, I said.
278
00:17:03,300 --> 00:17:06,700
- I want it to look like arson!
- I got a crick.
279
00:17:06,800 --> 00:17:08,600
- When?
- A crick?
280
00:17:08,700 --> 00:17:13,200
Everything's tight.
I think maybe we should go.
281
00:17:13,300 --> 00:17:15,900
Oh, no, no, no.
Don't go.
282
00:17:16,000 --> 00:17:18,700
Hey, Venus, let's go
with that hooch!
283
00:17:18,800 --> 00:17:22,200
Uh, uh, Olive, when did you
get interested in acting?
284
00:17:22,300 --> 00:17:26,800
Hey, listen, you think I came to this
town to swing it around in a chorus line?
285
00:17:26,900 --> 00:17:30,900
Tits and ass. Tits and ass.
That's all they care about. Thank you.
286
00:17:31,000 --> 00:17:34,000
Hey, didn't I tell you
to make "horse durves"?
287
00:17:34,200 --> 00:17:37,600
I don't make nothin' out of horses,
especially "horse durves..."
288
00:17:37,700 --> 00:17:40,300
'cause I don't know what
they are, and neither do you!
289
00:17:40,400 --> 00:17:44,500
Oh, ain't you the big mouth
since you hit your number.
290
00:17:44,600 --> 00:17:49,800
- And I said the imported stuff.
- The imported stuff ate through the bottle. It's gone!
291
00:17:49,900 --> 00:17:52,900
A likely story. It's very hard
to get good help these days.
292
00:17:53,000 --> 00:17:55,900
- Sorry you guys had to hear that.
- I'm feeling fairly dizzy.
293
00:17:55,900 --> 00:18:00,700
- Some problems with the firm.
- Really? What type of firm is it, Nick?
294
00:18:00,800 --> 00:18:04,600
- It's a "don't stick your
nose in other people's business...
295
00:18:04,600 --> 00:18:07,400
- and it won't get broken type of firm.
- Yeah.
296
00:18:07,500 --> 00:18:10,700
- I see, I see. Thank you.
- That's what kind of firm.
297
00:18:10,800 --> 00:18:14,000
I'm feeling a bit unstable.
I think maybe I'll go...
298
00:18:14,100 --> 00:18:17,500
and check into a sanitarium
and get the help that I need.
299
00:18:17,600 --> 00:18:21,400
- And we'll talk later because it's been good.
Hasn't it, Julian? - Yeah.
300
00:18:21,500 --> 00:18:23,400
- Oh, yeah.
- It's been good.
301
00:18:23,500 --> 00:18:26,800
- This is gonna be a big event on Broadway.
- Thank you.
302
00:18:26,800 --> 00:18:29,700
Absolutely not!
No!
303
00:18:29,800 --> 00:18:32,800
- You'll work with her, mold her. It'll be a challenge.
- Out of the question!
304
00:18:32,900 --> 00:18:36,000
She'll win an award. It'll be a great
show business anecdote.
305
00:18:36,000 --> 00:18:40,300
- It will not happen! - A tribute to you as a director.
You use your actors like clay.
306
00:18:40,400 --> 00:18:43,100
Julian, have you lost
all reason?
307
00:18:43,300 --> 00:18:47,500
Do you believe that that woman could play
a psychiatrist? That woman? That thing?
308
00:18:47,600 --> 00:18:49,500
- Her voice, her grasp.
- All right.
309
00:18:49,600 --> 00:18:54,500
- She's the woman who picks quarters off
tabletops with-- - Let me level with you.
310
00:18:54,500 --> 00:18:57,500
This is a dog-eat-dog world,
not an ideal world.
311
00:18:57,500 --> 00:19:00,500
If you wanna get your play on, you're
gonna have to make a few concessions.
312
00:19:00,600 --> 00:19:03,600
Life is not perfect.
Plus, it is short.
313
00:19:03,700 --> 00:19:08,100
If you can't figure that out, you might as well
pack up right now and go back to Pittsburgh.
314
00:19:13,100 --> 00:19:17,400
I sold out! I sold out.
315
00:19:17,500 --> 00:19:19,700
- I sold out.
- David.
316
00:19:23,100 --> 00:19:25,700
What's wrong?
317
00:19:25,800 --> 00:19:27,800
- I'm a whore!
- Oh, my God!
318
00:19:27,900 --> 00:19:31,000
- I'm a prostitute! I'm a whore!
- David, pull yourself together.
319
00:19:31,100 --> 00:19:32,800
They'll call the police.
320
00:19:32,800 --> 00:19:35,400
David. Oh, my God!
You look horrible.
321
00:19:35,500 --> 00:19:37,100
Oh, I feel sick.
322
00:19:37,400 --> 00:19:41,700
Please, you'll wake the Finkelsteins.
You want an aspirin?
323
00:19:41,800 --> 00:19:45,900
- David. David.
- Oh, my God! My art! My work!
324
00:19:46,000 --> 00:19:48,900
- What's wrong with you?
- Do I want success that badly?
325
00:19:49,000 --> 00:19:53,000
- David. Come back to bed.
- The answer's yes. The answer's yes.
326
00:19:53,100 --> 00:19:57,100
- Please come back to bed. - When offered to
have my play backed by a hoodlum, I said yes.
327
00:19:57,400 --> 00:20:01,100
- Please come back to bed.
- It's a deal with the devil, and the penalty is...
328
00:20:01,100 --> 00:20:05,000
- his girlfriend plays a part.
- Who are you calling at 3:00 a.m.?
329
00:20:05,100 --> 00:20:08,900
Hello, Julian? It's David.
Who do you see in the male lead?
330
00:20:09,000 --> 00:20:11,700
Oh, kid.
331
00:20:11,700 --> 00:20:13,900
It's 3:00 a.m.
332
00:20:13,900 --> 00:20:17,100
- I see Warner Purcell.
- Nah, too fat.
333
00:20:17,400 --> 00:20:21,700
You seen him lately?
Nah, the man's a compulsive eater.
334
00:20:21,800 --> 00:20:23,700
Doesn't matter.
I talked to his agent...
335
00:20:23,800 --> 00:20:25,700
and he's been on a new diet
for four months. He looks fine.
336
00:20:25,800 --> 00:20:28,500
I want him for Lieutenant Masters.
Then maybe I can live with all this.
337
00:20:28,600 --> 00:20:30,600
I can live with
these compromises.
338
00:20:30,700 --> 00:20:34,900
I'll have Warner Purcell and Helen Sinclair,
and then I can live with that gun moll!
339
00:20:34,900 --> 00:20:37,800
No, not Warner, kid. No.
340
00:20:37,800 --> 00:20:40,200
I had him in Nuns Aplenty.
341
00:20:40,400 --> 00:20:44,600
He'll turn over a new leaf. Then he'll
get insecure; he'll start eating.
342
00:20:44,700 --> 00:20:48,900
By the time we get to Boston, he'll be
as big as my sister-in-law's ass.
343
00:20:49,000 --> 00:20:53,100
No! No more compromises!
It is my play, and I want him!
344
00:20:53,200 --> 00:20:56,800
I want him, and I want him,
and that's it. I'm not a whore!
345
00:20:56,900 --> 00:21:00,000
- David, David, David!
- I'm all right.
346
00:21:00,100 --> 00:21:03,700
Olive starts rehearsal
for a show next week.
347
00:21:03,800 --> 00:21:05,900
- I want you to stay with her.
- Yeah.
348
00:21:06,000 --> 00:21:09,000
I want you to make sure
they treat her right up there.
349
00:21:09,100 --> 00:21:11,900
Those theater characters
I don't trust 'em.
350
00:21:12,000 --> 00:21:16,000
The show's costing me a bundle,
and I'm gonna get my money's worth.
351
00:21:16,100 --> 00:21:19,000
- She wants to be a star.
- Yeah. Yeah.
352
00:21:19,100 --> 00:21:22,100
- And I promised her.
- Mr. V., look, it's not that I don't wanna do it--
353
00:21:22,100 --> 00:21:26,500
Cheech, I'm giving you
an order. What do you do?
354
00:21:26,600 --> 00:21:28,600
I know.
355
00:21:28,700 --> 00:21:30,800
Monday, September 10.
356
00:21:30,900 --> 00:21:34,400
Today rehearsals began,
and I've decided to keep a journal.
357
00:21:34,500 --> 00:21:37,100
Perhaps my experience
will be of value to others...
358
00:21:37,200 --> 00:21:41,500
Chekov and Strindberg.
359
00:21:41,600 --> 00:21:44,900
Rehearsals began promptly
at 10:00 a.m.
360
00:21:44,900 --> 00:21:48,800
Warner Purcell was first to arrive
full of bonhomie and good humor.
361
00:21:48,900 --> 00:21:52,700
- Good morning!
- Warner Purcell. Hello, I'm David Shayne.
362
00:21:52,700 --> 00:21:55,600
- Oh, David, how marvelous to meet you. Well done.
- Thank you.
363
00:21:55,700 --> 00:21:58,700
- It's a wonderful play. Some lovely speeches.
- I'm honored you're doing it.
364
00:21:58,800 --> 00:22:00,800
- It's my pleasure.
- Our stage manager, Mitch.
365
00:22:00,900 --> 00:22:03,600
- Mitchell Sabine. I'm here if you need anything.
- Mitchell, nice to meet you.
366
00:22:03,700 --> 00:22:05,900
- That's fine.
- And you're gonna be in dressing room two.
367
00:22:06,000 --> 00:22:08,100
- Lovely.
- And this is my assistant, Lorna.
368
00:22:08,200 --> 00:22:10,800
- Pleased to meet you.
- Lorna, nice to meet you.
369
00:22:10,900 --> 00:22:14,000
We have coffee and Danish,
some smoked salmon.
370
00:22:14,100 --> 00:22:18,300
Um, Mitchell, would it be frightfully
tiresome if I just had hot water and lemon?
371
00:22:18,500 --> 00:22:20,500
- Not at all.
- Thank you.
372
00:22:20,600 --> 00:22:23,100
- And of course you know Julian Marx.
- Oh, Julian, yes.
373
00:22:23,200 --> 00:22:25,700
- Our swords have crossed.
- Warner, you look wonderful.
374
00:22:25,700 --> 00:22:27,900
And yourself.
375
00:22:27,900 --> 00:22:30,900
Eden Brent, who plays
the other woman, arrived second.
376
00:22:30,900 --> 00:22:33,000
She has
a wonderful vivacity.
377
00:22:33,100 --> 00:22:36,900
Good morning! Good morning!
Don't get up. Don't get up.
378
00:22:36,900 --> 00:22:40,100
- I have first-day-rehearsal presents for everybody.
- How thoughtful.
379
00:22:40,100 --> 00:22:45,000
It's nothing. Just some soap and some
potpourri and incense for you, I think.
380
00:22:45,000 --> 00:22:48,200
- Now, have you met Mr. Woofles?
- No. No.
381
00:22:48,300 --> 00:22:51,600
- Oh, don't pull such a sour face.
- Hello, Mr. Woofles.
382
00:22:51,700 --> 00:22:53,600
Oh, be careful.
She's a Chihuahua...
383
00:22:53,700 --> 00:22:57,800
but there's a pinch of Doberman in her
so sometimes she goes for your throat.
384
00:22:57,800 --> 00:23:00,000
Just kidding.
385
00:23:00,000 --> 00:23:03,600
- I think you've met everyone here. Lorna.
- We talked on the telephone.
386
00:23:03,700 --> 00:23:06,500
I don't know if you've met
our Lieutenant Masters, Warner Purcell.
387
00:23:06,600 --> 00:23:09,000
- Oh, pleased to meet you.
- How was your crossing?
388
00:23:09,100 --> 00:23:12,800
Well, I came over five years ago, but it was lovely.
389
00:23:12,800 --> 00:23:15,900
Now, my darling, do you want
some milk or something to eat?
390
00:23:16,000 --> 00:23:20,100
- I'll get her a saucer. - You don't have to
bother with that because I breast-feed her.
391
00:23:20,200 --> 00:23:23,900
Just kidding, everybody.
392
00:23:24,000 --> 00:23:26,200
- Please.
- Julian, nice to see you.
393
00:23:26,200 --> 00:23:28,700
- How are you? - Mr. Marx.
- Yes, of course.
394
00:23:28,700 --> 00:23:31,400
I'm in the middle, yes?
395
00:23:31,600 --> 00:23:34,300
- Should we take the dog--
- No, no, no, no, no.
396
00:23:34,300 --> 00:23:37,100
It's my baby.
397
00:23:37,200 --> 00:23:41,100
Olive Neal entered, naturally,
with the force of a hurricane.
398
00:23:41,200 --> 00:23:45,600
- Hey, you gonna hover over me like dead meat?
- Mr. V. Says I stay close.
399
00:23:45,600 --> 00:23:47,600
We've been drivin'
around for 15 minutes.
400
00:23:47,700 --> 00:23:51,400
I told ya he said the Belasco,
not the Morosco, you cementhead!
401
00:23:51,600 --> 00:23:53,000
- Hello, Olive.
- Hello.
402
00:23:53,100 --> 00:23:56,300
- Everyone, this is Dr. Philips. Olive Neal.
- Hi, nice to meet you.
403
00:23:56,300 --> 00:23:57,800
- You know Julian.
- Yes.
404
00:23:57,900 --> 00:23:59,900
- My assistant, Lorna.
- Hi.
405
00:24:00,000 --> 00:24:02,100
- Eden Brent, Kristen.
- Ah, cute dog.
406
00:24:02,200 --> 00:24:04,800
- Warner Purcell. Lieutenant Masters.
- Charmed, charmed, charmed.
407
00:24:04,800 --> 00:24:07,300
- Stage manager Mitch.
- Mitch, hi, hi, hi, hi.
408
00:24:07,300 --> 00:24:10,100
- And you are?
- I'm with her.
409
00:24:10,200 --> 00:24:13,200
- He's with me. Yeah.
- Okay. Okay.
410
00:24:13,200 --> 00:24:16,600
Well, um, we're just gonna
rehearse for a while, so--
411
00:24:16,700 --> 00:24:18,600
Yeah.
Where she goes, I go.
412
00:24:18,700 --> 00:24:21,700
All right, buster, why don't you park
yourself in the back row of the theater...
413
00:24:21,800 --> 00:24:23,700
and try not to snore.
414
00:24:23,800 --> 00:24:26,200
Um, I--
415
00:24:26,300 --> 00:24:29,300
- What?
- I don't like other people watching rehearsals...
416
00:24:29,400 --> 00:24:33,200
- generally as a rule because the actors
are very sensitive. - What'd you say?
417
00:24:33,200 --> 00:24:36,700
- I-I don't like--
- Hey, hey, who are you? Who are you?
418
00:24:36,700 --> 00:24:38,700
- Whoa, whoa. Easy.
- I'm the director.
419
00:24:38,700 --> 00:24:40,200
- Who is this?
- Wait a minute.
420
00:24:40,200 --> 00:24:43,100
- I'm the director of the play.
- Wait a minute, Mr., uh--
421
00:24:43,200 --> 00:24:46,100
- Cheech. The name's Cheech.
- Mr. Cheech, first of all--
422
00:24:46,100 --> 00:24:48,800
- No, not Mr. Cheech. Ya hear me?
- Yeah.
423
00:24:48,900 --> 00:24:51,800
- Cheech. Simple. Cheech.
- Cheech.
424
00:24:51,900 --> 00:24:56,200
Now, why don't you just take a seat
in the back and we'll-- Yeah, go ahead.
425
00:24:56,300 --> 00:24:58,800
- That's it.
- I find this very problematic.
426
00:24:58,900 --> 00:25:01,100
- I'll be over there.
- He'll be unobtrusive, believe me.
427
00:25:01,200 --> 00:25:04,800
He's not gonna bother anybody.
He just wants to watch.
428
00:25:04,900 --> 00:25:07,900
He's my bodyguard.
429
00:25:07,900 --> 00:25:10,300
- Hi.
- Hello.
430
00:25:10,400 --> 00:25:14,900
- Sorry I'm late. I'm usually highly professional.
- Oh, I'm sure.
431
00:25:15,000 --> 00:25:19,200
- This is for you.
- Oh, talcum powder. My favorite.
432
00:25:19,200 --> 00:25:23,000
- Thank you. You're a doll.
- Oh, no, you're a doll.
433
00:25:23,000 --> 00:25:26,800
Helen Sinclair came a half
hour late, but she had a good excuse.
434
00:25:26,900 --> 00:25:30,400
Please forgive me.
My pedicurist had a stroke.
435
00:25:30,700 --> 00:25:34,100
She fell forward onto the orange stick
and plunged it into my toe.
436
00:25:34,200 --> 00:25:37,100
- It required bandaging.
- Oh, my poor darling.
437
00:25:37,200 --> 00:25:39,700
Oh, it's so good
to see you.
438
00:25:39,800 --> 00:25:42,400
- We all know and admire Helen Sinclair.
- We're old friends.
439
00:25:42,500 --> 00:25:45,300
- Thank you so much.
- Miss Sinclair, this is Mitch.
440
00:25:45,300 --> 00:25:50,400
Oh, yes, yes. Oh, my goodness' sake.
I can't believe I'm here.
441
00:25:50,500 --> 00:25:54,400
Oh-ho, look at this.
Look at this. Would you look?
442
00:25:54,400 --> 00:25:57,100
Oh, this old theater.
443
00:25:58,900 --> 00:26:00,900
This church.
444
00:26:02,000 --> 00:26:04,400
So replete
with memories.
445
00:26:04,500 --> 00:26:07,900
So full of ghosts.
446
00:26:07,900 --> 00:26:10,300
Mrs. Alving.
447
00:26:10,300 --> 00:26:12,300
Uncle Vanya.
448
00:26:13,300 --> 00:26:15,800
There's Cordelia.
449
00:26:16,500 --> 00:26:19,000
Here's Ophelia.
450
00:26:20,500 --> 00:26:22,800
Clytemenstra!
