Return to Yesterday (1940) Full Movie HD

Great Movies

Return to Yesterday (1940) is a classic British drama that tells the story of a successful actor who unexpectedly visits a small seaside town and becomes involved with a local theatre company. As he reconnects with his roots and reflects on his journey, the film explores themes of identity, artistic passion, and rediscovery. With its thoughtful tone and engaging performances, it's a charming glimpse into early 20th-century storytelling.

Transcript

00:00:30C'est parti !

00:01:00C'est parti !

00:01:30C'est parti !

00:01:59C'est parti !

00:02:29Carol, look at this !

00:02:32Oh, Peter, how wonderful !

00:02:34This is Mr. Prendergast. I've been telling him about the plan.

00:02:37I only hope it's better than most of them.

00:02:38Do you come and see us often ?

00:02:39Me ? No, I haven't risked going inside.

00:02:42But a friend of mine seen your show last week.

00:02:45He said it was chronic.

00:02:46Cruel !

00:02:47Well, good day, Bo.

00:02:49I must be seeing about my Everdrome poster.

00:02:52Now, that is a show.

00:02:53Lady fell off the trapeze last week.

00:02:55Laugh !

00:02:56Ah ! Fair bust, Michelle !

00:02:58There's my public.

00:03:03What's the use of trying to write plays for a lot of Prendergasts ?

00:03:06Oh, I expect Shakespeare felt like that sometimes.

00:03:08Yes, he didn't have to write for Torricum Pier.

00:03:12Have you seen the bookings for Monday ?

00:03:13I know, but people here have gone out of the habit of going to the theatre.

00:03:16They need something like Yellow Oak to wake them up.

00:03:18Ah, it's good to be in love with an optimist.

00:03:20Oh, Peter, your play is good.

00:03:21I know it is.

00:03:22And I'm going to give a terrific performance.

00:03:24And what do we do when we put the drama on its feet in Torricum ?

00:03:26What about a smashing success in London ?

00:03:28With me modestly responding to cries of,

00:03:30Arthur !

00:03:31And me, swathed in orchids and white Samite,

00:03:34quietly murmuring.

00:03:35I owe it all to him.

00:03:38When you're done acting like turtle doves,

00:03:40take a look what they do into your play.

00:03:43Mr Bennion, for the third and final time,

00:03:45I will not have you kibosh my wife's best scene

00:03:47by eating an apple.

00:03:48It's in the script, governor.

00:03:50It's apple.

00:03:50Never mind the script.

00:03:51As dear old Irving used to say to me,

00:03:52what's in the script and what goes into the play

00:03:54is a very different piece of chalk.

00:03:55Quite right, Sam.

00:03:56Munch, munch, munch.

00:03:57It's disgusting.

00:03:58Well, perhaps you'd like to have it stewed for me.

00:04:00You forget we're supposed to be playing a lady and gentleman.

00:04:03Oh, a lady, yes.

00:04:04I didn't know it was a character part.

00:04:06Go on, Peter.

00:04:06Knock their silly heads together.

00:04:08We don't want any funny answers or bad enage.

00:04:10Now, make the entrance and try the scene again.

00:04:12And what am I supposed to do in place of the apple business ?

00:04:15Listen to her.

00:04:15Listen with pity and admiration.

00:04:17I can manage the pity all right.

00:04:19I've never been spoken to like this in my life before.

00:04:22Man in my position, I won't stand for it.

00:04:23Thank you.

00:04:25You can't take the apple out.

00:04:26I'm producing this play.

00:04:27Then you ought to read it sometime.

00:04:28The apple is part of the plot.

00:04:29Plot fiddlesticks, as dear old Dearborn Tree said to me,

00:04:31not once but a hundred times.

00:04:32Plot fiddlesticks.

00:04:33Give him the cue, dear.

00:04:34Is that you, Charles ?

00:04:35Come in.

00:04:38Oh, for heaven's sake, how many more times am I to say, come in ?

00:04:41I am in.

00:04:43Oh, my darling, Elise, look what I have picked from the tree of knowledge.

00:04:46I was going to eat it, but on second thoughts,

00:04:47I have decided to stand like a stuffed owl with my back to the audience.

00:04:51Yes, cut all that and get on, please.

00:04:53Well, well, well.

00:04:54How are you looking as pretty as ever ?

00:04:56Well, I hope you're going to give more point to the line than that.

00:04:59What for, to get a laugh ?

00:05:00Go on, please.

00:05:02I saw Harry last night.

00:05:04Never.

00:05:05That's not the line.

00:05:07Prompt.

00:05:07You don't mean to tell me you saw Harry.

00:05:09Never is shorter.

00:05:11No lady ever says never.

00:05:12Well, anything less like a gentleman than your performance, I have yet to see.

00:05:15Then it's quite clear you never read what the Bradford advertiser said about my Lord Fothering.

00:05:20Never mind what they said.

00:05:21Mrs. Hammer is quite right.

00:05:22You don't suggest reading for one single moment.

00:05:24Now, I'll show you how that inference should be made with panache, Mr. Bennion.

00:05:28Panache.

00:05:30Give me the cue, dear.

00:05:31It's terrible.

00:05:33Nothing but bicker, bicker all day long.

00:05:35Tell that old woman to shut up.

00:05:36Is that you, Charles ?

00:05:38Come in.

00:05:39Darling, it lays.

00:05:41Pause.

00:05:41Well, well, well.

00:05:43Look at Grace and stop in amazement.

00:05:46That ought to be easy.

00:05:48Sam, throw him out.

00:05:49I will not appear on the same stage with him.

00:05:51Darned right you won't.

00:05:51Have you no respect for your leading lady?

00:05:54No, nor for you, nor for anything about you.

00:05:55No.

00:05:56I have faithfully served my provincial and western public for a number of years.

00:05:59I don't want to hear.

00:06:00And like many other leading actors, I have had my ups and downs.

00:06:03I will not think.

00:06:03But for the sake of the drama, I have borne them with a smile.

00:06:05I've respect that.

00:06:06But when it comes to being taught how to act like a gentleman, by a bounder who doesn't

00:06:10even know the meaning of the word, then what I say is, no.

00:06:16Then in your fire.

00:06:17Don't be such a fool.

00:06:18We open on Monday.

00:06:18Without me, old boy.

00:06:19Run after him, father.

00:06:20Persuade him to come back.

00:06:22Stop.

00:06:22I forbid anyone to address another word to him.

00:06:25This is idiotic.

00:06:26How can we open without a leading man?

00:06:27Please.

00:06:28As dear old Charlie Wyndham used to say to me, there is no need for coarseness and excitement.

00:06:32I am your manager.

00:06:33New leading man shall be provided.

00:06:34When?

00:06:34Immediately.

00:06:35I'll phone every agent in London.

00:06:36No expense shall be fair.

00:06:38Come, Grace.

00:06:38Oh, she's forgotten her hat.

00:06:40Good.

00:06:43But you can't telephone.

00:06:44It's been cut off.

00:06:45I never meant to.

00:06:46Then why did you tell them you would?

00:06:47Diplomacy, my dear.

00:06:48I've been looking for a way to shut down without putting up a fortnight's notice, and it's

00:06:52been handed to me on a plate.

00:06:54Poor old Peter.

00:06:56I expect when they write our lives, they'll call this part youthful struggles.

00:06:59I'm fed up with being young.

00:07:00I get no kick out of it at all.

00:07:03Pity we can't skip our youthful struggles and start here.

00:07:06Popular Idol concludes Triumphant Tour, Hollywood's favourite British film star leaving today.

00:07:13Paddington Station prepares for siege.

00:07:16Ha, ha, ha.

00:07:18Mr. Main is not expected for some minutes.

00:07:21Will those people waiting for Mr. Main kindly avoid obstructing regular passengers, please?

00:07:27Stand away, sir.

00:07:32How many more trains are going to start late today?

00:07:34All of them.

00:07:35Can't get the passengers through the crowd.

00:07:36Then clear the crowd.

00:07:37The police have been trying for half an hour.

00:07:39Hello.

00:07:40Get me the Savoy Hotel.

00:07:41Mr. Main.

00:07:42Sam, I'm sitting along.

00:07:43Oh, he's lined up for the other fans, hoping to get an autograph.

00:07:46Hello.

00:07:47Is that Mr. Main?

00:07:48This is his manager.

00:07:49Mr. Main only speaks on the telephone by appointment.

00:07:51Well, you can tell him from me that he succeeded in disorganizing the entire traffic of this station.

00:07:55Say, do you know who Mr. Main is?

00:07:56Yes, I know.

00:08:00Don't tell me.

00:08:01I can guess.

00:08:02This guy has the quest to tell me that you're no more important than a mother taking her kids at Torquay.

00:08:07I entirely agree with him.

00:08:08Oh, pipe down.

00:08:10Well, there's no use in coming along.

00:08:11He couldn't get through the crowd, and I'm not hurling this train for anyone.

00:08:13Hey, don't give me that stuff.

00:08:14Have you got any police in this city?

00:08:16Of course it is possible they have other duties.

00:08:18Say, listen.

00:08:19If you think the company has built up this big send-off to be told he can't get out of London because of it, you're crazy.

00:08:24We'll be right down in ten minutes.

00:08:28It's an open question whether announcing the time of my leaving was your brightest idea.

00:08:32How was I to know your fans would get out of control?

00:08:34Come on, we've got to button up and face it.

00:08:35Then suppose you go ahead with the luggage, and I'll follow.

00:08:37A low one?

00:08:38Why, you'll be torn to bits.

00:08:40Care to bet on that?

00:08:43Mr. Main will not be here for some while.

00:08:46Will people please not crush towards the platform?

00:08:50My little granddaughter has a billiard's attack, and I promise to get Mr. Main's order.

00:08:54Sorry, ma'am, it's quite impossible.

00:08:55Please take their seat.

00:08:58Mr. Main is not expected for some minutes.

00:09:02Will spectators please move back from the platform?

00:09:05I wonder if you could help me.

00:09:06My little granddaughter has a billiard's attack, and I promise to get Mr. Main's order.

00:09:11I'll see what I can do, madam.

00:09:12Oh, thank you so much.

00:09:14Don't mention, madam.

00:09:14Will those passengers travelling by the flippings go straight?

00:09:18Why, you'll only take their seats.

00:09:30That's the old lady over there.

00:09:31Right, sir.

00:09:35Can they avoid obstructing regular passengers, please?

00:09:39There you are, madam.

00:09:40Oh, thank you so much, Mr. Main.

00:09:43I knew it was you from the first.

00:09:45Come along now.

00:09:47Please, take your feet.

00:09:49Stand away now.

00:09:50Oh, Mr. Main.

00:10:02I'm sure you wouldn't mind, but my little Yvonne is so anxious to go on the screen.

00:10:10Really?

00:10:11My mother gave me a petticoat, all trimmed with gold, a penny for my pocket and a bag for

00:10:17me to hold.

00:10:18I wouldn't marry a coal man, because his hands are black with coal, and I wouldn't marry

00:10:23a butcher, because his hands are red with blood.

