Step into a touching journey through love, memories, and emotional sacrifice in Return to Yesterday (1950). This classic drama captures the timeless beauty of old Hollywood storytelling with heartfelt performances, nostalgic atmosphere, and unforgettable moments. A perfect movie for fans of vintage cinema and emotional classic films.
#ReturnToYesterday #ClassicDrama #1950Movies #VintageCinema #OldHollywood #ClassicFilm #DramaMovie #GoldenAgeHollywood #RetroMovies #ClassicMovies #BlackAndWhiteFilm #EmotionalDrama #MovieClassics #ClassicCinema #TimelessStories
#ReturnToYesterday #ClassicDrama #1950Movies #VintageCinema #OldHollywood #ClassicFilm #DramaMovie #GoldenAgeHollywood #RetroMovies #ClassicMovies #BlackAndWhiteFilm #EmotionalDrama #MovieClassics #ClassicCinema #TimelessStories
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Short filmTranscript
00:00:28Transcription by CastingWords
00:00:43CastingWords
00:01:16CastingWords
00:01:27CastingWords
00:01:57CastingWords
00:01:59Throp?
00:02:00Ain't much of a name for a play writer.
00:02:03Throp.
00:02:04Sounds more like drawing a cork.
00:02:05Well, any name sounds idiotic if you say it often enough.
00:02:08What's yours?
00:02:09Friend or guest.
00:02:10All right, you win.
00:02:12Peter, they've started rehearsing.
00:02:14Come down here a minute.
00:02:15All right.
00:02:17Is that one of the actresses?
00:02:18Looks quite respectable to me.
00:02:20I'll let you into a secret.
00:02:21She's so respectable I've asked her to marry me.
00:02:24I wouldn't marry an actress if you was to pay me 30 bar.
00:02:27Oh, right.
00:02:28I'll tell the others it's no good.
00:02:30Carol, look at this.
00:02:32Oh, Peter, how wonderful.
00:02:34Oh, this is Mr. Prendergast.
00:02:35I'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?
00:02:40Me?
00:02:40No, I haven't risked going inside.
00:02:42But a friend of mine seen your show last week.
00:02:44He said it was chronic.
00:02:47Cruel.
00:02:48Well, good day, both.
00:02:49I must be seeing about my Epidrome poster.
00:02:52Now, that is a show.
00:02:53The lady fell off the trapeze last week.
00:02:55Laugh.
00:02:56Ha!
00:02:57Fair dust, Michelle.
00:03:02There'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 Torric and Pierre.
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 Torricunt?
00:03:26What about a smashing success in London?
00:03:28With me modestly responding to cries of,
00:03:30Author! Author!
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're doing to 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 by eating an apple.
00:03:48It's in the script, Governor.
00:03:50Eat the apple.
00:03:50Mind the script.
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.
00:04:04Oh, a lady, yes.
00:04:05I didn't know it was a character of ours.
00:04:06Go on, Peter.
00:04:07Knock their silly heads together.
00:04:08We don't want any funny answers or bad ennage.
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.
00:04:20I've never been spoken to like this in my life before.
00:04:22A man in my position, I won't stand for it. Thank you.
00:04:25You can't take the apple out.
00:04:27I'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 Beavum Tree said to me,
00:04:31not once but a hundred times.
00:04:33Plot fiddlesticks.
00:04:33Give him the cue, dear.
00:04:34Is that you, Charles?
00:04:36Come in.
00:04:38Oh, for heaven's sake, how many more times am I to say come in?
00:04:41I am in.
00:04:43Ah, 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.
00:05:01I saw Harry last night.
00:05:04Never.
00:05:05That's not the line.
00:05:07Uh, prompt.
00:05:08You 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. Sammer 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. Panache!
00:05:30Give me the cue, dear.
00:05:32It'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.
00:05:51Darn right you won't.
00:05:52Have you no respect for your leading lady?
00:05:54No, nor for you, nor for anything about you.
00:05:56No!
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've had my ups and downs.
00:06:03I've killed nothing.
00:06:03But for the sake of the drama, I have borne them with a smile.
00:06:06I've finished that.
00:06:06But when it comes to being taught how to act like a gentleman,
00:06:09by a bounder who doesn't even know the meaning of the word.
00:06:11Where?
00:06:12Then what I say is...
00:06:14No!
00:06:16Ben, in your fire!
00:06:17Don't be such a fool.
00:06:18We open on Monday.
00:06:19Without me, old boy.