451
00:26:24,400 --> 00:26:26,900
Each performance
a birth.
452
00:26:28,000 --> 00:26:30,300
Each curtain...
453
00:26:30,300 --> 00:26:32,400
a death.
454
00:26:35,300 --> 00:26:37,400
Was that a mutt?
455
00:26:37,500 --> 00:26:40,100
Yes, Miss Sinclair.
456
00:26:40,200 --> 00:26:44,400
I hate mutts!
457
00:26:44,400 --> 00:26:47,400
I didn't want to overwhelm
any of the actors on the first day...
458
00:26:47,500 --> 00:26:50,100
so all we did
was read through the play.
459
00:26:50,200 --> 00:26:52,400
I can't live
like this.
460
00:26:52,500 --> 00:26:55,900
The same routine
over and over and over.
461
00:26:56,000 --> 00:26:58,400
The days blend together
like melted celluloid.
462
00:26:58,400 --> 00:27:02,000
Like a film whose images
become distorted and meaningless.
463
00:27:02,100 --> 00:27:05,300
I want a divorce, Sylvia. I've said it
in a thousand subtle ways...
464
00:27:05,400 --> 00:27:08,400
hoping you would realize,
but you refuse to see it.
465
00:27:08,500 --> 00:27:11,500
As a little girl,
I swore one day...
466
00:27:11,600 --> 00:27:14,900
I would have a necklace
made from the Milky Way.
467
00:27:15,000 --> 00:27:20,300
Oh, Kristen, Kristen, if only humans
weren't cursed with the power of memory.
468
00:27:20,400 --> 00:27:24,000
Dreams are only disguised feelings.
469
00:27:24,100 --> 00:27:28,400
The more we bring these
painful experiences to the fore...
470
00:27:28,500 --> 00:27:31,300
the easier they become
to deal with.
471
00:27:31,400 --> 00:27:34,000
- What's the "fore"?
- The fore. The foreground.
472
00:27:34,000 --> 00:27:36,100
- Is it-- Could I?
- Please.
473
00:27:36,200 --> 00:27:40,100
It's a golf term, when you yell, "fore"
when you're coming forward.
474
00:27:40,200 --> 00:27:44,000
- I didn't realize that.
- So you're telling me she's talking about golf?
475
00:27:44,100 --> 00:27:45,300
- Continue!
- What?
476
00:27:45,400 --> 00:27:48,000
Oh, yes, okay. Doctor...
477
00:27:48,100 --> 00:27:51,300
am I unattractive,
worn out?
478
00:27:51,400 --> 00:27:55,500
Spent? Broken?
Desiccated? Old?
479
00:27:55,600 --> 00:27:59,800
Come, come, Mrs. Poston.
You're being mas--
480
00:28:01,100 --> 00:28:03,000
- Mas--
- Masochistic.
481
00:28:03,100 --> 00:28:08,000
- Masochistic?
- Yes, masochism is someone who enjoys pain.
482
00:28:08,100 --> 00:28:11,000
- As opposed to sadism.
- Enjoys pain?
483
00:28:11,000 --> 00:28:13,200
What is she,
retarded?
484
00:28:13,200 --> 00:28:16,300
- I don't fuckin' believe this!
- Continue.
485
00:28:16,400 --> 00:28:19,600
After the rehearsal,
I felt exhilarated.
486
00:28:19,900 --> 00:28:22,300
Helen Sinclair suggested
we go for a drink to unwind.
487
00:28:22,400 --> 00:28:26,700
She said she knew of a little out-of-the-way
speakeasy where we could talk.
488
00:28:26,900 --> 00:28:29,400
- It was wonderful to see old, uh--
- Wasn't it?
489
00:28:29,400 --> 00:28:32,900
- Warner. Yes.
- Warner, yeah. He looks so slim.
490
00:28:32,900 --> 00:28:36,100
- He's on a new diet.
- Who is she? Oh, I need a drink.
491
00:28:36,100 --> 00:28:38,300
Olive.
Yes. I'm sorry about Olive.
492
00:28:38,300 --> 00:28:41,100
I do apologize.
We needed her to raise the money.
493
00:28:41,100 --> 00:28:43,500
It must be difficult
getting a work like this on.
494
00:28:43,500 --> 00:28:46,000
It's a sad reality
of the marketplace, I'll tell ya.
495
00:28:46,100 --> 00:28:48,500
- We've never really had a chance to talk.
- No.
496
00:28:48,600 --> 00:28:52,200
- Hi, folks. What can I get you?
- Two martinis, please, very dry.
497
00:28:52,300 --> 00:28:55,600
- How'd you know what I drank?
- Oh, you want one too?
498
00:28:55,600 --> 00:28:57,600
- Three.
- Three martinis.
499
00:28:57,700 --> 00:29:01,200
Uh, I can't judge my own writing,
but I must say...
500
00:29:01,300 --> 00:29:05,400
that just from today's reading,
I can tell how brilliant you're going to be in this role.
501
00:29:05,500 --> 00:29:07,400
- It's a wonderful play.
- Thank you.
502
00:29:07,400 --> 00:29:11,500
No, no, I mean it. It's so rare
that anything is really about something.
503
00:29:11,600 --> 00:29:14,500
You know-- Well, there's Max Anderson
and Gene O'Neill.
504
00:29:14,600 --> 00:29:17,100
- That's about it.
- You just named my two living gods.
505
00:29:17,100 --> 00:29:20,100
I was a little reluctant at first
to play the part.
506
00:29:20,200 --> 00:29:24,500
The character is so--
She's so, um... uh, colorless.
507
00:29:24,500 --> 00:29:26,200
Colorless, yes.
Well, that's the idea--
508
00:29:26,300 --> 00:29:28,200
- Then I realized what you were going for.
- You did?
509
00:29:28,300 --> 00:29:30,500
How profound, how complex,
her inner life really is.
510
00:29:30,600 --> 00:29:33,000
I tried to give her
some contradictions.
511
00:29:33,100 --> 00:29:35,100
I was worried.
512
00:29:35,100 --> 00:29:39,100
I'm used to playing
more overtly heroic women.
513
00:29:39,200 --> 00:29:42,000
Less tentative.
More alluring.
514
00:29:42,000 --> 00:29:44,400
Certainly not
frigid.
515
00:29:44,500 --> 00:29:49,700
No, yes, yes. Well, Sylvia Poston
is a mass of neuroses.
516
00:29:50,000 --> 00:29:54,000
In spite of the fact that I could really find
nothing at all in the play to brighten her up...
517
00:29:54,100 --> 00:29:57,200
- no real passion, no seductiveness...
- Nothing?
518
00:29:57,300 --> 00:29:59,600
I still think that
she's worth playing.
519
00:29:59,700 --> 00:30:03,800
We could work it over, and a touch here or
there could be changed to make sure you're...
520
00:30:04,000 --> 00:30:07,100
- No, no, no, no. I wouldn't dream of you...
- comfortable.
521
00:30:07,200 --> 00:30:09,700
Changing a word
of your work for me.
522
00:30:09,800 --> 00:30:15,000
God, who am l, some
vain Broadway legend?
523
00:30:15,000 --> 00:30:18,800
You... you're
a budding Chekhov.
524
00:30:22,000 --> 00:30:27,100
I'm not saying I'll distort the play.
I'm just saying I'll reread it with that in mind.
525
00:30:27,200 --> 00:30:30,200
I mean, after all, Miss Sinclair--
Helen. May I call you Helen?
526
00:30:30,300 --> 00:30:32,400
- Yes.
- Helen...
527
00:30:32,500 --> 00:30:35,600
your instincts as an actress
are impeccable.
528
00:30:35,700 --> 00:30:40,400
And I want the character to have dimension.
I don't mean for her to be a drone.
529
00:30:41,500 --> 00:30:44,700
- You see through me, don't you?
- Me?
530
00:30:44,700 --> 00:30:47,100
You're clever.
531
00:30:47,100 --> 00:30:49,400
You're brilliant.
532
00:30:49,400 --> 00:30:52,000
What insight
into women.
533
00:30:52,100 --> 00:30:54,200
Don't deny it.
534
00:30:59,200 --> 00:31:02,300
I don't see why
she has to be frigid.
535
00:31:06,700 --> 00:31:10,100
Hey, how ya doin', doll?
How'd it go?
536
00:31:10,100 --> 00:31:12,400
Ah, they're all
so stuck up.
537
00:31:12,500 --> 00:31:15,300
- Yeah? Anybody botherin' her?
- No.
538
00:31:15,400 --> 00:31:18,200
They expect me to memorize
all these lines.
539
00:31:18,300 --> 00:31:22,100
- Well, that's what you wanted, isn't it?
To be an actress? - I know, I know, I know.
540
00:31:22,100 --> 00:31:25,700
- I got a headache.
- Cheech'll help you practice after we eat.
541
00:31:25,700 --> 00:31:29,300
- Me?
- The girl's got stuff to memorize, all right?
542
00:31:29,400 --> 00:31:32,700
- Yeah, but, Nick--
- Go sit in the tub, honey. Go ahead.
543
00:31:32,700 --> 00:31:36,500
I'm takin' you out to Delmonico's.
You want sirloin or a lobster?
544
00:31:36,600 --> 00:31:40,200
- One of each. - Listen, Nick,
I'm not too good at this memorizing, and I got a date--
545
00:31:40,300 --> 00:31:44,200
All right, all right, knock it off.
I got a little errand for you to run.
546
00:31:44,200 --> 00:31:49,100
- What kind of errand? - A message for Charlie Masucci,
and we ain't got a lot of time.
547
00:32:08,200 --> 00:32:12,700
Up a lazy river
where the old mill run
548
00:32:12,800 --> 00:32:17,600
Meets lazy, lazy river
in the noonday sun
549
00:32:17,700 --> 00:32:22,400
Linger in the shade
of a kind old tree
550
00:32:22,500 --> 00:32:25,300
Throw away your troubles
Dream a dream--
551
00:32:28,200 --> 00:32:31,700
Up a lazy river where the robin's song
552
00:32:31,800 --> 00:32:33,900
Awakes a bright
new morning--
553
00:32:34,100 --> 00:32:36,500
Can't you see...
554
00:32:36,500 --> 00:32:39,700
you're living out
the exact same pattern...
555
00:32:39,800 --> 00:32:42,500
your mother lived out
with your father?
556
00:32:42,600 --> 00:32:45,700
I am?
Pray tell.
557
00:32:45,800 --> 00:32:49,100
In some way,
you're trying to relive it,
558
00:32:49,200 --> 00:32:53,300
and in the process
of reliving it, correct it.
559
00:32:53,300 --> 00:32:56,800
As if that were possible.
Ha!
560
00:32:56,900 --> 00:33:00,100
- It don't say "Ha."
- I know it don't say "Ha." I added that.
561
00:33:00,200 --> 00:33:03,400
- What do ya mean you added that? Are you
allowed to do that? - We're allowed to add things.
562
00:33:03,500 --> 00:33:05,900
- How could you add something? You can't do that.
- You're allowed!
563
00:33:05,900 --> 00:33:08,400
- It's called ad-libbing.
- You can't do that!
564
00:33:08,400 --> 00:33:11,800
I can do that. What do you know? You
don't know nothin'. Shut up and read.
565
00:33:11,900 --> 00:33:15,500
- I think the whole thing stinks.
- I think you're a degenerate zombie. Shut up and read!
566
00:33:15,600 --> 00:33:18,200
- You better shut up! Just shut up!
- You shut up and read.
567
00:33:18,300 --> 00:33:21,300
- You shut up!
- You're lucky you're Nick's girl.
568
00:33:21,300 --> 00:33:23,300
You're lucky
you're an idiot.
569
00:33:23,300 --> 00:33:28,200
What endeavors you...
to concoct a theory so tenuous?
570
00:33:28,200 --> 00:33:30,000
Mmm-mmm-mm.
571
00:33:30,200 --> 00:33:34,200
I sure pities the poor folks who gonna
have to pay to see this play.
572
00:33:36,400 --> 00:33:40,300
- What ya thinking? - Oh, just about Eugene
O'Neill and Max Anderson, you know.
573
00:33:40,400 --> 00:33:43,800
Yeah. You've been rewriting all night
and it's only just the first day.
574
00:33:43,800 --> 00:33:46,200
- Is that a bad sign?
- No. I just think that I might have made...
575
00:33:46,300 --> 00:33:48,600
the character of Sylvia Poston
a bit too antiseptic.
576
00:33:48,700 --> 00:33:50,800
- She's gotta have a sexual side to her.
- No.
577
00:33:50,900 --> 00:33:55,300
- I think she's the best female character
you've written in a long time. - Says who?
578
00:33:55,300 --> 00:33:58,700
David, you know you always have
problems getting into the female mind.
579
00:33:58,800 --> 00:34:02,700
- I know that you think that. - You've said so
yourself before. We've had this discussion.
580
00:34:02,800 --> 00:34:07,400
All your friends are men. You-- You've
always had problems writing for women.
581
00:34:07,500 --> 00:34:10,300
Witness your relationship
with your mother, your grandmother...
582
00:34:10,300 --> 00:34:13,400
- your two aunts, your sister--
- I think I try to factor that into my work.
583
00:34:13,500 --> 00:34:15,400
But to be honest with you...
584
00:34:15,500 --> 00:34:17,400
at this moment, I don't think
you really understand my work at all.
585
00:34:17,500 --> 00:34:19,600
- Oh! Don't be so defensive.
- I'm not being defensive.
586
00:34:19,600 --> 00:34:23,600
Perhaps my opinions just aren't intellectual
enough for you. Maybe they're just not--
587
00:34:23,700 --> 00:34:27,800
That's a horrible thing to say. When you have
a good idea, I listen to it. I'm responsive.
588
00:34:27,900 --> 00:34:31,300
- In this case, I think you're wrong. That's about it.
- When am I right?
589
00:34:31,400 --> 00:34:34,900
You're right about other things, but not
about Sylvia Poston and her sexuality.
590
00:34:34,900 --> 00:34:38,500
September 17.
The first week is behind me now...
591
00:34:38,600 --> 00:34:42,400
and apart from a few minor incidents,
things seemed to go okay.
592
00:34:42,400 --> 00:34:44,900
There was that moment
between Helen and Eden.
593
00:34:45,000 --> 00:34:48,900
I can't do that speech if she's
going to be fidgeting around upstage!
594
00:34:48,900 --> 00:34:51,500
- Well, that's why I think I should sit. I'll sit.
- Oh, God!
595
00:34:51,600 --> 00:34:55,200
Sylvia would never ask her to sit
in her own house. She despises her!
596
00:34:55,300 --> 00:34:59,000
She doesn't want me to sit. She doesn't
want me to stand. I guess I could squat.
597
00:34:59,000 --> 00:35:02,300
David, do you realize you're asking an
audience to believe that my husband...
598
00:35:02,300 --> 00:35:04,300
would leave me
for this woman?
599
00:35:04,400 --> 00:35:08,300
- Come along. - Excuse me. Excuse me,
but I think it's made very clear...
600
00:35:08,300 --> 00:35:11,100
in the speech about erotic attraction,
why he does that.
601
00:35:11,300 --> 00:35:13,800
You fool! He's thinking of me when he does that speech.
Don't you know anything?
602
00:35:13,800 --> 00:35:16,300
- Only the part about the liver spots.
- Listen.
603
00:35:16,300 --> 00:35:20,300
How long has it been since
you've had a real hemorrhage?
604
00:35:20,300 --> 00:35:24,400
David, I wonder if now would be a moment
to do my soliloquy from Act II?
605
00:35:24,400 --> 00:35:29,500
- Did you hear what she--
- Please. Aspirin!
606
00:35:29,500 --> 00:35:33,300
All right, yes, why don't we?
And, Eden, just take five.
607
00:35:33,300 --> 00:35:36,000
I need an aspirin!
608
00:35:36,100 --> 00:35:39,000
Mitch.
609
00:35:39,100 --> 00:35:42,700
Then there was the time when
I tried to cut one of Olive's speeches.
610
00:35:42,700 --> 00:35:46,800
- I like that speech, and I already got it memorized.
- But it's superfluous.
611
00:35:46,900 --> 00:35:49,600
- It's-- What is it?
- Well, I've overwritten it.
612
00:35:49,700 --> 00:35:54,000
We know how you feel about Sylvia's
breakdown when you talk with the good doctor.
613
00:35:54,100 --> 00:35:56,900
So it's my fault.
Um, the performance is fine.
614
00:35:56,900 --> 00:36:00,000
But, um...
I like to say it.
615
00:36:00,100 --> 00:36:02,600
- We-- We don't need it.
- Hey!
616
00:36:02,700 --> 00:36:05,700
Are you tryin' to make
my part smaller?
617
00:36:05,800 --> 00:36:08,300
- No, no, every--
- My part's small enough as it is!
618
00:36:08,400 --> 00:36:12,000
Every play needs some cuts, and the size
of the role is not the important thing.
619
00:36:12,100 --> 00:36:15,700
Did you hear what she said? She doesn't
want her speech taken away from her!
620
00:36:15,800 --> 00:36:20,300
- Look, look, Mr. Cheech, I've about--
- I'd rather be shootin' crap myself...
621
00:36:20,400 --> 00:36:25,000
but Mr. V. Told me that she's gotta
be up there a lot!
622
00:36:25,100 --> 00:36:27,700
- I wrote this play, and I'm directing this play!
- I don't care.
623
00:36:27,800 --> 00:36:31,700
You wanna get slapped here or do you want me
to take you outside and we'll straighten this out?
624
00:36:31,800 --> 00:36:34,500
It's up to you.
625
00:36:37,800 --> 00:36:41,500
Warner Purcell remains
good-spirited and a joy to work with.
626
00:36:41,600 --> 00:36:46,900
And what discipline. Although, I notice he no
longer has just a cup of hot water and lemon.
627
00:36:49,200 --> 00:36:53,100
Lf you start it off
at that level--
628
00:36:53,200 --> 00:36:57,900
Well, what are we going to do
about that canine-loving ingenue?