00:10:25But I'd like to marry a gentleman on a big white horse.

00:10:29Giddy up, giddy up, giddy up.

00:10:30There, Mr. Main.

00:10:32Isn't she every bit as good as Shirley Temple?

00:10:35No difference at all.

00:10:41Excuse me, sir, but them Pekingese of yours is getting rather restive-like.

00:10:45Pekingese?

00:10:46Yes, sir.

00:10:47Oh, yes, yes, of course.

00:10:48I'll come at once before someone gets bitten.

00:10:50Excuse me.

00:10:51I'm sure he was impressed, darling.

00:10:57If I do click, you and Dad won't smell any of the money.

00:11:00Oh!

00:11:02Oh!

00:11:03Oh!

00:11:13Cornish pasty.

00:11:15My wife, Mason.

00:11:16You're a lucky man.

00:11:17I'm not complaining, sir.

00:11:18I should think not.

00:11:19You have a job you enjoy, good money, five kids, and a wife who makes Cornish pasty.

00:11:24I envy you.

00:11:26That's a good'un, sir.

00:11:27I mean it.

00:11:27Why shouldn't I?

00:11:29What, a gentleman like yourself with everything the art might desire?

00:11:32Envying me don't make sense of it.

00:11:33No, he doesn't, huh?

00:11:34No, he doesn't.

00:11:35Well, I still envy you.

00:11:37You see that pierre?

00:11:38Caracou.

00:11:39That's a theatre at the end, sir.

00:11:40As if I didn't know, I was playing there in 1922 and have been in the world.

00:11:44Different play every week.

00:11:45Worked like knickers.

00:11:46Gosh, I was happier than I am now.

00:11:47Oh, come now, Mr. Mayne.

00:11:49You see those little houses?

00:11:50I was in digs in one of them.

00:11:52Good Lord, how it all comes back.

00:11:54Those suppers.

00:11:55Guinness and dabs.

00:11:57Dabs that have been flapping about in a barrow a couple of hours before.

00:12:00You could afford Guinness and dabs nowadays if you wanted to, sir.

00:12:02Yeah, they don't taste the same.

00:12:04Look, Tuesday Island.

00:12:05We used to sail over there on Sundays for picnics, throw the sandwiches to the gulls.

00:12:09Gosh, I used to know how to be happy.

00:12:10Now, I've forgotten the secret.

00:12:15I suppose you think I have a screw loose.

00:12:16Well, not entirely, sir.

00:12:18But I was wondering what you was going to do about it.

00:12:19Nothing.

00:12:20Just go on being bored and bloody.

00:12:22Oh, that seems to me kind of foolish, sir.

00:12:24I know, but what's the alternative?

00:12:25Well, I figured it out this way, sir.

00:12:27When you was in Tarakoum, you had something, hadn't you?

00:12:30I had.

00:12:31And now you haven't.

00:12:32Now I haven't.

00:12:33Well, if I was you, sir, I'd go back to Tarakoum and see what it was you had.

00:12:41Wait a minute.

00:12:42You're on to something.

00:12:43I used to know how to be happy, so I go back and try to remember how I did it.

00:12:46That's the idea, sir.

00:12:47That sounds logical.

00:12:48Always favorably, I think it's I can't beat it.

00:12:50How far are we from Tarakoum?

00:12:51Oh, must have gone a matter of three miles now, sir.

00:12:53That's not too far to walk.

00:12:55There, you can't do that, sir.

00:12:56Why not?

00:12:56Strictly against regulations, except in case of emergency.

00:12:59This is a case of emergency.

00:13:00You've convinced me.

00:13:01A philosophy, sir, the railway don't take no account of.

00:13:02What would happen if I, uh, if I did pull it?

00:13:05This your first offence, sir?

00:13:06Absolutely.

00:13:07Cost you five pounds, sir.

00:13:09It's a sound investment.

00:13:10Hey, you can't say.

00:13:32Mr. Thorpe, I don't know who it was who spilled the ink, but putting the fern over it deceives no one.

00:13:39If you're suggesting that Peter did it, say so.

00:13:41Don't be coy about it.

00:13:42If I was behindhand with my rent, I'd be loath to resort to vulgar abuse.

00:13:45What a sock in it, Friskin.

00:13:46We're in no mood for a lecture.

00:13:53Buy a bunch of flowers, lady?

00:13:54Certainly not.

00:13:55Go on, have them for nothing, ducky.

00:13:56Do you want me to call the constable?

00:13:57Rub your eyes, woman.

00:13:58Do I mean as little to you as that?

00:13:59Less.

00:14:00Friskin, you faithless baggage.

00:14:02There is something familiar.

00:14:04Commercial, theatrical.

00:14:05Watson-Kirby Company.

00:14:06Second tomb in Isles.

00:14:07Sing and dance if required.

00:14:08My, if it isn't young Bobby Mayne.

00:14:11I knew you'd be glad to see me, Friskin.

00:14:13I certainly am.

00:14:14What about that three and six for the vase you broke and hid behind the washstand?

00:14:17Oh, do I get my old room?

00:14:19Oh, it's been promised to an acrobat.

00:14:21Tell him to take a couple of backflips down the steps.

00:14:26Here you are.

00:14:31Gosh, do you think how happy I managed to be in this funny little room?

00:14:34I don't know what more you could have expected at the money.

00:14:37Nothing.

00:14:38Nothing.

00:14:38This was my garden of Eden, Friskin, and I never knew it till I was thrown out.

00:14:42See that mirror?

00:14:43I stood before it for hours, practicing facial expressions of the most lamentable kind.

00:14:48Grief.

00:14:49Terror.

00:14:51Ecstasy.

00:14:53And the old truttle bed.

00:14:55Just as hard and wintry as ever.

00:14:58Think of the hours I've lain here filled with the most glorious dreams of what the future held in stone.

00:15:03It's not possible.

00:15:06The old chair with a castor on.

00:15:08The talent scout who carried me off to Hollywood sat there.

00:15:11Gosh, I wouldn't believe any place on earth could be scrawled over with so many happy memories.

00:15:15Happy indeed.

00:15:16You were one of the most discontented young gentlemen I ever did for.

00:15:19Rubbish.

00:15:20I walked on air, and I challenge you to deny it.

00:15:22Fetch up the suitcase, Friskin.

00:15:24The prodigal has returned.

00:15:25You know, I think...

00:15:29Young Bobby Mayne and the Watson Kirby Company.

00:15:33Watson Kirby...

00:15:34Nonsense.

00:15:35It's my sixth from the repertory.

00:15:36Repertory?

00:15:37Stand it.

00:15:37Let's go down and join it.

00:15:39Are they a jolly lot?

00:15:40Oh, as jolly as a grocer's funeral.

00:15:41Worry, worry, worry, from daylight till dark.

00:15:44The poor fools.

00:15:45Happiest time of their lives, and they don't know it.

00:15:47That's no reason for a cinema star to go hobnobbing with a lot of actors who never paint a red.

00:15:51But today I'm not being a star.

00:15:53I'm playing Mr. Manning on holiday from Panbridge Wells, and don't you forget it.

00:15:57Changing your name will make no difference.

00:15:59You might as well call London Bridge Battersea Park.

00:16:01I bet you're sovereign I'd get away with it.

00:16:03You didn't recognize me like this, and nobody else will.

00:16:05Besides, Robert Mayne's supposed to be on the high seas.

00:16:08It is not to dwell, Friskin, but the setting the people recognize.

00:16:11I'm perfectly certain if you saw Garbo serving behind a ribbon counter.

00:16:14Most, you say, would be how like Garbo that girl is.

00:16:17That's all.

00:16:20This is my new top back, Mr. Manning.

00:16:23How do you do?

00:16:24Thank you.

00:16:25Help yourself to anything you want.

00:16:26That's very kind of you.

00:16:27Last time he was here, she fairly flung herself into his arms.

00:16:30I beg your pardon.

00:16:31Oh, not you.

00:16:32We're rehearsing.

00:16:34Why this universal attempt to shower my past with ignominy?

00:16:38With what?

00:16:39Ignominy.

00:16:40Ignominy.

00:16:41I'm sorry.

00:16:42I'm very bad for this.

00:16:44Not at all.

00:16:45You're being most helpful, isn't he?

00:16:47First rate, it's a marvelous German accent.

00:16:49It isn't meant to be.

00:16:50He's only reading it for us until we get a new leading man.

00:16:54Oh, I see.

00:16:55Captain Angst is appearing at the Hippodrome with his performing seals.

00:16:58They're quite human.

00:16:59I have to think seriously of announcing my arrival with a discreet cow.

00:17:04With what?

00:17:05A discreet cow.

00:17:06A discreet cow, old man.

00:17:07And if you could make it just a little more cheerful.

00:17:10This I cannot do.

00:17:11I have today a very heavy heart.

00:17:13One of my seals is sick.

00:17:15Already I must go and give him the helipot oil.

00:17:20Poor Captain Angst.

00:17:22His seals are so delicate.

00:17:23That's too bad.

00:17:25He keeps one of them in the bath.

00:17:26It stinks the place out.

00:17:27Well, I suppose we may as well chuck the whole thing up.

00:17:29Oh, there's no need to do that.

00:17:31Perhaps Mr. Manning would read the part.

00:17:35If it would be of any help.

00:17:36Oh, it is kind.

00:17:38You're Sir Charles.

00:17:39The characters' names appear before each speech.

00:17:41If you see what I mean.

00:17:42Yes, indeed.

00:17:43Perfectly.

00:17:43Let him have the cue.

00:17:45Last time he was here, she fairly flung herself into his arms.

00:17:48Why this universal attempt to shower my past with ignominy?

00:17:52I shall have to think seriously of announcing my arrival with a discreet cough.

00:17:55You don't read at all badly.

00:17:57But don't be afraid to give it plenty of expression.

00:17:59Thank you.

00:18:00I was keeping my passion in reserve in the event of there being a love scene.

00:18:03Later.

00:18:04Barbie Shafter's gone to sea.

00:18:08Mrs. Priskin's on his knee.

00:18:10She'll come back and marry me.

00:18:12Pretty Mrs. Priskin.

00:18:13Mr. Miller, barroom duties are neither expected nor desired in this establishment.

00:18:17And by the way, did you spill the ink?

00:18:18No, but I'll do it at once.

00:18:20Raking in the ashes of a dead love affair seldom pays a dividend.

00:18:23The wise guy lives in the present and regards the past as a banking account from which he draws experience.

00:18:28Nice work.

00:18:29And I was laying six to four against Sammy, finding anyone for the party.

00:18:32Don't be an idiot, old man.

00:18:33Mr. Manning's just helping us out.

00:18:34He's not an actor.

00:18:35I don't know so much.

00:18:36He's not bad at all.

00:18:37Were you over on the stage?

00:18:39I was a long time ago.

00:18:41You know, I believe we could do worse than trying for the party.

00:18:43Nonsense.

00:18:43Come on, let's get back to the theater.

00:18:45Seriously, Peter, why don't we send him down to see Sam Board?

00:18:47Darling, he's not the type.

00:18:48We want a man of the world.

