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00:00:00The End
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00:00:59Tribune. No, Miss Cavendish ain't gone home yet. Say, old Tyler, maybe you can tell us something about this rumor. What rumor? What about Miss Cavendish retiring from the stage and letting her daughter take her place. Say, listen. Do you two young newspaper fellas want to know something? Sure. Well, I'll tell you. The Cavendishers never retire. Cavendish is an eternal. They go on acting until they're dead. And when the Cavendishers die, they go right on up to heaven.
00:01:29And start acting with the Cavendishers. It's the rough tale. You don't tell me. Yes, I do tell you. Go on around there to the stage door around the corner. See if that looks like Julie Cavendish is going to retire. Come on, Pete.
00:01:53Miss Cavendish, will you please?
00:01:59Miss Cavendish, Miss Cavendish, I'm from the news. We heard you were going to retire.
00:02:05Retire? Where would I retire to? Anything to say about your brother, Tony?
00:02:09That jam on the coast?
00:02:11I don't know anything about it.
00:02:12Mother, do you want to act on the road this fall? I most certainly do.
00:02:24Then won't you please take care of yourself? You know Dr. Parker said you weren't to go out at night for a while.
00:02:32Dr. Parker said you weren't to go out at night for a while.
00:02:34Dr. Parker's an old goat.
00:02:35Do you know best? Does Oscar know you're out?
00:02:39It's Oscar's wool business to look after my tours, not after my health.
00:02:43All right, but please take care of yourself.
00:02:45Look at that.
00:02:47Tony Cavendish, my son of Cavendish in Hollywood. All talking, all color, all terrible.
00:02:54I wonder what that reporter meant.
00:02:56What before that?
00:02:58Oh, yes.
00:02:59Oh, yes.
00:03:00Oh, yes.
00:03:01Oh, yes.
00:03:02Oh, yes.
00:03:03Oh, yes.
00:03:04Oh, yes.
00:03:05Oh, yes.
00:03:06Oh, yes.
00:03:07Oh, yes.
00:03:08Oh, yes.
00:03:09Oh, yes.
00:03:10Oh, yes.
00:03:11Oh, yes.
00:03:12Oh, yes.
00:03:13Oh, yes.
00:03:14I thought that reporter meant.
00:03:15What reporter?
00:03:16Oh, nothing.
00:03:17Oh, wait.
00:03:18Where are you going in all your fancy clothes?
00:03:20I wasn't going to a party, but I've changed my mind.
00:03:23I'm tired tonight.
00:03:24What's the matter with the house boards?
00:03:27Oh, they were lovely.
00:03:29Seven curtain calls.
00:03:30Oh, wait.
00:03:31I always considered it a bad night if I didn't take at least 14.
00:03:35I know, Fanny, but that was you.
00:03:38Oh, I suppose it's just because I'm tired, but somehow the fun seems to have gone out of it all.
00:03:43I've been doing it for so long, Mother.
00:03:46Wait till you're my age.
00:03:48You love it, don't you, Mother?
00:03:50And Gwen loves it.
00:03:52But I'm just in between now.
00:03:54Between my mother and my daughter.
00:03:57It's no fun to look either back or forward.
00:04:01You are tired.
00:04:03The way I feel tonight, I'd give the whole thing up
00:04:05for one man who really loved me.
00:04:07Who gave me a happy, peaceful home.
00:04:10Oh, my dear, you are America's leading actress, besides of me.
00:04:15And I have a daughter who's going into her first play next week, with you.
00:04:19And a brother who's almost as good an actor as his father Aubrey was.
00:04:23That Hollywood place hasn't ruined him.
00:04:26You are part of a great tradition, Julie.
00:04:29A member of a royal family.
00:04:32A little bit late to talk about love.
00:04:34No, it's never good to talk about love.
00:04:36It's never good to talk about love.
00:04:38It's never too late to talk about peace and happy home.
00:04:41It doesn't hurt to wish occasionally that ours is a little less like a madhouse.
00:04:45But what do you want to do with the rest of your life?
00:04:47Sit at home and crochet?
00:04:48I don't know how to crochet.
00:04:49What do you want to end as I am?
00:04:51Still trooping, still carrying on.
00:04:53I have a heart full of splendid memories.
00:04:56Memories of a great, a great career as a great actress.
00:05:01From Cavendish.
00:05:02One vote for Cavendish.
00:05:04No, Miss Cavendish hasn't returned from the theater yet.
00:05:07Well, any minute now.
00:05:08What?
00:05:09Yes, I'll tell her.
00:05:10Yes, I'll tell her.
00:05:11What is it, Ella?
00:05:12I don't know.
00:05:13It's something for Miss Julie.
00:05:14Oh, you ought to call the Marine Operator as one.
00:05:16Marine Operator? What's that?
00:05:16It's the ship at sea calling.
00:05:18They've been trying to get you all evening.
00:05:19The ship at sea.
00:05:20Miss French wants you to speak at her school on the 11th.
00:05:24And there's some radio company that wants you to talk for 15 minutes on the 9th.
00:05:27The evening, Miss Cavendish wants you to talk for 15 minutes on the 9th.
00:05:32And there's a radio company that wants you to talk for 15 minutes on the 9th.
00:05:37So you're going to call the Marine Operator?
00:05:39I'm going to call the Marine Operator.
00:05:41I'm going to call the Marine Operator.
00:05:42Yes, I'll tell her.
00:05:44Yes, I'll tell her.
00:05:45What is it, Ella?
00:05:46The Evening Journal telephoned again, and the Postal Telegraph wants you to call.
00:05:51And Mr. Wolf is coming in the morning about your new play.
00:05:53That'll be all, Della.
00:05:54Well, there are flowers and letters, and here are these checks to sign for those bills.
00:05:58Oh, not now, Della. No, I'll attend to those later.
00:06:00The Langhorne Studio wants you to have another sitting.
00:06:03That's all, Della, please.
00:06:04Yes, Miss Dilley.
00:06:06Here's the telegram for you.
00:06:07Oh, thank you.
00:06:08You see, Mother, that's what I mean.
00:06:11My poor, darling.
00:06:14You'll see us better in the morning, dear.
00:06:16Yes, of course, don't.
00:06:19Oh, good heavens.
00:06:20What?
00:06:20It's from Tony.
00:06:21Dear little brother Tony.
00:06:23Oh, gracious, anything serious?
00:06:25Well, as far as I can make out, he seems to have killed somebody.
00:06:28Anyone we know?
00:06:31From Dodge City.
00:06:32Dodge City, California?
00:06:34No, he's on his way here.
00:06:35Listen.
00:06:36Pay no attention to possible account of Deming incidents.
00:06:39His injury is not fatal.
00:06:41Takes more than that to kill a movie director.
00:06:44Arrive New York Wednesday.
00:06:46California police have no authority outside states.
00:06:49Under no condition, talk to reporters.
00:06:51Zeta Zadak on this train, but no trouble so far as I'm locked in drawing room.
00:06:57Love to all.
00:06:58He was a dirty dog anyway, Tony.
00:07:00Ah, good old Tony.
00:07:01Zeta Zadak.
00:07:02Who's she?
00:07:03A movie actress, I suppose.
00:07:05Great heavens.
00:07:06Oh, my dear Julie, do you think it's serious?
00:07:08Oh, no, Mother, of course not.
00:07:10Now, Tony will get out of it all right.
00:07:12He always does.
00:07:13But we may as well prepare for the storm when he arrives.
00:07:17That's all this little house needs now.
00:07:19One more storm.
00:07:20Well, I do hope, Julie, that Tony's all right.
00:07:23Oh, Tony's all right, Mother.
00:07:25Now, please, why don't you go upstairs and get some sleep?
00:07:27Oh, yes.
00:07:28To bed.
00:07:29To bed.
00:07:30Knocking at the gate.
00:07:32What's done can't not be undone.
00:07:35To bed.
00:07:36To bed.
00:07:37To bed.
00:08:02to bed.
00:08:19Hello?
00:08:20No, Miss Cavendish is not here.
00:08:22I don't know.
00:08:24What?
00:08:26What?
00:08:28The SS Christabel are calling.
00:08:29calling I don't know any SS Isabella who from where South America who this is
00:08:41Who is it, Mrs. Cavendish?
00:08:43Who?
00:08:45Marshall?
00:08:47Oh!
00:08:49Gilmore Marshall!
00:08:51Oh, but of course!
00:08:53Of course!
00:08:55Why, Gil!
00:08:59What in the world?
00:09:01Why, it's been years and years.
00:09:05I know.
00:09:11Well...
00:09:13Well, how are you?
00:09:17Well, what are you doing on a boat called the SS Cristabella?
00:09:21Oh, you're arriving tomorrow.
00:09:24Oh...
00:09:26What?
00:09:28Oh, this is very exciting.
00:09:31Yes, yes.
00:09:33Yes, about tomorrow noon.
00:09:36I was afraid you wouldn't remember me, Julia.
00:09:41Oh, I'm glad you do.
00:09:43Your beautiful roses have just arrived.
00:09:46Such beautiful roses.
00:09:50Gil, don't you think you can get here before tomorrow noon?
00:09:53Couldn't you swim or something?
00:09:55You used to swim very well, I remember.
00:09:57No, I'm afraid not.
00:09:59But I want to see you tomorrow afternoon.
00:10:01But of course!
00:10:02Come at four shops.
00:10:04I haven't wheeled me downstairs.
00:10:06No, of course not.
00:10:09No.
00:10:10No, you'll be surprised.
00:10:12No, I'm much younger than I used to be.
00:10:15No, not a silver thread.
00:10:19Hey, how about you?
00:10:21Oh, I'm about the same.
00:10:23I've settled down quite a bit.
00:10:25At least I...
00:10:27I'd like to settle down.
00:10:31Tell me, Julia.
00:10:33Are you...
00:10:35Are you still on the stage?
00:10:37Well...
00:10:38What a question!
00:10:40Don't you ever read the newspapers down there?
00:10:43Now, Gill, you must tell me all about yourself.
00:10:46Oh, no, no, not now.
00:10:48No, tomorrow at four.
00:10:50Yes.
00:10:55Yes.
00:10:58Yes.
00:11:01Well, goodbye then.
00:11:05I'm taking your roses up to my room.
00:11:09Goodbye, my dear.
00:11:20C'est vrai.
00:11:21I'm going to stop myسpe cor...
00:11:22bekas.
00:11:23Got my trumpet.
00:11:24Ah, I mean mo...
00:11:25яти יכולторы...
00:11:26idk community
00:11:27And so I'm afraid.
00:11:28Me...
00:11:29in to your delicate and笑。
00:11:30Seriously?
00:11:31I can transport any army.
00:11:32People will have to go.
00:11:33I'll get your yoke.
00:11:34Yes.
00:11:35Don't you?
00:11:36This is cool, so I could connect a little tealyse in.
00:11:37I hope that when you're on my own song.