00:06:19Run after him, father.
00:06:21Persuade him to come back.
00:06:22Stop!
00:06:23I forbid anyone to address another word to him.
00:06:25This is idiotic.
00:06:26How can we open without a leading man?
00:06:28Please!
00:06:28As dear old Charlie Windham used to say to me,
00:06:30there is no need for coarseness and excitement.
00:06:32I am your manager.
00:06:33A new leading man shall be provided.
00:06:34When?
00:06:35Immediately.
00:06:35I'll phone every agent in London.
00:06:37No expense shall be spared.
00:06:38Some grace.
00:06:39She'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.
00:06:52And it's been 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.
00:07:01I get no kick out of it at all.
00:07:04Fitty we can't skip our youthful struggles and start here.
00:07:06Popular Idol concludes Triumphant Tour.
00:07:10Hollywood's favorite British film star leaving today.
00:07:13Paddington Station prepares for siege.
00:07:17Ha, ha, ha.
00:07:18Mr. Maine is not expected for some minutes.
00:07:21Will those people waiting for Mr. Maine kindly avoid obstructing regular passengers, please?
00:07:28Stand away, sir.
00:07:33How many more trains are going to start late today?
00:07:35All of them.
00:07:35Can't get the passengers through the crowd.
00:07:37Then clear the crowd.
00:07:38Police have been trying for half an hour.
00:07:40Hello.
00:07:41Get me the Savoy Hotel.
00:07:42Mr. Maine.
00:07:43Send my sitting to lock.
00:07:43Oh, he's lined up for the other fans, hoping to get an autograph.
00:07:47Hello.
00:07:47Is that Mr. Maine?
00:07:49This is his manager.
00:07:50Mr. Maine only speaks on the telephone by appointment.
00:07:52Well, 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. Maine is?
00:07:57Yes, I know.
00:08:00He's...
00:08:01Don't tell me.
00:08:01I can guess.
00:08:03This guy has the quest to tell me that you're no more important than a mother taking her kids at
00:08:06Torquay.
00:08:07I entirely agree with him.
00:08:09Oh, pipe down.
00:08:10Well, there's no use in coming along.
00:08:12He couldn't get through the crowd and I'm not holding this train for anyone.
00:08:14They don't give me that stuff.
00:08:15Have you got any police in this city?
00:08:16Of course it is possible they have other duties.
00:08:19Say, listen.
00:08:19If you think the company has built up this big send-off to be told he can't get out of
00:08:23London because of it, you're crazy.
00:08:25We'll be right down in ten minutes.
00:08:29It's an open question whether announcing the time of my leaving was your brightest idea.
00:08:32How was I to know your fancy get out of control?
00:08:34Come on, we've got to button up and face it.
00:08:36Then suppose you go ahead with the luggage and I'll follow.
00:08:37A low one? Why, you'll be torn to bits.
00:08:40Care to bet on that?
00:08:43Mr. Maines will not be here for some while.
00:08:47Will people please not rush towards the platform?
00:08:50I wonder if you could help me.
00:08:50My little granddaughter has a business attack and I promised to get Mr. Maines' order.
00:08:54Sorry, ma'am. It's quite impossible.
00:08:56Please take their seats.
00:08:58Mr. Maines 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.
00:09:07My little granddaughter has a business attack and I promised to get Mr. Maines' order.
00:09:11I'll see what I can do, ma'am.
00:09:12Oh, thank you so much.
00:09:14Don't mention ma'am.
00:09:15Well, those passengers travelling by the flippings won't stray.
00:09:18I only take their seats.
00:09:30That's the old lady over there.
00:09:32Right, sir.
00:09:36Can they avoid obstructing regular passengers, please?
00:09:40There you are, madam.
00:09:41Oh, thank you so much, Mr. Maines.
00:09:43I knew it was you from the first.
00:09:46Come along now.
00:09:47Please, take your seats.
00:09:49Stand away now.
00:10:02Oh, Mr. Maines.
00:10:05I'm sure you wouldn't mind, but my little Yvonne is so anxious to go on the screen.
00:10:11Really?
00:10:12My mother gave me a petticoat all trimmed with gold.
00:10:15A penny for my pocket and a bag for me to hold.
00:10:19I wouldn't marry a coal man cause his hands are black with coal.
00:10:22And I wouldn't marry a butcher cause his hands are red with blood.
00:10:26But I'd like to marry a gentleman on a big white horse.