00:18:49Oh, I think he'd get by with the makeup and the right sort of clothes.

00:18:53He's got that sort of traveled look, like Ronald Coleman or Robert Mayne.

00:18:56He's only about two foot shorter and ten years older, that's all.

00:18:59Yes, but even if he isn't right, he is on the spot, and that's something we're going to open on Monday.

00:19:02What do you think, Charlie?

00:19:03Oh, any port in the storm?

00:19:04Exactly, and we haven't got the time to pick and choose.

00:19:06Now, look here, Mr. Manning, as far as we're concerned, you're in.

00:19:09We'll fix an appointment with Sam Board.

00:19:10Now, mind you, stand up to him.

00:19:11He won't bite you.

00:19:14But, Carol, dear, hadn't you better ask Mr. Manning whether he wants to play?

00:19:18Of course he wants to play.

00:19:19It's a jolly good chance.

00:19:20He'd have said so if he didn't.

00:19:22Don't sit there like a bloody hen.

00:19:23Go after them and tell them you're not going to do it.

00:19:25But I am, Priskin, I am.

00:19:26I walk back into my past, and my pastors welcome me with open arms.

00:19:30Tiddly, Mr. Manning, tidly.

00:19:31I suspected it from the first, and now I'm sure.

00:19:38But I must know, I must.

00:19:40Don't you realize what it means to me?

00:19:42You're overwrought, child.

00:19:44If only there was something I could do.

00:19:46The moment those men came, I knew they were after him.

00:19:49They were wicked, evil.

00:19:51He's in danger, I tell you.

00:19:53I may never see him again.

00:19:54Your grace, a foreign office, Westchester, has left this letter.

00:20:09My dear, can you stand the shock?

00:20:12If I must.

00:20:13So this is the end of the house of Illingsworth.

00:20:32Do you mind if I sit down?

00:20:33If you're tired?

00:20:36What was the name again?

00:20:38Manning.

00:20:38Never heard of it.

00:20:39Where have you been working?

00:20:40America.

00:20:41That's a very safe answer.

00:20:42What's your line?

00:20:43Leading men.

00:20:44Don't resemble any leading men in my acquaintance.

00:20:46I'm sorry, but the company thought I was rather like Robert Mays.

00:20:49Ha!

00:20:51No resemblance whatever.

00:20:53Bobby Mays is a very intimate friend of mine.

00:20:55Dear old Bobby.

00:20:56I gave him his first chance.

00:20:58He ought to be very grateful.

00:21:00Grateful?

00:21:00He has every cause to me.

00:21:02Have you read the play?

00:21:03Yes, I think it's remarkably good.

00:21:04I'm not interested in your opinion.

00:21:06What made you think you'd be any use for the part?

00:21:08Well, the suggestion was not mine.

00:21:09No, not mine either.

00:21:11It's my opinion.

00:21:12You'd look better behind the counter than in front of the footlights.

00:21:14As a matter of interest, Mr...

00:21:17I forget your name for the moment.

00:21:18Is this the way you usually cast plays?

00:21:20It is.

00:21:20How can you possibly form your judgment of an actor

00:21:22without seeing him do anything?

00:21:24Flair, my dear boy.

00:21:24Flair.

00:21:25As dear old Gerald Jumari I used to say,

00:21:28no one in the West End can cast a play like Fred Sanborn.

00:21:31He was probably right.

00:21:32Nevertheless, I will never be accused of not giving an actor a chance.

00:21:36Go on.

00:21:36Say something.

00:21:37Oh, what's the use?

00:21:38It's clearly evident you don't intend to give me the part.

00:21:39I said say something.

00:21:42Very well.

00:21:43You're an inflated ass and it gives me the greatest possible pleasure

00:21:53to put your face in those potatoes.

00:22:05Well?

00:22:06I've come to the conclusion that jumping off that train

00:22:08wasn't a very clever thing to do, Priskin.

00:22:10What made you realize that?

00:22:11That little rat, Sanborn,

00:22:12he's made everything seem small and cheap.

00:22:15You haven't altered.

00:22:16Up one minute and down the next.

00:22:18How I ever stuck this paltry existence.

00:22:20Oh, there were good times as well as bad.

00:22:22I doubt it.

00:22:22Then what was the sense of coming back?

00:22:24I don't know.

00:22:25Chasing a rainbow.

00:22:26Trying to return to yesterday.

00:22:28Moaning and groaning never put back the clock.

00:22:30Oh, shut up.

00:22:31Oh, there's no need to lose your temper.

00:22:32I haven't.

00:22:32I found it.

00:22:33It's the only thing I have found in this whole ridiculous business.

00:22:36Ladies and gentlemen,

00:22:47owing to the unavoidable loss of my leading man

00:22:49and the impossibility of replacing him at such short notice,

00:22:52I have no choice but to reluctantly cancel my next production.

00:22:56Should it be possible to reopen this theatre at some future date,

00:22:58announcements will be made in due course.

00:23:00Thanking you one and all.

00:23:01Say, Sammy, are you trying to break the news?

00:23:04We're finished.

00:23:05I'm afraid so.

00:23:05There's no one to play the ball.

00:23:06We found some.

00:23:07We've been phoning agents all the afternoon.

00:23:08What was wrong with manning?

00:23:09Not the type.

00:23:09Of course he's the type.

00:23:10I refuse to discuss this matter further.

00:23:12Oh, yes, you will.

00:23:13I don't believe you tried to find anyone.

00:23:14I don't believe you rang up a single agent.

00:23:16I don't believe you wanted the show to go on.

00:23:17And why should I behave in such an extraordinary manner?

00:23:19So that you could back out without paying us our salaries.

00:23:22Sam, did you hear that?

00:23:23Oh, the disloyalty.

00:23:24You hold your tongue.

00:23:25But you can't do it.

00:23:26We're entitled to a fortnight salary.

00:23:27Then how do you propose to get it?

00:23:31Back in the face, this is a limited company and you won't get a penny.

00:23:33Not one of them.

00:23:34You're a rogue, sir.

00:23:35Nothing short of a rogue.

00:23:36Come, raised.

00:23:37I will not stay here to listen to a lot of drunkard and abuse.

00:23:45I stood up to him, didn't I?

00:23:46Yes, dear.

00:23:47I was proud of you.

00:23:48It was all I could do, not to hit him in the eye.

00:23:50This is a nice thing.

00:23:51We are a priskin heaven knows what.

00:23:53Where are we going to get a job in the middle of the season?

00:23:55I wonder it'll be any use writing to Hull.

00:23:57Not the slightest.

00:23:58We're in the cart.

00:23:59It'll happen before and it'll happen again.

00:24:01It's always confoundedly depressing.

00:24:03Come on, I'll buy you a drink.

00:24:05I happen to come across these photos that were taken the last day of the Watson Kirby Company.

00:24:09I don't want to see them.

00:24:10But you don't look half bad, in your little Panama.

00:24:12I don't want to see them.

00:24:13I thought you would be interested in...

00:24:15Not a bit.

00:24:15What have I to do with young Bobby Mayne?

00:24:19Cockshaw youth with his idiotic hat.

00:24:22If I met him in the street, I shouldn't know him.

00:24:24I no longer understand him.

00:24:25I should probably dislike him.

00:24:27He's no more part of me than you are.

00:24:29Now, don't bring me into this.

00:24:30Friskin, I've learned something I never knew.

00:24:32We are what we are at this minute.

00:24:33And to imagine your old self survives is the greatest folly in the world.

00:24:38Young Bobby Mayne slept here like a log.

00:24:40You think I should?

00:24:41Not a wink.

00:24:42And this cracked mirror.

00:24:46Young Bobby Mayne made faces in it.

00:24:49Why should I?

00:24:50Oh, I've been a fool, Friskin, believing I could open the doors of the past.

00:24:54It can't be done.

00:24:55All I found was a few formless ghosts.

00:24:59But the emotion that gave them reality gone.

00:25:01There's no use carrying on like this as if I'd ever said otherwise.

00:25:04Not the slightest use.

00:25:05The experiment's failed.

00:25:06Oh, get me a cab, Friskin.

00:25:09I'm leaving tonight.

00:25:11Peter?

00:25:13Peter!

00:25:14Peter!

00:25:15We've had a wonderful idea.

00:25:17We're going to put on the play ourselves.

00:25:18We'll get the theatre on tick, give Manning the other part,

00:25:20make a terrific success, and give old Sammy a rousing kick in the pants.

00:25:23Whose idea was this?

00:25:24Mine.

00:25:24Well, it's rotten.

00:25:25Peter.

00:25:25Where will you get the cash?

00:25:26We'll pour in our things.

00:25:27We'll have to get them out first.

00:25:29I see you're just throwing cold water.

00:25:30No, I'm not.

00:25:31I'm just being sensible for a change.

00:25:32It won't work.

00:25:33All right, then what's the alternative?

00:25:34This.

00:25:36Wanted, junior assistant master, good disciplinarian preferred.

00:25:39Does that sound like me?

00:25:40School for delicate and backward boys.

00:25:43Ah, that's more my life.

00:25:44Peter, you're not thinking of giving up the stage.

00:25:46I said I was being sensible for a change.

00:25:47Sensible?

00:25:48After all we were going to do, after all our plans.

00:25:51I hope Sam Bourne's cured me of all that.

00:25:52I thought you wanted to be a great writer.

00:25:54Yes, and you wanted to be a great actress.

00:25:55When I was young, I wanted to be a great engine driver.

00:25:57I still want to be a great actress.

00:25:59You can laugh at me as much as you like.

00:26:00I'm not laughing at you.

00:26:01I'm just asking you to grow up and face facts.

00:26:03I am grown up.

00:26:04Yes, but you don't face facts.

00:26:05We may be jolly good, but what hope have we got of a brick?

00:26:07Not one in a million, and you know.

00:26:09We might just as well get out while we can see straight.

00:26:11Are you suggesting that I should give up the stage too?

00:26:14Yes, I am.

00:26:14I don't want to be a schoolmaster,

00:26:16but at least we could count on three square meals a day

00:26:18and something to pay our bills with at the end of the week,

00:26:20and then we could settle down, get married.

00:26:21I don't want to settle down.

00:26:23I'm not certain I want to get married.

00:26:25I'm not licked yet, even if you are.

00:26:26It's not a question of being licked,

00:26:27but a question of being grown up.

00:26:29Oh, grown up my foot.

00:26:30Now look here, Peter, we're going to put on this play,

00:26:32and if you won't come in with us, we'll put it on without you.

00:26:34I want to be an actress, and I'm going to be an actress,

00:26:36and not you nor anyone else is going to stop me.

00:26:38So you can go after your backward and delicate boys,

00:26:40and I hope they put tadpoles in your tea.

00:26:43I'm glad to see you so happy.

00:26:56We've just been given the sack.

00:26:57Here, we've got the bush.

00:26:58That's a funny reason to sing for.

00:26:59We're taking over the theatre ourselves.

00:27:01And the rip goes marching on.

00:27:03Briskin, your legs are younger than mine.

00:27:04Pull upstairs and get Mr. Manning.

00:27:05Why?