00:11:39It doesn't matter how that's funny.
00:11:40I Rhonda's journey.
00:11:41It doesn't matter how that's funny, isn't there.
00:11:42Because there is what types of changes to the land.
00:11:45I can find Protestant.
00:11:46I live�illion Yea, you know?
00:11:47It's a table for two, waiter, not too near the music.
00:11:51How do you ever make a mess in any day, Julia?
00:11:54I've been a star, Oscar, as they wait for me.
00:11:58It's a very good entrance, Julie.
00:12:01Dear little mother, wouldn't you like that?
00:12:04It's a very good entrance, Julie.
00:12:07Dear little mother, wouldn't you like that?
00:12:10It's a very good entrance, Julie.
00:12:13It's a very good entrance, Julie.
00:12:16Dear little mother, wouldn't you like to go up and go down again?
00:12:20You're looking particularly beautiful today, if I may say so.
00:12:24Oh, please do, Oscar, because it's the most particular day for fun.
00:12:28At least, beginning at 4 o'clock it is.
00:12:30Hello, darling.
00:12:32Don't you look terrible.
00:12:34Oh, I know I'm slight, but I'm going to light up and change.
00:12:41How lovely, how peaceful.
00:12:46Oh, please, please.
00:12:49Go on, Oscar.
00:12:50I'll help you.
00:12:51A COD package, you can pay $39.
00:12:54COD?
00:12:55What?
00:12:56A package, $39.
00:12:58What do I buy for $39?
00:13:00All that for $39?
00:13:02Who's got $39?
00:13:04Oscar?
00:13:05Let me have it.
00:13:06Oscar.
00:13:07Let me have it.
00:13:21Oh, I've been terrified.
00:13:22Julie, I'll cut it short.
00:13:23We have now.
00:13:24Let me see.
00:13:25Oh, it's five minutes past.
00:13:26Two already.
00:13:27I want you downtown in my office.
00:13:29You and Gwen.
00:13:30Three o'clock sharp.
00:13:31Your office.
00:13:32I never go to your office, Oscar.
00:13:33What do you mean?
00:13:34Oh, don't start to holler before I tell you.
00:13:36Now.
00:13:37You remember I told you last night I was going to meet the Mauritania?
00:13:40Well, he came in.
00:13:42St. John Clark Morton.
00:13:44Oh, the author.
00:13:45Oh, send him back.
00:13:47Avoid authors that come over water.
00:13:49An old Chinese proverb.
00:13:51In fact, avoid all of us.
00:13:53Let them eat cake.
00:13:54If you comedians will keep still a minute, I'll tell you what it is now.
00:13:58This St. John Morton is a new playwright and English to go.
00:14:01And nothing will satisfy him.
00:14:03He wants to read his new play to the entire company.
00:14:06The gesture?
00:14:07Oh, I've never heard him be so idiotic in my life.
00:14:10If you're really serious, I'll go through with it.
00:14:12But it can't be this afternoon.
00:14:14Julia, how often do I ask you a favor?
00:14:17Now, this fellow has got another play that I'm craving for.
00:14:20Another play that I'm crazy to get to hold on.
00:14:22Oh, Arthur.
00:14:23If we all humor him a little bit and tell him how good he is.
00:14:26Now, what do you say?
00:14:28Oh, Arthur, no.
00:14:29Oh, well, what do you say, Fanny?
00:14:31Don't go jump in the lake.
00:14:33But why must it be this afternoon?
00:14:36Another afternoon, perhaps.
00:14:37Some less particular afternoon.
00:14:39What's going on this afternoon, anyway?
00:14:41You're going to be married or something?
00:14:43I can't do it, that's all. I can't.
00:14:45So you wouldn't even do this for your poor old manager, huh?
00:14:48You've got a little appointment.
00:14:50Tea or buy a new hat and compare to that.
00:14:53Oscar, Oscar, it doesn't matter.
00:14:55Now, Oscar, don't cry.
00:14:56Your tears unman me.
00:14:57Well, well, well, well, never mind.
00:14:59Never mind.
00:15:00But the next time you'll ask me to do something for you,
00:15:03I...
00:15:04Oh, I'll do it anyhow.
00:15:07Well, what are you doing that's so important this afternoon?
00:15:10Well, I, uh, I don't pay any attention to Oscar.
00:15:13I see that she's there.
00:15:14Oh, you don't understand that thought.
00:15:16Oscar's done a lot of things for you.
00:15:22You win, Oscar.
00:15:23At 3 o'clock, enter Julie Cavendish's lap.
00:15:26That's right, girl.
00:15:27Now, don't forget, 3 o'clock sharp.
00:15:29You both went down in my office, huh?
00:15:31You start here 20 minutes sharp, huh?
00:15:33All right?
00:15:34We'll be there, but I could kill you for it.
00:15:36That's the way to talk.
00:15:38Goodbye, everybody.
00:15:39Goodbye.
00:15:40Goodbye.
00:15:41Goodbye.
00:15:42Goodbye.
00:15:49Now, sit here.
00:15:53Now, Julie Cavendish.
00:15:54What's all this moaning about?
00:15:56What's this big renunciation scene?
00:15:58I can't do it this afternoon.
00:15:59I can't.
00:16:00What's it mean?
00:16:03Gil's back.
00:16:04Gil?
00:16:05What's that?
00:16:06Gilmore Marshall.
00:16:08He sent me flowers last night in a note.
00:16:10Well, that's it, eh?
00:16:13It would have been nice to have his afternoon free.
00:16:15Good gracious.
00:16:16Is he going to come here?
00:16:17He said about 4 o'clock.
00:16:19Well, the devil will just have to put him off, that's all.
00:16:21Then he's come back to New York to spend his millions.
00:16:25And I think if it hadn't been for me,
00:16:26you'd have gone off to South America
00:16:27and given up your career and everything.
00:16:29I wonder what he's like now.
00:16:31He may have become very charming.
00:16:34South America, millions.
00:16:36Some little gray here.
00:16:39Sounds rather romantic, huh?
00:16:40No more romantic now than he was years ago.
00:16:42Oh.
00:16:43What a siege that was.
00:16:44Yes, and what a demon you were, darling.
00:16:46I had to be.
00:16:47You certainly acted like a mother in a melodrama.
00:16:48How I ever got you where you are today
00:16:49is more than I know.
00:16:50You were always disappointed running off with some young squirt.
00:16:53And when you finally married Rex Talbot.
00:16:54Oh.
00:16:55Mother, out of the whole crowd, why did I marry Rex?
00:16:56He was the weakest, I guess.
00:16:57He had the most lovely manners.
00:16:58Yes.
00:16:59He was the kind of man that would kiss your hands
00:17:00without looking silly.
00:17:01I guess that's what he must have been doing when I needed him.
00:17:02That's one thing you must admit about skill, Mother.
00:17:03He would have been dependable.
00:17:04And when you get a little older, you begin to think that maybe...
00:17:08What's that?
00:17:09What's that?
00:17:10What's that?
00:17:11With that?
00:17:12Oh, don't be alarmed, darling.
00:17:13I'm curious to see him.
00:17:14I just had to see him in a little bit.
00:17:17I've got to see him at all, on the way.
00:17:18How much, oh, too?
00:17:19I've got to see him.
00:17:20He's been a little bit.
00:17:21And then.
00:17:22And I was like, what a hero, your character had to be,
00:17:24and that's why you had to look for you.
00:17:25Well, that's what you had to be done.
00:17:26And I've had a moment in my dream.
00:17:27He was the kind of man that'd kiss you a hand without looking silly.
00:17:29I guess that's what he must have been doing
00:17:30when I needed him.
00:17:31That's one thing you must admit about skill, Mother.
00:17:33He would have been dependable.
00:17:34And when you get a little older,
00:17:35It all stayed so beautifully, though.
00:17:38I wear my rose beige and a hat for the brim.
00:17:41I look dignified and wistful, yet girlish.
00:17:46I don't suppose it at all.
00:17:49Oh, dear. Oh, dear.
00:17:53Oh, dear, behave yourself.
00:17:55You can put that act on for him just as well tomorrow.
00:17:58It's been a good many years.
00:18:00What a couple of hours more.
00:18:02I do hate disappointing Gil, though.
00:18:05And I did so want to look gorgeous and gay and glamorous.
00:18:10Is that all?
00:18:12Oh, that won't be very difficult, my darling.
00:18:16Thanks, Mother.
00:18:18You're a sweet girl.
00:18:20Am I a fool?
00:18:22Yes.
00:18:24Oh, don't you look swell.
00:18:27Oh, dear.
00:18:29Oh, dear.
00:18:30Oh, dear.
00:18:31Oh, dear.
00:18:32Oh, dear.
00:18:33Oh, dear.
00:18:34Oh, dear.
00:18:36Oh, dear.
00:18:37Was it this afternoon you were going out to Westchester with Perry?
00:18:39Yeah.
00:18:40He'll be along any minute.
00:18:41Oh, well, darling.
00:18:43You can't throw, that's all.
00:18:46You'll just have to pull him off.
00:18:48You must go with me down to Oscar's office to hear the author read the new play.
00:18:51Mother, that's absurd.
00:18:52You know I've had this date with Perry for a week.
00:18:55I've never met his mother.
00:18:57She's giving the tea just for me, and she's having all those people there.
00:19:00How can I?
00:19:02Could be some other time.
00:19:04No, no, no, it can't now.
00:19:05I've been all over it with Oscar, and it's got to be this afternoon.
00:19:08My problem.
00:19:09Now then, Perry will understand.
00:19:12I hope someone else will.
00:19:14He picked a good day for it.
00:19:16There's Mr. Singam Bob.
00:19:20What is that?
00:19:21Joe, come up.
00:19:23Why are you, Mr. Billy?
00:19:24What's all about that?
00:19:25I never wish it could satisfy my life.
00:19:28Oh, mother, surely that can't be Jill already.
00:19:31What are you doing here, Howard?
00:19:33Get out of here.
00:19:34Get out of here.
00:19:35Can I please make it?
00:19:36What are you doing, everybody?
00:19:37Shut up, everybody.
00:19:38Take everything off my room, Joe.
00:19:39Yes, it's this way, boys.
00:19:41Somebody go out there and lock the back door.
00:19:43Hey, you.
00:19:44Take a look out that window.
00:19:45See if there's a man out there in a long overcoat.
00:19:47Of a filthy cut.
00:19:48How?
00:19:49How's America, sweetheart?
00:19:51Aren't you glad to see you, baby boy?
00:19:53Donut, donut, donut.
00:19:54Donut, donut.
00:19:55Donut, will you explain this trick entrance?
00:19:57How'd you get here?
00:19:58Tell me about it in a minute.
00:20:00Jerry gets 20 bucks.
00:20:01Jerry brought me in for many older.
00:20:03Ten apiece for the rest of the boys.
00:20:04How many are there?