00:10:29Giddy up, giddy up, giddy up.
00:10:31There, Mr. Maines.
00:10:33Isn't she every bit as good as Shirley Temple?
00:10:36No 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.
00:10:48Oh, yes, yes, of course. I'll come at once before someone gets bitten.
00:10:51Excuse me.
00:10:56I'm sure he was impressed, darling.
00:10:58If I do click, you and Dad won't smell any of the money.
00:11:01Oh!
00:11:01Oh!
00:11:13Cornish pasty.
00:11:15My wife makes it.
00:11:16You're a lucky man.
00:11:17I'm not complaining, sir.
00:11:19I should think not.
00:11:19You have a job you enjoy, good money, five kids, and a wife who makes Cornish pasty.
00:11:25I envy you.
00:11:26That's a good one, sir.
00:11:27I mean it.
00:11:28Why 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.
00:11:34No, it doesn't, huh?
00:11:34No, it doesn't.
00:11:36Well, I still envy you.
00:11:37You see that here?
00:11:39Saracoon.
00:11:40That's a theatre at the end, sir.
00:11:41As if I didn't know.
00:11:42I was playing there in 1922 and have been in the world.
00:11:44Different play every week.
00:11:45Worked like niggas.
00:11:47Gosh, I was happier than I am now.
00:11:48Oh, come now, Mr. Main.
00:11:50You see those little houses?
00:11:51I was in digs in one of them.
00:11:53Good Lord, how it all comes back.
00:11:54Those suppers.
00:11:55Guinness and dabs.
00:11:58Dabs 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.
00:12:03They don't taste the same.
00:12:04Look.
00:12:05Tuesday Island.
00:12:06We used to sail over there on Sundays for picnics.
00:12:08Throw the sandwiches to the gulls.
00:12:09Gosh, I used to know how to be happy.
00:12:12Now I've forgotten the secret.
00:12:15I suppose you think I have a screw loose.
00:12:17Well, not entirely, sir.
00:12:18But I was wondering what you was going to do about it.
00:12:20Nothing.
00:12:20Just go on being bored and bluzzy.
00:12:23Oh, that seems to me kind of foolish, sir.
00:12:24I know.
00:12:25But what's the alternative?
00:12:26Well, I figured it out this way, sir.
00:12:28When you was in Tarakum, you had something, hadn't you?
00:12:31I had.
00:12:32And now you haven't.
00:12:33Now I haven't.
00:12:34Well, if I was you, sir, I'd go back to Tarakum and see what it was you had.
00:12:42Wait a minute.
00:12:43You're on to something.
00:12:44I used to know how to be happy.
00:12:45So I go back and try to remember how I did it.
00:12:47That's the idea, sir.
00:12:48That sounds logical.
00:12:49Always famous.
00:12:49Yeah, I think it's I can't beat it.
00:12:51How far are we from Tarakum?
00:12:52Oh, must have been a matter of three miles now, sir.
00:12:53That's not too far to walk.
00:12:55No, you can't do that, sir.
00:12:56Why not?
00:12:57Strictly against regulations, except in case of emergency.
00:12:59This is a case of emergency.
00:13:01You've convinced me.
00:13:01A philosophy, sir.
00:13:02The railway don't take no account of.
00:13:03What would happen if I, uh, if I did pull it?
00:13:06This your first offence, sir?
00:13:07Absolutely.
00:13:08Cost you five pounds, sir.
00:13:09It's a sound investment.
00:13:11Hey, you can't say.
00:13:35Mr. Thropp, I don't know who it was who spilled the ink, but putting the fern over it deceives no
00:13:39one.
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 behind hand with my rent, I'd be loath to resort to vulgar abuse.
00:13:46What a sock in it, Friskin.
00:13:47We're in no mood for a lecture.
00:13:54Buy a bunch of flowers, lady?
00:13:55Certainly not.
00:13:56Go on, have them for nothing, ducky.
00:13:57Do you want me to call the constable?
00:13:58Rub your eyes, woman.
00:13:59Do I mean as little to you as that?
00:14:00Less.
00:14:00Friskin, you faithless baggage.
00:14:03There is something familiar.
00:14:05Commercial, theatrical.
00:14:06Watson-Gurby Company.
00:14:07Second juvenile.
00:14:08Sing and dance if required.
00:14:09My, if it isn't young Bobby me.
00:14:12I knew you'd be glad to see me, Friskin.
00:14:14I certainly am.