00:27:05We're giving him a job.

00:27:06That you are not.

00:27:07That we are.

00:27:09If you think you're going to engage Mr. Manning,

00:27:11you can disabuse yourself.

00:27:13Now stop muttering, woman,

00:27:14and drink to the Mutual Self-Help Repertory Company.

00:27:16I've got to get Mr. Manning a cab.

00:27:19He's leaving in the midnight.

00:27:20No, that's all off.

00:27:21Oh, it isn't.

00:27:22You see, some things and persons are otherwise

00:27:24than they appear to be.

00:27:25You see, just the smell of it, and she's whoops-a-daisy.

00:27:27On the contrary, other people don't see

00:27:29what's under their very noses.

00:27:30Now charge your glasses and drink

00:27:31to the Mutual Self-Help Repertory Company.

00:27:33Hooray!

00:27:34Hey, wait a minute.

00:27:35Manning must have some of this.

00:27:36If you knew what I know.

00:27:37What do you know?

00:27:38Come on, act with it.

00:27:39Mr. Manning is Robert Mane.

00:27:45See, Robert Mane?

00:27:46There's only one Robert Mane.

00:27:48And we offered him two pounds a week.

00:27:51So now have I yet permission to call him a cab?

00:27:54No, you have not.

00:27:55If he's Robert Mane, we want him all the more.

00:27:56Use your nut, darling.

00:27:57Use your nut.

00:27:58You can't expect one of the biggest film stars in the world

00:28:00to chip in with a potty little rep company.

00:28:02We're not potty.

00:28:03We're good enough for any audience.

00:28:04All we need is a little publicity,

00:28:06and this is just the sort of thing to put us on the map.

00:28:07She's quite right, my dear.

00:28:08If he only paid for one night,

00:28:10we'd be packed for the rest of the season.

00:28:11He can put it out of your heads

00:28:13that he's going to save this or any other theater.

00:28:15Did he say so?

00:28:16Not in so many words,

00:28:17but he left no doubt in my mind

00:28:18that he deeply regretted being mixed up

00:28:20in either your affairs or mine.

00:28:21Oh, ho.

00:28:22So he thinks he's too good for us, does he?

00:28:24Give me a drink.

00:28:25What are you going to do?

00:28:27Give that Hollywood cheese a piece of my mind.

00:28:29I'm sorry if I do not understand.

00:28:34Do we continue to sing, or are we sad again?

00:28:37I'm afraid we are sad again, Captain Angst.

00:28:40Then I can be sad with you.

00:28:42My seal is no pepper.

00:28:45So you're not Mr. Manning,

00:28:47but the great Robert Mayne,

00:28:48and you've just been having some fun at our expense.

00:28:50Oh, a terribly funny joke,

00:28:51and it'll be funnier still when we're out of a job

00:28:53because you let us down.

00:28:54And even if you are the great Robert Mayne,

00:28:56it wouldn't have hurt you

00:28:57to have played with ordinary actors,

00:28:58and the publicity would have meant

00:28:59everything in the world to us.

00:29:00That's all, Mr. Mayne,

00:29:01but you weren't going back to Hollywood

00:29:02without knowing that at least one person in the world

00:29:04thinks you're a piece of cheese.

00:29:06Here, wait a minute.

00:29:08There isn't any more.

00:29:09I never said I wouldn't play.

00:29:11Oh, yes, you did.

00:29:13Didn't you?

00:29:13Sam Bourne wouldn't have me.

00:29:15Sam Bourne's out.

00:29:16He fired us.

00:29:17We're taking over the theater ourselves.

00:29:18That's a jolly good idea.

00:29:19Why not?

00:29:20Oh, don't be such an idiot,

00:29:21because you won't play.

00:29:22I wish you wouldn't get excited.

00:29:23I never said I wouldn't.

00:29:24But you can't,

00:29:24because you're the great Robert Mayne.

00:29:26Who signed a contract with a film company

00:29:28which would be broken

00:29:28if he appeared in any other form of entertainment.

00:29:32Oh, I see.

00:29:34I seem to have made a fool of myself.

00:29:36Shockingly.

00:29:38I, um,

00:29:40I had a drink before I came up.

00:29:42I'm ashamed of you.

00:29:43Why did you want to take over the theater?

00:29:44Because it was such a wonderful play.

00:29:46Peter wrote it for us,

00:29:47and we'd have been jolly good in it.

00:29:48Don't you see?

00:29:49It was our chance to show what we could do

00:29:51to get somewhere.

00:29:52All right, you can sneer,

00:29:53but I know if only we had the chance

00:29:55we'd get somewhere.

00:29:56That's just the way I talked in this room.

00:29:59Then don't laugh at me.

00:30:00Laugh?

00:30:01I envy you.

00:30:02Courage and enthusiasm

00:30:03burning to conquer the world

00:30:05and fearing neither God nor man.

00:30:07That's what I had.

00:30:07And I thought I'd lost it forever.

00:30:10If you wanted to do a certain thing,

00:30:11would you stop for a minute

00:30:12to consider the risk?

00:30:12Of course I wouldn't.

00:30:13Then neither will I.

00:30:15Frisk in.

00:30:15Pay off the cab and send it home.

00:30:16Now, pop downstairs and get the script

00:30:18and coffee, lashings of it.

00:30:20What about the contract?

00:30:21Only an idiot would remind me of that now.

00:30:23Get along, do what I say.

00:30:24Ha!

00:30:26This is a nice time of night

00:30:27to start learning lines.

00:30:33Mr. Morrison to see you.

00:30:34Tell him he can't find me.

00:30:35But it's Mr. Morrison,

00:30:36the play producer.

00:30:37All to the provinces, I think.

00:30:37Oh, hello, Morrison.

00:30:38No, just a couple of days holiday.

00:30:39It looks okay.

00:30:40And after three months of Robert Maine,

00:30:42I guess I've earned it.

00:30:42Yeah, never mind that.

00:30:43What about his play?

00:30:44What play?

00:30:45Hey, can't you guys afford a newspaper?

00:30:47He left England yesterday.

00:30:48Well, there's quite a coincidence

00:30:49that he got me out of bed last night

00:30:50to answer the phone.

00:30:51Do you have any other dreams?

00:30:52Only he thought I ought to see it.

00:30:53One of the darn fool

00:30:54won't say why till Monday.

00:30:55Ah, somebody's been ribbing you.

00:30:57Did you personally see him

00:30:58leave the country?

00:30:59No, but I...

00:31:00No?

00:31:00Well, don't tell me

00:31:01I don't know his voice

00:31:01when I hear it.

00:31:02Hey, wait a minute.

00:31:04Get me the Atlantic steamship line.

00:31:06What, on Sunday?

00:31:12Atlantic steamship line,

00:31:13we're closed.

00:31:14Here, did Mr. Robert Maine

00:31:15sail on the normatic?

00:31:17Ring again Monday.

00:31:18Here, don't give me that stuff.

00:31:19I want an answer

00:31:19and I want it now.

00:31:21Who checks the outgoing passenger list?

00:31:22Well, sir,

00:31:23there's a Mr. Fred Grover

00:31:24mostly does that.

00:31:28The number's Penge, 4075.

00:31:30Oh, Penge, 4075.

00:31:32Penge, 4075.

00:31:33Penge, 4075.

00:31:36Fred, quick.

00:31:37It's ringing.

00:31:38Must be about my lodge.

00:31:45Hello, is that Brother Evans?

00:31:48I beg your pardon, sir.

00:31:50Listen, did Robert Maine

00:31:51sail on the normatic?

00:31:52Well, now you come to mention it,

00:31:53he didn't.

00:31:55No, sir.

00:31:56Apparently, he never reached the ship.

00:31:59I'm sure I'm very sorry, sir,

00:32:00but it never occurred to me

00:32:01to inform anybody.

00:32:02Why, you dumb cluck.

00:32:03The most important figure

00:32:04in the world's screen

00:32:05fails to occupy a suite

00:32:06and you do nothing about it?

00:32:07Well, sir, I'm sorry, sir.

00:32:09Don't talk back to me.

00:32:10You're fired.

00:32:11What a country.

00:32:13My dear, whatever's the matter?

00:32:15I've been fired.

00:32:17But that wasn't your boss.

00:32:20Nor it was.

00:32:21I never thought of that.

00:32:23Where does he kill himself

00:32:24he's going to play?

00:32:25He won't tell me till Monday.

00:32:27Randall, take a telegram.

00:32:29To Robert Maine.

00:32:29Absolutely out of the question

00:32:30you're appearing in play.

00:32:32Regan.

00:32:32Where shall I address it?

00:32:33To every provincial theater

00:32:34in the British Isles.

00:32:35The theater's fixed.

00:32:42Now, stood the mayor

00:32:42a drop of water

00:32:43and he ate out of me hand.

00:32:44Now, here are the slips

00:32:44of the bills

00:32:45and I'll have this one on you.

00:32:47Oh, Mr. Miller,

00:32:48I'm from the Devonshire Post.

00:32:49We heard that the actors

00:32:49were taking over the theater.

00:32:50Correct, Elson.

00:32:51If you come round

00:32:51at nine in the morning,

00:32:52I'll surprise you.

00:32:53You wouldn't like

00:32:54to surprise me now?

00:32:55Sorry, boy.

00:32:55My lips are sealed.

00:32:57All right.

00:32:58How's the rehearsal going?

00:32:59Have they got to my bitch yet?

00:32:59Just about.

00:33:00What's the idea

00:33:01of sending him off?

00:33:01Don't you want publicity?

00:33:02We'll get all we want,

00:33:03but if he gets out too soon,

00:33:04they may stop him playing.

00:33:04That'd be terrible.

00:33:05Disaster.

00:33:08How's it going?

00:33:09Beautifully.

00:33:09He's put new life

00:33:10into everyone.

00:33:11We're lucky to be

00:33:11in a profession

00:33:12where people do

00:33:13such splendid things.

00:33:14That's our cue, dear.

00:33:15Of course.

00:33:15We were just coming

00:33:16through the introductions,

00:33:18weren't we?

00:33:19Granny, this is Charles.

00:33:22I've often wondered

00:33:23what Bluebeard looked like.

00:33:24Oh, darling,

00:33:25that's not fair.

00:33:25Nobody wants to marry an amateur.

00:33:27More, a man has already

00:33:28had three wives

00:33:28and hasn't buried one of them.

00:33:30But isn't that all

00:33:31in my favor?

00:33:31In every other

00:33:32something of activity,

00:33:34experience is a recommendation.

00:33:36Then why not in marriage?

00:33:38I assure you,

00:33:38my dear lady,

00:33:40blah, blah, blah, blah, blah,

00:33:41I'll never get this speech.

00:33:43It'll be all right in the night.

00:33:43Blah, blah, blah, blah, blah.

00:33:44One of the most?

00:33:45One of the most

00:33:45pathetic spectacles

00:33:46in the world

00:33:47is an amateur

00:33:48on his way to the altar.

00:33:49So you've made up

00:33:49your mind to get married?

00:33:50Over your dead body.