00:20:05Seven, sir.
00:20:06Six in the door, ma'am.
00:20:07How many are there?
00:20:08Seven, sir.
00:20:09Six in the door, ma'am.
00:20:11All right, that makes about 90 bucks.
00:20:12Now, remember you, fellas.
00:20:13If any of those afforded us, you didn't see me.
00:20:14I never came in here.
00:20:15You don't know anything about me.
00:20:16In fact, you never even heard of me.
00:20:17Oh, you better not say that.
00:20:19They wouldn't believe you.
00:20:20Hello, sis.
00:20:22Ah.
00:20:23Hey, uh, let him have the money, will you?
00:20:27Hey, Joe.
00:20:28Don't need your arm.
00:20:30Don't hurt him.
00:20:31Oh, that doesn't amount to anything.
00:20:33I hit him too hard, that's all.
00:20:35How's the fight start in the first place?
00:20:36Well, you say no.
00:20:37Ah, this will be good.
00:20:38Tell us all about it, Uncle Tony.
00:20:39Uncle?
00:20:40It'll strangle us.
00:20:41Hello, Del.
00:20:42Oh, yes, I haven't had a fight in half hours.
00:20:44Bring me everything you got, will you?
00:20:45Hey, babe.
00:20:46Hey, first I got to have a hot bath.
00:20:48Come on upstairs, everybody, while I take a bath.
00:20:50Now, don't care for me.
00:20:51Can't be sure you listen to me.
00:20:52What is the matter?
00:20:53How did you get here?
00:20:54You were in Dodge City yesterday.
00:20:55Blue!
00:20:56I came by airplane from Chicago.
00:20:57Blue!
00:20:58Well, hey, I'm disappointed.
00:20:59I couldn't come on the trains.
00:21:00They're watching the trains.
00:21:01And I've got to lay low in this apartment till I sail.
00:21:03Sail?
00:21:04Where?
00:21:05Europe, of course.
00:21:06Tomorrow in the Aquitania.
00:21:07Ah!
00:21:08I hate pictures.
00:21:09Come on, come on.
00:21:10I'm going to have a bath.
00:21:11Tony, how did he start?
00:21:12How did he fight?
00:21:13How did he fight?
00:21:14Oh, this alleged director.
00:21:17Ah!
00:21:18What about you?
00:21:19He had it coming to him ever since we started to shoot.
00:21:21He put his girl in the picture, and when she got stuck on me,
00:21:24he got sore.
00:21:25Tony, I want you to kill me.
00:21:26And then what happened then?
00:21:28What happened after that?
00:21:29Come on, we'll hear.
00:21:30Well, you see, we're on a location doing a desert scene,
00:21:36see?
00:21:37Well, this guy, Demi, picked out the worst camel in the pack,
00:21:40and he says to me, you ride that one.
00:21:43I took one look at it and said, you ride it yourself,
00:21:46and see how you like it.
00:21:48Well, he said, who's directing this picture, you or me?
00:21:51I said, you're directing the picture, but you're not directing me.
00:21:53I am through with it.
00:21:54And you can take this to remember me by.
00:21:57I am so worried about him, Mr. Kildis.
00:22:01Who is this train woman?
00:22:04Who is this Dickery Zachary?
00:22:06Don't you say the gold tone?
00:22:08He's talking to me about me from Jackery's mother.
00:22:09I'm late, I'm a scout.
00:22:10Bye, you're welcome.
00:22:11Who is this Dickery Zachary?
00:22:17Oh, I'm a...
00:22:19She's a pole.
00:22:20Look out for a pole.
00:22:21Yeah.
00:22:22I'm a man.
00:22:23Come on.
00:22:24Go on.
00:22:25Come on.
00:22:26Come on, come on.
00:22:27Come on.
00:22:28Come on.
00:22:29Come on.
00:22:30Come on.
00:22:31Come on, come on.
00:22:32Come on.
00:22:33Come on.
00:22:34Come on, come on.
00:22:35Come on.
00:22:36Come on.
00:22:37Come on.
00:22:38Come on.
00:22:39Come on.
00:22:40Come on, come on.
00:22:41Well, I can't go.
00:22:42What do you mean you can't go?
00:22:44I've got to go to Wolf's office to hear the play, Red.
00:22:47There's no way out of it.
00:22:49There's no way out of it. I've got to do it.
00:22:52You can't mean that you're breaking this date
00:22:53just to go and hear somebody read a play.
00:22:56What play?
00:22:57The play. The play that goes to rehearsal tomorrow.
00:23:00That Mother and I are doing.
00:23:01Why, you've read it a thousand times. You've read it to me.
00:23:05But this is different. The author is reading it.
00:23:08Oh, well, let in the silly odds. What do you care?
00:23:12Oh, Perry.
00:23:14I wanted horribly to go with me.
00:23:16I made an offer for her, so what could I do?
00:23:18You know, Gwen, this isn't the first time you've done this to me.
00:23:21Oh, Perry, don't be unreasonable.
00:23:23You know it's just because of a new play.
00:23:26Yeah, but there'll always be a new play, won't there?
00:23:29Well, I realize it's inconvenient sometimes.
00:23:31It is for me, too.
00:23:33But what are we heading for?
00:23:35That's what I'd like to know.
00:23:36How's it all going to work out?
00:23:38Well, I don't know.
00:23:42What is it going to work out?
00:23:43After all, you'll marry the person you'd rather be with more than anybody else in the world.
00:23:50But where will you be half the time? Rehearsing or something?
00:23:52Now, it'll be fantastic. Rehearsals last three weeks.
00:23:54All right, and then what? You'll be at the theater every night.
00:23:56Your work will just begin when mine's all over.
00:23:58You'll have dinner at six. I probably won't even be home.
00:24:02By midnight, you're all keyed up and ready to start out.
00:24:05And I've got to be at work in the morning.
00:24:08Now, you wouldn't want me to be one of those wives, would you?
00:24:10Bridge and household and babies.
00:24:11Why not? What's the matter with that?
00:24:14Because I can't do that sort of thing any more than you can do the others.
00:24:17I'm an actress, Perry. An actress.
00:24:19What does that mean?
00:24:20Well, I'm an actress, Perry. An actress.
00:24:22Well, what does that mean?
00:24:23I'm an actress, Perry. An actress.
00:24:24Well, what does that mean?
00:24:26Suppose you turn out to be as good as your mother, or better.
00:24:29What is it to it when it's all over?
00:24:31Get your name up in the electric lights, a fuse blows up, and where are you?
00:24:35Oh, I suppose the world would go to pieces
00:24:37if you didn't sell a hundred shares of consolidated what-not
00:24:40for tens of more than somebody paid for it.
00:24:42Oh, now, listen, you can't compare acting with business.
00:24:45Is that so?
00:24:46I can give you the names of actors and actresses
00:24:48about 300 years ago, dozens of them.
00:24:51I can give you the names of actors and actresses
00:24:52about 300 years ago, dozens of them.
00:24:55Name me two 17th-century stockbrokers.
00:24:59All right.
00:25:00I'll give up my work, trail along after you carry a little Pekingese.
00:25:04It's not a Pekingese.
00:25:07Oh, Perry.
00:25:09How can he stop?
00:25:10How can I stop?
00:25:12Oh.
00:25:25Forgive me, darling.
00:25:26It was my fault.
00:25:28Forgive me.
00:25:29Oh, dear, just that I'm such a pig about you.
00:25:32Oh, dear, it's just that I'm such a pig about you.
00:25:35I can't help but want you all to myself.
00:25:38I won't be a couple of idiots who I've never quarreled before.
00:25:43And we won't again.
00:25:44There isn't anything in the world that matters to me except you.
00:25:47We must have been crazy.
00:25:49And you're all that matters to me.
00:25:51Oh, Gwen, darling. Darling.
00:25:57Now, come on, honey. It's late.
00:25:59What?
00:26:00Well, you're coming with me, aren't you?
00:26:03Oh, Perry.
00:26:05What?
00:26:06You haven't heard a word I've said.
00:26:09I heard everything you said.
00:26:11You heard what I said, too, didn't you?
00:26:13Oh, it's like a sad dream.
00:26:15I can't go. I haven't explained to you I can't.
00:26:19Oh, yes.
00:26:20Well, I got to be going, of course.
00:26:22Get there.
00:26:23Pulleys.
00:26:25Are you ready?
00:26:26I'll be right there.
00:26:27Wait. Are you ready?
00:26:27Police! Are you ready?
00:26:29I'll be right there.
00:26:30Well, are you ready?
00:26:50Bravo, Johnny! Bravo!
00:26:53If I'm not violating any general tradition of the Cavendish's,
00:26:56would it be all right for me to ask where my lunch is?
00:26:59In fact, where is it?
00:27:05I'm feeling!
00:27:07Hasta mañana!
00:27:09Mr. Wolfe just telephoned from the officers, Julie.
00:27:11Goodbye, Mother Dolly.
00:27:12Goodbye, you fools. Come on, Wim!
00:27:15I'm not coming.
00:27:17Wim!
00:27:20Will you please put on your hat and coat?
00:27:23I don't just mean that I'm not coming now.
00:27:25I'm not going to be in this play.
00:27:27I'm not going to be in any play.
00:27:28I'm doing the same!
00:27:30Is it where you've started?
00:27:33I'm not going to have it mess up my whole life.
00:27:37You mean...
00:27:39as you think it has mine?
00:27:41If you like.
00:27:42Oh, when, darling?
00:27:44What do you want at the end of your life?
00:27:46What do you want at the end of your life?
00:27:47A box full of stocks and bonds?
00:27:49Or a heart full of splendid memories?
00:27:52Oh, my dear.
00:27:54You don't know what you're talking about.
00:27:58I'm sick of all this.
00:28:00I'm sick of being a Cavendish.
00:28:01I want to be a human being.
00:28:03But you are a Cavendish.
00:28:05Then I don't want to be.
00:28:07But you've got to be.
00:28:09Quinn, you can be the greatest of us all.
00:28:12Aubrey and Stanley Cavendish have just been stepping stones for you.
00:28:15What's that? What's that?
00:28:17I'll be a stepping stone for nobody.
00:28:19And as for Aubrey Cavendish, there's nobody since his day that can touch him.
00:28:23That's what I mean.
00:28:24What's that to it when it's all over?
00:28:27Get your name up and I like to throw it from those lights or work or something.
00:28:31And then where are you?
00:28:35And you, the great Cavendish that none of the young girls in this country can come to sleep on account of.
00:28:41I mean, on account of you, none of the...
00:28:44Oh, you know what I mean.
00:28:46What have you ever done with your life?
00:28:48Have you ever had babies?
00:28:50Have you ever known what it was to have a home and a husband?
00:28:52You've touched on a secret dream of mine, Gwen.
00:28:57I wish you had spared...
00:28:59Lunch!
00:29:03I'm through with you all!
00:29:05I'm going to be Mrs. Terri Stewart.