629
00:36:57,900 --> 00:37:00,900
- Did you cast her because you thought
she was attractive? - She's pretty...
630
00:37:00,900 --> 00:37:04,600
but more importantly, she has a certain
perkiness that the character requires.
631
00:37:04,600 --> 00:37:08,500
She's perky. She makes you wanna sneak up
behind her with a pillow and suffocate her.
632
00:37:08,600 --> 00:37:11,000
- It's a beautiful apartment.
- Josette.
633
00:37:11,100 --> 00:37:13,900
- My beaker of martinis.
- Your taste is exquisite.
634
00:37:13,900 --> 00:37:18,400
My taste is superb.
My eyes are exquisite.
635
00:37:18,500 --> 00:37:20,600
What justifiable confidence.
636
00:37:20,600 --> 00:37:24,200
- I think at some point you're going to have to fire Olive.
- I'm afraid that's not possible.
637
00:37:24,400 --> 00:37:29,000
Oh, how can you take her butchering
your poetry? I know I couldn't stand it.
638
00:37:29,100 --> 00:37:33,200
No one in his right mind is going to believe
she's a doctor, not even a veterinarian.
639
00:37:33,400 --> 00:37:36,500
- I understand,
but it's a compromise I have to live with...
640
00:37:36,500 --> 00:37:38,900
and if I want the play to open,
I have to find a way to live with it.
641
00:37:39,000 --> 00:37:41,500
I plan on reducing the scope of her role
if her bodyguard will let me.
642
00:37:41,600 --> 00:37:43,600
Can you believe
that character?
643
00:37:43,600 --> 00:37:46,700
Imagine, traveling with
your own private Neanderthal.
644
00:37:46,800 --> 00:37:49,700
- I wasn't aware that you opened The Master Builder.
- Oh, well.
645
00:37:49,800 --> 00:37:53,000
I had forgotten that
you won that drama award.
646
00:37:53,100 --> 00:37:56,000
- Here's to your play.
- Oh, thank you. Our play.
647
00:37:56,000 --> 00:37:59,800
To an ideal world
with no compromise.
648
00:38:04,100 --> 00:38:07,100
Oh, my gosh,
look at this view!
649
00:38:07,200 --> 00:38:11,900
A million blinking lights.
A million broken hearts.
650
00:38:12,000 --> 00:38:14,500
- You know what's down there?
- What?
651
00:38:14,600 --> 00:38:17,600
- Broadway.
- Ah. That's your street.
652
00:38:17,700 --> 00:38:22,800
Mm-hmm. Yes, that's my street,
but I'd like to give it to you.
653
00:38:22,900 --> 00:38:26,800
- That is, if you want it.
- Who wouldn't want it?
654
00:38:26,900 --> 00:38:30,700
I want you to write a play for me.
Oh, I mean when all this is over.
655
00:38:30,700 --> 00:38:34,500
- Really? - Your next play,
I want you to create a vehicle for Helen Sinclair.
656
00:38:34,600 --> 00:38:37,800
- I'm honored.
- But it must have size...
657
00:38:37,800 --> 00:38:40,000
an important woman.
658
00:38:40,000 --> 00:38:43,700
- A Borgia. A Curie. You name it.
- Yes!
659
00:38:43,800 --> 00:38:46,700
- I'll dedicate myself to it.
- Oh, and while you're at it...
660
00:38:46,800 --> 00:38:50,000
if you could just have
a look at that scene in Act ll.
661
00:38:50,100 --> 00:38:54,300
If she succeeds in seducing the Lieutenant
instead of being rejected a second time...
662
00:38:54,500 --> 00:38:59,700
- it could add some variation to the character.
- Yes, that's a wonderful idea.
663
00:38:59,700 --> 00:39:02,200
The heart is "labyrinthinine..."
664
00:39:02,300 --> 00:39:06,600
a maze beset with brutal pitfalls
and mean obstacles.
665
00:39:06,700 --> 00:39:11,100
David, I can't say that line. It doesn't
make sense. It's stupid. I don't get it.
666
00:39:11,200 --> 00:39:14,800
- It's just a stylish way of expressing a particular idea.
- Idea? What idea?
667
00:39:14,900 --> 00:39:17,000
The agony of love.
The difficulty of relating.
668
00:39:17,100 --> 00:39:19,800
- Why do you have to make it so hard to say?
- Just say the line.
669
00:39:19,800 --> 00:39:22,800
- No, I can't say it. It's a mouthful of "ghibberish."
- Gibberish!
670
00:39:22,900 --> 00:39:25,700
- I can't say it, and I will not say it.
- Just do the line.
671
00:39:25,800 --> 00:39:27,700
No! I'm not making
a fool of myself.
672
00:39:27,800 --> 00:39:29,700
She's right, it stinks.
673
00:39:29,800 --> 00:39:32,200
Oh-ho, Jesus,
another party heard from.
674
00:39:32,200 --> 00:39:34,900
It's a stupid way of talkin',
and nobody talks like that.
675
00:39:35,000 --> 00:39:37,300
- I don't believe this is happening.
- Frankenstein is right.
676
00:39:37,600 --> 00:39:39,600
When I want your opinion,
I will ask for it.
677
00:39:39,600 --> 00:39:42,300
I can't stand to listen to this
garbage. Every day I sit back there...
678
00:39:42,600 --> 00:39:44,300
and I hear the same bullshit
over and over again.
679
00:39:44,600 --> 00:39:46,300
Then leave.
No one asked you here.
680
00:39:46,600 --> 00:39:48,200
Oh, David, take it easy.
681
00:39:48,300 --> 00:39:50,700
Where did you study play writing?
Was it Sing Sing?
682
00:39:50,700 --> 00:39:53,100
"A maze beset
by brutal pitfalls--"
683
00:39:53,100 --> 00:39:55,700
Hey, Olive, I memorized it,
and I'm tellin' ya...
684
00:39:55,800 --> 00:39:59,200
it comes to me all the time,
and it stinks on fuckin' hot ice!
685
00:39:59,300 --> 00:40:02,300
- That's it. I quit. This is crazy.
- David.
686
00:40:02,300 --> 00:40:06,000
- Oh, please, I have a little hangover!
- I am famished.
687
00:40:06,100 --> 00:40:09,200
Everyone, everyone,
why don't we take lunch? An hour?
688
00:40:09,200 --> 00:40:12,100
You don't wanna say the goddamned line...
689
00:40:12,100 --> 00:40:15,400
- don't say the goddamned line!
- Oh, look at you, Mr. Temperamental.
690
00:40:15,600 --> 00:40:19,200
Lf that rat on a leash
barks one more time--
691
00:40:19,300 --> 00:40:22,200
- He sounds melancholy. Is he melancholy?
- You can trim the line.
692
00:40:22,200 --> 00:40:25,700
- Because she can't handle it? - Because you
said yourself you were having trouble with it.
693
00:40:25,800 --> 00:40:28,000
- So you agree with the gorilla?
- David, for Christ sake! It's one line!
694
00:40:28,100 --> 00:40:30,300
- It's not going to wreck the scene.
- That's not the point!
695
00:40:30,300 --> 00:40:33,800
Suddenly I'm taking suggestions from a
strong-arm man with an I.Q. of minus 50.
696
00:40:33,900 --> 00:40:35,800
I've had it!
697
00:40:35,900 --> 00:40:39,200
- David, for goodness' sake. Come on.
- Look who's here.
698
00:40:39,200 --> 00:40:42,100
Oh, God!
Get my rifle!
699
00:40:42,100 --> 00:40:45,700
I guess I'm just hypersensitive because
maybe deep down, I agree with the goon.
700
00:40:45,700 --> 00:40:50,100
- Maybe it is a turgid line. I don't know.
My nerves are shot. - No. Just calm yourself.
701
00:40:50,200 --> 00:40:54,900
Helen, the play is not working. It's not working,
and it's in my writing. It's not just Olive.
702
00:40:54,900 --> 00:40:59,100
That's the reason we have rehearsal.
That's the reason we go out of town.
703
00:41:01,100 --> 00:41:04,600
You have such a wonderful attitude.
I'm so lucky.
704
00:41:04,700 --> 00:41:07,300
The best part of this project every day
is that I get to come to work...
705
00:41:07,400 --> 00:41:10,300
and see you and be with you
and work with you.
706
00:41:10,400 --> 00:41:14,900
- I don't mean to spoil the day.
- Then let's not.
707
00:41:14,900 --> 00:41:18,200
Sit down here.
I'm going to show you something.
708
00:41:18,300 --> 00:41:20,200
Okay.
709
00:41:21,300 --> 00:41:24,100
This is my favorite spot
in the park.
710
00:41:26,100 --> 00:41:29,400
And in winter,
when it's covered with snow...
711
00:41:29,400 --> 00:41:34,100
at about 4:30 in the afternoon,
when it's just getting dark and the lights come on...
712
00:41:34,200 --> 00:41:36,200
it's all misty.
713
00:41:36,200 --> 00:41:41,100
And you can just see the silhouettes of
the Manhattan skyline through the trees.
714
00:41:41,200 --> 00:41:43,700
And it's magical.
715
00:41:43,800 --> 00:41:46,100
It's magical.
716
00:41:47,800 --> 00:41:50,400
Helen, I think I'm falling
in love with you.
717
00:41:50,700 --> 00:41:52,500
Don't.
718
00:41:52,700 --> 00:41:56,700
- I don't know if I can help it.
- David, please, we must be strong.
719
00:41:56,800 --> 00:42:00,300
I've kept a check on my feelings for so long,
but there's so much that I want to say.
720
00:42:00,400 --> 00:42:03,000
- What are words?
- Oh, gosh.
721
00:42:03,100 --> 00:42:06,300
David, everything meaningful
is in some unexplainable form.
722
00:42:06,400 --> 00:42:10,700
It's-- It's more primordial
than mere language.
723
00:42:10,800 --> 00:42:13,100
- I'm not sure I follow that one.
- Oh, be silent.
724
00:42:13,200 --> 00:42:15,200
- Be silent.
- Helen--
725
00:42:15,200 --> 00:42:18,300
No, let's just sit here
holding our thoughts.
726
00:42:18,400 --> 00:42:21,200
Not revealing them.
Be still.
727
00:42:21,300 --> 00:42:26,100
Let the birds have their song.
Let ours for now remain unsung.
728
00:42:26,100 --> 00:42:28,300
You're amazing.
729
00:42:35,400 --> 00:42:37,100
Stop it.
Stop it.
730
00:42:37,200 --> 00:42:39,900
- I'm not in the mood!
- What do you mean you're not in the mood?
731
00:42:40,000 --> 00:42:42,200
Honey, you better get in the mood,
'cause he's payin' the rent.
732
00:42:42,300 --> 00:42:46,100
Shut up, Venus!
- I'm not in the mood.
733
00:42:46,200 --> 00:42:50,800
- Do I have to be in the mood every time you are?
- Stop puttin' on the airs.
734
00:42:50,800 --> 00:42:54,100
- I'm not puttin' on airs. - I never knew you
when you wasn't ready for a little action.
735
00:42:54,100 --> 00:42:58,100
Well, today, I'm not ready for action.
I'm tired. Rehearsal is hard.
736
00:42:58,200 --> 00:43:01,200
- Get your motor goin'.
- No!
737
00:43:01,300 --> 00:43:04,400
- Hey, I brought you somethin'.
- What?
738
00:43:04,500 --> 00:43:07,700
- Huh?
- Hmm.
739
00:43:07,800 --> 00:43:09,800
What do ya say?
Come on.
740
00:43:09,800 --> 00:43:12,900
- Nickie.
- Oh, I got a great bottle of French wine.
741
00:43:12,900 --> 00:43:14,900
Joey Foster
made it himself.
742
00:43:15,000 --> 00:43:17,500
Pasadena. I'm pooped.
743
00:43:17,500 --> 00:43:19,900
Let's misbehave
744
00:43:19,900 --> 00:43:23,100
There's something wild
about you, child--
745
00:43:23,100 --> 00:43:25,500
Today, Ellen came
to watch rehearsal.
746
00:43:25,600 --> 00:43:29,200
She was very excited to meet the cast,
especially Warner Purcell.
747
00:43:29,300 --> 00:43:34,000
- Warner, Warner, Warner. This is Ellen. My girlfriend.
- Oh! Pleased to meet you.
748
00:43:34,100 --> 00:43:37,900
- You should be very proud. He has a rare talent.
- Yes, he does.
749
00:43:38,000 --> 00:43:40,800
The morning proceeded
very smoothly for the first half hour.
750
00:43:40,900 --> 00:43:42,800
And then
another incident occurred.
751
00:43:42,900 --> 00:43:46,900
The heart obeys
its own rules. Ha!
752
00:43:47,000 --> 00:43:51,500
As a doctor, your respect for
rationalities is not very profound.
753
00:43:51,600 --> 00:43:53,500
- David, I-- David, can I--
- Yes?
754
00:43:53,600 --> 00:43:57,300
I don't understand the character here.
Suddenly, she's too wise.
755
00:43:57,400 --> 00:44:01,600
And, David, I don't know why she's
telling her to dump her fiance.
756
00:44:01,800 --> 00:44:04,200
- She's caught up with the Lieutenant.
- The Lieutenant?
757
00:44:04,200 --> 00:44:06,900
But it's as if she's just mouthing
the playwright's philosophy.
758
00:44:07,000 --> 00:44:10,200
- Why would she just up and leave Tom?
- Because she's impulsive.
759
00:44:10,200 --> 00:44:13,800
- It doesn't feel right.
- Well, yeah, and I don't understand, you know...
760
00:44:13,900 --> 00:44:17,200
if I'm a doctor, how come
I'm giving her such bad advice?
761
00:44:17,200 --> 00:44:19,300
- It's not bad advice.
- It is bad advice.
762
00:44:19,400 --> 00:44:23,400
But, David, you see, in Act I,
she says that Tom changed her life.
763
00:44:23,500 --> 00:44:27,000
- Yes, but she's recklessly driven to the Lieutenant.
- It doesn't make sense.
764
00:44:27,100 --> 00:44:29,400
- Just give it a chance.
- There's something contradictory about it.
765
00:44:29,500 --> 00:44:31,800
- Just give it a chance.
- It's just bad writing.
766
00:44:31,900 --> 00:44:34,500
I'll tell ya what's wrong.
767
00:44:34,600 --> 00:44:37,300
- Oh, Christ! Julian?
- Now let's wait a minute.
768
00:44:37,300 --> 00:44:41,200
- Let's not get into a situation here.
- She shouldn't leave the guy.
769
00:44:41,200 --> 00:44:43,400
She should stick with him.
770
00:44:43,400 --> 00:44:47,600
Then when the Lieutenant has that fight with
his wife and walks out, he should notice her.
771
00:44:47,600 --> 00:44:50,300
That way,
it won't be boring.
772
00:44:58,600 --> 00:45:02,000
Somebody say something!
773
00:45:02,100 --> 00:45:05,500
- I think it's a good idea.
- It's not a bad one.
774
00:45:05,600 --> 00:45:07,900
- You're kidding.
- Oh, no.
775
00:45:07,900 --> 00:45:10,100
It's, uh--
It really isn't.
776
00:45:10,200 --> 00:45:13,100
Personally, I like it.
I think it's very dramatic.
777
00:45:13,200 --> 00:45:16,200
Ellen, do you see what I'm up against?
Do you see what I have to put up with?
778
00:45:16,300 --> 00:45:19,200
- I think he has an interesting concept.
- What?
779
00:45:19,200 --> 00:45:21,400
Not to say that--
780
00:45:21,500 --> 00:45:24,000
- She doesn't leave the Lieutenant.
- Right.
781
00:45:24,100 --> 00:45:26,100
- She doesn't leave her fiance.
- Right.
782
00:45:26,200 --> 00:45:29,500
We lose that scene, and suddenly
a lot of good possibilities open up.
783
00:45:29,600 --> 00:45:32,400
- It's a helluva lot better than what you got.
- I actually like it.
784
00:45:32,500 --> 00:45:35,000
- You're taking his side?
- It's not a question of sides.
785
00:45:35,100 --> 00:45:38,400
- David, she's right.
The play always bogged down there. - Try it.
786
00:45:38,500 --> 00:45:42,400
- That's why the actors always looked so uncomfortable.
- I can't make those changes.
787
00:45:42,500 --> 00:45:46,900
- Why not? H-H-How do they meet again?
- Because the--
788
00:45:47,000 --> 00:45:51,300
The Lieutenant notices her, right?
And then, he goes after her.
789
00:45:51,300 --> 00:45:55,300
I mean, that's the way it would happen in real life.
He goes after her. Come on.
790
00:45:55,400 --> 00:45:59,600
You can't force it, kid. I mean, if it's
meant to go in a whole other direction--
791
00:45:59,600 --> 00:46:03,100
- I quit!
- Oh, don't be so egotistical.
792
00:46:03,200 --> 00:46:05,300
- I'm outta here.
- Egotistical? Why? Because I protect my play?
793
00:46:05,400 --> 00:46:08,900
- Protect it against what? A good idea?
- Oh, thank you for the support.
794
00:46:09,000 --> 00:46:12,200
- No, no, I quit! That's it. Good-bye.
- I'm gonna go shoot crap.
795
00:46:12,300 --> 00:46:14,500
- That's it. I quit.
- Wait a minute.
796
00:46:14,500 --> 00:46:17,500
David. David!
797
00:46:17,500 --> 00:46:19,700
- I'm gonna go shoot crap.
- David.
798
00:46:19,900 --> 00:46:23,100
Mommy's coming.
799
00:46:23,200 --> 00:46:28,200
If an artist can, it gives us all a
much better chance, and he is an artist.
800
00:46:28,200 --> 00:46:31,600
- Is that why he's getting all hot and bothered
all the time? - Artists are very emotional.
801
00:46:31,700 --> 00:46:34,400
- Artists are emotional, are they?
- Yes, they are.
802
00:46:34,500 --> 00:46:37,300
Hey, I've been meaning
to ask ya...