00:33:51If you're relying

00:33:52on inheriting anything

00:33:53from me,

00:33:54you can put it

00:33:54out of your mind.

00:33:55Believe me, dear lady,

00:33:56nothing could be

00:33:57further from my thoughts.

00:34:00Nothing is further

00:34:00from my thoughts

00:34:01with the possible

00:34:01exception of this

00:34:02very brilliant speech

00:34:03which I've entirely forgotten.

00:34:04Blah, blah, blah, blah, blah, blah, blah.

00:34:05Embrace, curtain,

00:34:06and deafening applause.

00:34:07Bravo!

00:34:09Have you made it up

00:34:09with her yet?

00:34:10No, I usually

00:34:11wait three days.

00:34:13Isn't that lucky?

00:34:13Shouldn't it this time?

00:34:14Why not carry her off

00:34:17after rehearsal?

00:34:18As astonishing as it may seem,

00:34:20I've already decided to.

00:34:24Peter, is that

00:34:25more or less how you see it?

00:34:26Yes, rather.

00:34:26Go ahead, do whatever you like.

00:34:27No, but I want

00:34:28an honest opinion.

00:34:29After all,

00:34:29I'm a very new member

00:34:30of the company.

00:34:30Don't talk right.

00:34:31You're grand.

00:34:32Oh, fine.

00:34:33Let's have a smack

00:34:33at the last seat.

00:34:34Well, I'm right there.

00:34:35Miss Finley,

00:34:36may I present

00:34:37Mr. John Fotheringham?

00:34:39I'm sure you told me

00:34:39the last thing.

00:34:44I wish I could think

00:34:46where I'd seen

00:34:47that fellow's face.

00:34:48He may have been

00:34:49part of your romantic past.

00:34:50Oh, if he was,

00:34:51I'm sure I'd remember him.

00:34:53Perhaps it was

00:34:54a dark night.

00:34:56Are you Robert Main?

00:34:57No, I'm not.

00:34:57I don't want any of your lip.

00:34:58Well, I've got a telegram for him.

00:35:00You see?

00:35:01Hmm.

00:35:02No one of that name here.

00:35:04Who did he say

00:35:05it was for?

00:35:05Robert Main.

00:35:06Same name as the film star.

00:35:07Fred!

00:35:08What's the matter?

00:35:09That's who he is.

00:35:10That's why he put

00:35:11your face in the potatoes.

00:35:14Grace,

00:35:16I've made the first

00:35:17mistake of my life.

00:35:19And while we're on the subject,

00:35:20what about the truth

00:35:21of your affair with Elise?

00:35:22My dear Kenneth,

00:35:23raking in the ashes

00:35:24of a dead love affair

00:35:25seldom pays a dividend.

00:35:26The wise guy lives

00:35:27in the present

00:35:27and regards the past

00:35:28as a banking account

00:35:29from which he draws experience.

00:35:32I must say,

00:35:33you're very easy

00:35:33to work with.

00:35:34Me?

00:35:35Yeah, much easier

00:35:35when I've had a couple.

00:35:37Aren't you the Charles Miller

00:35:39who used to play

00:35:39juveniles for De Maurier?

00:35:41No connection whatever.

00:35:42When I was walking on,

00:35:44I waited three quarters

00:35:45of an hour outside

00:35:46Wyndham's for his autograph.

00:35:48I'm still very proud of it.

00:35:55Peter, do you mind

00:35:56if we call it a day?

00:35:57I'll try and get up

00:35:58some of these lines.

00:35:58Sure.

00:35:59Rehearsal tomorrow

00:35:59at nine.

00:36:00Suits me.

00:36:01Great.

00:36:01Mother, do you think

00:36:02we could spare half a crown?

00:36:03Of course, dear.

00:36:04Whatever fall?

00:36:05It struck me

00:36:06as the oldest member

00:36:07of the company.

00:36:07It'd be rather nice

00:36:08to offer him a drink.

00:36:10I think it's a very good idea.

00:36:12Karen, are you tired?

00:36:13Not a bit.

00:36:14How about taking a motorboat

00:36:15to Tuesday Island?

00:36:16Lovely.

00:36:16Oh, but they're awfully expensive.

00:36:17I'm in a reckless mood.

00:36:18That is,

00:36:19if there are still gulls

00:36:20on Tuesday Island.

00:36:20Thousands of them.

00:36:21I've an insatiable desire

00:36:22to throw him sandwiches.

00:36:23Mr. Mayne,

00:36:24would you do me the honour

00:36:25of accepting a drink?

00:36:26Oh, what a pity.

00:36:27We're just off

00:36:27to Tuesday Island.

00:36:28Oh.

00:36:29I'm so sorry.

00:36:30May I when we come back?

00:36:31I should be delighted.

00:36:32So shall I.

00:36:34He was very pleased,

00:36:35wasn't he?

00:36:38Hello, what do you got there?

00:36:39Three rock cakes,

00:36:40four ham sandwiches,

00:36:41two minerals and a melon.

00:36:42You actors do go to the face.

00:36:44Yes, I'll nice

00:36:44one long round of pleasure.

00:36:46Gonna take your best girl

00:36:46on the beano?

00:36:47If she'll come,

00:36:48I'm just going to ask her.

00:36:49Here, how about a pass

00:36:50for Monday night?

00:36:51What, have you been converted

00:36:52to the theatre?

00:36:53No, my brother wants

00:36:54to see you.

00:36:55He's just come out

00:36:56of the asylum.

00:37:01My dear old boy,

00:37:02I was just coming along

00:37:03to see you.

00:37:04Oh?

00:37:04What for?

00:37:05As dear old Irving used to say,

00:37:06never be afraid

00:37:07to admit your mistakes.

00:37:08In other words,

00:37:08I'm prepared to wash out

00:37:10all that happened last night

00:37:10and to begin afresh.

00:37:11In other words,

00:37:12you found out

00:37:12who's paying for us.

00:37:13I don't propose

00:37:14to discuss my motives.

00:37:15I've made you an offer.

00:37:16And I've turned it down.

00:37:17What scenery

00:37:18do you propose to use?

00:37:19The best oak chamber.

00:37:19Which happens

00:37:20to belong to me.

00:37:21Well, we'll hire it.

00:37:22My price is

00:37:22a hundred pounds a week.

00:37:23That's ridiculous.

00:37:24The whole thing

00:37:25isn't worth it, Taylor.

00:37:25I say my price

00:37:26is a hundred pounds a week,

00:37:27payable here and now.

00:37:28Otherwise,

00:37:28you play and bear walls.

00:37:29Unless, of course,

00:37:30you'll want me

00:37:31to take over

00:37:32on the old terms.

00:37:34Anything rather than that.

00:37:36You'll find this

00:37:36exactly right.

00:37:38Dirty crook.

00:37:39No, no.

00:37:39Business is business.

00:37:40Sensible to know

00:37:41when you're beaten.

00:37:42I so agree.

00:37:43Oh, Mr. Sanborn,

00:37:44it's only fair to tell you

00:37:46that I intend

00:37:46to inform Equity

00:37:47that you repeatedly

00:37:48cut your company's salaries,

00:37:49dismissed them

00:37:50without proper notice,

00:37:51and finally levied blackmail

00:37:52for a lot of rubbishy scenery.

00:37:53How's that?

00:37:54You realize,

00:37:55of course,

00:37:55you'll be blacklisted.

00:37:56My price is

00:37:57one hundred pounds

00:37:57payable here and now.

00:38:00as dear

00:38:01exit Sanborn

00:38:05through Gap in Hedge.

00:38:07Mattery, mattery.

00:38:08Hello.

00:38:09Hello.

00:38:09The boat's ready.

00:38:10Splendid.

00:38:10I'm going to take

00:38:11your leading lady

00:38:11for a breath of sea air.

00:38:12Don't mind, do you?

00:38:13No, I don't mind.

00:38:30If you think I'm jealous,

00:38:32you're a hundred percent right.

00:38:35He's a darned attractive man.

00:38:36He would come in

00:38:37just as we were

00:38:37in the middle of a quarrel.

00:38:38She's only flattered by him.

00:38:39It isn't anything.

00:38:40Now, just tear off

00:38:41a yard of that silver lining

00:38:42and gag yourself, would you?

00:38:50That's to us, the island.

00:38:51I know.

00:38:52It's charged

00:38:52with romantic memories.

00:38:54Better let me take it.

00:38:55For sure, it's full of blocks.

00:38:56Don't talk to the man

00:38:56at the helm.

00:38:57He knows this channel

00:38:58like the back of his hands.

00:39:06Oh, what is it?

00:39:09Oh, look what's happened.

00:39:12Come on, we're sinking.

00:39:13Hooray!

00:39:14Everyone for himself

00:39:15and we'll come back

00:39:15to the picnic basket.

00:39:24I played this scene

00:39:25on Hawaiian honeymoon.

00:39:2617 takes

00:39:27and a sharp attack

00:39:28of lumbagos.

00:39:28Oh, you have

00:39:29been in the boat before.

00:39:30One more crack like that

00:39:31and you'll walk home.

00:39:37Ah, to think these

00:39:39are the descendants

00:39:39of the gulls

00:39:40I used to feed.

00:39:41Is that very important?

00:39:42Tremendously.

00:39:43What else did you do

00:39:43besides feeding gulls?

00:39:45Write verses

00:39:45and hide them in the rocks.

00:39:46Whatever for?

00:39:47Posterity?

00:39:49Now, wait a moment.

00:39:51It's somewhere here.

00:39:54Now, where on earth

00:39:55is it?

00:39:56Ah, gosh.

00:40:01What have you been there?

00:40:02Little Bobby's toffee tea.

00:40:06Look, it's still here.

00:40:07Phyllis Page and Robert Mayne

00:40:16came here

00:40:16and will come again.

00:40:18Tea they had

00:40:18and ships enough.

00:40:20Sail back to play

00:40:20and a little bit of flight.

00:40:21Doesn't scare.

00:40:22Well, you're young.

00:40:23It doesn't have to.

00:40:24Was she pretty?

00:40:26Well, she had a banjo-laylee

00:40:27and used to sing

00:40:28Dardanella.

00:40:30Were you in love with her?

00:40:31I suppose so.

00:40:33Did you make love to her here?

00:40:37I suppose so.

00:40:39I wish you hadn't told me.

00:40:43So do I.

00:40:46What are you laughing at?

00:40:48One of my lines in the play tomorrow.

00:40:49Raking in the ashes

00:40:51of a dead love affair

00:40:52seldom pays a dividend.

00:40:54There.

00:40:56Gosh, how dead that is.

00:40:58Oh.

00:41:03Exit Phyllis Page.

00:41:09I'm terribly sorry.

00:41:11Let's write a verse

00:41:11about ourselves, shall we?

00:41:12Not if you're coming back

00:41:13to throw it into the sea.

00:41:14No, I swear I won't.

00:41:16All right.

00:41:17Now, Robert Mayne

00:41:18and Carol Sands

00:41:19came here once.

00:41:21Are holding hands.

00:41:24The boat was wrecked.

00:41:25The boat was wrecked.