00:29:07And whoever wants to be a Cavendish is welcome to it!
00:29:10Good and welcome!
00:29:12Quinn!
00:29:17I want money!
00:29:19I want money!
00:29:22赤精!
00:29:38I'm told you shouldn't be making this noise.
00:29:40Mrs. Wendt.
00:29:42ARJ إِنْ
00:29:44I'm Jack conocer!
00:29:46He's only been home 24 hours.
00:29:47He's carved his way through every room in the house.
00:29:48through every room in the house. I had to lock the door in my bathroom.
00:30:18I'll keep my word.
00:30:20The last line.
00:30:22I hate the door.
00:30:24I'm a kid, my pretty wench.
00:30:26Well, have I not won thee fairly?
00:30:28My dear.
00:30:30Here you are, Max. I'll be up for a couple of minutes.
00:30:33I told you he was good. He'll do.
00:30:35Oh, you should have seen your father hold off eight of them.
00:30:39Yeah.
00:30:40Oh, what a sportsman he was.
00:30:43What an actor.
00:30:45Aubrey and Sanny carried it.
00:30:48And a gentleman of track.
00:30:50He sent one head first right down the stairway.
00:30:54Then another, he throw the ballister.
00:30:56Then quick as a wink, he'd whirl and catch one coming up behind him.
00:30:59Drus. Yes.
00:31:01Parry.
00:31:06That scene alone.
00:31:09Took a full bottle of liniment every week.
00:31:12Oh, those were the days, Sanny.
00:31:18Oh, you're the days.
00:31:20Yeah.
00:31:21Say, where's Julie?
00:31:22What time is it anyhow?
00:31:23It's late.
00:31:24She should be here any minute.
00:31:25The matinee's over.
00:31:26It's quarters to five.
00:31:27Is she getting my passport?
00:31:28Isn't she?
00:31:29I've got to get out of here.
00:31:30Can't see without a passport?
00:31:31She ought to know that.
00:31:32Well, she isn't getting a passport.
00:31:33Who says you've got to go to Europe?
00:31:34What for?
00:31:35A million reasons.
00:31:36I feel like it.
00:31:37I want to get away.
00:31:39You can have it.
00:31:40Your ancient and royal profession of acting.
00:31:42I'm through.
00:31:43Oh, yes.
00:31:44You've been saying that ever since you played little Lord Ponta, right?
00:31:46All right.
00:31:47I mean it this time.
00:31:48That's why I'm going abroad.
00:31:49You give me two years in Munich with my violin under Asher.
00:31:53I'll show you what the stage means to me.
00:31:55I can be a great musician.
00:31:56Or I might go away into India with Krishnamurti.
00:31:59Study Hindu philosophy.
00:32:00It's the only real thing in the world.
00:32:01You wear just one garment.
00:32:02A long white robe.
00:32:03And you eat just one food.
00:32:04Rice.
00:32:05Now that'll be restful.
00:32:06The stage.
00:32:07I'd rather spend ten minutes in the cathedral a chat.
00:32:08All right.
00:32:09I'd rather spend ten minutes in the cathedral a chat.
00:32:10All right.
00:32:11All right.
00:32:12All right.
00:32:13All right.
00:32:14All right.
00:32:15All right.
00:32:16All right.
00:32:17All right.
00:32:18All right.
00:32:19All right.
00:32:20All right.
00:32:21All right.
00:32:22All right.
00:32:23Here, you're fooling me about why you're going to
00:32:25your prison.
00:32:26In the cathedral and trying
00:32:31to the right, is and that gay guy woman you were running
00:32:33away from!
00:32:34After that, I guess I'm right.
00:32:40But I'm not afraid of her!
00:32:44What is it?
00:32:45Just a breach of promise to me.
00:32:47Breaking account to me?
00:32:50Those two hundred thousand.
00:32:51Those two hundred thousand.
00:32:52Nobody's thinking seven years.
00:32:53That's why I've got to say cooped up here.
00:32:55You don't suppose I'm afraid of reporters, do you?
00:32:57But if they ever cut that little paper on me, I can't fail.
00:32:59200,000 for Richard Francis.
00:33:04Why wasn't I told of this?
00:33:06I suppose I was too young to know.
00:33:08Well, you see, Fran...
00:33:10Give away from me.
00:33:12200,000 dollars for Richard Francis.
00:33:16Salt and battery on this director,
00:33:18probably another 100,000.
00:33:20Well, it's worth it, I tell you.
00:33:22What did you ever promise this movie actress
00:33:26that's worth 200,000 dollars?
00:33:29What?
00:33:37A woman's voice?
00:33:39No, but I'm not taking any chances.
00:33:47Who's that?
00:33:49Oh, it's Julie.
00:33:51Julie, it's all right.
00:33:52Oh, hello, Julie.
00:33:53Oh, I'm getting pretty fed up on your dear public, Tony.
00:33:55You get it, Julie?
00:33:56The entire population of New York is standing on the doorstep
00:33:58howling for a glimpse of America's foremost screen lovers.
00:34:00In the meantime, they take what fortune sends,
00:34:02or a piece of it.
00:34:03My dear, your coat is ripped.
00:34:04Come and sit down, you'll be worn out.
00:34:06with another performance.
00:34:07Julie, the passport.
00:34:08Have you got my passport?
00:34:09Oh, dear.
00:34:10What a day this has been.
00:34:11Mother, how's Gwen?
00:34:12Is she better?
00:34:13No, no.
00:34:14She's still sucking in her room.
00:34:15She hasn't been out all day.
00:34:16Now, look here, Julie.
00:34:17Shut up, Tony.
00:34:18Has she eaten anything?
00:34:19No.
00:34:20She wouldn't even drink her tea.
00:34:21Miss Julie.
00:34:22Mr. Cartwright's phone.
00:34:23Mrs. Blair's dinner's been postponed.
00:34:24It'll be for Wednesday.
00:34:25Not now, Gemma.
00:34:26Please.
00:34:27The law of O'Hame Shop called us about your fitting.
00:34:28Your dress won't be written.
00:34:29Keep me hanging.
00:34:30My boat sails at midnight.
00:34:31What have you done about my passport?
00:34:32Tony, my love.
00:34:33Wolf is bringing it.
00:34:34Oh, he is, eh?
00:34:35Well.
00:34:36Well.
00:34:37Well.
00:34:38Well.
00:34:39I didn't say so.
00:34:40He's bringing you the money, too.
00:34:41Thanks, Mum.
00:34:42I paid for your reservation.
00:34:43By the way, you neglected to tell me that you were roughing it across in the Royal Suite.
00:35:00You don't expect him to travel like a stowaway to you?
00:35:03You got the right idea, Mum.
00:35:04Well, hire a battleship if you like.
00:35:06It's a good thing.
00:35:07Well, don't forget.
00:35:08I'm a poor working girl.
00:35:09Well, it'll all blow over in a month.
00:35:10That's why I want to get away.
00:35:11Well, why must it be Europe?
00:35:12What are you going to do when you get there?
00:35:13He's going to eat rice and play the violin.
00:35:16Oh, well.
00:35:17I'm going to see Gwen.
00:35:18Don't forget.
00:35:19Nobody's to know I'm in the house.
00:35:20Well, there are only about 10,000 people downstairs who seem to have caught onto your secret.
00:35:23Well, I'll manage them all right.
00:35:24You'd have to go out to catch a boat, would you?
00:35:25Oh, no.
00:35:26Oh, no.
00:35:27It's all been arranged.
00:35:28They're going to back the aquitaph.
00:35:29Oh, no.
00:35:30Oh, no.
00:35:31It's all been arranged.
00:35:32They're going to back the aquitaph up to the door for him.
00:35:33Tell him to be phoned.
00:35:34Mr. Marshall phoned eight times.
00:35:35Last time, he said he'd be right over.
00:35:36Now, why don't you lie down and relax?
00:35:37I'll bring you dinner on the train.
00:35:38You have another performance tonight.
00:35:39I know.
00:35:40I'm going to have to see Gwen.
00:35:41I know.
00:35:42I'm going to have to see Gwen.
00:35:43They came in a great pool.
00:35:44I can't see Gwen, I know.
00:35:45All right.
00:35:46We're in a great pool.
00:35:47I'll try more.
00:35:48I'll try more and have a great pool.
00:35:49Now, why don't you lie down and relax.
00:35:51I'll bring you dinner on the train.
00:35:52You'll have another performance tonight.
00:35:54I know, dear.
00:35:55I'm going to have to see Gwen.
00:35:56Go ahead.
00:35:57How about Gwen?
00:35:58Why?
00:35:59Here?
00:36:00Oh.
00:36:01Hey, no.
00:36:02You never want to log in.
00:36:03I'm going to go to the hotel.
00:36:04Well, I'll go.
00:36:05You're going to go to the hotel.
00:36:07All right, Sue!
00:36:08I don't mean to act like a prima donna, but I feel like hell, that's all.
00:36:13I know, dear.
00:36:17What's my soul with all this darkness about here?
00:36:22Your hand before your face.
00:36:25It didn't even telephone.
00:36:27He might at least have telephoned.
00:36:30I didn't know he didn't telephone.
00:36:32Tony's had the receiver off on the phone.
00:36:35Tony's had the receiver off on the phone.
00:36:37Tony's had the receiver off almost all day.
00:36:40But maybe he tried to.
00:36:41Yes, yes.
00:36:42There, Gwen.
00:36:44But I love him so.
00:36:46There's nothing to cry about, darling.
00:36:48No, you can love him and marry him too, can't you?
00:36:52You see, Gwen,
00:36:54it's hard for us to realize that you wouldn't want to carry on.
00:36:59Your mother and I both got married,
00:37:00but we didn't think we had to drop more important things to do it.
00:37:03There isn't anything more important.
00:37:05Oh, for the sake.
00:37:06Marriage isn't a career, dear.
00:37:08It's an incident.
00:37:11Aubrey Cavendish and I were married
00:37:13in the church of St. Mary Ritchie
00:37:16in Bristol, England, just before the matinee.
00:37:18The wedding supper?
00:37:20I know.
00:37:21I know.
00:37:22But I guess I'm not like the rest of it.
00:37:24You think you're not, but you are.
00:37:27Marry him if you love him, Gwen.
00:37:29But don't give up everything to do it.
00:37:31Well, the day might come when you'd hate him for it.
00:37:34Well, the day might come when you'd hate him for it.
00:37:35Hey, Perry.
00:37:37You just don't know what you're talking about.
00:37:39Oh, but I do.
00:37:42There are all sorts of things you have to give up, darling.
00:37:44Gay things and amusing things.
00:37:47Oh, but, Gwen, if I could only make you realize
00:37:50that the thrill you get out of doing your work
00:37:52is bigger than any other single thing in the world.
00:37:55Oh, I know.
00:37:57There's love.
00:37:58But you can be the most fortunate person in the world, Gwen.