803
00:46:37,400 --> 00:46:42,100
is it my imagination
or are you always... Iookin' my way?
804
00:46:42,200 --> 00:46:45,200
- You're a very observant girl.
Yes, I have been looking at you. - Thank you.
805
00:46:45,200 --> 00:46:48,200
Yeah, well, I notice somethin'.
I notice you have...
806
00:46:48,200 --> 00:46:51,500
a really
big appetite.
807
00:46:51,600 --> 00:46:55,000
- Yes, I do have a big appetite.
- Yeah, I noticed that, but--
808
00:46:55,100 --> 00:46:57,100
- Where's your baby-sitter?
- What, Cheech?
809
00:46:57,200 --> 00:47:00,200
- Yes.
- Ah, you don't have to worry about Cheech. He took off.
810
00:47:00,200 --> 00:47:04,300
- Did he?
- A minute there's a chance, he runs off to play craps.
811
00:47:04,300 --> 00:47:07,700
- Takes about two hours.
- Well, listen, now that you've been let off the leash...
812
00:47:08,000 --> 00:47:10,500
- Yeah?
- Why don't we go in...
813
00:47:10,500 --> 00:47:13,800
- and get to know each other a bit better?
- Okay.
814
00:47:14,000 --> 00:47:16,500
That might be pleasant.
815
00:47:21,600 --> 00:47:23,200
Well.
816
00:47:23,300 --> 00:47:25,200
- Hi.
- Hi.
817
00:47:25,300 --> 00:47:27,500
Hi.
818
00:47:30,200 --> 00:47:32,800
- You're a very attr-- Wait just a minute.
- What? What? What?
819
00:47:34,400 --> 00:47:36,600
- Before we start--
- Yeah?
820
00:47:36,700 --> 00:47:39,000
- What? Oh.
- Just a--
821
00:47:39,100 --> 00:47:42,100
A little poultry.
Okay.
822
00:47:42,200 --> 00:47:44,100
- All right. Let's go.
- All right.
823
00:47:44,200 --> 00:47:46,700
You do have a big appetite.
824
00:47:46,800 --> 00:47:50,200
Pull yourself together. So he came up with a good idea.
825
00:47:50,300 --> 00:47:52,700
- Helen, not you too?
- If you did follow his suggestion...
826
00:47:52,800 --> 00:47:56,000
you'd be able to put in that new scene
in Act Ill that you've always wanted to.
827
00:47:56,100 --> 00:48:00,000
- Yes, but it'd--
- And that, that casts a whole new light...
828
00:48:00,100 --> 00:48:02,500
on my relationship
with my husband. Yes!
829
00:48:02,600 --> 00:48:05,200
So you're saying
you want me to change it?
830
00:48:05,300 --> 00:48:08,700
At the risk of seeing you
upset on your birthday.
831
00:48:08,700 --> 00:48:11,400
- How did you know it was my birthday?
- Happy birthday.
832
00:48:11,500 --> 00:48:14,700
- Helen! Ohh.
- Open it.
833
00:48:14,800 --> 00:48:17,300
Gosh!
834
00:48:17,400 --> 00:48:20,700
Oh, gosh.
Really. It's--
835
00:48:20,800 --> 00:48:23,500
Don't get too excited.
I didn't buy it.
836
00:48:23,600 --> 00:48:26,600
Cole Porter gave it to me.
It's one of many.
837
00:48:26,600 --> 00:48:29,200
- Now I'm gonna have to take up smoking.
- Hmm.
838
00:48:29,300 --> 00:48:32,400
Have a good time tonight with your girlfriend.
I'm sure she's taking you out.
839
00:48:32,400 --> 00:48:36,500
- Yes, with the Marxes.
- Yes, well... make a birthday wish.
840
00:48:36,600 --> 00:48:41,400
- I have.
- I hope you get everything in life that you want.
841
00:48:41,500 --> 00:48:43,400
Helen, have you thought
about what I said before...
842
00:48:43,400 --> 00:48:45,700
- about the way I feel?
- Don't speak.
843
00:48:46,900 --> 00:48:50,200
- But I want to express--
- Don't speak. Don't.
844
00:48:51,800 --> 00:48:53,700
- Just a few things I want to tell you.
- Don't speak.
845
00:48:53,800 --> 00:48:56,700
- When we first met--
- No, no. Don't speak.
846
00:48:56,800 --> 00:48:59,900
Please don't speak.
Please don't speak.
847
00:49:00,100 --> 00:49:02,800
No! No!
No! Go!
848
00:49:02,900 --> 00:49:06,700
Go, gentle Scorpio, go!
849
00:49:06,800 --> 00:49:11,200
Your Pisces wishes you
every happy return.
850
00:49:11,900 --> 00:49:14,200
- Just one--
- Don't speak!
851
00:49:16,500 --> 00:49:20,500
Wow, a wallet!
852
00:49:20,500 --> 00:49:23,500
- That's appropriate.
- It was the nicest one I saw by far.
853
00:49:23,600 --> 00:49:26,900
- The piping. That's real leather.
- Places to put stuff in there.
854
00:49:27,100 --> 00:49:28,900
- You like it?
- It's amazing. Beautiful.
855
00:49:29,200 --> 00:49:31,100
- You like it?
- Yes, really.
856
00:49:31,200 --> 00:49:35,200
- Now all I need is some money, and it'll hold its shape.
- You will prosper, my friend.
857
00:49:35,200 --> 00:49:38,400
- I promise. Am I right, Hilda?
- No, I love it.
858
00:49:38,500 --> 00:49:41,800
- Can I pick 'em or can I pick 'em?
- Oh, you sure can, Julian.
859
00:49:41,900 --> 00:49:44,900
- Happy birthday.
- Thank you. Thank you. Thanks for spending it with me.
860
00:49:45,100 --> 00:49:47,500
- Oh, it's wonderful.
- Hilda, touch glasses there.
861
00:49:50,900 --> 00:49:54,500
Hey, look who's here
with his girlfriend.
862
00:49:54,600 --> 00:49:57,800
- Oh, no.
- I owe that big Gorgonzola an apology.
863
00:49:57,900 --> 00:50:02,500
What are you talking about? Now that he's drunk,
he's gonna apologize to everyone. Strangers.
864
00:50:02,500 --> 00:50:06,800
Today at rehearsal, he came up with
that little suggestion, and I overreacted.
865
00:50:06,900 --> 00:50:10,700
I let my ego get in the way of the work,
and I feel I owe him an apology.
866
00:50:10,700 --> 00:50:14,300
- Ah, you're all right. You handled it very well.
- I'll be right back.
867
00:50:22,300 --> 00:50:25,500
I take it all back. It was a good
suggestion, and I apologize.
868
00:50:25,600 --> 00:50:27,600
- Say hello to Violet.
- Hi, Violet.
869
00:50:27,600 --> 00:50:30,300
- Hi, nice to meet you. Who's this, Cheech?
- He's a writer.
870
00:50:30,400 --> 00:50:34,300
- I'm a struggling writer.
- You wanna know what the problem with your story is?
871
00:50:34,300 --> 00:50:38,400
- What's the problem? Are you gonna do some more
rewrites? - Sit down. Take a load off your feet.
872
00:50:38,400 --> 00:50:42,200
- Moe, go on. Come here. Get him a beer.
- Why not?
873
00:50:42,200 --> 00:50:44,200
- He's a writer?
- Yeah.
874
00:50:44,300 --> 00:50:47,600
- I didn't know you knew writers.
- Do me a favor. Shut up.
875
00:50:47,600 --> 00:50:49,600
Don't tell me
to shut up.
876
00:50:49,600 --> 00:50:52,000
All right,
number one.
877
00:50:52,200 --> 00:50:55,300
See, I don't believe she loves
the guy right from the start.
878
00:50:55,400 --> 00:50:58,900
She's too on, uh, top of him
all the time. That's not love.
879
00:50:58,900 --> 00:51:02,700
That's like keeping somebody in prison.
But if you changed it, right?
880
00:51:02,800 --> 00:51:05,600
And she left him,
then she would feel so bad about it...
881
00:51:05,700 --> 00:51:09,600
that she would have the nervous breakdown
and go nuts. -
882
00:51:09,600 --> 00:51:12,400
- How ya doin', Cheech?
- Tulio, listen, I gotta see you later.
883
00:51:12,500 --> 00:51:15,900
- I wanna get down on the Cardinals for
the doubleheader, all right? - You got it.
884
00:51:16,000 --> 00:51:20,300
- Them birds look good. - Teach your friend
some manners and get him outta here.
885
00:51:20,300 --> 00:51:22,800
- All right, so--
- You were-- You were talking about--
886
00:51:22,900 --> 00:51:25,500
Right, all right.
So, now...
887
00:51:25,500 --> 00:51:29,600
if the doctor feels what Sylvia's
feelin'-- That's her name, Sylvia.
888
00:51:29,700 --> 00:51:32,000
- There's a Sylvia in my neighborhood.
- Oh, yeah?
889
00:51:32,200 --> 00:51:35,500
- Yeah. What was her name? Sylvia Pincus.
- Sylvia Pincus.
890
00:51:35,600 --> 00:51:38,300
Sylvia Pincus. Big, fat Jewish broad,
had a little tiny husband.
891
00:51:38,400 --> 00:51:41,300
She chopped him up with an ax and mailed
his pieces all over the country.
892
00:51:41,300 --> 00:51:43,700
I don't know what
she was tryin' to prove.
893
00:51:43,700 --> 00:51:45,700
That's disgusting. You gotta
tell that story in front of me?
894
00:51:45,700 --> 00:51:47,400
- Relax.
- You know I got a weak stomach.
895
00:51:47,400 --> 00:51:49,900
- You were tellin' me about the play a minute ago.
- Don't interrupt me.
896
00:51:50,000 --> 00:51:52,900
- You were sayin' about Sylvia?
- Right. So if the doctor feels what Sylvia's feelin'--
897
00:51:53,000 --> 00:51:55,000
- Uh-huh.
- Know what I mean?
898
00:51:55,000 --> 00:51:58,000
Yeah. She identifies
with her patient, a bit.
899
00:51:58,000 --> 00:52:01,800
Right. This way when she gets jealous,
it makes sense.
900
00:52:01,900 --> 00:52:03,800
- Right.
- Uh-huh.
901
00:52:03,900 --> 00:52:06,700
There's gotta be a time when the
Lieutenant has it out with the doctor.
902
00:52:06,700 --> 00:52:08,700
Why isn't that in there?
903
00:52:08,800 --> 00:52:10,900
You're talking about a whole
different direction for the play.
904
00:52:11,000 --> 00:52:12,900
Definitely.
905
00:52:14,600 --> 00:52:16,600
Think about it.
906
00:52:16,600 --> 00:52:20,400
How would the audience know
Sylvia was feeling guilty? Lf--
907
00:52:20,500 --> 00:52:22,600
Oh. I don't know.
908
00:52:22,700 --> 00:52:24,700
Wait a minute.
Yeah. Wait.
909
00:52:24,700 --> 00:52:28,700
You could work it out with maybe you--
you hear what she's thinkin'.
910
00:52:28,700 --> 00:52:31,600
- You mean she speaks her thoughts aloud?
- Sure, why not? It's a play anyhow.
911
00:52:31,700 --> 00:52:34,800
It don't have to be real,
but it'll be stronger.
912
00:52:34,800 --> 00:52:38,600
You think about that.
And you, don't interrupt me no more.
913
00:52:38,700 --> 00:52:40,600
I'm sorry.
914
00:52:42,400 --> 00:52:47,000
So how come you had so much
to say to that Valenti goon?
915
00:52:47,100 --> 00:52:49,600
No, nothing. I was just
thanking him for his ideas.
916
00:52:49,600 --> 00:52:53,700
- What ideas? He only had the one suggestion,
didn't he? - Yeah.
917
00:52:53,700 --> 00:52:56,700
- That was just it.
- So do you like your wallet?
918
00:52:56,700 --> 00:52:58,700
- What?
- The wallet.
919
00:52:58,700 --> 00:53:01,000
- Oh, yes, yes, it's terrific.
- Are you sure?
920
00:53:01,100 --> 00:53:04,600
Oh, it's very exciting. I love
leatherette. Always have loved it.
921
00:53:04,700 --> 00:53:07,000
Boy, are you loaded.
922
00:53:07,100 --> 00:53:09,100
- Yeah.
- Happy birthday.
923
00:53:09,100 --> 00:53:11,100
Thanks.
924
00:53:13,400 --> 00:53:18,400
September 24. I gave the cast
the rewrites. Everyone seemed pleased.
925
00:53:18,400 --> 00:53:21,100
- These are brilliant! Oh!
- They are.
926
00:53:21,400 --> 00:53:23,300
Now Sylvia's
not so passive.
927
00:53:23,400 --> 00:53:27,400
She uses her wiles to trap the Lieutenant,
and that's what causes her guilt!
928
00:53:27,500 --> 00:53:29,900
The whole thing is motivated.
It drives on. Wonderful.
929
00:53:30,000 --> 00:53:33,500
- You mean I gotta memorize all new lines?
- They're wonderful!
930
00:53:33,600 --> 00:53:37,800
- How did you come up with such divine changes?
- They're not really mine--
931
00:53:37,900 --> 00:53:41,800
Oh, no? Whose are they, God's?
932
00:53:41,900 --> 00:53:45,600
- Well, they are mine in the sense that they're mine--
- Your modesty becomes you.
933
00:53:45,700 --> 00:53:47,800
But let's face it;
you are a major talent.
934
00:53:47,900 --> 00:53:50,000
A major new voice
in the theater.
935
00:53:50,100 --> 00:53:53,600
The word genius gets thrown around
so frequently in this business...
936
00:53:53,600 --> 00:53:56,100
- but, darling, if the shoe fits--
- Congratulations.
937
00:53:56,100 --> 00:54:00,100
- It finally has balls.
- Now, if we can do something about Act Ill...
938
00:54:00,100 --> 00:54:02,500
we got a big, fat hit
on our hands.
939
00:54:02,600 --> 00:54:06,400
- Three cheers for the writer! Hip-hip--
- Hooray!
940
00:54:06,500 --> 00:54:09,700
I stayed up all night
working on the third act.
941
00:54:09,700 --> 00:54:11,700
I admit it came rather hard...
942
00:54:11,700 --> 00:54:15,000
and before I handed in the pages,
I sent them over to Cheech to read.
943
00:54:15,000 --> 00:54:17,800
He suggested I come down
to his office.
944
00:54:21,900 --> 00:54:24,500
- You missed the idea.
- I did?
945
00:54:24,600 --> 00:54:27,100
Yeah, you did.
Plus, nobody talks like that.
946
00:54:27,200 --> 00:54:30,700
- You got that problem. You don't write like people talk.
- I take poetic license.
947
00:54:30,700 --> 00:54:35,400
Poetic license, bullshit. People believe
what they see when the actors sound real.
948
00:54:35,500 --> 00:54:38,500
- Come here. Let me show you.
- What are you doing?
949
00:54:38,500 --> 00:54:40,500
- What does it look like I'm doin'?
- You're gonna write it?
950
00:54:40,600 --> 00:54:44,800
What am l? A fuckin' idiot? They taught me
how to write in school before I burned it down.
951
00:54:44,800 --> 00:54:49,000
- You burned down your school? - Yeah, it was
Lincoln's birthday. There was nobody there.
952
00:54:49,000 --> 00:54:52,100
- If you actually write--
- Look, I know how people talk, all right?
953
00:54:52,100 --> 00:54:54,100
Go shoot a rack,
and let me do this.
954
00:54:54,100 --> 00:54:56,900
But if you actually write it,
then I'm not--
955
00:54:57,000 --> 00:54:59,500
- Don't worry about it. I ain't gonna tell anybody.
- No?
956
00:54:59,600 --> 00:55:02,500
No. I saw you playin' the big shot.
I know what it's all about.
957
00:55:02,600 --> 00:55:05,000
Where I come from,
nobody squeals.
958
00:55:10,700 --> 00:55:12,900
Go shoot a rack.
959
00:55:12,900 --> 00:55:15,300
Stop starin' at me.
960
00:55:15,500 --> 00:55:19,500
What dialogue!
This is better than O'Neill!
961
00:55:19,500 --> 00:55:21,000
Max Anderson
will never touch you!
962
00:55:21,100 --> 00:55:23,000
So you liked it.
963
00:55:23,100 --> 00:55:26,900
It's so full of passion!
It's so full of life!
964
00:55:27,000 --> 00:55:31,000
- I hoped it would lift the story.
- What a difference between this and your first draft.
965
00:55:31,100 --> 00:55:36,000
You hadn't found yourself yet. The idea
was there, but it hadn't crystallized.
966
00:55:36,100 --> 00:55:38,900
You needed to hear it
on its feet, and now this.
967
00:55:39,000 --> 00:55:42,000
It's no longer tepid
and cerebral.
968
00:55:42,000 --> 00:55:45,900
It's full of life!
It's full of passion!
969
00:55:45,900 --> 00:55:50,000
It reeks with humid sexuality!
It's carnivorous at last!
970
00:55:50,000 --> 00:55:54,600
- You thought my first draft was cerebral and tepid?
- Only the plot and dialogue.
971
00:55:54,600 --> 00:55:58,700
- But this--
- Was-Was-Was there nothing in the original draft...
972
00:55:58,700 --> 00:56:00,700
that you feel
is worth saving?
973
00:56:00,700 --> 00:56:04,000
The stage directions were lucid.
Best I've ever seen.
974
00:56:04,100 --> 00:56:06,700
- And the color of the binder. Good choice.
- Thank you.
975
00:56:06,800 --> 00:56:08,900
I always had a flare
for stage directions.
976
00:56:09,000 --> 00:56:13,200
I went back and reread your earlier plays.
They suffered from the same problem.
977
00:56:13,200 --> 00:56:16,900
Good ideas, but too contrived, no real guts.
978
00:56:17,000 --> 00:56:19,000
It's like you
finally happened.