00:14:15What about that three and six for the vase you broke and hid behind the washstand?
00:14:18Oh, till I get my old room.
00:14:20Oh, it's been promised to an acrobat.
00:14:22Tell him to take a couple of backflips down the steps.
00:14:26Here you are.
00:14:32Gosh, do you think how happy I managed to be in this funny little room?
00:14:35I don't know what more you could have expected at the money.
00:14:37Nothing.
00:14:38Nothing.
00:14:39This was my garden of Eden, Friskin, and I never knew it till I was thrown out.
00:14:43See that mirror?
00:14:44I've stood before it for hours, practicing facial expressions of the most lamentable kind.
00:14:49Grief.
00:14:50Terror.
00:14:51Ecstasy.
00:14:53And the old trattle bed.
00:14:55Oh, oh, oh.
00:14:56Just as hard and wintry as ever.
00:14:59Think of the hours I've lain here filled with the most glorious dreams of what the future held in stone.
00:15:04It's not possible.
00:15:06The old chair with a castro.
00:15:09The talent scout who carried me off to Hollywood sat there.
00:15:12Gosh, I wouldn't believe any place on earth could be scrawled over with so many happy memories.
00:15:16Happy indeed.
00:15:17You were one of the most discontented young gentlemen I ever did for.
00:15:20Rubbish.
00:15:21I walked on air, and I challenge you to deny it.
00:15:23Set up the suitcase, Friskin.
00:15:25The prodigal is returned.
00:15:29You know, I...
00:15:31Young Bobby Main and the Watson Kirby Company.
00:15:33Watson Kirby...
00:15:35Nonsense.
00:15:35It's my sixth from the repertory.
00:15:37Rappatory?
00:15:38Stand in.
00:15:38Let's go down and join.
00:15:39Are they a jolly lot?
00:15:40Oh, as jolly as a grocer's funeral.
00:15:42Worry, worry, worry from daylight till dark.
00:15:44The poor fools.
00:15:46Happiest time of their lives, and they don't know it.
00:15:48That's no reason for a cinema star to go hobnobbing with a lot of actors who never paid their rent.
00:15:52But today I'm not being a star.
00:15:54I'm playing Mr. Manning on holiday from Panbridge Wells, and don't you forget it.
00:15:58Changing your name will make no difference.
00:16:00You might as well call London Bridge Battersea Park.
00:16:02I bet your sovereign I get away with it.
00:16:03You didn't recognize me like this, and nobody else will.
00:16:06Besides, Robert Main's supposed to be on the high seas.
00:16:08It is not to dwell, Priskin, but the setting that people recognize.
00:16:12Quite perfectly, certainly if you saw Garbo sitting behind a ribbon counter.
00:16:15And most you say would be, how like Garbo that girl is.
00:16:18That's all.
00:16:21This is my new top back, Mr. Manning.
00:16:23How do you do?
00:16:24How do you do?
00:16:25Help yourself to anything you want.
00:16:27That's very kind of you.
00:16:28Last time he was here, she fairly flung herself into his arms.
00:16:31I beg your pardon.
00:16:32Oh, not you.
00:16:33We're rehearsing.
00:16:35Why this universal attempt to shower my past with ignominy?
00:16:39With what?
00:16:40Ignominy.
00:16:41Ignominy.
00:16:42I'm sorry.
00:16:43I'm very bad for this.
00:16:45Not at all.
00:16:46You're being most helpful, isn't he?
00:16:48First rate, it's a marvelous German accent.
00:16:50It isn't meant to be.
00:16:51He's only reading it for us until we get a new leading man.
00:16:55Oh, I see.
00:16:56Captain Angst is appearing at the Hippodrome with his performing seals.
00:16:59They're quite human.
00:17:00I have to think seriously of announcing my arrival with a discreet cough.
00:17:05With what?
00:17:06A discreet cough.
00:17:07A discreet cough, old man.
00:17:08And if you could make it just a little more cheerful.
00:17:11Yes, I cannot do.
00:17:12I have today a very heavy heart.
00:17:14One of my seals is sick.
00:17:16Already I must go and give him the helipot oil.
00:17:21Poor Captain Angst.
00:17:22His seals are so delicate.
00:17:24That's too bad.
00:17:25He keeps one of them in the bath.
00:17:27It stinks the place out.
00:17:28Well, I suppose we may as well chuck the whole thing up.
00:17:29Oh, there's no need to do that.
00:17:32Perhaps Mr...