00:41:26They had a soaker

00:41:27and played next night

00:41:28in Yellow Ochre.

00:41:29That's dolly good.

00:41:29That's outstanding.

00:41:31Except, of course,

00:41:32we are not holding hands.

00:41:34No, I suppose we're not.

00:41:35Would you like to?

00:41:38Ah, you're a nice kid.

00:41:39I'm 19.

00:41:40That's depressingly young.

00:41:41I wish I were 28.

00:41:43Why 28?

00:41:44It's my ideal age.

00:41:45I shan't look for the old

00:41:46and I shall have got somewhere.

00:41:48You'll be seeing my name

00:41:49in lights when I'm 28.

00:41:50I wonder what you'll be like.

00:41:52Well, of course,

00:41:53I shall be a lot more

00:41:53sort of experienced

00:41:54and sophisticated.

00:41:55Naturally.

00:41:56I shall wear black

00:41:57practically always.

00:41:58I would now,

00:41:59only if cheap black

00:41:59isn't quite the same.

00:42:00I hope you won't be

00:42:01temperamental

00:42:02and make scenes

00:42:02at rehearsals.

00:42:03No, of course I won't.

00:42:05And I shan't cut in

00:42:06on other people's lines

00:42:07and steal laughs.

00:42:08I'm always going to remember

00:42:09that it's the play

00:42:10that counts

00:42:11and not my own part.

00:42:13And I shall always be

00:42:14very kind to

00:42:14understudies

00:42:15and small party actors

00:42:17and people

00:42:18who haven't been lucky.

00:42:20You wouldn't laugh

00:42:21at me if I were 28.

00:42:22If you were 28,

00:42:23I might treat you

00:42:23very differently.

00:42:25With more respect.

00:42:27Or less.

00:42:32Oh, a sail!

00:42:33We're saved!

00:42:34Aye!

00:42:35We were moved!

00:42:36We've got no boat!

00:42:37Send the boat back!

00:42:39Aye!

00:42:41Well, at our last chance,

00:42:43we'll be stuck here all night.

00:42:44Couldn't we patch up the boat?

00:42:45No, patches have a way

00:42:46of coming out in the mid-ocean.

00:42:48Of course, we could swim back.

00:42:50It would take us

00:42:50till next Friday.

00:42:52Gosh, we've got to be

00:42:52back in time for the show!

00:42:54Now, don't you panic.

00:42:55I thought of something.

00:42:57You see those corks?

00:42:58What, lobster pots?

00:42:59In the old days,

00:43:00a fellow used to collect them

00:43:00first thing in the morning.

00:43:02He still does!

00:43:02Old Tom Jewell!

00:43:03I bet you he still talks

00:43:04to the sea serpent

00:43:05to shore off the friendly islands.

00:43:06He does all the time!

00:43:07Old Tom Jewell

00:43:08and his sea serpent!

00:43:10That's a jolly prospect

00:43:11after a night on the seaweed.

00:43:12Oh, Carol, there you are!

00:43:31My dear, are you all right?

00:43:33You have had a night!

00:43:34Tom Jewell told me all about it!

00:43:36What an embarrassing experience!

00:43:38For both of you!

00:43:39What are you talking about?

00:43:41Why?

00:43:42Have I said something

00:43:42I shouldn't?

00:43:43No.

00:43:44If it's of any interest,

00:43:45we were marooned

00:43:46on Tuesday Island.

00:43:47Marooned?

00:43:48Did you hear that?

00:43:49Yes.

00:43:49And what I'm afraid of is

00:43:51that with Mr. Maine's

00:43:52romantic reputation,

00:43:54people may not believe

00:43:55it was an accident.

00:43:57I let you into a secret.

00:43:58It wasn't.

00:44:00Really?

00:44:00I deliberately lured her

00:44:01onto those desert shores.

00:44:03I scuttled the schooner

00:44:04Hesperus

00:44:05and I stifled her outcry

00:44:06with laminaria.

00:44:09Laminaria?

00:44:09Seaweed.

00:44:10In Scotland,

00:44:11they make an excellent

00:44:11soup with it.

00:44:12Only the Winkles

00:44:13witnessed what followed.

00:44:15I think you're trying

00:44:16to be amusing

00:44:17at my expense.

00:44:18And you're being

00:44:19offensive at hers.

00:44:20Well, really, Mr. Maine?

00:44:21And we haven't even

00:44:22been introduced.

00:44:22I can say good morning

00:44:23without further ceremony.

00:44:27Yellow ochre to you.

00:44:32Well, I think it's time

00:44:34we were getting off

00:44:35to rehearsal.

00:44:36Yes, come along.

00:44:36What a nasty bit of work

00:44:41Grace is.

00:44:42Yes, but for once

00:44:43I agree with her.

00:44:48My dear Elise,

00:44:49I realise it's always

00:44:50harder for you to forget

00:44:50the man you haven't married

00:44:51than the man you have.

00:44:52That's not what you said

00:44:53yesterday.

00:44:54That's part of his charm.

00:44:55Never the same two days run.

00:44:57Nevertheless, I do think

00:44:58you should give your husband

00:44:59a passing thought.

00:44:59What did you mean by that

00:45:03crack about Grace?

00:45:04What I said?

00:45:05You can't expect me to

00:45:06shout with joy because

00:45:07you and Maine spent a night

00:45:08on an island.

00:45:09Oh, don't keep talking

00:45:10as if it was an orgy.

00:45:11I don't care what it was.

00:45:12I am not interested.

00:45:13Stop making a fuss.

00:45:15Are you in love with him?

00:45:17I thought you said

00:45:17you weren't interested.

00:45:18Are you in love with him?

00:45:20Yes, I am.

00:45:24Well, don't kid yourself

00:45:24he's in love with you.

00:45:25That's all.

00:45:26Of course he's not in love

00:45:27with me.

00:45:28I don't care if he isn't.

00:45:29I don't care if he's

00:45:30forgotten all about me

00:45:30in a week's time.

00:45:31In fact, you made a fool

00:45:32of yourself.

00:45:32All right, I have.

00:45:33Just because he's a film

00:45:34star.

00:45:34Oh, that's a stinky thing.

00:45:35Just because he's older

00:45:35than I am.

00:45:36A man of the world

00:45:37and makes pretty speeches.

00:45:38It's nothing whatever

00:45:39to do with you and I don't

00:45:39want to hear another

00:45:40word about it, so shut up.

00:45:43Oh, Peter.

00:45:44We've never been like this

00:45:45before.

00:45:46Well, we can't expect

00:45:47to go on being

00:45:48bosom pals, can we?

00:45:49Can't we?

00:45:51No, we can't.

00:45:52We're waiting, Carol.

00:45:55Oh, Peter, I'm sorry.

00:45:57I'm sorry.

00:46:04Hello, son.

00:46:04What's biting you?

00:46:06Why is it so much easier

00:46:07to lose your temper

00:46:08with someone you're

00:46:08in love with?

00:46:09Just to make love

00:46:10more difficult.

00:46:12My dear, you surely

00:46:13don't contemplate going

00:46:13out with Charles

00:46:14in those appalling

00:46:15trousers.

00:46:16When you're walking

00:46:16on air, nobody

00:46:17notices what you've

00:46:18brought on.

00:46:18When I was a boy

00:46:19of six, I wore a sailor

00:46:19suit.

00:46:20It had a permanent

00:46:20effect on my

00:46:21character.

00:46:26What was all that

00:46:27row between you

00:46:28and Peter?

00:46:28Oh, just a lot

00:46:29of rot.

00:46:29We were sort

00:46:29of engaged once.

00:46:30You were?

00:46:31Yes, it's all

00:46:31off now.

00:46:32Nothing to do

00:46:32with me?

00:46:33No, of course not.

00:46:34What was he angry

00:46:35about?

00:46:35Oh, nothing.

00:46:36Come on, out

00:46:36with it.

00:46:38Well, he would

00:46:39insist that last

00:46:39night was an orgy.

00:46:41Hmm.

00:46:42Our unhappy plight

00:46:43seems to become

00:46:43a smoke room story.

00:46:46Did he make you

00:46:46very miserable?

00:46:48Hmm.

00:46:50Did he ask

00:46:51if you were in love

00:46:52with me?

00:46:54Yes.

00:46:56Are you?

00:46:59Yes.

00:47:00Oh, I told you

00:47:01you weren't in love

00:47:01with me or anything

00:47:02silly like that.

00:47:03That's a monstrous lie.

00:47:06You know that,

00:47:06don't you?

00:47:07No.

00:47:15It's a funny thing,

00:47:16but I feel

00:47:17rather sick.

00:47:18That's a dismal

00:47:19reaction to a

00:47:20declaration of love.

00:47:21It was rather a

00:47:22surprise.

00:47:22It was to me, too.

00:47:24I don't make a

00:47:25habit of falling in love.

00:47:26I do wish you knew

00:47:28how much I love you.

00:47:32Mr. Bain!

00:47:33Mr. Bain!

00:47:33It's 11 o'clock!

00:47:35Zero hour!

00:47:36Put up the posters,

00:47:36announce the news,

00:47:37shout it from the

00:47:38house-duck!

00:47:38Oh, wonderful!

00:47:44There, and what

00:47:45you say to that,

00:47:45Mr. Friendling asked.

00:47:46You can fool

00:47:47some of the people

00:47:48some of the time,

00:47:49and my brother

00:47:49from the asylum

00:47:50all of the time,

00:47:51but you can't fool

00:47:52me none of the time.

00:47:58And Mr. Bain

00:47:59was so convinced

00:47:59it was a play

00:48:00of the century

00:48:00that he took up

00:48:01the part at a

00:48:01moment's notice.

00:48:02Do you mind

00:48:02if I telephone

00:48:03the London papers?

00:48:04Splash it, old boy,

00:48:04and make the

00:48:05Welkin ring!

00:48:05That's fine.

00:48:06Atta boy!

00:48:07My dear,

00:48:08they're simply

00:48:08fighting for seats!

00:48:09I haven't been so

00:48:10excited since you

00:48:11went on for Fred

00:48:11Terry in the Pimpernel.

00:48:12I was far from

00:48:13good as Sir Percy

00:48:14Blake there.

00:48:14Nonsense, dear.

00:48:15You acted them

00:48:15all off the stage.

00:48:17And of course,

00:48:17you always had

00:48:18the highest opinion

00:48:18of Mr. Mane's

00:48:19ability as an actor.

00:48:20Nothing of the kind,

00:48:21and I don't want

00:48:21a lot of foolish

00:48:22sayings put into

00:48:23my mouth.

00:48:24If I ask for a drink

00:48:25before the performance,

00:48:26don't give it me.

00:48:27You are taking

00:48:27this place serious.

00:48:28If I beg for it,

00:48:29if I plead for it,

00:48:29with tears in my eyes,

00:48:31don't give it me.

00:48:31What kind of a part

00:48:32are you playing?

00:48:33A drunk.

00:48:34Rosie,

00:48:35I want the finest

00:48:36flowers money can buy.

00:48:37How much money?

00:48:38One and ten for

00:48:38take for me.