00:38:02You can have both.
00:38:03Just don't make the mistake of giving up one for the other.
00:38:06No, child.
00:38:08Work.
00:38:09Acting isn't anything.
00:38:11What's acting compared to...
00:38:12Oh, it's everything.
00:38:15Work and play.
00:38:17Meet and drink.
00:38:18And home and baby.
00:38:22Well, they'll tell you it isn't your fancy friends.
00:38:24But that's a lie.
00:38:26They give their ears to be in your place.
00:38:30Do you think I could have stood these last two years
00:38:32cobbling around on this thing?
00:38:34If I had known that I was going back to it!
00:38:39Every night when I'm sitting here alone,
00:38:42I'm really down there at the theater.
00:38:457.30, they're just going in at the stage door.
00:38:51Good evening to the doormans.
00:38:53Taking down their keys, looking in the mail rack.
00:38:578 o'clock.
00:38:58The stage hands are setting up.
00:39:01How about, Miss Cavendish?
00:39:03How about, grease paint, rouge, mascara.
00:39:07Fifteen minutes, Miss Cavendish.
00:39:10My costume.
00:39:11More rouge, where's the rabbit foot?
00:39:13Overpure, overpure.
00:39:15Good evening, everybody.
00:39:16How's the house tonight?
00:39:18The curtain's up.
00:39:19Props, cue, anchor.
00:39:22That's all set me alive.
00:39:24I'm sorry.
00:39:26I'm sorry.
00:39:27I'm sorry.
00:39:28I'm sorry.
00:39:29I'm sorry.
00:39:30I'm sorry.
00:39:30I'm sorry.
00:39:32I'm sorry.
00:39:33I'm sorry.
00:39:34I'm sorry.
00:39:35That's all kept me alive, these last two years.
00:39:41You were down there for me.
00:39:45Going on.
00:39:47Going on.
00:39:48Going on.
00:39:50Oh, Mother.
00:39:52Mother.
00:39:53What is it?
00:39:54Oh, I can kill you.
00:39:55Don't, don't.
00:39:56I'll do it.
00:39:57I'll go on, Grandma.
00:39:59I promise.
00:39:59I'll go on.
00:40:00She'll go on.
00:40:01What's going on?
00:40:02What's going on?
00:40:02What's going on?
00:40:04What is it?
00:40:05It's not on my head.
00:40:06Well, do something.
00:40:07What are you all standing around for?
00:40:08Keep quiet.
00:40:09Here.
00:40:10Oh, Mom.
00:40:10Oh, Mom.
00:40:11Oh, my poor, Mom.
00:40:13Oh, my poor, Mom.
00:40:14Can't you come too, Mom?
00:40:16There you are.
00:40:17Oh, Mom.
00:40:18Are you all right, Mom?
00:40:19Oh, Johnny.
00:40:21Johnny.
00:40:22Oh, Mom.
00:40:23Here, I'll take your shoes off here.
00:40:25Here, Mom.
00:40:25Here, hold her head.
00:40:27Here, I'll take a swig of that.
00:40:28You'll be all right in a minute, huh?
00:40:29Sure, that'll make it.
00:40:30I know.
00:40:31I know.
00:40:32Feel better now, Mom?
00:40:34No, take him over there on the top.
00:40:35Come on.
00:40:36Come on.
00:40:36I'll take her, Joe.
00:40:37I'll take her.
00:40:37Come on.
00:40:38All right.
00:40:38Be all right.
00:40:39Let me get her.
00:40:40You better lie down for her head over here.
00:40:42Here, you are right over here.
00:40:43Come on, darling.
00:40:44Come on, darling.
00:40:44Just take it easy, darling.
00:40:45It's all right, dear.
00:40:46You're doing swell.
00:40:48There you are.
00:40:49There you are.
00:40:50Put her feet on.
00:40:51There you are.
00:40:52There you are, Mom.
00:40:53That's right, Joe.
00:40:54Come on.
00:40:54Get out of here.
00:40:55Get out of here.
00:40:56It's all my fault.
00:40:57Get out of here.
00:40:58What she needs is rest.
00:40:59I'll take her off.
00:41:04Hey, Mom.
00:41:05Feel better now?
00:41:09Oh, I'll never forgive myself.
00:41:11Now, Gwen, you must stop blaming yourself.
00:41:14Well, how's Mother?
00:41:15Oh, she's all right.
00:41:18Yeah, it's a funny thing.
00:41:21Well, what's so funny?
00:41:23I can't get a quiet moment in this house.
00:41:25Well, I suppose the bull felt the same way about the churner shop.
00:41:29Hello.
00:41:30Oh, hello.
00:41:30Oscar.
00:41:31Well, what about my passport?
00:41:33That's what I came to talk about.
00:41:35What?
00:41:36It is not too easy.
00:41:37Be trolled.
00:41:38You don't even say you can't get it.
00:41:40No, I don't say I can't get it exactly.
00:41:42Oscar, another 24 hours in the house with this caged lunatic,
00:41:45and you can order straitjackets for two.
00:41:46No, no, no, no.
00:41:47Oh, you'll promise.
00:41:48Did Oscar ever fail you?
00:41:49We'll get that passport, all right.
00:41:51I hope.
00:41:54Well, I won't take no for an answer.
00:41:56You've got to get that passport.
00:41:58Tony, you're being unreasonable.
00:41:59Certainly, I'm being unreasonable.
00:42:00But you haven't done anything so terrible.
00:42:03You've hit a movie director and made love to a pole.
00:42:06Well, chances are, both will recover.
00:42:08You don't know what you're talking about.
00:42:09You'll find out if it's terrible or not.
00:42:16Why, if this woman needs...
00:42:17Tony, stop acting.
00:42:19Now, what can she do to you?
00:42:20See, what kind of a jam do you think I'm in?
00:42:22What do you suppose I drew all the way from California for?
00:42:23The ride?
00:42:24I've got to get out of here, I tell you.
00:42:25Zadak's in town where this comes.
00:42:26Do you know what that means?
00:42:27You don't know that polecat.
00:42:28Why, I've seen her pick up.
00:42:29She's a killer.
00:42:30She just didn't shoot as look at you.
00:42:31She's a pole.
00:42:32She's cuckoo about me.
00:42:33And she knows I'm through with her.
00:42:34And she knows I'm through with her.
00:42:35And she knows I'm through with her.
00:42:36She's a killer.
00:42:37She's a killer.
00:42:38She's a killer.
00:42:39She doesn't shoot as look at you.
00:42:40She's a pole.
00:42:41She's cuckoo about me.
00:42:42And she knows I'm through with her.
00:42:50Now, if you don't want to do anything to help me, why, all right.
00:42:52You're a fine sister.
00:42:53I'm only your brother, so why should you bother about me?
00:42:55But I'm telling you enough to get me, I'll be over the front page
00:42:57and so are you and so are Gwen and the whole royal family.
00:43:00Now, if that's what you want, believe me, you're going to get it.
00:43:05Watch your blind, Oscar, for all your troubles.
00:43:10Poor Tony.
00:43:11He's gone completely Hollywood.
00:43:14I wonder what he's doing now.
00:43:16He's probably cutting his throat.
00:43:17Well, I suppose I'd go up and see how he is.
00:43:20No, no, no.
00:43:21I'm going to see how grandma is.
00:43:22What's the matter with your grandma?
00:43:23She's ill.
00:43:24She's ill?
00:43:25Oh, yes, she fainted.
00:43:26She fainted?
00:43:27Yes.
00:43:28She fainted, and you didn't tell me anything.
00:43:29Well, Oscar, I haven't heard anything.
00:43:30She's an old man to you.
00:43:31You have no excuse, Oscar.
00:43:32She's unfair.
00:43:33Why don't you go up there after now?
00:43:35She must have quiet.
00:43:36I'm excited now.
00:43:37She mustn't have any excitement now.
00:43:38Remember.
00:43:42Gil.
00:43:46Oh, Gil.
00:43:47You must really make allowances for us.
00:43:50We're even more, more upset than usual this afternoon.
00:43:54Something wrong?
00:43:55Can I help?
00:43:58Oh, it's just...
00:43:59Oh, perhaps I shouldn't have come.
00:44:01Oh, no, I'm glad you did.
00:44:02You're still sane, aren't you, Gil?
00:44:05You're strong and reliable and sure.
00:44:10Oh, dear.
00:44:11I was going to be so ravishing on our first meeting.
00:44:15I'm going to be so divinely cool, so beautifully serene.
00:44:19I had all plans.
00:44:21Look.
00:44:22You go out and come in again.
00:44:25Mm-hmm.
00:44:26Just go out and come in and put out my hand like that.
00:44:28And I'll say, oh, Gil, so it's really you.
00:44:33After all these years.
00:44:36It seems like centuries.
00:44:40You haven't changed a bit.
00:44:42Come over here.
00:44:43Still the same.
00:44:53The same slim, fair-haired girl I knew so well.
00:44:58Mm-hmm.
00:44:59Tell me, are you as famous as they say?
00:45:02No, probably.
00:45:03But you haven't exactly been hidden from the public gaze yourself.
00:45:06What was it you found lying in the streets of radium or something?
00:45:09No, not radium.
00:45:10Platinum.
00:45:11Oh, only platinum.
00:45:12Oh.
00:45:13At any rate, you've got millions and millions out of you.
00:45:15Let me touch you.
00:45:16Oh, I've done pretty well.
00:45:18You're certainly the top of the heap in your line, aren't you?
00:45:21No.
00:45:22The zenith.
00:45:23Quite illegal to get out a tabloid newspaper nowadays.
00:45:25It's not a story of one of the family.
00:45:27Tony's king at the moment.
00:45:29I'm not going to get out a tabloid newspaper nowadays without a story of one of the family.
00:45:33Tony's king at the moment.
00:45:34Tony's king at the moment.
00:45:36Yes, I saw those cars downstairs.
00:45:38Hey, what are you going to do?
00:45:39Try and get away?
00:45:40Oh, it's really an awful mess.
00:45:41He wants to sail tonight on the Aquitania, and we can't get a passport.
00:45:44Passport?
00:45:45Aquitania?
00:45:46Tonight?
00:45:47But you...
00:45:49You mean you know somebody who might...
00:45:53Rolling green, 9-0-9-7.
00:45:59How soon do you think you're down there?
00:46:00Oh, right away, I should think.
00:46:01Tell him to get ready.
00:46:02John, let me talk to Moran.
00:46:04You actually mean you can do it?
00:46:05Oh, if you only could.
00:46:07Why don't you know there isn't anything in the world that I would...
00:46:10Hello.
00:46:11Julia, if I thought you needed me, I'd go to the end of the...
00:46:15Hello.
00:46:16Oh, Moran, this is Marshall.
00:46:17Now, get this.
00:46:18I want an emergency passport at Aquitania tonight.
00:46:21That's right.