979
00:56:19,100 --> 00:56:21,300
- Helen, I have a confession to make.
- Yes?
980
00:56:24,000 --> 00:56:26,300
- I--
- Don't speak!
981
00:56:26,300 --> 00:56:29,100
No, no, don't speak.
I know you wanna deprecate yourself.
982
00:56:29,100 --> 00:56:33,500
I know you do, but you're
going to take this town by storm.
983
00:56:37,800 --> 00:56:39,900
I didn't...
984
00:56:41,200 --> 00:56:43,900
realize what
an inspiration...
985
00:56:43,900 --> 00:56:46,200
you've been
to my writing.
986
00:56:46,300 --> 00:56:48,800
Oh, David.
987
00:56:48,800 --> 00:56:51,100
Dear, dear David.
988
00:56:51,200 --> 00:56:54,200
Pungent,
seething artist.
989
00:56:54,300 --> 00:56:57,100
The cocoon
has opened.
990
00:57:02,000 --> 00:57:05,800
I would give my body freely to
the man who wrote those words.
991
00:57:05,900 --> 00:57:09,900
Those glorious,
powerful words.
992
00:57:10,000 --> 00:57:11,900
- Helen--
- No, don't speak.
993
00:57:12,000 --> 00:57:15,300
Don't speak. Don't speak. No. Silence. Silence.
994
00:57:15,400 --> 00:57:18,200
- Don't speak.
- Please.
995
00:57:21,600 --> 00:57:25,100
September 28.
The play is working much better now.
996
00:57:25,100 --> 00:57:29,100
Helen has been getting on more pleasantly with Eden,
and I believe she likes Mr. Woofles.
997
00:57:29,100 --> 00:57:32,800
Back! Back! Back! Back!
998
00:57:32,800 --> 00:57:36,600
Warner Purcell and Olive seem
to always be exchanging coy glances.
999
00:57:36,700 --> 00:57:40,100
I don't know if it's my imagination, but
he seems to have put on a little weight.
1000
00:57:40,200 --> 00:57:46,000
Perhaps the tension of our upcoming Boston
opening has caused him to cheat on his diet.
1001
00:57:46,100 --> 00:57:48,300
Can we go
from "God of our fathers"?
1002
00:57:51,800 --> 00:57:54,200
Take it from
"God of our fathers."
1003
00:58:00,100 --> 00:58:05,400
Oh! God of our fathers,
help me! Help me!
1004
00:58:05,700 --> 00:58:09,800
I was thinkin' about
when Sylvia's in the crazy house--
1005
00:58:09,800 --> 00:58:11,800
- Sanitarium.
- Yeah, yeah, yeah.
1006
00:58:11,800 --> 00:58:14,700
- She gets the D.T.s, and she sees things.
- She hallucinates.
1007
00:58:14,700 --> 00:58:18,400
- No, she sees things. You know, like visions.
- Like what kind of visions?
1008
00:58:18,500 --> 00:58:22,800
- Like her dead husband, and then they have that talk.
- The one in the third act?
1009
00:58:22,900 --> 00:58:26,200
That's right. She couldn't
face up to him when he was alive.
1010
00:58:26,300 --> 00:58:29,800
That's great. That's great.
That's great.
1011
00:58:29,900 --> 00:58:32,200
- It is great.
- Why didn't I think of that?
1012
00:58:33,300 --> 00:58:35,300
Joe,
gimme a beer.
1013
00:58:43,100 --> 00:58:46,200
That's great.
It's all great.
1014
00:58:46,200 --> 00:58:48,200
What's the matter?
1015
00:58:48,200 --> 00:58:50,400
Nothin'. I just gotta
take a break for a minute.
1016
00:58:50,500 --> 00:58:52,800
- You wanna take a break?
- Yeah.
1017
00:58:52,900 --> 00:58:56,800
- All right.
- Got a cramp.
1018
00:59:00,000 --> 00:59:02,200
Man.
1019
00:59:02,200 --> 00:59:05,400
It's a nice-- nice spot.
1020
00:59:05,500 --> 00:59:07,400
- Come here a long time.
- Yeah?
1021
00:59:07,500 --> 00:59:10,200
- Yeah.
- You from around here? You live around here?
1022
00:59:10,200 --> 00:59:13,500
- New York, born and raised. West 45th Street.
- Mmm.
1023
00:59:16,300 --> 00:59:19,100
- Got a big family?
- No.
1024
00:59:19,100 --> 00:59:21,800
Got a sister who
lives in Jersey.
1025
00:59:21,900 --> 00:59:24,800
I had a brother,
but he got killed.
1026
00:59:24,900 --> 00:59:27,900
- I'm sorry.
- It's all right.
1027
00:59:28,000 --> 00:59:32,700
He welshed on some Shylocks. They took him
out to Canarsie, shot him through the head.
1028
00:59:32,800 --> 00:59:34,800
Your brother?
1029
00:59:38,100 --> 00:59:41,100
How'd you get into
your line of work?
1030
00:59:41,200 --> 00:59:43,100
- My line of work?
- Yeah.
1031
00:59:43,200 --> 00:59:45,400
My father.
Was he tough.
1032
00:59:47,200 --> 00:59:50,000
You ever think about
doin' anything else?
1033
00:59:50,000 --> 00:59:52,000
- Like what?
- Like writing.
1034
00:59:52,000 --> 00:59:54,000
- Writing.
- Yeah.
1035
00:59:54,000 --> 00:59:56,500
- Come on, I've been collecting for the Mob
since I was 16. - You have a huge gift.
1036
00:59:56,800 --> 01:00:01,200
- Yeah.
- No, I'm serious. Really, it's-- it's uncanny.
1037
01:00:01,200 --> 01:00:04,800
- I mean, your instincts. Dramatic instincts.
- Listen to me.
1038
01:00:04,900 --> 01:00:07,900
- Your play was very good. Your play was very good.
- Really enviable.
1039
01:00:07,900 --> 01:00:11,100
You just didn't use your head.
Sometimes people don't think.
1040
01:00:12,900 --> 01:00:15,100
Well, sure, for you
it's simple, you know?
1041
01:00:15,100 --> 01:00:20,100
To someone who can draw, it all seems
logical, but for someone who can't--
1042
01:00:20,100 --> 01:00:23,100
I studied playwriting
with every teacher. I read every book.
1043
01:00:23,200 --> 01:00:25,100
Let me tell you about teachers.
I hate teachers.
1044
01:00:25,200 --> 01:00:28,500
Those blue-haired bitches used to
whack us with rulers. Forget teachers.
1045
01:00:28,500 --> 01:00:32,200
- There was a boy I knew when I was growing up,
and he played accordion. - Yeah?
1046
01:00:32,300 --> 01:00:36,100
I loved accordion. And I practiced
and practiced, and I got fluent.
1047
01:00:36,100 --> 01:00:40,200
Yet he would squeeze one single note,
and the sound of it would make you cry.
1048
01:00:40,200 --> 01:00:43,000
- I used to want to dance. You know that?
- Make you cry.
1049
01:00:43,000 --> 01:00:47,300
- I mean it. You ever see George Raft dance?
- Oh, yeah.
1050
01:00:54,300 --> 01:00:56,200
- So--
- What?
1051
01:00:56,300 --> 01:01:00,900
Mr. Marx says that you, uh, actually
rubbed a few people out. Is that true?
1052
01:01:01,000 --> 01:01:03,500
- What is this, the third degree?
- Not at all.
1053
01:01:03,600 --> 01:01:06,300
- Then why you sayin' that for?
- I'm just really--
1054
01:01:06,400 --> 01:01:08,900
The truth is
I'm fascinated.
1055
01:01:08,900 --> 01:01:12,100
- I took care of a few guys.
- Why?
1056
01:01:12,100 --> 01:01:14,100
Why, why?
I don't know why.
1057
01:01:14,100 --> 01:01:17,100
They cheated Mr. V. They went back
on a debt. I'll tell you one thing.
1058
01:01:17,100 --> 01:01:20,100
I never rubbed out a guy
who didn't deserve it.
1059
01:01:22,800 --> 01:01:28,200
Uh, so what does it actually
feel like when you actually...
1060
01:01:28,300 --> 01:01:30,400
- What?
- K-kill a man?
1061
01:01:30,500 --> 01:01:32,600
- It feels okay.
- It feels okay?
1062
01:01:32,800 --> 01:01:35,900
- Yeah.
- Even the first time?
1063
01:01:36,000 --> 01:01:39,000
First time?
First time was a punk in prison.
1064
01:01:39,100 --> 01:01:42,500
He squealed on me, and I stuck
an ice pick in his back.
1065
01:01:42,600 --> 01:01:44,500
- An ice pick?
- An ice pick, yeah.
1066
01:01:44,600 --> 01:01:48,900
Had to do it over and over, 40 times.
It was a mess. Forget about it.
1067
01:01:51,300 --> 01:01:54,900
October 1.
Helen Sinclair gave a party.
1068
01:01:54,900 --> 01:01:57,600
It was like being in a dream.
Maxwell Anderson was there...
1069
01:01:57,600 --> 01:02:00,400
and George S. Kaufman
and Gertrude Lawrence.
1070
01:02:00,500 --> 01:02:04,100
Darling, I want you to meet
my playwright, David Shayne.
1071
01:02:04,200 --> 01:02:07,900
Oh, you have quite a find here, darling.
Word's all over the streets.
1072
01:02:07,900 --> 01:02:10,900
Oh, well, Helen's made me out to be
quite a hero. You're too kind.
1073
01:02:11,000 --> 01:02:13,100
No, I'm not kind.
Helen will vouch for that.
1074
01:02:13,200 --> 01:02:16,000
But I read your play,
and it's nothing short of marvelous.
1075
01:02:16,000 --> 01:02:18,300
I let him read the rewrite,
not the eunuch version.
1076
01:02:18,400 --> 01:02:23,000
- My tongue is hanging out to present
it on the London stage. - London?
1077
01:02:23,100 --> 01:02:26,900
Look at his face, Helen. You're
going to be the toast of Broadway.
1078
01:02:27,000 --> 01:02:29,000
Why not the West End, hmm?
1079
01:02:29,100 --> 01:02:32,500
- Well, I'm so glad you enjoyed the show.
- It was extraordinary.
1080
01:02:32,500 --> 01:02:35,100
What's this I hear
about Helen's latest? Ls that true?
1081
01:02:35,200 --> 01:02:38,600
- Oh, yes. He's creating a vehicle
for Helen for next season. - Really?
1082
01:02:38,700 --> 01:02:42,500
It's a little idea she's wanted to
do for years. She plays Jesus' mother.
1083
01:02:42,600 --> 01:02:44,500
- Oh!
- It's a whole Oedipal thing:
1084
01:02:44,600 --> 01:02:48,000
He loves her, wants to do in the father.
Well, you can see the complications.
1085
01:02:48,000 --> 01:02:51,000
- Of course.
- Of course, we're talking to Ira Gershwin...
1086
01:02:51,000 --> 01:02:54,500
about a modern musical version
of The Hunchback of Notre Dame.
1087
01:02:54,600 --> 01:02:59,300
- Quasimodo Jones.
- Helen has such a-a-a-- a new vitality.
1088
01:02:59,400 --> 01:03:03,400
- Even her face looks so smooth.
- I know. The monkey glands are working.
1089
01:03:08,300 --> 01:03:11,300
Can you leave
your purse here, or is it--
1090
01:03:11,300 --> 01:03:14,400
- Why did you close the door?
- I've wanted to be alone with you...
1091
01:03:14,400 --> 01:03:16,500
since this
boring party began.
1092
01:03:16,600 --> 01:03:20,600
This party, boring?
This party's magnificent! It's glorious!
1093
01:03:20,600 --> 01:03:23,400
Make love to me.
1094
01:03:23,400 --> 01:03:25,700
Here? Now?
1095
01:03:25,700 --> 01:03:30,300
- I see no reason to wait.
- Jerome Kern is on the other side of the door.
1096
01:03:30,300 --> 01:03:32,700
Yes, he's a wonderful composer.
You'll have to meet him.
1097
01:03:32,700 --> 01:03:36,200
Now hang up your pants.
1098
01:03:36,200 --> 01:03:39,400
I feel good today. You know, I went
to 34th Street. I got this new dress.
1099
01:03:39,500 --> 01:03:41,400
- You like it?
- It's very nice.
1100
01:03:41,500 --> 01:03:44,300
- Isn't it? I think we should go dancin' tonight.
- We're gonna go dancin'.
1101
01:03:44,400 --> 01:03:46,300
- I gotta take care of some business.
- Business now?
1102
01:03:46,400 --> 01:03:49,400
- Oh, come on.
- I'll take you dancin' in a minute. Just stay there.
1103
01:03:49,400 --> 01:03:51,400
All right.
1104
01:03:58,600 --> 01:04:02,400
- Hey, I wanna talk to you.
- Hi, Cheech! What are you doing here?
1105
01:04:02,500 --> 01:04:06,300
Listen, usually I wouldn't give you
no warning, but you're a good actor.
1106
01:04:06,300 --> 01:04:09,500
You're doin' a good job, and it'll
be a big problem if you're not around.
1107
01:04:09,500 --> 01:04:13,400
Lf you go near Nick Valenti's girl one more time...
1108
01:04:13,500 --> 01:04:17,300
I'm gonna stick my gun in your mouth
and blow a hole in the top of your head.
1109
01:04:17,300 --> 01:04:21,000
- All right? - Cheech, it's so funny how
you've misconstrued the situation.
1110
01:04:21,100 --> 01:04:24,400
Listen to me. I said don't give me
no shit now, you hear?
1111
01:04:24,400 --> 01:04:26,700
- All right, all right.
- I know what's goin' on.
1112
01:04:26,800 --> 01:04:28,700
- I understand, Mr. Cheech.
- You understand?
1113
01:04:28,800 --> 01:04:32,100
- I do understand, yes.
- Next time I come back angry. You hear what I said?
1114
01:04:32,200 --> 01:04:35,100
- Yes, I understand.
- And next time you go near her, you're a dead man.
1115
01:04:35,200 --> 01:04:38,100
- Point taken. Thank you, thank you.
- Now get out of here.
1116
01:04:49,000 --> 01:04:52,300
Mmm! Waiter!
Waiter.
1117
01:04:52,400 --> 01:04:56,700
Could you bring me some more potatoes, please?
And I'll have the pork loin now. Lovely.
1118
01:04:56,800 --> 01:05:00,300
Thank you.
Oh, and one more thing.
1119
01:05:00,400 --> 01:05:05,300
I'll have the cheese platter now as well.
Yes, and could you save me the Nesselrode pie?
1120
01:05:05,400 --> 01:05:07,300
Lovely.
Thank you.
1121
01:05:09,400 --> 01:05:12,500
October 12.
We opened in Boston.
1122
01:05:12,500 --> 01:05:15,200
Ellen came up for it.
Mr. Valenti was there.
1123
01:05:15,300 --> 01:05:18,500
It went well, although my heart's
in my mouth every time Olive speaks.
1124
01:05:18,500 --> 01:05:23,300
Don't tell me you still think
the world revolves around--
1125
01:05:23,300 --> 01:05:25,700
- "You"!
- You.
1126
01:05:25,700 --> 01:05:28,700
I saw Max Gordon in the lobby.
He loved it!
1127
01:05:28,700 --> 01:05:32,800
David, did you know that I have a train to catch?
1128
01:05:32,900 --> 01:05:37,200
- Hey, Dave, how was l?
- Wonderful. You finished that whole speech this time.
1129
01:05:37,300 --> 01:05:39,300
- Yeah, I did, didn't l?
- And much improved.
1130
01:05:39,400 --> 01:05:43,400
You know, Olive was good. She still needs work,
but-- Hey, Charlie, how are ya?
1131
01:05:43,400 --> 01:05:45,400
The first act seems
to be working well.
1132
01:05:45,400 --> 01:05:50,200
- I got some flowers for ya. - Oh, a hundred orchids!
They could only be from Billy Rose.
1133
01:05:50,300 --> 01:05:54,500
Yes. They are! They're from Billy.
Oh, they're beautiful.
1134
01:05:54,600 --> 01:05:57,300
And you!
Oh! Fabulous.
1135
01:05:57,400 --> 01:06:00,900
Oh, thank you so much.
So sweet of you.
1136
01:06:01,100 --> 01:06:04,700
Listen, let me go and get changed, and
then I'll meet you at the Lobster Grill.
1137
01:06:04,800 --> 01:06:07,500
Could you order me
the shore dinner as an appetizer?
1138
01:06:07,600 --> 01:06:09,600
And I'll have roast beef
as the main course.
1139
01:06:09,600 --> 01:06:13,500
- How come you didn't call me over the weekend?
- Oh, you were great.
1140
01:06:13,500 --> 01:06:16,200
- I was busy, my dear. I'm busy now.
- Oh, really?
1141
01:06:16,300 --> 01:06:19,300
- Excuse me. Could I just have a word with you?
- No, my friends are up from town.
1142
01:06:19,400 --> 01:06:23,400
- We're just going to eat, and I've got to get changed.
- You don't mind if we talk.
1143
01:06:23,400 --> 01:06:25,500
- We'll wait for you.
- We'll just be a second.
1144
01:06:25,600 --> 01:06:30,200
- Oh, well, I'll be with you in two seconds.
- Bye.
1145
01:06:30,300 --> 01:06:35,800
- I can't be here. I mustn't--
- When I saw you on stage, doing that big speech...
1146
01:06:35,900 --> 01:06:39,900
- Olive, I'm very tempted. You're a gorgeous girl.
- You were so, so sexy.
1147
01:06:40,200 --> 01:06:43,200
- I mustn't be seen with you.
- What the hell is this? A corset? Get it off.
1148
01:06:43,300 --> 01:06:45,700
- Don't!
- What, what, what? What are you so nervous about?
1149
01:06:45,800 --> 01:06:49,800
- I can't be seen with you. He threatened to kill me.
- Who threatened to kill you?
1150
01:06:49,900 --> 01:06:53,700
- Cheech.