00:17:32Mr. Manning would read the part.
00:17:36If it would be of any help.
00:17:37Oh, it is kind.
00:17:38You're Sir Charles.
00:17:40The characters' names appear before each speech.
00:17:42If you see what I mean.
00:17:43Yes, indeed.
00:17:44Perfectly.
00:17:44Let him have a cue.
00:17:46Last time he was here, she fairly flung herself into his arms.
00:17:49Why 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.
00:17:56You don't read at all badly.
00:17:58Don't be afraid to give it plenty of expression.
00:18:00I was keeping my passion in reserve in the event of there being a love scene.
00:18:04Later.
00:18:08Bobby Shafter's gone to sea.
00:18:09Mrs. Priskin's on his knee.
00:18:11She'll come back and marry me.
00:18:13Pretty Mrs. Priskin.
00:18:14Mr. Miller, Byroom Ditties are neither expected nor desired in this establishment.
00:18:18And by the way, did you spill the ink?
00:18:19No, but I'll do it at once.
00:18:21Raking in the ashes of a dead love affair seldom pays a dividend.
00:18:24The wise guy lives in the present and regards the past as a banking account from which he draws experience.
00:18:29Nice work.
00:18:30And I was laying six to four against Sammy, finding anyone for the party.
00:18:33Don't be an idiot, old man.
00:18:34Mr. Manning's just helping us out.
00:18:35He's not an actor.
00:18:36I don't know so much.
00:18:37He's not bad at all.
00:18:38Were you over on the stage?
00:18:40I was a long time ago.
00:18:42You know, I believe we could do worse than trying for the party.
00:18:44Nonsense.
00:18:44Come on, let's get back to the party.
00:18:46Seriously, Peter, why don't we send him down to see Sam for?
00:18:48Darling, he's not the type.
00:18:49We want a man of the world.
00:18:50Oh, I think he'd get by with the make-up and the right sort of clothes.
00:18:53He's got that sort of travelled look, like Ronald Coleman or Robert Mayne.
00:18:57He's only about two foot shorter and ten years older, that's all.
00:19:00Yes, but even if he isn't right, he is on the spot, and that's something we're going to open on
00:19:03Monday.
00:19:03What do you think, Charlie?
00:19:04Oh, an important storm.
00:19:05Exactly.
00:19:06We haven't got the time to pick and choose.
00:19:07Now, look here, Mr. Manning, as far as we're concerned, you're in.
00:19:10We'll fix an appointment with Sanborn.
00:19:11Now, might you stand up to him?
00:19:12He won't bite you.
00:19:15But, Carol, dear, haven't you better ask Mr. Manning whether he wants to play?
00:19:18Of course he wants to play.
00:19:20It's a jolly good chance.
00:19:21He'd have said so if he didn't.
00:19:23Don't sit there like a broody hen.
00:19:24Go after them and tell them you're not going to do it.
00:19:26But I am, Priskin.
00:19:27I am.
00:19:27I walked back into my past, and my past has welcomed me with open arms.
00:19:31Tiddly, Mr. Manning.
00:19:32Tiddly.
00:19:32I suspected it from the first, and now I'm sure.
00:19:39But I must know.
00:19:40I must.
00:19:41Don't you realize what it means to me?
00:19:43You're overwrought, child.
00:19:45If only there was something I could do.
00:19:47The moment those men came, I knew they were after him.
00:19:50They were wicked, evil.
00:19:52He's in danger, I tell you.
00:19:54I may never see him again.
00:19:55Your Grace, the Foreign Office for Fincher has left this letter.
00:20:09My dear, can you stand the shock?
00:20:13If I must.
00:20:21So this is the end of the House of Illingsworth.
00:20:33Do you mind if I sit down?
00:20:34If you're tired?
00:20:37What was the name again?
00:20:39Manning.
00:20:39Never heard of it.
00:20:40Where have you been working?
00:20:41America.
00:20:42That's a very safe answer.
00:20:43What's your line?
00:20:44Leading man.
00:20:45Don't resemble any leading man in my acquaintance.
00:20:47I'm sorry, but the company thought I was rather like Robert Mays.
00:20:50Ha!
00:20:51Ha!
00:20:52No resemblance whatever.
00:20:54Bobby Mays is a very intimate friend of mine.
00:20:56Dear old Bobby.
00:20:58I gave him his first chance.
00:20:59You ought to be very grateful.
00:21:01Grateful?
00:21:01He has every cause to me.