00:46:22Meet me on the Cunard dock in half an hour.
00:46:25Can you make me in half an hour?
00:46:26Can you make me in half an hour?
00:46:27Yes, yes.
00:46:28Oh, 20 minutes.
00:46:29I'll give you the details when I see you.
00:46:30Tony!
00:46:31Tony!
00:46:32Oh, Gil, it's wonderful of you.
00:46:34You're one of those strong, silent men, aren't you?
00:46:44Tony!
00:46:45Tony!
00:46:48We've got it!
00:46:49Hurry up, get your things on.
00:46:50What, you mean the passport?
00:46:51Yes, Gil got it for you.
00:46:53Gil who?
00:46:54Never mind, never mind.
00:46:55Give him 50 bucks.
00:46:56Shh.
00:46:57Joe!
00:46:58Joe!
00:46:59Yes, sir.
00:47:00Yes, sir.
00:47:01Is everything ready?
00:47:02Yes, sir, it will be.
00:47:03All right, go to it.
00:47:04Yes, sir.
00:47:05Ah, sis, you're a grand kid.
00:47:06I knew I could call on you.
00:47:07Oh, reliable.
00:47:08Watch your eyes, old fellow.
00:47:10Who is he, anyway?
00:47:19Is he always like this?
00:47:20Well, not the exception.
00:47:23Oh, sometimes families are...
00:47:27It just happens that the blood is a little thicker than usual today.
00:47:48Julia?
00:47:50The reason I went away was so that you could go ahead and be an actress.
00:47:53All that stuff about cabinets and the stage being your real life and the only way you could be happy.
00:47:58Well, you've got everything you went after.
00:48:01And how about it?
00:48:02Are you happy?
00:48:06Happy?
00:48:09I don't know.
00:48:10Why, of course you're not, Julia.
00:48:15Why, straight away, all of these years, but I thought at least you were living the life you wanted most.
00:48:19And now I come back and find this.
00:48:23Why, you ought to have everything in the world.
00:48:26You ought to have everything done for you.
00:48:28It's done for you by someone who loves you.
00:48:39Don't you know what you ought to be doing instead of this, the sort of life you ought to be living?
00:48:42Why, you ought to be in a country house somewhere.
00:48:46To a garden and trees.
00:48:52Somehow you look garden and trees.
00:48:55Oh, Julia.
00:48:56Julia.
00:48:57I've...
00:48:58I've got a little place in England.
00:49:00It...
00:49:01It...
00:49:02I can't describe it.
00:49:05I'm not good at that sort of thing.
00:49:06Don't try.
00:49:08Let me imagine.
00:49:10Or you can go...
00:49:11You can go any place else you want.
00:49:13Carl.
00:49:14Santa Maria.
00:49:16Any place you want.
00:49:19Well, my dear?
00:49:25Oh, I'm so tired of deciding things.
00:49:32Julia.
00:49:37What fools we've been.
00:49:43Wait for me thinking.
00:49:45You've had too long to think.
00:49:48It's settled.
00:49:53Oh, trees.
00:49:56I'm not sure what's happened.
00:49:59I can't think clearly.
00:50:01I'll tell you what's happened.
00:50:03Something that should have happened years ago.
00:50:04That's what's happened.
00:50:07I think you'd better go, Mel.
00:50:12All right.
00:50:14But I can come back, can't I?
00:50:20Tonight, after the theater.
00:50:31Let's go.
00:50:34No, I can't.
00:50:35I can't.
00:50:36Go!
00:50:38Go!
00:50:39Where is that?
00:50:40Tony.
00:50:40You disturbed Mother.
00:50:42I've got to get out.
00:50:43Come on.
00:50:44Come on, boys.
00:50:45I've got to get out of here.
00:50:47Come on, boys.
00:50:48I've got to get out of here.
00:50:49Come on, my room.
00:50:51Tony, I wish you were out of here.
00:50:52You're making all the hollible.
00:50:53Nobody be clattered than I have.
00:50:55That little person can't get over here.
00:50:57Mother, what are you doing?
00:50:58Hi there, friend. All right again, eh?
00:51:00Don't go to your room, Fanny Camden. It's just me. Go back to bed.
00:51:02If you make her go to bed, I won't get her submitted.
00:51:05Oh, what's all the excitement about? What's this all about?
00:51:08There you are, friend. You're the comeback kid.
00:51:10Do you want to be thanked for this? When?
00:51:11But I can't go to bed. I can't go to bed now. It's totally going.
00:51:14Well, how soon can he be gone?
00:51:15Oh, he'll be gone in 30 seconds.
00:51:17All aboard for Europe! Hello there.
00:51:19You call me, yes. You pick Mother's lover on me.
00:51:21I don't mean, Mother. Come on.
00:51:23Don't you be sweet.
00:51:25I don't want to tell you, Jill. You want me to be up at the door.
00:51:28Quinn, you've been crying.
00:51:29No, I haven't.
00:51:30Tony, are you ready?
00:51:31What?
00:51:32Oh, one more day of this is just about due for me.
00:51:34Now, Mother, you've got to go back to bed.
00:51:36I'm not sure, Jill. Tony is gone.
00:51:37Well, then the very minute he's gone.
00:51:39Tony, are you coming?
00:51:40All set.
00:51:41Oh.
00:51:42The end of a perfect day.
00:51:45Now, Tony, don't hire her to have him come back.
00:51:47Jill, save it in no matter what happens.
00:51:49Tony, take care of you.
00:51:50Take care of you.
00:51:51We all have a dog club for you.
00:51:54I'll be at home.
00:51:55Oh, Tony.
00:51:56Oh, Tony, aren't you going to say goodbye?
00:51:58Oh, Tony.
00:51:59Tony, you can never die.
00:52:00Oh, Tony.
00:52:01It's done.
00:52:02Tony.
00:52:03Let's get away, Tony.
00:52:04Don't let him go.
00:52:05Don't let him go.
00:52:07He's never gone away like this before.
00:52:10He didn't look at me.
00:52:15He didn't speak to me.
00:52:19So, you don't want to send an email to Code for me.
00:52:22Oh, Toni.
00:52:27Oh!
00:52:28Oh, Mother, darling, it's all right, Doni.
00:52:31Don't you send me a radio?
00:52:32Now, don't you make yourself airy, dear, please.
00:52:34You're going to hear me.
00:52:35Oh!
00:52:36Oh, oh!
00:52:37Parole appear!
00:52:39Toni!
00:52:42How do you like it?
00:52:43Sit on me, isn't it?
00:52:48What are you all made up for?
00:52:49Why, sure, my double, make a dance for the taxi,
00:52:51the crowd will all swarm after him,
00:52:53give him a nice run up Fifth Avenue.
00:52:54Then I go down, get into my cab,
00:52:56ten minutes, I'm on the dock.
00:52:57Voila!
00:52:58Oh, Jonas!
00:52:59Goodbye, everybody!
00:53:00Goodbye, Mom!
00:53:01The open sea, the salt sea, the Arctic wind,
00:53:04I'm on my way!
00:53:06Remember, the guarantee trust.
00:53:14Oh, let's all go out and ring doorbells!
00:53:17Oh, Miss Julie, you must eat something.
00:53:19Oh, no!
00:53:20It's late, you've got to get me a performance.
00:53:21Yes, I know.
00:53:22Now, Mother, you promised me you'd go to bed,
00:53:24and you go now.
00:53:25No, I won't go to bed.
00:53:26What?
00:53:27Sandy, not in bed?
00:53:28Julia, what are you thinking of?
00:53:29What?
00:53:30I'm trying to get her...
00:53:31You should be in the theater, anyway.
00:53:32You've got to see Throckmorton before you go on.
00:53:34What?
00:53:35Well, Mother hasn't had a dinner yet.
00:53:36She don't need any dinner.
00:53:37She's got to watch her wait.
00:53:41What's the matter?
00:53:42What's going on?
00:53:43Terry!
00:53:44Terry, take her out of this!
00:53:45Take her away before it's too late!
00:53:47Take her away!
00:53:48She'll never hear the word sage again, or heavenly!
00:53:49Take her away!
00:53:50Julie, Julie!
00:53:51I'm not going to marry him!
00:53:52I'm not going to marry him!
00:53:54I'm not going to marry him!
00:53:55I'm not going to marry him!
00:53:56I'm not going to marry him for his whole life!
00:53:57For when?
00:53:58If you don't...
00:53:59I'm going to let you throw away your whole life,
00:54:01and for what?
00:54:02This?
00:54:03So that here, for now, you can be standing here as I am,
00:54:05a mad woman in a family of maniacs?
00:54:07Not much, Gwen!
00:54:08You're not going to!
00:54:09You're going to marry Terry Stewart!
00:54:10No, I won't!
00:54:11Oh, yes, you are!
00:54:13You're going to do what I didn't do!
00:54:15They told me I had to be a Cavendish!
00:54:16Oh, yes, you did!
00:54:17Well, you're going to marry him now!
00:54:19Tonight!
00:54:20Tomorrow!
00:54:21And I'm going to be there with you,
00:54:22and stand up beside you,
00:54:23and cry for happiness,
00:54:24and wish it was me!
00:54:26And why not?
00:54:27You've all had your turn!
00:54:28Why shouldn't I have mine?
00:54:30I can walk out, and nobody can stop me!
00:54:32From now on, I'm going to live!
00:54:34And you don't believe it?
00:54:35Well, I'll show you!
00:54:36I'm going to marry Gil Marshall,
00:54:37and go to Egypt, and Cairo,
00:54:38and come to Catednopel!
00:54:39And what do you think of that?
00:54:40And as far as the saints can stand back through with it!
00:54:43I'm never going to act again!
00:54:44I'm never going to put my throne on the stage again,
00:54:45as long as I live!
00:54:47I'm never going to stand up and stand there again!
00:54:49I'm never going to stand up and stand there again!
00:54:50I'm never going to...
00:54:51Oh, good heavens!
00:54:52I'm never going to be afraid!
00:54:53Oh, good heavens!
00:54:54I may look far!
00:55:22Let's go.
00:55:52Oh, Oscar, my lamb.
00:55:55Neppy.
00:55:56You're a renegade.
00:55:58Ah, chugut, chugut.
00:56:00A lot you care about me.
00:56:02The only man in your mind is this Mr. Hoosies.
00:56:05All the way from South America, he's got to come to ruin my business.
00:56:09His boat gets in tonight, huh?
00:56:11Couldn't think or anything.
00:56:13Oscar, it's your own fault.
00:56:14Why didn't you marry me?
00:56:15Marry you?
00:56:16Oy vey.
00:56:17Who's bad enough to manage you?
00:56:19My sympathy, Oscar.
00:56:20Oh, Julia, what do you want with being a millionaire's bride?
00:56:23With Gwen being a society woman,
00:56:25all I need is Fanny should marry John D. Rockefeller
00:56:28and my season is over.