00:48:39Oh, well, how about

00:48:39some nice miserties?

00:48:40That means I love you.

00:48:41She knows, dear.

00:48:42Give me something

00:48:43that means I've made

00:48:44a complete fool of myself

00:48:45and I ought to be shot,

00:48:46but I still think

00:48:47you're terrific.

00:48:48Listen, old things,

00:48:49we're absolutely sold out.

00:48:50Oh, isn't that wonderful?

00:48:51There's a huge crowd

00:48:52for you at the stage door.

00:48:53I must insist

00:48:54on your accepting

00:48:55that drink.

00:48:55Sarge, what publicity?

00:48:56This will put us

00:48:57on our feet

00:48:57and keep us there.

00:48:59A telegram for you,

00:48:59Mr. Mane.

00:49:00Uh-huh, this will be

00:49:01from Morrison,

00:49:01the theater man.

00:49:02I wired in this morning.

00:49:08Oh.

00:49:09What's the matter?

00:49:10Absolutely out of the question,

00:49:11you're appearing in play.

00:49:13Regan Majestic Films.

00:49:15Well, that's that.

00:49:16I'll try getting

00:49:17so excited about everything.

00:49:19Nothing ever has gone right

00:49:20with this company.

00:49:21It'll be a fine

00:49:22how do you do

00:49:22when we give them

00:49:23their money back.

00:49:24Well, we're not going to.

00:49:25Jim, if an angry man

00:49:26with an American accent

00:49:27asks me tonight,

00:49:28push him in the sea.

00:49:29You're going to play?

00:49:30It'll take a brigade

00:49:30of guards to stop me.

00:49:32Ha-ha-ha!

00:49:49All tickets, please.

00:49:50And the manager.

00:49:51You, what's the late run,

00:49:52would you?

00:49:53Come on outside.

00:49:57First you lose me the part

00:49:58and now I can't even

00:49:59see the show.

00:50:00I always knew

00:50:00I should never have

00:50:01married beneath me.

00:50:02In my opinion,

00:50:02you'd have to crawl down

00:50:03a drain to do that.

00:50:07What are you doing here?

00:50:09I'm looking after

00:50:09my brother.

00:50:10Oh.

00:50:11Tickets, please.

00:50:12Straight down.

00:50:17I've got to see

00:50:18Mr. Main at once.

00:50:18Are you American?

00:50:19No, Chinese.

00:50:20Mr. Main was expecting

00:50:21an American.

00:50:22Listen, brother,

00:50:22I am an American.

00:50:23Then he don't want

00:50:24to see you.

00:50:25I'm going to see you.

00:50:25What a gun.

00:50:29I want to see you.

00:50:30What a gun.

00:50:37Just to wish you luck, Emily.

00:50:39My white heather,

00:50:40you'll never forget,

00:50:41do you, dear?

00:50:42Good luck.

00:50:44I'm a lonely old woman.

00:50:52I sit here day

00:50:53after day.

00:50:54Nobody ever

00:50:55comes to see me.

00:50:57Nobody ever

00:50:58comes to see me.

00:50:59Nobody ever

00:51:00comes to see me.

00:51:00Nobody ever...

00:51:01Excuse me, lady,

00:51:02but I'm in a hurry.

00:51:03You're not Mr. Regan

00:51:04by any chance.

00:51:04I'll say I am.

00:51:05Then you haven't

00:51:06a moment to lose.

00:51:07Mr. Main's expecting you.

00:51:08Well, that's very kind of you.

00:51:09I love helping people.

00:51:12Regan's arrived.

00:51:13Regan?

00:51:14Gosh, I'm for it.

00:51:16But I'll play

00:51:16if it's at the point

00:51:17of a gun.

00:51:17That's the stuff.

00:51:18Could I do it

00:51:19tomorrow night?

00:51:19Oh, tomorrow

00:51:20can take care of itself.

00:51:21I'll look after the losses

00:51:21until we get a new man.

00:51:22After publicity like this,

00:51:23there won't be any losses.

00:51:24You know, I haven't

00:51:25had a thrill like this

00:51:25since, well,

00:51:26since I went up

00:51:26the spout in London.

00:51:27Now, you look

00:51:28to your laurels, Garbo,

00:51:28I'm going to act you

00:51:29off the stage.

00:51:30If you hear anything funny,

00:51:32don't take any notice.

00:51:33I never do.

00:51:37That's the last time

00:51:38I'll trust a stage, mother.

00:51:39Now, before you say

00:51:40anything, I am

00:51:41going on tonight.

00:51:41I'll say you're going on.

00:51:43I'm not going to be

00:51:43torn to pieces

00:51:44by your fans.

00:51:45Well, what's all

00:51:45the fuss about?

00:51:46Fuss.

00:51:47The coast has been

00:51:47on the wire.

00:51:48Your new picture

00:51:49starts in eight days.

00:51:50You've got to be

00:51:50on board the

00:51:51Queen Mary tomorrow.

00:51:52Queen Mary tomorrow?

00:51:53I suppose I'm not.

00:51:54Oh, you'll be there.

00:51:55The whole cast is lined up

00:51:57and you're not the sort

00:51:58of a guy to duck from under.

00:52:00Wait here a minute.

00:52:03Carol, I haven't been

00:52:04behaving too well

00:52:05just lately.

00:52:06I couldn't let you

00:52:06go on without

00:52:07getting it off my chest.

00:52:08Here's some flowers.

00:52:09for you.

00:52:09They're not orchids,

00:52:10but they mean well.

00:52:12Peter.

00:52:13I've just been

00:52:14handing out apologies.

00:52:15I owe you one, too.

00:52:17My dear father.

00:52:18Regan's here.

00:52:18I've got to go back

00:52:19to Hollywood tonight.

00:52:20But you can't.

00:52:20I know, but it's not

00:52:21as easy as all that.

00:52:22I've never let him down

00:52:22before.

00:52:23It'll mean people

00:52:24ought to work there.

00:52:24People as decent as

00:52:25Christine, Charlie,

00:52:26the Trescots.

00:52:27Darling.

00:52:29I can't go without you.

00:52:31Would it make it

00:52:33any easier if

00:52:34I came to?

00:52:35You needn't ask that.

00:52:40But there's a difficulty.

00:52:42One of the ghosts

00:52:43we raised last night,

00:52:45Phyllis Page.

00:52:47I married her.

00:52:49It was not an

00:52:49outstanding success.

00:52:51It was my fault,

00:52:51I dare say,

00:52:52but she won't give me

00:52:52a divorce.

00:52:54She never will.

00:52:54I could never marry you.

00:52:57I wouldn't care.

00:53:00You mean that?

00:53:01Yes.

00:53:01He had to marry you.

00:53:13He had to marry you.

00:53:14It was beautiful,

00:53:15let him marry you.

00:53:17Sous-titrage Société Radio-Canada

00:53:47...for the reception you have given to the play and ourselves.

00:53:51Tonight I have rediscovered the thrill of living contact with living audiences...

00:53:55...and for that I shall ever remain in your debt...

00:53:57...and in the debt of this brilliant little company which has made it possible.

00:54:01Good night, goodbye, and God bless you.

00:54:09Boy, you were great. Now hurry up and get that take apart.

00:54:11Give us a break. You've got a train to catch.

00:54:14Ah, the stage mother herself. Listen, I want to talk to you.

00:54:17You're a woman of the world, ma'am. It takes a woman of the world to shut me up in the cupboard.

00:54:20Yes, but I... Listen, you and me have got a situation to handle.

00:54:22Come on.

00:54:24Mr. Morrison to see you, sir. Morrison. By the pasture.

00:54:27If he's going to take the plater down, don't forget the girls and boys.

00:54:29You bet I will.

00:54:30That a boy.

00:54:32It's all right? You really think so?

00:54:34It's funny, but it lacks space.

00:54:35Do you think we've got a chance?

00:54:36I never prophesy. How are you fixed down here?

00:54:38Well, we've got the theatre for a week, but no leading man.

00:54:40Right. Open at the Haymarket Friday at Fortnight with Thirling Main's party.

00:54:44You mean you're going to do it?

00:54:45Five percent up to a thousand, seven and a half up to twelve fifty, ten over.

00:54:48Half the film rights, and I want the girl.

00:54:50What about the rest of them?

00:54:51I said nothing.

00:54:52But, you see, I sort of wrote the play with those people in mind.

00:54:56Don't you ever change your mind?

00:54:57I'd be sorry to over this.

00:54:59Well, Charlie Miller can stop if he stays sober.

00:55:02But Christine and the Truscottes, they work like slaves.

00:55:04I never run a theatre on sentiment.

00:55:08Come in.

00:55:11Jane, I know you're in a hurry.

00:55:14Never too much of a hurry for you, darling.

00:55:15But you don't know what I'm going to say.

00:55:17I'm breaking the rule of a lifetime.

00:55:19Never to interfere.

00:55:21That's an awfully good rule.

00:55:23Are you and Carol very much in love?

00:55:26Desperately.

00:55:27Then it's very hard you can't marry her.

00:55:29How do you know I can't?

00:55:30Years ago, we acted with your wife.

00:55:33She was so rude to my dear husband.

00:55:35Carol knows.

00:55:36She doesn't mind.

00:55:37But taking her away is a very big step.

00:55:40I might have been penalized all my life

00:55:41because I married the wrong girl.

00:55:43At 19, before I knew my own mind.

00:55:45How old is Carol?

00:55:47Perhaps she doesn't know her own mind.

00:55:49She's a right to decide.

00:55:50You haven't given her time to think.

00:55:51I haven't had time myself.

00:55:53That's why I want you to hesitate a little.

00:55:57I'm prepared to take a chance.

00:55:59of making her unhappy.

00:56:01You may make her unhappy, you know.

00:56:03You're a great deal older than she is.

00:56:05That's nothing to do with it.

00:56:06And you're at different ends of the same job.

00:56:08Carol's only just beginning.

00:56:10She's what you were 20 years ago.

00:56:12But I can make her a success.

00:56:14Would that make her happy?

00:56:15A success because she was Robert Mayne's girlfriend.

00:56:18Mrs. Truscott, when two people are in love,

00:56:20they prefer to solve their own problems.

00:56:22But Carol's still in love with Peter.

00:56:25She is, you know,

00:56:26even if you've swept her off her feet for a moment.

00:56:28She quarreled with Peter before I came.

00:56:30At her age, you always quarrel when you're in love.

00:56:33They'd have made it up long ago if it hadn't been for you.

00:56:36Mr. Mayne,

00:56:37they're both at the same end of the ladder.

00:56:40They'll grow up together and share experiences.

00:56:43She will grow up, you know.

00:56:45And if you take her away,

00:56:47you're making yourself responsible for what she'll become.

00:56:49And if there's something hard and bitter,

00:56:52something spoiled that needn't have been spoiled.

00:56:55Aren't you ignoring my point of view?

00:56:57It's your point of view I'm thinking of.

00:57:02If I didn't know you loved her,

00:57:04it'd be no good my talking, do you?

00:57:07You do love her.

00:57:09As I've loved no one in the world before.

00:57:13This is my chance of happiness.