- Cheech threatened to kill you?
1151
01:06:53,700 --> 01:06:56,700
Well, how do ya like that?
He finally got wise.
1152
01:06:56,800 --> 01:06:59,900
You know what? I wouldn't let it
worry you if I were you.
1153
01:06:59,900 --> 01:07:03,600
You're not the type to let some
strong-arm gorilla push you around.
1154
01:07:03,600 --> 01:07:07,600
Olive, essentially, I'm an actor. I take
on certain roles that require of me--
1155
01:07:07,700 --> 01:07:11,600
You weren't just an actor when you were
taking my underwear off. You were a big shot.
1156
01:07:11,700 --> 01:07:15,700
You were sayin' to me, "Olive,
I have big plans for you. I want you to star with me.
1157
01:07:15,800 --> 01:07:18,500
- Stop it. Listen, Olive--
- I make my own rules.
1158
01:07:18,600 --> 01:07:20,700
All this is true,
but we must be realistic.
1159
01:07:20,800 --> 01:07:25,500
- Realistic?
- God, I'm starving! Do you have a sticky bun or--
1160
01:07:25,500 --> 01:07:28,300
Open up. It's me, Nick.
1161
01:07:28,300 --> 01:07:30,600
Nick?
Nick Valenti?
1162
01:07:30,600 --> 01:07:35,700
- I'm dressing. - Ah, c'mon.
I ain't gonna see noplace I ain't been before.
1163
01:07:35,800 --> 01:07:39,400
I'm coming, I'm coming. Hold your water.
1164
01:07:40,800 --> 01:07:43,200
- Hi, baby.
- Ah, there you are.
1165
01:07:43,300 --> 01:07:46,000
- You were swell in the show tonight, Olive.
- Well, thank you.
1166
01:07:46,300 --> 01:07:48,000
- I thought so. Wasn't she, boys?
- Oh, yeah.
1167
01:07:48,300 --> 01:07:50,600
- What a thrill.
- Come on. Get yourself dressed.
1168
01:07:50,600 --> 01:07:54,500
- We got time to grab a drink before I drive
back to New York. - Well, I don't know.
1169
01:07:54,600 --> 01:07:57,500
- Not tonight, Nickie. I'm a little bit tired.
- Come on, come on.
1170
01:07:57,600 --> 01:07:59,700
You been puttin' me off
for weeks now.
1171
01:07:59,800 --> 01:08:03,400
- I'm a little bit tired.
- Since when you too tired to shovel in a little booze?
1172
01:08:03,500 --> 01:08:06,500
What a marvelous audience. I thought
the show went quite well, don't you?
1173
01:08:06,500 --> 01:08:11,400
Oh, excuse me, Mr. Valenti. Darling, could
you give me that cue a little quicker in Act ll?
1174
01:08:11,500 --> 01:08:14,600
You know the one where your character
is quoting Hamlet?
1175
01:08:14,600 --> 01:08:17,800
Oh, well, you know, it's hard,
'cause I always forget the second part.
1176
01:08:17,800 --> 01:08:21,300
Yes, I know.
It's "or not to be." Okay?
1177
01:08:21,400 --> 01:08:24,700
Because I can't come in until you
finish your line, and I go "ooh."
1178
01:08:24,700 --> 01:08:28,000
- To be--
- Or not to be.
1179
01:08:28,000 --> 01:08:31,300
That's the way it goes. You're tired.
You're not taking it in.
1180
01:08:31,300 --> 01:08:34,700
And did you notice the
way the audience applauded your exit?
1181
01:08:34,800 --> 01:08:38,500
It'll go better next time if you make it through
the doorway and not the upstage wall.
1182
01:08:38,600 --> 01:08:40,500
Oh!
1183
01:08:41,800 --> 01:08:44,300
Get the pooch outta here.
1184
01:08:44,300 --> 01:08:47,400
Mr. Woofles.
Oh, he smells something.
1185
01:08:47,500 --> 01:08:51,500
- You got somebody in there?
- Yeah, right, I got somebody in there.
1186
01:08:51,600 --> 01:08:54,500
- Here, pooch, take a hike.
- Come on, darling. Protecting Mommy.
1187
01:08:54,500 --> 01:08:57,100
- Bye-bye, bye-bye.
- What's he barkin' at?
1188
01:08:57,300 --> 01:09:00,400
- I think you were talkin' about the broad.
- All right, party's over.
1189
01:09:00,500 --> 01:09:02,800
Come on, guys. Get outta here.
I gotta change.
1190
01:09:02,900 --> 01:09:05,700
Nickie, you too.
One drink, all right? Let me change.
1191
01:09:05,700 --> 01:09:08,600
- So who's this Hamlet guy?
- Come on. Outta here.
1192
01:09:08,700 --> 01:09:10,800
- Go on, go on.
- Does he live around here?
1193
01:09:10,900 --> 01:09:14,300
Hamlet. That's really
funny, honey. Bye.
1194
01:09:14,300 --> 01:09:16,400
Go on! Get outta here. They're gone.
1195
01:09:16,500 --> 01:09:19,100
Go on! Get outta here. They're gone.
Get outta here. Go on, go on.
1196
01:09:19,300 --> 01:09:22,600
No, no, no! Not that way.
The window, the window.
1197
01:09:22,700 --> 01:09:24,800
Go on. The window.
1198
01:09:24,900 --> 01:09:27,700
I'll be out
in a minute, Nick.
1199
01:09:34,100 --> 01:09:37,400
- Oh, my goodness. Warner! Hello, Warner.
- It was a lovely performance.
1200
01:09:37,500 --> 01:09:41,000
- Oh, thank you very much. That's sweet of you.
- We enjoyed it so much.
1201
01:09:41,100 --> 01:09:43,800
- Oh, yes, well, did you like the play?
- I loved the play.
1202
01:09:43,900 --> 01:09:46,700
- It's a smashing part.
- The second act was wonderful.
1203
01:09:46,800 --> 01:09:49,500
- Beautiful scene.
- It's lovely working with Helen, of course.
1204
01:09:49,600 --> 01:09:52,700
- She's so good. She's just lovely.
- She just carries one through.
1205
01:09:52,700 --> 01:09:54,800
Could you possibly
give me an autograph?
1206
01:09:54,800 --> 01:09:58,500
- I-l'd love to. I don't have a pen on me.
- Oh, you don't?
1207
01:09:58,600 --> 01:10:02,700
It's her. That's what it is. I can't
keep turnin' a blind eye. It's Olive.
1208
01:10:02,800 --> 01:10:04,800
She's better than
when we started.
1209
01:10:04,800 --> 01:10:08,500
- Sure, she's better. That don't mean she's
good enough. - Well, I mean, you know--
1210
01:10:08,500 --> 01:10:10,800
- This is something that just bothers you.
- Yeah.
1211
01:10:10,900 --> 01:10:14,900
- The critics-- Her notices were decent.
- Decent ain't good enough.
1212
01:10:15,000 --> 01:10:20,800
- She's killin' my words.
- Your words? Okay, she's weaker, but it doesn't matter.
1213
01:10:20,800 --> 01:10:24,400
- Weak? I think she's doin' more damage than you think.
- What am I gonna do, fire her?
1214
01:10:24,400 --> 01:10:26,500
- I can't have her ruinin' my show.
- Your show?
1215
01:10:26,600 --> 01:10:29,900
- What are you talkin' about?
- All right, our show.
1216
01:10:30,000 --> 01:10:32,900
- I put a lot into this. It could be perfect.
- Yeah, so did I...
1217
01:10:32,900 --> 01:10:34,900
but there's concessions
we have to make.
1218
01:10:34,900 --> 01:10:37,900
- The show's a hit.
- She's not the best we could do for the part.
1219
01:10:38,000 --> 01:10:41,600
- There's plenty other girls around.
- What are we gonna do, Cheech?
1220
01:10:41,700 --> 01:10:44,400
She throws the whole thing
out of whack. Can't you see it?
1221
01:10:44,500 --> 01:10:46,800
- The audience doesn't know the difference.
- Oh, they know.
1222
01:10:46,800 --> 01:10:49,700
- They do not know.
- They don't know how to say it, but they know.
1223
01:10:49,800 --> 01:10:53,500
Every time I hear that voice,
it's like a knife in my fuckin' heart. She can't act!
1224
01:10:53,500 --> 01:10:55,500
- You listening to me?
- Cheech, take a shower.
1225
01:10:55,500 --> 01:10:58,900
She makes stuff not work. Stuff
she ain't even in comes out twisted.
1226
01:10:59,000 --> 01:11:02,700
- I can't fire her! You know this!
- Don't yell at me.
1227
01:11:02,800 --> 01:11:05,400
I am not yelling at you,
but you are too close to this.
1228
01:11:05,500 --> 01:11:07,200
Leave me alone.
I got a fuckin' headache.
1229
01:11:07,500 --> 01:11:09,600
- Leave me alone. I got a headache.
- You're being temperamental.
1230
01:11:09,700 --> 01:11:11,700
Very temperamental!
1231
01:11:11,800 --> 01:11:13,900
Fate acts in strange ways.
1232
01:11:13,900 --> 01:11:17,600
Everyone seems to be feeling the pressure
of our upcoming New York opening.
1233
01:11:17,600 --> 01:11:22,100
Yesterday, Warner got into a fight with Eden,
and the results proved Cheech right yet again.
1234
01:11:22,200 --> 01:11:25,900
There you are. Mr. Purcell, you have been
stealing our dog yummies and eating them.
1235
01:11:26,000 --> 01:11:28,200
Absolutely not.
That's an outrageous suggestion.
1236
01:11:28,400 --> 01:11:31,000
- Then let me see in your pockets.
- Would I eat dog food?
1237
01:11:31,100 --> 01:11:34,600
You'd eat anything that didn't eat
you first, you big fat pot of helium.
1238
01:11:34,700 --> 01:11:37,400
- Prime loin chop.
- Let me see.
1239
01:11:37,500 --> 01:11:41,100
I do not steal from animals. Get out
of my trousers, you horrid woman.
1240
01:11:41,200 --> 01:11:43,600
Look!
Oh, thief, thief, thief!
1241
01:11:43,700 --> 01:11:46,000
It was you that drank
her saucer of milk yesterday.
1242
01:11:46,000 --> 01:11:49,700
Ow! Ow!
You fat hunk of blubber!
1243
01:11:49,800 --> 01:11:53,700
- She pushed me! - Ow, my hand!
That's 'cause you were stealin' her dog food.
1244
01:11:53,700 --> 01:11:57,500
Somebody ought to stick
a harpoon in you, you big whale.
1245
01:11:57,600 --> 01:12:00,200
- Ow.
- I can get you a doctor. I can get you a doctor.
1246
01:12:00,200 --> 01:12:02,200
I guess this means
you'll miss the matinee.
1247
01:12:02,200 --> 01:12:05,000
It's okay with me.
One show a day is plenty.
1248
01:12:05,100 --> 01:12:07,600
To think I didn't
believe you at first, you dear--
1249
01:12:07,700 --> 01:12:12,500
I think I can say this in the company
of-- in the company of all of you.
1250
01:12:12,500 --> 01:12:17,700
That a woman of your age should have leapt
past the realm of such acute narcissism.
1251
01:12:26,200 --> 01:12:28,800
- What a difference with a real
actress saying those lines! - All right.
1252
01:12:28,900 --> 01:12:32,100
- The whole play came to life!
- Listen to me.
1253
01:12:32,200 --> 01:12:36,800
Don't get carried away.
Don't get any ideas. Olive is going on.
1254
01:12:36,900 --> 01:12:40,900
We can get all the backing we need without
Nick Valenti. Our notices are wonderful.
1255
01:12:41,000 --> 01:12:43,700
- People are standing--
- It's not the money. I told ya that.
1256
01:12:43,800 --> 01:12:47,800
We dump Olive, you, me,
even the dog will wind up at the bottom of the Hudson.
1257
01:12:47,900 --> 01:12:52,200
It won't take that long. He'll kill us here in Boston.
We'll be at the bottom of the Charles.
1258
01:12:52,200 --> 01:12:55,500
He was right. She wrecks the whole play.
He noticed that.
1259
01:12:55,600 --> 01:12:59,900
- What are you talking about?
- Nothing. It's just that she affects the whole play.
1260
01:13:01,300 --> 01:13:04,300
- You were wonderful.
- Yes, yes. Wonderful.
1261
01:13:04,300 --> 01:13:07,000
- Have you seen Deliah with my robe?
- Yes, she's coming.
1262
01:13:07,100 --> 01:13:09,800
Listen.
1263
01:13:09,900 --> 01:13:13,300
- One thing you don't do is welsh on Nick Valenti.
- On Nick Valenti.
1264
01:13:13,300 --> 01:13:16,600
- In future productions, we can hire somebody else.
- Shh-shh!
1265
01:13:16,700 --> 01:13:20,100
We can hire somebody else, but if she's
okay to open in New York, she opens.
1266
01:13:20,100 --> 01:13:23,200
- I mean, the play must go on. I'll do anything--
- She affected the whole thing.
1267
01:13:32,000 --> 01:13:34,800
I can't tell you
how many times I've seen it.
1268
01:13:34,800 --> 01:13:36,800
A show comes into Boston...
1269
01:13:36,900 --> 01:13:41,800
crippled, limping, struggling, gasping
for air, trying to find its own life...
1270
01:13:41,900 --> 01:13:46,800
and then, somewhere along the line,
a miracle occurs.
1271
01:13:46,900 --> 01:13:48,900
A work of art is born.
1272
01:13:49,000 --> 01:13:52,700
- It's amazing how much better the show is
working with Olive's understudy. - Mmm, Olive.
1273
01:13:52,800 --> 01:13:54,800
- The thing's breathing and living.
- Yes, it's true.
1274
01:13:54,800 --> 01:13:58,400
She's drab, but it's still
going to be a fine, fat hit.
1275
01:13:58,600 --> 01:14:01,000
- Mmm.
- Here's to your future...
1276
01:14:01,000 --> 01:14:04,100
as the new white knight
of the Great White Way.
1277
01:14:05,600 --> 01:14:09,800
Cheers.
1278
01:14:09,800 --> 01:14:14,000
- What is this stuff?
- Paint remover. You can cut it with a little club soda.
1279
01:14:14,000 --> 01:14:16,000
- Oh, it's very smooth.
- Yes.
1280
01:14:17,600 --> 01:14:19,400
See the little towns go by?
1281
01:14:21,800 --> 01:14:25,300
Helen, when I get back to New York,
I'm gonna tell Ellen about us.
1282
01:14:25,400 --> 01:14:27,800
- Oh, David!
- No, I've decided.
1283
01:14:27,900 --> 01:14:30,800
- Oh, are you sure?
- You know how I feel about you.
1284
01:14:30,900 --> 01:14:35,400
Oh, David, you must be gentle.
I-I-I've been hurt so many times before.
1285
01:14:35,700 --> 01:14:38,300
I know.
I know.
1286
01:14:38,400 --> 01:14:41,300
You stand on the brink
of greatness.
1287
01:14:41,400 --> 01:14:46,800
The world will open to you like an
oyster. No. No, not like an oyster.
1288
01:14:46,900 --> 01:14:50,200
The world will open to you
like a magnificent vagina.
1289
01:14:54,000 --> 01:14:56,100
You okay?
You look a little flushed.
1290
01:14:56,200 --> 01:14:58,700
- I've just had a little too much--
- Is it something I said?
1291
01:14:58,700 --> 01:15:01,300
- No, just the paint remover.
- Oh.
1292
01:15:04,900 --> 01:15:07,700
Have you ever thought about
whether, when you fall in love...
1293
01:15:07,700 --> 01:15:10,900
do you fall in love with
the artist or the man?
1294
01:15:12,800 --> 01:15:15,100
What a strange question.
1295
01:15:15,200 --> 01:15:17,100
Yes, it is strange, but--
1296
01:15:18,900 --> 01:15:23,800
I'm in love with you, Helen. I am, and
the time has come for me to act on it.
1297
01:15:23,900 --> 01:15:26,900
Oh, the train
is moving so fast.
1298
01:15:27,000 --> 01:15:30,400
Oh, David, it's so fast.
Oh, hold me!
1299
01:15:30,700 --> 01:15:33,400
- Oh, hold me. No, no, don't speak.
- Helen, I love you.
1300
01:15:33,700 --> 01:15:36,200
Don't speak.
B-- Uh, please, don't speak.
1301
01:15:36,300 --> 01:15:39,100
Don't speak. No. Don't speak.
1302
01:15:39,100 --> 01:15:41,100
No, please.
1303
01:15:41,200 --> 01:15:45,700
- Are you having an affair with Helen Sinclair?
- What? No!
1304
01:15:45,700 --> 01:15:47,700
- Don't lie to me.
- What are you talking about?
1305
01:15:47,800 --> 01:15:51,100
You two are in every gossip column in
town. You were all over Boston together.
1306
01:15:51,200 --> 01:15:53,100
- You know those columns.
- All those late nights.
1307
01:15:53,200 --> 01:15:55,200
- I was working!
- What about this?
1308
01:15:55,300 --> 01:15:59,000
- That's a cigarette case I found.
I don't know where I found it. - "To Helen from Cole.
1309
01:15:59,100 --> 01:16:02,300
- Let's do it.
- I remember now. I admired it, and she gave it to me.
1310
01:16:02,300 --> 01:16:05,300
- Why didn't you tell me?
- Because there's nothing to tell, Ellen.
1311
01:16:05,400 --> 01:16:09,800
Now that you're on the eve of success,
you want to dump me and go off with Helen Sinclair.
1312
01:16:09,900 --> 01:16:12,900
- That is ri-- That is ridiculous.
- Are you sure?
1313
01:16:13,000 --> 01:16:15,200
You know how crazy
you sound right now?
1314
01:16:15,300 --> 01:16:18,800
- You never encouraged me to stay in Boston.
- I was submerged in my work.
1315
01:16:18,800 --> 01:16:21,900
The play's in trouble.
I'm working.