00:56:29Oscar, that's what I came to talk to you about.
00:56:33What?
00:56:34Is Fanny marrying Rockefeller?
00:56:36The doctor called up this morning.
00:56:38She can't go on with this tour.
00:56:40Fanny?
00:56:41He says you've got to cancel it some way or other without her knowing it.
00:56:52I knew it would be a blow to you, dear Oscar.
00:56:57I'll fix it.
00:57:00She won't respect anything.
00:57:02But, Julia, do you realize what that means?
00:57:09There won't be a Cavendish left on the stage?
00:57:14Yes, I know, but...
00:57:15Oh, Julia, listen.
00:57:17I've got a play here for you.
00:57:18I've got a play.
00:57:20I'm so crazy to produce it, Julia.
00:57:22I don't care how much I lose on you.
00:57:24No, Oscar, I'm through with it.
00:57:26I'm through with it forever.
00:57:27I know, that's how you talk now.
00:57:30You just closed a big run.
00:57:31You're tired.
00:57:32What do you do when you're rested?
00:57:36What do I do while I'm going on my honeymoon?
00:57:39What are you going to talk about?
00:57:41Alone with this fellow.
00:57:42Black and the Mining?
00:57:45Don't be absurd.
00:57:46Lots of things.
00:57:47The theater, he don't care about.
00:57:50Imagine.
00:57:52Well, there are lots of other things in the world besides the theater.
00:57:54Yes, but not for you.
00:57:57Well, that might be rather pleasant after years of practically checking my own trunk.
00:58:23No, no, not for you.
00:58:25You were independent too long.
00:58:29You got to be head man.
00:58:33Oscar, you just don't understand.
00:58:35I want to have fun.
00:58:36Fun.
00:58:37It's work that's fun.
00:58:40You've had more fun in the last 20 years than any other woman in America.
00:58:43You're the finest actress we have in this country.
00:58:46And you stand here and you tell me you want to have fun?
00:58:50Oh, Oscar, I want peace and quiet.
00:58:55I want to relax.
00:58:56All right, go ahead.
00:58:58Relax when you could be making history.
00:59:00Go on.
00:59:01Get married.
00:59:03But wait till 8 o'clock comes and you don't have to go to the theater anymore.
00:59:08How bored you'll be with your bargain.
00:59:18Don't be ridiculous.
00:59:38I want to go to the theater anymore.
00:59:40I want to go to the theater anymore.
00:59:41I want to go to the theater anymore.
00:59:41I want to go to the theater anymore.
00:59:42I want to go to the theater anymore.
00:59:43I want to go to the theater anymore.
00:59:44I want to go to the theater anymore.
00:59:45I want to go to the theater anymore.
00:59:46I want to go to the theater anymore.
00:59:47I want to go to the theater anymore.
00:59:48I want to go to the theater anymore.
00:59:49I want to go to the theater anymore.
00:59:50I want to go to the theater anymore.
00:59:51I want to go to the theater anymore.
00:59:52I want to go to the theater anymore.
00:59:53I want to go to the theater anymore.
00:59:54I want to go to the theater anymore.
00:59:55I want to go to the theater anymore.
00:59:56I want to go to the theater anymore.
00:59:57to get out of the way.
01:00:07We have to go.
01:00:11Is there any messages?
01:00:12No, Ms. Julie.
01:00:14No, they were walking?
01:00:16No, they were walking through and oh.
01:00:17All day?
01:00:18All day.
01:00:27What time is it?
01:00:28About 8 o'clock.
01:00:29Oh, dear.
01:00:30Spaghetti.
01:00:31A dollar.
01:00:32Come here.
01:00:33What's that, you've got?
01:00:34Hi.
01:00:35Hi.
01:00:36Hi.
01:00:37Hi.
01:00:38Hi.
01:00:39Hi.
01:00:40Hi.
01:00:41Hi.
01:00:42Hi.
01:00:43Hi.
01:00:44Hi.
01:00:45Hi.
01:00:46Hi.
01:00:47Hi.
01:00:48Hi.
01:00:49Hi.
01:00:50Hi.
01:00:51Hi.
01:00:52Hi.
01:00:53Hi.
01:00:54Hi.
01:00:55Hi.
01:00:56What's that, you've got?
01:00:57I'm making a mess out of your old stockings.
01:01:00Out of stockings?
01:01:01Oh, dear.
01:01:02I always wondered what happened to old stockings.
01:01:04Well, isn't it pretty?
01:01:05Yes, it's lovely.
01:01:09Stella.
01:01:10What's the matter with this place?
01:01:12It's so dreary.
01:01:16Flowers.
01:01:17That's what it is.
01:01:18We haven't got any flowers here anymore.
01:01:20No.
01:01:22They don't come in like they used to, right?
01:01:24They certainly don't.
01:01:26Well, we'll have to buy some.
01:01:31Stella.
01:01:32What do you suppose women who aren't actresses do with their evenings?
01:01:35Oh.
01:01:38They go to the theater, I suppose.
01:01:42Hey, that looks nice, doesn't it?
01:01:44Let me tell you, ma'am.
01:01:45Wait a minute.
01:01:47What are you doing now?
01:01:48Well, now put this through your fingers.
01:01:50That's it.
01:01:51There.
01:01:52Now.
01:01:53Now put your needle through the next hole.
01:01:56That one?
01:01:57That's it.
01:01:58And catch your silk and pull it through.
01:02:00All the way through.
01:02:01All the way.
01:02:02All the way.
01:02:04That's the way.
01:02:05That's it.
01:02:06Ah, that's fun.
01:02:07Now the next hole.
01:02:08Ah.
01:02:09There.
01:02:10Yes, it's just a simple crochet stitch.
01:02:12Crochet?
01:02:13Is that what this...
01:02:15Am I crocheting?
01:02:17Take it away.
01:02:18Take it away, please.
01:02:19Oh, I never thought I'd come to that.
01:02:20No.
01:02:26What, Mr. Marshall?
01:02:27Never mind, Stella.
01:02:28I'll go, I'll go.
01:02:36Oh, Stella.
01:02:37I thought you'd never get here.
01:02:38I'm so glad to see you.
01:02:39I'm so glad to see you.
01:02:40I'm so glad to see you.
01:02:41Absolutely.
01:02:42I couldn't wait to get here, you know.
01:02:43You're looking a bit marvellous.
01:02:44I never thought it was better in your life.
01:02:45Oh, come on.
01:02:46And tell me all about it, Stella.
01:02:47What you've been doing and everything about, Stella.
01:02:48Now, how about the...
01:02:49The ray of my...
01:02:50The ray of my...
01:02:51The ray of my...
01:02:52The ray of my...
01:02:53The ray of my...
01:02:54Well, you know.
01:02:55Tell me about everything.
01:02:56Well, the trip was about as usual.
01:02:57Pretty hot when we started,
01:02:58but it cooled off when we came up north.
01:02:59Oh, all right.
01:03:00You know, the trip usually takes about 18 and a half days,
01:03:03but this time, going to the perfect weather,
01:03:05we did in exactly 18 days.
01:03:0818 days?
01:03:09Oh, is it as far as that?
01:03:15Julia, you'll love it down there.
01:03:1760 miles from the nearest town.
01:03:19You won't see a theater, electric signer,
01:03:21a stage door from one year's end to the other.
01:03:24Up at six, and bed at ten.
01:03:27Peace, quiet, no traffic, no motor horns.
01:03:31Nothing but the barred solitude of those tremendous flames.
01:03:35That sounds rather restful.
01:03:39Our nearest neighbor is 30 miles away.
01:03:41Señor Tamaco, he's a Spaniard of the highest type.
01:03:45Yes, you'll see a lot of the Tamacos.
01:03:47He married a Kansas City girl, daughter of Julius Krantz.
01:03:51A big meatpacker, you know.
01:03:53Oh, oh, Julius Krantz, yes.
01:03:55He's a very fine woman.
01:03:57And most entertaining.
01:04:01Yes, they're staying at the rich.
01:04:03I told them that I'd take you over there a little later on tonight.
01:04:05Good night, Gil.
01:04:06Mm-hmm.
01:04:07You and she have lots in common.
01:04:08Really?
01:04:09Yes, she plays the house.
01:04:10Oh.
01:04:11Yes, I tell you, Julie, they're fine, solid, substantial people.
01:04:13None of you are.
01:04:14Oh, I wonder who that is.
01:04:15Well, no one, I hope.
01:04:16My first evening together.
01:04:17Hello, darling.
01:04:18Hello.
01:04:19Hello.
01:04:20Hello.
01:04:21Oh, I suppose I could say, Father.
01:04:23Oh, I suppose I could say, Father.
01:04:25Oh, no one, I hope.
01:04:26My first evening together.
01:04:27Hello, dear.
01:04:28Hello, dear.
01:04:29Hello, dear.
01:04:30Hello, dear.
01:04:31Hello, dear.
01:04:32Hello, dear.
01:04:33Hello.
01:04:34Oh, I suppose I could say, Father.
01:04:36Darling.
01:04:37How do you like being a lady of leisure?
01:04:39So you're both didn't sink, eh?
01:04:41Well, it's not nice to be all together like this.
01:04:44Good job.
01:04:45Well, well, giving up the stage certainly seems to agree with people.
01:04:49Eh, Perry?
01:04:51Well, as a matter of fact, I, uh...
01:04:56Oh, Oscar, you tell them.
01:04:58No, no, no, no.
01:04:59You tell them yourself.
01:05:00Well, it's the most marvelous place.
01:05:03Only a bit.
01:05:04But the sort of part I've always wanted to do.
01:05:06You know, a lady with a hair back like this, and she stands like this.
01:05:09Anyway, Perry's going on a business trip.
01:05:11What the matter is she talking about?
01:05:13You tell you.
01:05:14Oh.
01:05:15Is the boyfriend still upstairs tonight, Mrs. Stewart?
01:05:18No.
01:05:19Oh, it's sort of a shock to him having the leopard show a spot.
01:05:23But, Perry, darling, you'll be gone by whole week.
01:05:25Four?
01:05:26And the house runs itself.
01:05:28And I'll have nothing to do.
01:05:30And I just can't give up this play.
01:05:33Because if I'm any good at all, it'll put me where I can...
01:05:37Well, anyway, Oscar says it can't possibly last more than two months at the most.
01:05:41Oh, a light begins to dawn.
01:05:43So it's Oscar's play.
01:05:45Oh, Oscar, aren't you the wily one?
01:05:49Well, Russell in the tune, last season you and Gwen were to be the play for me.
01:05:53Then Gwen got married, and now you're doing the walking out.
01:05:56But you still can have your part if you want.
01:05:59Oh, no.
01:06:00Julie is through and all that sort of thing.
01:06:05Oh, mother.
01:06:06You're pleased, aren't you?
01:06:08Of course, darling.
01:06:09Of course I am.
01:06:10Julia, where's your mother?