00:21:03Have you read the play?
00:21:04Yes.
00:21:04I think it's remarkably good.
00:21:05I'm not interested in your opinion.
00:21:07What made you think you'd be of any use for the part?
00:21:09The suggestion was not mine.
00:21:10No, not mine either.
00:21:12It's my opinion.
00:21:13You'd look better behind the counter than in front of the footlights.
00:21:17As a matter of interest, Mr...
00:21:18I forget your name for the moment.
00:21:19Is this the way you usually cast plays?
00:21:21It is.
00:21:22How can you possibly form your judgment of an actor without seeing him do anything?
00:21:25Flair, my dear boy.
00:21:26Flair.
00:21:27As dear old Gerald Jamariah used to say,
00:21:29no one in the West End can cast a play like Fred Sanborn.
00:21:32He was probably right.
00:21:34Nevertheless, I will never be accused of not giving an actor a chance.
00:21:37Go on.
00:21:37Say something.
00:21:38Oh, what's the use?
00:21:39It's clearly evident you don't intend to give me the part.
00:21:41I said say something.
00:21:43Very well.
00:21:44I will.
00:21:51You're an inflated ass and it gives me the greatest possible pleasure to put your face in those potatoes.
00:21:58Yes.
00:22:06Well?
00:22:07I've come to the conclusion that jumping off that train wasn't a very clever thing to do, Priskin.
00:22:11What made you realize that?
00:22:12That little rat, Sanborn. He's made everything seem small and cheap.
00:22:16You haven't altered.
00:22:17Up one minute and down the next.
00:22:19How I ever stuck this paltry existence.
00:22:21Oh, there were good times as well as bad.
00:22:23I doubt it.
00:22:24Then what was the sense of coming back?
00:22:25I don't know.
00:22:26Chasing a rainbow.
00:22:27Trying to return to yesterday.
00:22:29Moaning and groaning never put back the clock.
00:22:31Oh, shut up.
00:22:32Oh, there's no need to lose your temper.
00:22:33I haven't. I've found it.
00:22:34It's the only thing I have found in this whole ridiculous business.
00:22:46Ladies and gentlemen, owing to the unavoidable loss of my leading man
00:22:50and the impossibility of replacing him at such short notice,
00:22:54I have no choice but to reluctantly cancel my next production.
00:22:56Should it be possible to reopen this theatre at some future date,
00:23:00announcements will be made in due course.
00:23:01Thanking you one and all.
00:23:04Say, Sammy, are you trying to break the news work finish?
00:23:06I'm afraid so. There's no one to play the part.
00:23:07We've found some.
00:23:08We've been phoning agents all the afternoon.
00:23:09What was wrong with Mary?
00:23:10Of course she's the type.
00:23:11I refuse to discuss this matter further.
00:23:13Oh, yes, you will.
00:23:14I don't believe you tried to find anyone.
00:23:15I don't believe you rang up a single agent.
00:23:17I don't believe you wanted the show to go on.
00:23:18And why should I behave in such an extraordinary manner?
00:23:20So that you could back out without paying us our salaries.
00:23:23Oh.
00:23:23Sam, did you hear that?
00:23:24Oh, the disloyalty.
00:23:25You hold your tongue.
00:23:26But you can't do it.
00:23:27We're entitled to a fortnight's salary.
00:23:29Then how do you propose to get it?
00:23:30I shall show you with the utmost vigour of the law.
00:23:32You consumably are black in the face.
00:23:33This is a limited company and you won't get a penny.
00:23:35Not one of it.
00:23:35You're a rogue, sir.
00:23:36Nothing short of a rogue.
00:23:37Come, raised.
00:23:38I will not stay here to listen to a lot of drunkard abuse.
00:23:46I stood up to him, didn't I?
00:23:47Yes, dear.
00:23:48I was proud of you.
00:23:49It was all I could do not to hit him in the eye.
00:23:51This is a nice thing.
00:23:52We are a priskin.
00:23:53Heaven knows what.
00:23:54Where are we going to get a job?
00:23:55In the middle of the season.
00:23:56No wonder it'll be any use writing to Hull.
00:23:59Not the slightest.
00:24:00We're in the cart.
00:24:01It'll happen before and it'll happen again.
00:24:03It's always confoundedly depressing.
00:24:05Come on.
00:24:05I'll buy a drink.
00:24:06I happen to come across these photos that were taken the last day of the Watson Kirby Company.
00:24:10I don't want to see them.