1316
01:16:22,000 --> 01:16:24,100
Hey, it's me.
It's David.
1317
01:16:24,100 --> 01:16:26,400
You know?
David? Okay?
1318
01:16:28,300 --> 01:16:30,800
What an imagination
on this girl.
1319
01:16:32,400 --> 01:16:36,000
Listen, Flender,
I'm completely mixed up.
1320
01:16:36,100 --> 01:16:39,400
Ellen, Ellen. I love Ellen.
She's been with me the whole time.
1321
01:16:39,500 --> 01:16:42,000
Stuck by me. I knew she'd
be happier back in Pittsburgh.
1322
01:16:42,100 --> 01:16:44,100
- We've had a great relationship.
- Right.
1323
01:16:44,100 --> 01:16:47,300
- I love her dearly. And yet--
- Yeah. Yes. Get to the point.
1324
01:16:47,300 --> 01:16:50,500
What is the problem here? It's always
been clear that you've loved Ellen.
1325
01:16:50,800 --> 01:16:54,300
I've become involved with
Helen Sinclair, and I feel terrible.
1326
01:16:54,400 --> 01:16:59,300
But I can't help myself. She's so charismatic,
and she's brilliant and beautiful.
1327
01:16:59,300 --> 01:17:02,400
I mean, a real artist, and--
and we speak the same language.
1328
01:17:02,500 --> 01:17:04,500
- You're wracked with guilt.
- I'm wracked with guilt.
1329
01:17:04,500 --> 01:17:07,500
- You're wracked with guilt. You are wracked with guilt.
- I don't know whether--
1330
01:17:07,500 --> 01:17:12,000
- I can't sleep.
- Guilt is petit bourgeois crap.
1331
01:17:12,100 --> 01:17:15,900
- An artist creates his own moral universe.
- I know that. I know--
1332
01:17:16,000 --> 01:17:19,900
Well? What is the problem then?
I'm gonna give you some advice.
1333
01:17:20,000 --> 01:17:24,300
The same advice that was given to me many
years ago when I had a very similar dilemma.
1334
01:17:24,400 --> 01:17:26,500
- Similar to mine. To--
- Yes. Yes.
1335
01:17:26,600 --> 01:17:28,500
What did you do?
What?
1336
01:17:28,600 --> 01:17:31,300
You gotta do
what you gotta do.
1337
01:17:39,200 --> 01:17:41,500
Hot ginger and dynamite
1338
01:17:41,600 --> 01:17:43,500
There's nothing
but that at night
1339
01:17:43,600 --> 01:17:45,600
Back in Nagasaki where
the fellas chew tobaccy
1340
01:17:45,900 --> 01:17:48,100
And the women
wicky wacky woo
1341
01:17:48,200 --> 01:17:50,900
- The way they can entertain
- She's great in the show, huh?
1342
01:17:51,000 --> 01:17:52,900
- Would hurry a hurricane
- Oh, the best.
1343
01:17:53,000 --> 01:17:55,100
- Back in Nagasaki
- She'll take Broadway by storm.
1344
01:17:55,100 --> 01:17:59,200
And the women wicky wacky woo
1345
01:17:59,300 --> 01:18:03,200
Listen, when she gets here, tell her
you're gonna give her some new lines.
1346
01:18:03,300 --> 01:18:06,000
- You know, like we discussed.
- Yeah.
1347
01:18:06,000 --> 01:18:09,400
Let me level with you, Mr. V.
Do you mind if I call you Nick?
1348
01:18:09,500 --> 01:18:12,500
You see, Nick, you don't
fiddle with a winning show.
1349
01:18:12,500 --> 01:18:15,400
Every script reaches a point where,
in the professional judgment...
1350
01:18:15,500 --> 01:18:17,900
of the producer, the director,
you're finished.
1351
01:18:17,900 --> 01:18:20,300
You can't distort the plot.
1352
01:18:20,400 --> 01:18:24,100
Now, we're about ready to open.
Changes could be harmful.
1353
01:18:24,200 --> 01:18:26,200
No, the show is
basically frozen.
1354
01:18:28,400 --> 01:18:31,100
- Let's avoid confusion.
- Sure.
1355
01:18:31,100 --> 01:18:33,100
She'll get some new
fuckin' lines...
1356
01:18:33,100 --> 01:18:36,100
or I'll nail your kneecaps
to the dance floor.
1357
01:18:38,500 --> 01:18:42,000
Imagine that director telling me
I'm overacting in the first scene...
1358
01:18:42,000 --> 01:18:44,200
and I don't know
what I'm saying.
1359
01:18:44,200 --> 01:18:48,000
You know what I'm doing, Cheech, is,
I'm working on a superior laugh. Like:
1360
01:18:48,100 --> 01:18:51,400
Ha-ha-ha. Hee-hee-hee.
1361
01:18:51,500 --> 01:18:56,200
I wanna throw that in when Sylvia threatens to leave,
and then I burst into tears.
1362
01:18:56,300 --> 01:19:01,100
Well, you know, he says no, but what the hell
kind of dull show is he putting on anyway?
1363
01:19:01,100 --> 01:19:04,600
- I don't know. - Where we goin'?
I thought we were gonna go meet Nick.
1364
01:19:04,600 --> 01:19:07,200
We have to go pick up Nick.
1365
01:19:07,300 --> 01:19:11,000
We're gonna pick up Nick? You never
said nothin' about picking him up.
1366
01:19:11,100 --> 01:19:14,400
- We just gotta meet him--
- I thought we were gonna meet him at the club.
1367
01:19:22,300 --> 01:19:27,000
How come I have to wear those dowdy, brown,
ugly dresses? I don't understand--
1368
01:19:27,100 --> 01:19:30,300
What are we doin' here?
I thought we were goin' to see Nick.
1369
01:19:30,400 --> 01:19:32,400
Yeah, we are.
Nick's got a surprise for ya.
1370
01:19:32,400 --> 01:19:35,000
- Nick's got a surprise for me?
- Yeah, come on.
1371
01:19:35,100 --> 01:19:39,100
Come with me. You're gonna really like
it. This cost Nick a lot of dough to--
1372
01:19:39,100 --> 01:19:43,000
- To do this for you. Come on.
- I don't-- I don't like this.
1373
01:19:43,100 --> 01:19:47,300
I don't like this, Cheech. I can't understand
why Nick has a surprise for me in a warehouse.
1374
01:19:47,300 --> 01:19:49,400
He's not treatin' me
like a lady.
1375
01:19:49,500 --> 01:19:53,400
- He's got a moonlight cruise.
- A moonlight cruise? I don't understand.
1376
01:19:53,400 --> 01:19:56,000
- Just walk right over there. Go ahead. He's over there.
- I don't--
1377
01:19:56,000 --> 01:19:58,500
- Just walk over there. Olive!
- Nickie?
1378
01:19:58,600 --> 01:20:02,200
- What?
- I think you should know this. You're a horrible actress.
1379
01:20:04,700 --> 01:20:06,600
Everyone's in love
1380
01:20:06,700 --> 01:20:11,400
- Up a lazy river
- Thank God I don't have to hear that voice anymore.
1381
01:20:11,400 --> 01:20:13,500
Up a lazy river
1382
01:20:13,500 --> 01:20:17,000
October 25. We open tomorrow.
1383
01:20:17,000 --> 01:20:19,200
Olive did not show up
for the run-through today.
1384
01:20:19,300 --> 01:20:21,200
We tried calling her,
but there was no answer.
1385
01:20:21,300 --> 01:20:24,500
It's possible her understudy might
have to do tomorrow's show.
1386
01:20:24,500 --> 01:20:27,500
- Listen to this. The whole thing's comin' to life.
- Yeah.
1387
01:20:27,500 --> 01:20:32,000
- Maybe Olive's got stage fright. Maybe she won't show.
- Not Olive.
1388
01:20:32,100 --> 01:20:34,600
That dame doesn't have
a nerve in her body.
1389
01:20:34,700 --> 01:20:37,700
I don't think her spinal cord
touches her brain.
1390
01:20:38,000 --> 01:20:40,600
- Oh, God. Listen to this.
- Yeah.
1391
01:20:40,700 --> 01:20:43,700
It's wonderful. Where's Cheech?
He'd know where she is.
1392
01:20:43,800 --> 01:20:47,500
- He didn't come around.
- Look, I'm in love with the understudy.
1393
01:20:47,600 --> 01:20:50,100
It's so natural. It's--
1394
01:20:50,100 --> 01:20:52,100
- Julian?
- Yeah?
1395
01:20:52,100 --> 01:20:54,600
- Did you hear about Olive?
- Oh, what now?
1396
01:20:54,600 --> 01:20:56,600
She got bumped off.
1397
01:20:58,400 --> 01:21:00,800
- What?
- Out at the docks.
1398
01:21:01,000 --> 01:21:03,300
A gangland hit.
1399
01:21:03,400 --> 01:21:06,400
I wanna talk to you.
1400
01:21:06,500 --> 01:21:08,600
- Me?
- Yeah, you.
1401
01:21:08,700 --> 01:21:11,100
Hey, Joe.
Get lost for a while.
1402
01:21:11,100 --> 01:21:13,600
How could you?
How could you!
1403
01:21:13,700 --> 01:21:15,700
- Nobody's gonna ruin my play.
- Oh-- Your play?
1404
01:21:15,700 --> 01:21:18,600
- That's the second time you called it your play.
- All right, our play.
1405
01:21:18,600 --> 01:21:22,200
- Didn't it cut you up inside to hear her say it? Huh?
- We would've survived it!
1406
01:21:22,300 --> 01:21:25,700
Survived it? Ls that what you want? When
we had a great thing, a thing of beauty?
1407
01:21:25,800 --> 01:21:28,200
But, Cheech! To...
...kill her!
1408
01:21:28,300 --> 01:21:30,800
- She was a tramp.
- It's a free country.
1409
01:21:31,100 --> 01:21:33,400
- Then leave me alone.
- No, I will not leave you alone.
1410
01:21:33,500 --> 01:21:37,800
Didn't anybody ever teach you that
it's morally wrong, that it's a sin to--
1411
01:21:37,900 --> 01:21:39,800
Who am I talking to?
Jesus Christ!
1412
01:21:39,900 --> 01:21:42,800
- The part works better with the understudy.
- That's not the point.
1413
01:21:42,900 --> 01:21:46,100
Let me see if I can explain this
to you in a way you'll understand.
1414
01:21:46,100 --> 01:21:49,100
Let's say she was ruining the play-- which she was not.
She was diminishing it.
1415
01:21:49,100 --> 01:21:51,900
- She was ruining it.
- Let's say she was ruining the play.
1416
01:21:52,100 --> 01:21:54,800
- Does that mean that she deserves to die?
- There was no way to fire her.
1417
01:21:54,800 --> 01:21:58,400
- What kind of inhuman monster are you?
- I think you'd better leave.
1418
01:21:58,500 --> 01:22:00,800
I don't think I will.
I think I'd better stay.
1419
01:22:00,800 --> 01:22:04,200
- You should be thanking me.
We're both in this together. - No, we're not.
1420
01:22:04,300 --> 01:22:08,400
I didn't want her dead. See?
You understand what I'm saying? I'm not in anything.
1421
01:22:08,500 --> 01:22:12,400
- You choose her over the show?
- Of course I do! Yes!
1422
01:22:12,500 --> 01:22:16,100
You think it's right some tootsie walks in
and messes up a beautiful thing like this?
1423
01:22:16,100 --> 01:22:18,800
- I wanted a great play as much as you did.
- No, not as much.
1424
01:22:18,900 --> 01:22:21,300
- But you don't kill for it!
- Yeah? Who says?
1425
01:22:21,400 --> 01:22:24,800
My father used to listen to the opera.
He loved the opera. But if a guy stunk--
1426
01:22:24,800 --> 01:22:27,600
- What, he killed him?
- One time, in Palermo.
1427
01:22:30,800 --> 01:22:35,500
I'm an artist too, not great like you,
but you know what? First I'm a human being.
1428
01:22:35,600 --> 01:22:39,100
- I'm a decent, moral human being.
- What are you doin' with Helen Sinclair then?
1429
01:22:39,200 --> 01:22:42,400
- What has that got to do with it? How did you know?
- Everybody in town knows.
1430
01:22:42,400 --> 01:22:44,900
Except maybe your girlfriend.
Who you think you're foolin'?
1431
01:22:45,200 --> 01:22:48,600
I might not be perfect, but you're
a killer! You're a degenerate animal!
1432
01:22:48,700 --> 01:22:51,800
You're a murderer! You b--
You belong in the electric chair!
1433
01:22:51,900 --> 01:22:54,500
Listen to me, you.
You listen to me.
1434
01:22:54,600 --> 01:22:57,900
Nobody, nobody is gonna
ruin my work, you hear me?
1435
01:22:58,100 --> 01:22:59,900
Nobody, huh?
1436
01:23:10,400 --> 01:23:13,300
I've fallen in love
with Helen Sinclair...
1437
01:23:13,400 --> 01:23:17,300
and I lied to you about it the other day,
which I'm sure that you probably knew.
1438
01:23:17,400 --> 01:23:20,700
I want to let you know I didn't mean
for this to happen. It just happened.
1439
01:23:20,800 --> 01:23:22,700
I'm not surprised.
She is extraordinary.
1440
01:23:22,800 --> 01:23:25,900
- So are you. It's me that's all screwed up.
- I have a confession to make.
1441
01:23:26,200 --> 01:23:29,800
You knew the whole time, but you were too
damn decent to confront me while I was--
1442
01:23:29,900 --> 01:23:32,900
No, I've been seeing
Sheldon Flender.
1443
01:23:33,000 --> 01:23:35,900
- Pa-Pa-Pardon me?
- We've been having an affair.
1444
01:23:35,900 --> 01:23:39,700
- Did you say Sheldon Flender?
- Yes, he's been in love with me for a long time.
1445
01:23:39,800 --> 01:23:42,800
Do you know his theory that art
is relational, that it requires two--
1446
01:23:42,900 --> 01:23:44,800
the artist
and the audience?
1447
01:23:44,900 --> 01:23:46,900
- He feels that way about sex too.
- About-- About sex?
1448
01:23:47,000 --> 01:23:50,200
Yes, between the two right people,
it can become an art form.
1449
01:23:50,300 --> 01:23:54,400
Are you saying that you and Flender have
raised intercourse to the level of an art form?
1450
01:23:54,500 --> 01:23:56,500
Not just intercourse.
Foreplay too.
1451
01:23:56,500 --> 01:23:59,200
- My friend, the unproduced playwright?
- He's been after me a long time.
1452
01:23:59,300 --> 01:24:03,500
You never seem to want to get married, and so,
one night we went out, had a few drinks...
1453
01:24:03,600 --> 01:24:06,900
and started discussing art
and literature and Freud and Nietzsche.
1454
01:24:06,900 --> 01:24:09,800
And in order to illustrate
a point on Greek etymology...
1455
01:24:09,800 --> 01:24:11,800
I noticed he'd
unbuttoned his fly--
1456
01:24:11,800 --> 01:24:15,200
No, no, no, no! Please, please!
I don't need to hear any more.
1457
01:24:15,200 --> 01:24:18,600
But he's a major talent. You've
said so yourself a million times.
1458
01:24:18,700 --> 01:24:22,700
With an intellect that big, you tend
to create your own moral universe.
1459
01:24:44,900 --> 01:24:47,600
- I just wanted to wish you good luck.
- Oh, darling.
1460
01:24:47,600 --> 01:24:50,800
You look pale.
No, no, not to worry.
1461
01:24:50,800 --> 01:24:55,500
Soon this town will belong to you.
We're having dinner Sunday night with Gene O'Neill.
1462
01:24:55,500 --> 01:24:59,500
He's heard that your writing is morbid and depressing.
He's dying to meet you.
1463
01:24:59,600 --> 01:25:01,600
- Oh, here's that brush.
- I know you'll be terrific tonight.
1464
01:25:01,600 --> 01:25:04,900
Oh! They're your words.
1465
01:25:05,000 --> 01:25:07,100
I'm just a vessel.
1466
01:25:07,300 --> 01:25:10,000
You fill me.
1467
01:25:10,000 --> 01:25:13,500
And this? This is
just the beginning.
1468
01:25:13,600 --> 01:25:18,500
I've been discussing all kinds of new
ideas for vehicles for me with my agent.
1469
01:25:18,600 --> 01:25:21,600
There's a variety of women
I can play. As you get to know me...
1470
01:25:21,600 --> 01:25:24,300
you'll see there's no limit
to my range.
1471
01:25:24,400 --> 01:25:27,600
They say that I can
still play late twenties...
1472
01:25:27,700 --> 01:25:31,000
but I say no, no,
thirty tops.
1473
01:25:31,000 --> 01:25:33,800
We'll go to my house
in the Vineyard. It's quiet there.
1474
01:25:33,900 --> 01:25:36,400
You can write.
I'll bring you coffee.
1475
01:25:36,500 --> 01:25:39,000
Listen, you better go.
I-I-It's 15 minutes to curtain.
1476
01:25:39,100 --> 01:25:41,600
I still haven't done
my breathing exercises yet.
1477
01:25:41,600 --> 01:25:44,800
Y-Y-You-- Fate.
Fate has thrown us together.
1478
01:25:46,800 --> 01:25:48,700
Merde.
1479
01:26:05,400 --> 01:26:07,400
Take him.
Take him!
1480
01:26:07,500 --> 01:26:10,900
Let him leave me bereft,
without a penny. Go ahead. Take him.
1481
01:26:10,900 --> 01:26:14,500
But don't think it'll last forever.
The same thing'll happen to you.
1482
01:26:14,500 --> 01:26:18,500
Sylvia, I don't know
why you're so unhappy.
1483
01:26:18,600 --> 01:26:20,800
- Why you're such a deeply unhappy person...
- Oh, God!
1484
01:26:20,900 --> 01:26:23,800
- But I want you to know that--
- Because you're taking my husband...