00:57:16Carol, it's fixed.

00:57:17We opened at the Haymarket on Friday 4th.

00:57:18I've talked him into taking everybody.

00:57:20Oh, Peter.

00:57:21It's come, Carol.

00:57:21This is our chance.

00:57:23Your chance, Peter.

00:57:26I'm going to Hollywood with men.

00:57:28We're leaving tonight.

00:57:31Congratulations, Peter.

00:57:32I hear Morrison's taking the play.

00:57:33Oh, thanks very much.

00:57:34I want to wish you luck, too.

00:57:36Carol's just told me your news.

00:57:39You're a good fellow.

00:57:40I wonder who he'll have in my part.

00:57:42Oh, Sylvia Lane.

00:57:43I think she's usually in here, sure?

00:57:45Oh, but Peter, she's terrible.

00:57:46Don't you remember when we saw her in Finder's Keepers?

00:57:48Yes, the day we tried to get into the old short pantomime.

00:57:50And you'd give me a huge meal

00:57:51because we thought we'd landed the job.

00:57:53And then we found we had.

00:57:54I cried about it for weeks.

00:57:56Of course, we were very young at the time.

00:57:57It was two years ago.

00:57:58You needn't have worried.

00:57:59You would have been terrible as Miss Muffet.

00:58:00You would have been a riot as the Demon King.

00:58:03Have you two known each other long?

00:58:05Yes, ages.

00:58:06All our lives.

00:58:08Makes me feel rotten taking her away from you.

00:58:10That's all right.

00:58:12Of course, we shall miss her terribly.

00:58:13Well, there'll be nobody to look after poor Peter now.

00:58:16He's awful about things like going to the dentist.

00:58:18I always tell him he'll have false teeth by the time he's 40.

00:58:22Oh, I say.

00:58:24You haven't got false teeth by any chance, have you?

00:58:26As a matter of fact, I haven't.

00:58:29We don't know very much about each other yet, do we?

00:58:32But we'll learn, won't we?

00:58:33You'd better get going if you want to pack.

00:58:37Come on, come on.

00:58:38You've got fans a mile deep outside.

00:58:40I'll carry up here and follow you.

00:58:42Snap out of it, will you?

00:58:45You wouldn't look after yourself, Peter, dear, weren't you?

00:58:47Yes, of course I will.

00:58:49Dear, I do wish everything hadn't happened at once.

00:58:51If I wasn't so happy, I'd be awfully miserable.

00:58:53As an example of love's young dream, you're very silent.

00:59:02What's eating your conscience?

00:59:04What you got to do with you?

00:59:05Oh, nothing, nothing.

00:59:07When a kid's as young as that and pretty and got the whole world before her.

00:59:10What?

00:59:13Say, that was a swell picture you were in.

00:59:15Youth to youth.

00:59:16Remember... Shut up.

00:59:23Oh, it's not.

00:59:25Oh, it's not.

00:59:26Oh, it's not.

00:59:27Oh, it's not.

00:59:28Oh, it's not.

00:59:30Oh, it's not.

00:59:31Oh, it's not.

00:59:32Oh, it's not.

00:59:33Oh, it's not.

00:59:34Oh, it's not.

00:59:35Oh, it's not.

00:59:36Oh, it's not.

00:59:37Permit me.

00:59:38I'm very glad of your success.

00:59:39Thank you.

00:59:40How's the seal?

00:59:41He's asleep.

00:59:42I'm very troubled.

00:59:43But do not make yourself unhappy for him.

00:59:48I packed your bag, but don't send me any of your wedding cake.

00:59:50Not that there'll be one.

00:59:51Listen, lady, if anybody's going to call down Robert Mayne, I'll do it, see?

00:59:54I don't know who you are, so keep your opinions for them that do.

00:59:57Listen, sweetheart.

00:59:58Get out!

00:59:59Both of you.

01:00:21Some very nasty physic for my seal.

01:00:30He will hate it, but it may do him good.

01:00:33One must be cruel only to be kind.

01:00:36There's a devil of a lot of truth in that.

01:00:39I'll do it.

01:00:40I'll do it.

01:00:41I'll do it.

01:00:42I'll do it.

01:00:43I'll do it.

01:00:44I'll do it.

01:00:45I'll do it.

01:00:46Hello.

01:00:47I'm nearly ready.

01:00:48Fine.

01:00:49I'm afraid I haven't got very many clothes, but I can get some lovely ones in Hollywood,

01:00:54can't I?

01:00:55Yes.

01:00:56Carol, do you think we're wise in rushing things like this?

01:01:00What's the matter?

01:01:01Oh, I don't know.

01:01:02Anti-climax, I suppose.

01:01:03You get all worked up for the first night and afterwards everything goes flat.

01:01:08It isn't every day you get a chance of playing in the West End.

01:01:11I think you should take it.

01:01:13You mean come out and join you afterwards?

01:01:15Hmm?

01:01:16Yes.

01:01:18I'd rather come with you.

01:01:20I don't mind about the play.

01:01:21Really, I don't.

01:01:22No, we mustn't be silly, darling.

01:01:23We got carried away tonight and quite right, too.

01:01:25But now we've got to be practical.

01:01:27You're in a funny mood.

01:01:28No, I'm not.

01:01:29I'm being dismally sane.

01:01:30We've been making love continuously for two days.

01:01:32Oh, I don't regret that.

01:01:33It was for the good of the play.

01:01:36Was it?

01:01:37Of course.

01:01:38Can't make love on the stage unless you get a little, well, a little worked up about your

01:01:42leaving lady.

01:01:43Do you frequently get worked up about your leaving ladies?

01:01:47Invariably.

01:01:48Oh.

01:01:49Now you mustn't be petulant, darling.

01:01:51It's a very sound policy.

01:01:52Look how good we were tonight.

01:01:54What you said to me in the dressing room.

01:01:58Did you mean it?

01:01:59Yes, of course I did in a sort of way.

01:02:01You know, just before the great night, audience crowding in, orchestra tuning up, call boys shouting beginners.

01:02:06I was carried away and I meant it.

01:02:08Every word of it.

01:02:09In the same way as you meant every word you said to me.

01:02:14I really meant it.

01:02:20Darling, that's the trouble.

01:02:22You meant it.

01:02:23In Hollywood the girls I worked with, well, they weren't 19.

01:02:27We had some grand times though, whispering words of love and honey, swearing eternal passions.

01:02:33And all the time both of us knowing darn well we didn't mean a word we said.

01:02:37I'm sorry.

01:02:38I didn't know.

01:02:39Darling, that's not your fault.

01:02:40You can't help being young.

01:02:41You take the part and join with the moment you finish it.

01:02:42I don't think I want to come anymore.

01:02:43No?

01:02:44Well, darling, perhaps this is for the best.

01:02:45Please go away now.

01:02:46All right.

01:02:47We had a grand time.

01:02:48Let's not have a hangover.

01:02:49Hmm?

01:02:50Try not to be too unhappy about it, Carol.

01:02:51It's experience.

01:02:52You can't be a good actress without experience.

01:02:53You can't be a good actress without experience.

01:02:54I don't think I want to come anymore.

01:02:55I don't think I want to come anymore.

01:02:56No.

01:02:57Well, darling, perhaps this is for the best.

01:02:58Please go away now.

01:02:59All right.

01:03:00We had a grand time.

01:03:01Let's not have a hangover.

01:03:02Hmm?

01:03:03Try not to be too unhappy about it, Carol.

01:03:04It's experience.

01:03:05You can't be a good actress without experience.

01:03:18Well, goodbye, darling, and don't you forget me.

01:03:33Miss Carol!

01:03:35Miss Carol!

01:03:36Miss Carol, come quick.

01:03:37My seal is better.

01:03:38Oh, but you are crying.

01:03:41No, I'm not.

01:03:42Please, excuse me.

01:03:44I was happy because of my seal.

01:03:46You will come and see him.

01:03:48He's splashing about in the bath like a baby.

01:03:51He must be quite recovered or he will not eat the sponge.

01:03:54Carol, I met Mayne on the stairs.

01:03:56He told me you wanted me.

01:03:57Oh, Peter, the seal's all right again now.

01:03:58Isn't that wonderful?

01:03:59Yes, wonderful.

01:04:00Look, he's so happy.

01:04:02How lovely.

01:04:03Peter.

01:04:04Yes?

01:04:05I'm not going to Hollywood after all.

01:04:10Oh, Peter, I made such an awful fool of myself.

01:04:14That's the whole point of being young.

01:04:16If you make a fool of yourself, it doesn't matter.

01:04:18Doesn't it?

01:04:19No, of course it doesn't.

01:04:20Oh, there you are.

01:04:21Hello.

01:04:22I didn't like to think you'd know when to see you off.

01:04:23That is good of you.

01:04:24You'll be a great comfortable.

01:04:25I'm glad you did it the David Garrick way.

01:04:26It was easier for her.

01:04:27And I don't suppose she'd ever seen the play.

01:04:28I'm so proud of you.

01:04:29Then I haven't lived in vain.

01:04:30You're not going to mope, are you?

01:04:31That would be very silly.

01:04:32Of course it would.

01:04:33It isn't easy to be gay on a milk train, but it's not beyond me.

01:04:35And whenever I stumble by the wayside, I shall always ask myself,

01:04:38what would be a good one for me?

01:04:39I'd like to think I'd like to think you'd know when to see you off.

01:04:41I'm not a good one for you.

01:04:42You'd like to think you'd know when to see you off.

01:04:43That is good of you.

01:04:44You'll be a great comfortable.

01:04:45I'm glad you did it the David Garrick way.

01:04:46It was easier for her.

01:04:47And I don't suppose she'd ever seen the play.

01:04:48I'm so proud of you.

01:04:49Then I haven't lived in vain.

01:04:50You're not going to mope, are you?

01:04:51That would be very silly.

01:04:52It isn't easy to be gay on a milk train, but it's not beyond me.

01:04:55And whenever I stumble by the wayside, I shall always ask myself,

01:04:59what would Mrs. Truscott do?

01:05:02Well, bless you, darling.

01:05:05Give my love to Carol.

01:05:07When, when she's not listening.

01:05:18Oh, dear.

01:05:19I cut him such nice sandwiches.

01:05:21I quite forgot to give them to him.

01:05:51Come back.

01:05:52You must come back.

01:05:54Oh, dear.

01:05:55Why are you so kidding?

01:05:56I've never been so surprised, though.

01:05:57I'm so sorry.

01:05:58I do not have any attention.

01:06:00I'm so sorry.

01:06:01I don't know.

01:06:02Oh, dear.

01:06:03Oh, dear.

01:06:04I'm so sorry.

01:06:05Oh, dear.

01:06:06Oh, dear.

01:06:08Oh, dear.

01:06:09Yes, sir.

01:06:10Oh, dear.

01:06:11Oh, dear.

01:06:12Oh, dear.

01:06:14Oh, dear.

01:06:15Oh, dear.

01:06:16Oh, dear.

01:06:17Oh.

01:06:18Oh, dear.

01:06:19Oh, dear.

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Transcription

Recommandations