00:24:11But you don't look half bad, in your little Panama.
00:24:13I don't want to see them.
00:24:14I thought you would be interested.
00:24:16Not a bit.
00:24:17What have I to do with young Bobby Mayne?
00:24:20Cockshaw youth with his idiotic hat.
00:24:23If I met him in the street, I shouldn't know him.
00:24:25I no longer understand him.
00:24:27I should probably dislike him.
00:24:28He's no more part of me than you are.
00:24:30Now, don't bring me into this.
00:24:31Friskin, I've learned something I never knew.
00:24:33We are what we are at this minute.
00:24:34And to imagine your old self survives is the greatest folly in the world.
00:24:39Young Bobby Mayne slept here like a log.
00:24:41You think I should?
00:24:42Not a wink.
00:24:44And this cracked mirror.
00:24:47Young Bobby Mayne made faces in it.
00:24:50Why should I?
00:24:51Oh, I've been a fool, Friskin, believing I could open the doors of the past.
00:24:55It can't be done.
00:24:56All I found was a few formless ghosts.
00:25:00The emotion that gave them reality gone.
00:25:02There's no use carrying on like this, as if I'd ever said otherwise.
00:25:05Not the slightest use.
00:25:06The experiment's failed.
00:25:08Oh, get me a cab, Friskin.
00:25:10I'm leaving tonight.
00:25:13Peter?
00:25:14Peter!
00:25:16Peter!
00:25:16Peter!
00:25:17We've had a wonderful idea.
00:25:18We're going to put on the play ourselves.
00:25:19We'll get the theatre on tick, give Manning the other part, make a terrific success,
00:25:23and give old Sammy a rousing kick in the pants.
00:25:24Whose idea was this?
00:25:25Mine.
00:25:25Well, it's rotten.
00:25:26Peter.
00:25:26Where do you get the cash?
00:25:28We'll pour on our things.
00:25:29We have to get them out first.
00:25:30I see.
00:25:31You're just throwing cold water.
00:25:32No, I'm not.
00:25:32I'm just being sensible for a change.
00:25:34It won't work.
00:25:35All right, then what's the alternative?
00:25:36This.
00:25:37Wanted, junior assistant master, good disciplinarian preferred.
00:25:40Does that sound like me?
00:25:42School for delicate and backward boys.
00:25:44Oh, that's more my life.
00:25:45Peter, you're not thinking of giving up the stage.
00:25:47I said I was being sensible for a change.
00:25:49Sensible?
00:25:50After all we were going to do, after all our plans.
00:25:52I hope Sam Bourne's cured me of all that.
00:25:53I thought you wanted to be a great writer.
00:25:55Yes, and you wanted to be a great actress.
00:25:57When I was young, I wanted to be a great engine driver.
00:25:59I still want to be a great actress.
00:26:00You can laugh at me as much as you like.
00:26:01I'm not laughing at you.
00:26:02I'm just asking you to grow up and face facts.
00:26:04I am grown up.
00:26:05Yes, but you don't face facts.
00:26:07We may be jolly good, but what hope have we got of a break?
00:26:09Not one in a million, and you know.
00:26:11We might just as well get out while we can see straight.
00:26:13Are you suggesting that I should give up the stage too?
00:26:15Yes, I am.
00:26:16I don't want to be a schoolmaster,
00:26:17but at least we could count on three square meals a day
00:26:19and something to pay our bills with at the end of the week,
00:26:21and then we could settle down and get married.
00:26:23I don't want to settle down.
00:26:24I'm not certain I want to get married.
00:26:26I'm not licked yet, even if you are.
00:26:27It's not a question of being licked,
00:26:29but a question of being grown up.
00:26:30Oh, grown up my foot.
00:26:31Now, look here, Peter.
00:26:32We're going to put on this play,
00:26:33and if you won't come in with us,
00:26:34we'll put it on without you.
00:26:35I want to be an actress,
00:26:36and I'm going to be an actress,
00:26:37and not you nor anyone else is going to stop me.
00:26:40So you can go after your backward and delicate boys,
00:26:42and I hope they put tadpoles in your teeth.
00:26:46Old Fred Sambonies the Mulberry in the grave,
00:26:49Old Fred Sambonies the Mulberry in the grave,
00:26:51Old Fred Sambonies the Mulberry in the grave,
00:26:54and the rep goes marching on.
00:26:56I've got to see you so happy.
00:26:57We've just been given the sack.