1485
01:26:23,800 --> 01:26:27,100
my life, the very core
of my being, you stupid idiot!
1486
01:26:27,400 --> 01:26:29,800
I didn't ever mean to hurt you. I--
1487
01:26:29,900 --> 01:26:32,900
Oh, Edgar.
1488
01:26:32,900 --> 01:26:35,700
- I've just been speaking with Dr. Philips.
- Yes.
1489
01:26:35,700 --> 01:26:40,700
Her explicit instructions are that we,
none of us, leave the premises as of today.
1490
01:26:40,800 --> 01:26:43,200
How's she workin'?
1491
01:26:43,400 --> 01:26:45,200
Good. Good, boss.
1492
01:26:47,100 --> 01:26:49,100
Out this morning.
1493
01:26:50,500 --> 01:26:53,600
- Cheech.
- What's up, Mr. V?
1494
01:26:53,700 --> 01:26:58,100
Uh, nothin'.
I just wanted to talk.
1495
01:26:58,100 --> 01:27:00,100
- Yeah?
- I'm a little sad these days.
1496
01:27:00,100 --> 01:27:03,000
- Sure. Yeah.
- You know how it is.
1497
01:27:08,600 --> 01:27:11,700
Curtain's gone up already.
Poor kid.
1498
01:27:13,000 --> 01:27:14,900
Would've been a star,
don't you think?
1499
01:27:15,000 --> 01:27:18,900
Yeah. It's all right.
We'll take care of those Kustabeck guys.
1500
01:27:19,000 --> 01:27:22,800
- I wonder if it really was the Kustabecks.
- Well, who else?
1501
01:27:22,800 --> 01:27:27,400
I don't know.
But we got some tips...
1502
01:27:27,500 --> 01:27:30,200
- that Charlie K. Had nothin' to do with this.
- Really.
1503
01:27:30,400 --> 01:27:33,200
Yeah. Don't make
no sense anyhow.
1504
01:27:33,400 --> 01:27:37,500
I mean, the way things
were coolin' off and all.
1505
01:27:37,600 --> 01:27:40,200
I'll see what I can find out
on the street, ya know?
1506
01:27:40,400 --> 01:27:43,900
- Where you rushin' off to?
- Hey, you know, I told the guys in the show...
1507
01:27:44,000 --> 01:27:46,600
that I, uh, I'd stop by
and wish 'em good luck.
1508
01:27:46,700 --> 01:27:49,600
- I got friendly with some of the stage hands.
- Did you?
1509
01:27:49,600 --> 01:27:51,700
- Yeah.
- That's unlike you.
1510
01:27:51,800 --> 01:27:53,700
- Why's that?
- Unless they shoot crap.
1511
01:27:53,800 --> 01:27:57,000
No, you know, you see
the same faces every day. You know.
1512
01:27:59,000 --> 01:28:03,100
Marty Bannister said he saw you pick
up Olive the night she got it, Cheech.
1513
01:28:03,200 --> 01:28:06,100
- Me?
- Didn't you tell me you didn't see her?
1514
01:28:06,200 --> 01:28:08,100
Me? Yeah,
I said I did.
1515
01:28:08,200 --> 01:28:12,900
I picked her up, and I dropped her off
a few blocks from the theater. Why?
1516
01:28:13,000 --> 01:28:16,000
- You had nothin' against Olive, did ya?
- Olive? Naw.
1517
01:28:16,000 --> 01:28:19,100
- I like Olive. Why?
- I mean, you got along well?
1518
01:28:19,200 --> 01:28:21,500
Olive and l, we got along good.
You know, Olive.
1519
01:28:21,500 --> 01:28:23,500
Olive was good for
a lot of laughs, right?
1520
01:28:23,500 --> 01:28:25,700
- Except for a few tiffs here and there?
- Right.
1521
01:28:25,800 --> 01:28:27,700
Olive's-- You know.
We got along.
1522
01:28:29,600 --> 01:28:32,500
How come you didn't bring her
to me at the club, Cheech?
1523
01:28:32,500 --> 01:28:36,500
She said you changed your mind, that
I should drop her off at the theater.
1524
01:28:36,500 --> 01:28:40,200
- The theater. At night?
- Yeah. Yeah.
1525
01:28:40,200 --> 01:28:43,500
There was no preview
that night, Cheech. No rehearsal.
1526
01:28:43,600 --> 01:28:45,800
Really?
1527
01:28:45,900 --> 01:28:49,100
How come you
left her alone, Cheech?
1528
01:28:49,100 --> 01:28:51,800
And you didn't come to the club and tell me?
1529
01:28:51,900 --> 01:28:55,800
I'm gonna level with you, all right?
I had a crap game. I didn't want to miss it.
1530
01:28:55,800 --> 01:28:58,100
- Mmm.
- Yeah.
1531
01:28:58,200 --> 01:29:01,600
- Why you don't tell me?
- You wanna lay off? I'm up to here in debts.
1532
01:29:01,700 --> 01:29:03,600
- I'm tryin' to get even.
- Yeah?
1533
01:29:03,700 --> 01:29:06,800
Yeah. Dice ain't been too lucky for me.
You know. You know how it is.
1534
01:29:06,900 --> 01:29:10,000
You keep tellin' me I gotta quit.
Ya know, I should.
1535
01:29:10,100 --> 01:29:12,000
- Cheech--
- Listen, listen.
1536
01:29:12,000 --> 01:29:15,300
I told the guys I'd wish them good luck
in the show. They're very superstitious.
1537
01:29:15,500 --> 01:29:18,500
I'm gonna find out who hit her,
all right? I'll find out.
1538
01:29:18,600 --> 01:29:20,700
All right.
I'll see ya later.
1539
01:29:25,800 --> 01:29:28,800
He did it, Nick.
I don't know what his grudge was.
1540
01:29:28,900 --> 01:29:31,600
Maybe they were
two-timin' ya.
1541
01:29:31,600 --> 01:29:34,100
- What are you sayin' to me?
- Take it easy, Nick.
1542
01:29:34,200 --> 01:29:37,300
It's only a guess.
But Marty Bannister saw them together...
1543
01:29:37,600 --> 01:29:40,000
and that pier is
Cheech's favorite spot.
1544
01:29:40,100 --> 01:29:42,900
Can't you see he was lyin', Nickie?
Did you see the look on his face?
1545
01:29:43,000 --> 01:29:47,200
- He was scared.
- Look, Nick, I know you don't like to think it...
1546
01:29:47,200 --> 01:29:50,900
- but the gossip is, she was runnin' around on ya.
- Don't say that!
1547
01:29:50,900 --> 01:29:53,700
- I'm only tryin' to help, Mr. V.
- Nickie.
1548
01:29:53,800 --> 01:29:55,700
He's only tryin'
to help.
1549
01:29:57,400 --> 01:29:59,300
Cheech and Olive.
1550
01:30:00,700 --> 01:30:02,800
Fix him.
1551
01:30:02,900 --> 01:30:06,600
Oh, it's goin' great.
1552
01:30:06,600 --> 01:30:10,800
Yeah, they're eating it up. Before,
I could smell money. Now I can taste it.
1553
01:30:10,900 --> 01:30:13,300
- Mmm, yeah.
- Hey, what's the matter?
1554
01:30:13,300 --> 01:30:16,700
You look as though you're watchin'
a turkey. It's just the opposite.
1555
01:30:16,800 --> 01:30:20,200
- Where's Ellen?
- Oh, she was too nervous to come.
1556
01:30:20,300 --> 01:30:23,100
This is
Dr. Emilene Philips, a family friend.
1557
01:30:23,100 --> 01:30:25,200
- Hey. How's it goin'?
- Cheech, how are ya?
1558
01:30:25,300 --> 01:30:28,900
Goin' great. Wonderful.
You need to cheer him up. I don't know.
1559
01:30:29,000 --> 01:30:31,000
- What's the matter?
- What do you want?
1560
01:30:31,000 --> 01:30:34,100
- It's goin' great, huh?
- You killed Olive, Cheech.
1561
01:30:34,100 --> 01:30:36,200
For that I can never
forgive you.
1562
01:30:36,300 --> 01:30:39,100
I don't care what kind of
genius you are.
1563
01:30:39,100 --> 01:30:42,900
Listen to that audience. Huh? They got
'em right in the palm of their hand.
1564
01:30:43,000 --> 01:30:45,800
Hey, Cheech. It's over for you.
You're finished.
1565
01:30:45,900 --> 01:30:47,800
I had such
a wonderful time.
1566
01:30:47,900 --> 01:30:52,200
I can't live like this,
the same routine over and over.
1567
01:30:52,300 --> 01:30:56,100
You think the same thing's not gonna
happen to you as happened to me?
1568
01:30:56,200 --> 01:30:59,200
You think you're not gonna be here
sitting with a hole in your sweater...
1569
01:30:59,200 --> 01:31:01,200
and a drink in your hand
someday?
1570
01:31:01,200 --> 01:31:04,700
- Just wait!
- Cheech! You should be out front.
1571
01:31:04,800 --> 01:31:07,900
You're about to miss my great scene.
Did you see the first part?
1572
01:31:08,000 --> 01:31:12,900
- How did it go? Do you think they like it?
- Great, great.
1573
01:31:13,000 --> 01:31:17,300
- Where's Cheech?
- Get the fuck outta here. Get outta here.
1574
01:31:17,400 --> 01:31:20,900
Sucker.
1575
01:31:23,300 --> 01:31:26,400
- You crapped out for the last time, Cheech.
- I think he's--
1576
01:31:26,600 --> 01:31:29,800
I'm in the garden, Sylvia,
tending roses.
1577
01:31:29,800 --> 01:31:33,000
Oh, darling,
if we just had a baby.
1578
01:31:33,000 --> 01:31:36,700
- That's all I think about.
- We've been through all this before.
1579
01:31:36,700 --> 01:31:39,900
Cheech! Cheech.
1580
01:31:40,000 --> 01:31:42,100
David.
1581
01:31:42,200 --> 01:31:45,300
- The last line...
- Yes?
1582
01:31:45,400 --> 01:31:47,400
In the play.
1583
01:31:48,700 --> 01:31:52,000
Tell Sylvia Poston...
1584
01:31:54,000 --> 01:31:56,700
to say she's pregnant.
1585
01:31:58,300 --> 01:32:01,900
It'll be a great finish.
1586
01:32:02,000 --> 01:32:05,100
- Oh, God, that's so great.
- No. Don't speak.
1587
01:32:06,800 --> 01:32:08,700
Don't speak.
1588
01:32:18,000 --> 01:32:21,900
"A masterpiece."
"A theatrical stunner."
1589
01:32:24,200 --> 01:32:27,100
"A work of art
of the highest quality.
1590
01:32:27,200 --> 01:32:30,500
One of the greatest moments of this
reviewer's experience was in Act III...
1591
01:32:30,700 --> 01:32:33,300
when the Lieutenant returns
and confronts his mistress.
1592
01:32:33,400 --> 01:32:36,100
We hear distant gunshots,
which get louder and louder...
1593
01:32:36,100 --> 01:32:40,900
bringing the Lieutenant's twisted
military past and violent tendencies...
1594
01:32:40,900 --> 01:32:43,000
into bold bas-relief.
1595
01:32:43,100 --> 01:32:47,900
Writer-director David Shayne
is the find of the decade.
1596
01:32:48,000 --> 01:32:51,400
- Where is David?
- I don't know. I assumed he'd be here.
1597
01:33:07,100 --> 01:33:09,200
Flender!
1598
01:33:09,200 --> 01:33:11,900
Flender, wake up.
It's David Shayne.
1599
01:33:12,000 --> 01:33:14,300
I need
to talk to you.
1600
01:33:14,300 --> 01:33:17,800
Please, Flender.
Flender!
1601
01:33:17,900 --> 01:33:21,300
Ha-ha! Look who's here.
The big Broadway success.
1602
01:33:21,300 --> 01:33:23,400
I don't write hits.
My plays are art.
1603
01:33:23,500 --> 01:33:26,300
- They're written specifically to go unproduced.
- Is Ellen there?
1604
01:33:26,300 --> 01:33:28,400
- No, she's not here.
- I think she is.
1605
01:33:28,400 --> 01:33:31,000
Congratulations
on your hit, David.
1606
01:33:31,000 --> 01:33:34,100
- I always knew ya had it in you.
- Yeah, well, you were wrong.
1607
01:33:34,100 --> 01:33:37,300
- I have to-- I have to ask you a question.
- What?
1608
01:33:37,300 --> 01:33:40,000
Did you love me as the artist
or as the man?
1609
01:33:40,000 --> 01:33:44,000
- Both. - Well, what if it turned
out that I wasn't really an artist?
1610
01:33:44,100 --> 01:33:47,000
I could love a man if
he's not a real artist...
1611
01:33:47,000 --> 01:33:49,900
but I couldn't love an artist
if he's not a real man.
1612
01:33:49,900 --> 01:33:53,100
Th-This is all academic.
She's with me now. You're with me now.
1613
01:33:53,200 --> 01:33:55,900
- Do you really want to be with Flender?
- Yes.
1614
01:33:56,000 --> 01:33:58,900
- Hey! Flender is a great lover.
- Ohh.
1615
01:33:59,000 --> 01:34:03,400
- Hey, I slept with Flender. He was just okay.
- Really?
1616
01:34:03,400 --> 01:34:06,100
Rita, please!
What are you talking about?
1617
01:34:06,200 --> 01:34:08,100
That was years ago, during
your free-love period.
1618
01:34:08,200 --> 01:34:11,200
I feel it's relational.
For me, he's great.
1619
01:34:11,200 --> 01:34:14,500
Huh, interesting. Are you talking
pure mechanics or what?
1620
01:34:14,500 --> 01:34:17,000
- His technique is prodigious.
- Prodigious?
1621
01:34:17,000 --> 01:34:21,300
- You're confusing sex and love.
- No, for me, love is very deep.
1622
01:34:21,400 --> 01:34:23,300
Sex only has to go
a few inches.
1623
01:34:23,300 --> 01:34:28,300
Y-You're all missing the point. The point is,
I can give pleasure many times a day.
1624
01:34:28,400 --> 01:34:31,400
Oh, now really, Flender.
What has quantity got to do with it?
1625
01:34:31,500 --> 01:34:34,300
- Quantity affects quality.
- Says who?
1626
01:34:34,400 --> 01:34:37,200
- Karl Marx.
- Oh, so now we're talking economics.
1627
01:34:37,300 --> 01:34:40,900
- Sex is economics.
- Bullshit. Ellen, come down here. I wanna talk to you.
1628
01:34:41,000 --> 01:34:44,100
I love you. I wanna see you.
Come down here.
1629
01:34:44,200 --> 01:34:47,200
- All right.
- What do you mean "All right"? What about me?
1630
01:34:47,200 --> 01:34:50,200
You're great, Flender, but it's no use.
I'll never get over David.
1631
01:34:50,200 --> 01:34:54,000
Couldn't you tell? Each time
I climaxed, I'd scream, "David! David!"
1632
01:34:54,000 --> 01:34:56,100
I thought you were saying,
"Do it! Do it!"
1633
01:34:56,200 --> 01:34:59,100
Flender, stop it.
Leave 'em alone.
1634
01:34:59,200 --> 01:35:01,500
Can't you see
they love each other?
1635
01:35:06,200 --> 01:35:09,300
Living in the garrets...
1636
01:35:09,400 --> 01:35:13,300
eating cheese and drinking wine
and analyzing art in coffee houses.
1637
01:35:13,400 --> 01:35:15,900
It's over.
I love you.
1638
01:35:16,000 --> 01:35:19,000
- I want us to get married. We'll go back to Pittsburgh.
- But you're a success.
1639
01:35:19,100 --> 01:35:21,900
- You have a hit. Why the sudden change?
- We'll have kids.
1640
01:35:22,000 --> 01:35:25,300
- Because I've wasted too much time already.
I love you. - But you're an artist.
1641
01:35:25,400 --> 01:35:27,400
No, I'm not.
I'm not.
1642
01:35:27,400 --> 01:35:30,400
I'll explain it all to you on
the train back to Pittsburgh.
1643
01:35:30,500 --> 01:35:33,900
There's two things of which I'm certain.
One is that I love you.
1644
01:35:35,300 --> 01:35:37,400
Two is that
I'm not an artist.
1645
01:35:38,500 --> 01:35:40,900
There, I said it,
and I feel free.
1646
01:35:41,000 --> 01:35:42,900
I'm not an artist.
1647
01:35:49,300 --> 01:35:51,200
- Will you marry me?
- Yes.
1648
01:37:09,600 --> 01:37:14,100
We're all alone, no chaperone
can get our number
1649
01:37:14,200 --> 01:37:16,200
The world's in slumber
1650
01:37:16,300 --> 01:37:18,800
Let's misbehave
1651
01:37:19,000 --> 01:37:21,100
There's something wild
about you, child
1652
01:37:21,100 --> 01:37:23,300
That's so contagious
1653
01:37:23,400 --> 01:37:25,600
Let's be outrageous
1654
01:37:25,700 --> 01:37:28,100
Let's misbehave
1655
01:37:28,100 --> 01:37:32,400
When Adam won Eve's hand
he wouldn't stand for teasin'
1656
01:37:32,500 --> 01:37:37,400
He didn't care about
those apples out of season
1657
01:37:37,400 --> 01:37:39,400
They say that spring
means just one thing
1658
01:37:39,500 --> 01:37:41,600
To little lovebirds
1659
01:37:41,600 --> 01:37:43,800
We're not above birds
1660
01:37:44,000 --> 01:37:45,800
Let's misbehave
1661
01:38:06,800 --> 01:38:08,800
Let's misbehave
1662
01:38:15,000 --> 01:38:16,800
Let's misbehave
1663
01:38:17,000 --> 01:38:21,400
If you'd be just so sweet and
only meet your fate, dear
1664
01:38:21,500 --> 01:38:26,400
'Twould be the great event
of 1928, dear
1665
01:38:35,600 --> 01:38:37,700
Let's misbehave
145235
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