01:06:12Her mother's on the road this season.
01:06:14She's playing in Brooklyn here.
01:06:16On the road?
01:06:17Well, I wonder you allow it.
01:06:19She wouldn't be happy doing anything else.
01:06:21Oh, it's a dog's life.
01:06:23Oh, by the way, here's something that interests you.
01:06:26There was a theatrical troupe on board.
01:06:29Americans.
01:06:30They'd been stranded in Buenos Aires.
01:06:32Poor devils, they...
01:06:34They didn't even have enough money to get home.
01:06:37But we, uh...
01:06:38We got together and thought it through.
01:06:42Yes, I suppose I was a little bit sentimental on account of you people.
01:06:46I'm sure they must have appreciated it.
01:06:48Oh, they certainly did.
01:06:50It seems the, uh, the manager had skipped off with the money.
01:06:54You know how those fellows are.
01:06:56Dear me, yes.
01:06:57Oh, Oscar knows that.
01:06:59You know, you'd think they'd be down hard, but not a bit of it.
01:07:02They were absolutely careful as soon as they got on the boat.
01:07:05And they turned out to be quite a decent lot.
01:07:07Why, some of them were married.
01:07:09Oh, yes, oh, even I actually married.
01:07:13What is that noise?
01:07:15It's whole...
01:07:16Free, come here.
01:07:18Where are we going?
01:07:19How's this place?
01:07:22How's this place?
01:07:28How's this place?
01:07:30How's this place?
01:07:31How's this place?
01:07:32How's this place?
01:07:33How's this place?
01:07:34Ahhhh!
01:07:39Hey!
01:07:41Hello, well, well.
01:07:42Let's have your hands.
01:07:43All right, sorry, my god.
01:07:45Hey, George, you got any beef avatar?
01:07:46Well, well, well, well.
01:07:47I don't know.
01:07:49Hush, my buddies.
01:07:50Tell you all about us in a minute.
01:07:51All the fascinating facts.
01:07:59Are you gonna stay in the house?
01:08:02Uggunga, well, you saved my life over in India.
01:08:04Another minute and the Tiger of Hadming.
01:08:05Well, what do you mean by bursting in on his life?
01:08:07It's fine to let us know.
01:08:08It's a pleasure to let you know.
01:08:09That's why I came my way to Canada.
01:08:10I landed in Canada.
01:08:11Canada.
01:08:12Canada.
01:08:13Canada?
01:08:14Hello, George.
01:08:14How are you?
01:08:15Glad to see you, boy.
01:08:16Well, why Canada?
01:08:17Because Albania and Schlesingen are going to declare war on each other.
01:08:20I knew if I got out, she'd marry him and everything would be all right.
01:08:23What's he talking about?
01:08:24Who's making it up?
01:08:25Oh, I got a spin in the papers.
01:08:28Natalia broke off her engagement with Rupert of Schlesingen.
01:08:31And the Albanians...
01:08:31Just a moment.
01:08:32Who's Natalia?
01:08:34Natalia is the Princess of Albania.
01:08:38She's a nice kid, but I didn't mean anything serious.
01:08:41I mean, that's the trouble with these princesses.
01:08:43They're sheltered lives, you know?
01:08:44You dance with them a couple of times,
01:08:47and they want to elope with you.
01:08:49Of course, when she broke off with Rupert,
01:08:50and the Prime Minister sent for me, I figured...
01:08:52Oh, I'm beginning to understand.
01:08:54You started a European war.
01:08:56Oh, no, no, no.
01:08:57I don't think they'll fight.
01:08:58No, she'll get over it.
01:09:00Say, Tut, how about...
01:09:01How about a little food, eh, babe?
01:09:03Oh, that's a good idea.
01:09:03Stop that now.
01:09:04Stop.
01:09:05Anyhow, that wasn't why I came back.
01:09:06I'll take a listen.
01:09:06I was cruising around the bar in Scottson-Canigsburg
01:09:08one night, and I happened to pass a little theater
01:09:09stuck away in the courtyard.
01:09:11There was a poster of this thing on the outside,
01:09:12and I started to read it.
01:09:14I don't know why.
01:09:15I got a hunch about it, and I went in.
01:09:17Well, say...
01:09:19Good, huh?
01:09:20Good, it's the greatest show I ever saw in my life.
01:09:23And I bought it.
01:09:25You're to wire them $3,000 tomorrow, American money.
01:09:28You bought it?
01:09:29What for?
01:09:30I'm going to act in it, of course.
01:09:31Oh, Johnny, you went back to the stage.
01:09:33Sure.
01:09:33Well, what's so wonderful about that place?
01:09:35Wait, I'll show you.
01:09:36I'll show you.
01:09:37Yes.
01:09:38Here, Dad.
01:09:40Now, here's the scene plan.
01:09:41You can't make anything out of this,
01:09:45but I'll show you how it works.
01:09:47What's that there?
01:09:48You don't enter or exit the ordinary sense.
01:09:50You just slide, see, or else let down by wires.
01:09:52Wires?
01:09:53Swinger, the fellow that does it in Canigsburg,
01:09:55fainted six times the first night.
01:09:57Here's the big kick.
01:09:59You see that where my finger is?
01:10:00Yeah.
01:10:01So in that way, we cut our overhead 14%.
01:10:04Yes, but I should think that would increase your depreciation.
01:10:06Now out and act.
01:10:07Now that swings the whole thing around.
01:10:09The audience becomes the actors, and the actors
01:10:11become the audience.
01:10:12That says I'm right.
01:10:13I tell you, it's a knockout.
01:10:14Of course, the great thing about this play
01:10:15is it takes two nights to do it.
01:10:17Two nights?
01:10:18Oh, Tony, you're cuckoo.
01:10:19Now, wait a minute.
01:10:19You don't understand what this thing is.
01:10:21It's a modern version of the passion play.
01:10:24And you play what?
01:10:27The lead, of course.
01:10:29Pure blank verse.
01:10:30And the instrumental music.
01:10:34Wait, I'll play it for you.
01:10:35Is there a good woman's part of it?
01:10:41Julia, I apparently had a word with you.
01:10:43I have to.
01:10:44I don't know.
01:10:45There's a second picture motor runs right through.
01:10:47There you are.
01:10:48Julia, you're not interested in this sort of nonsense anymore,
01:10:49are you?
01:10:50Nonsense?
01:11:04No, no, no.
01:11:06Get your things on there.
01:11:07You know, I don't like to be late.
01:11:08Oh, no.
01:11:09You can't keep our present waiting.
01:11:10No, no, no, no.
01:11:13No, and then when he comes down from the mountains,
01:11:15there's a stunning passage.
01:11:16All right.
01:11:23All right.
01:11:43All right, huh?
01:11:44What?
01:11:45Miss Cavendish?
01:11:46Yes.
01:11:47Yes.
01:11:48Yes.
01:11:49Yes.
01:11:50Right away.
01:11:51What is it, Oscar?
01:11:52To your mother.
01:11:53You've got to go to the theater.
01:11:54Tell me.
01:11:55When?
01:11:56When?
01:11:57When?
01:11:58When?
01:11:59When?
01:12:00When?
01:12:01When?
01:12:02When?
01:12:03When?
01:12:04When?
01:12:05When?
01:12:06When?
01:12:07When?
01:12:08When?
01:12:09When?
01:12:10When?
01:12:11When?
01:12:12Tell me.
01:12:12Grab your arm.
01:12:13Hurry up.
01:12:14Yes.
01:12:15Yes.
01:12:16Yes.
01:12:17Yes.
01:12:18I never was so surprised in my life,
01:12:41What shall we do?
01:12:42Will Mrs. Cavendish be able to finish?
01:12:44I don't know.
01:12:45Shall I call on the actor as usual?
01:12:46Yes, yes.
01:12:47Okay.
01:12:48There, there.
01:12:50All right now, ma'am.
01:12:56The music.
01:12:57The intermission's almost over.
01:13:00Help me.
01:13:01Help me to get up, doctor.
01:13:03I invite you to lie quiet.
01:13:04Advise, advise.
01:13:06The man realizes the performance.
01:13:09What's going on?
01:13:10Listen, ma'am.
01:13:11Take it easy, take it easy.
01:13:12Please, ma'am.
01:13:13It's all right.
01:13:14Listen, ma'am.
01:13:15Go on again tomorrow, ma'am.
01:13:17Better go out and tell them.
01:13:19Money refunded at the box office.
01:13:20Ring down the curtain.
01:13:24Ring down the curtain?
01:13:26Are you mad, wolf?
01:13:28Ring down the curtain?
01:13:30Cavendish and them.
01:13:32Ring down the curtain.
01:13:34We always finish the place.
01:13:37Oh, don't.
01:13:39Julie, help me.
01:13:40No, ma'am.
01:13:41Help me.
01:13:42No.
01:13:43Katie, get my costume.
01:13:44Fanny, Fanny, my girl.
01:13:46Don't try it.
01:13:47Don't try it.
01:13:48Katie.
01:13:49Fix that dress for me.
01:13:51Julie.
01:13:52It's all right, mother dear.
01:13:53I know the part perfectly.
01:13:54We'll finish the play.
01:13:56She can play it, ma'am.
01:13:57Yes, ma'am.
01:13:58Last back.
01:13:59Everybody on the stage for the last back.
01:14:01Help me.
01:14:02Help me.
01:14:03Help me.
01:14:04Mother, the first one is sitting there.
01:14:05What was happening for?
01:14:06What was happening for?
01:14:07Who?
01:14:08Yes.
01:14:09Oh.
01:14:10And then, and her.
01:14:11Oh, now.
01:14:12Three times.
01:14:13Oh, is there anyone at home beside yourself?
01:14:15Oh, no, no.
01:14:16No, no.
01:14:17Who's at home beside yourself?
01:14:19Who's at home beside yourself?
01:14:20Yes.
01:14:21Last back.
01:14:22Last back.
01:14:23Ready to cavity?
01:14:27Yes, yes.
01:14:29I'm ready.
01:14:33Mother.
01:14:34Mother.
01:14:35Mother.
01:14:36Doctor.
01:14:37Doctor, please.
01:14:38Quick.
01:14:39Quick.
01:14:40Oh, God.
01:14:55Oh, God.
01:14:56Oh, my God.
01:15:05She's gone.
01:15:07The greatest truth for us all.
01:15:11My God.
01:15:16Hurry up.
01:15:27Go on, darling.
01:15:40Julia.
01:15:44I'm going back to South America, alone.
01:15:48I want you to know that I understand.
01:15:51This is your life up here, and that's mine down there.
01:15:54And we couldn't ever make a go of it.
01:15:57I think you're right to stay.
01:16:00And I'm proud of you, Julia.
01:16:02I'm proud of your family.
01:16:07Goodbye.
01:16:14God bless you.
01:16:24All right, bring up the curtain.
01:16:25Yes, Miss Captain.
01:17:00.
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