00:26:58Here, we've got the bush.
00:26:59That's a funny reason to sing for.
00:27:01We're taking over the theatre ourselves.
00:27:03And the rep goes marching on.
00:27:04Your legs are younger than mine.
00:27:06Pull upstairs and get Mr. Manning.
00:27:07Why?
00:27:07We're giving him a job.
00:27:08That you are not.
00:27:09That we are.
00:27:11If you think you're going to engage Mr. Manning,
00:27:13you can disabuse yourself.
00:27:14Now, stop muttering, woman,
00:27:15and drink to the Mutual Self-Help Repertory Company.
00:27:17Hooray!
00:27:18I've got to get Mr. Manning a cab.
00:27:20He's leaving in the midnight.
00:27:21No, that's all off.
00:27:22No, it isn't.
00:27:23You see, some things and persons
00:27:25are otherwise than they appear to be.
00:27:27You see, just the smell of it,
00:27:27and she's whoops-a-daisy.
00:27:29On the contrary,
00:27:30other people don't see what's under their very noses.
00:27:32Now, charge your glasses
00:27:33and drink to the Mutual Self-Help Repertory Company.
00:27:35Hooray!
00:27:36Hey, wait a bit.
00:27:36Manning must have some of it.
00:27:37If you knew what I know.
00:27:39What do you know?
00:27:40Come on out with it.
00:27:41Mr. Manning is Robert Main.
00:27:46The Robert Main?
00:27:48There's only one Robert Main.
00:27:50And we offered him two pounds a week.
00:27:53So now have I yet permission to call him a cab?
00:27:55No, you have not.
00:27:56If he's Robert Main, we want him all the more.
00:27:58Use your nut, darling. Use your nut.
00:28:00You can't expect one of the biggest film stars in the world
00:28:02to chip in with a potty little rep company.
00:28:04We're not potty.
00:28:05We're good enough for any audience.
00:28:06Or we need a little publicity.
00:28:07And this is just the sort of thing to put us on the map.
00:28:09She's quite right, my dear.
00:28:10If he only paid for one night,
00:28:12we'd be tapped for the rest of the season.
00:28:13He can put it out of your heads
00:28:14that he's going to save this or any other theatre.
00:28:16Did he say so?
00:28:17Not in so many words.
00:28:18But he left no doubt in my mind
00:28:20that he deeply regretted being mixed up
00:28:21in either your affairs or mine.
00:28:23Oh ho!
00:28:24So he thinks he's too good for us, does he?
00:28:26Give me a drink.
00:28:26What are you going to do?
00:28:28Give that Hollywood cheese a piece of my mind.
00:28:33I'm sorry if I do not understand.
00:28:36Do we continue to sing or are we sad again?
00:28:39I'm afraid we are sad again, Captain Angst.
00:28:42Then I can be sad with you.
00:28:44My seal is no pepper.
00:28:47So you're not Mr. Manning but the great Robert Mayne
00:28:49and you've just been having some fun at our expense.
00:28:52Oh, a terribly funny joke
00:28:53and it'll be funnier still when we're out of the job
00:28:55because you let us down.
00:28:56And even if you are the great Robert Mayne,
00:28:58it wouldn't have hurt you to have played with ordinary actors
00:29:00and a publicity dude would have meant everything in the world to us.
00:29:02That's all, Mr. Mayne, but you weren't going back to Hollywood
00:29:04without knowing that at least one person in the world
00:29:06thinks you're a piece of cheese.
00:29:08Here, wait a minute.
00:29:09There isn't any more.
00:29:10I never said I wouldn't play.
00:29:12Oh yes, you did.
00:29:14Didn't you?
00:29:15Sam Bourne wouldn't have me.
00:29:16Sam Bourne's out.
00:29:17He fired us.
00:29:18We're taking over the theatre ourselves.
00:29:20That's a jolly good idea.
00:29:21Why not?
00:29:21Oh, don't be such an idiot.
00:29:22Because you won't play.
00:29:23I wish you wouldn't get excited.
00:29:24I never said I wouldn't.
00:29:25But you can't because you're the great Robert Mayne.
00:29:28Who signed a contract with a film company
00:29:29which would be broken if he appeared in any other form of entertainment.
00:29:33Oh, I see.
00:29:36I seem to have made a fool of myself.
00:29:38Shockingly.
00:29:40I, um, I had a drink before I came up.
00:29:43I'm ashamed of you.
00:29:44Why did you want to take over the theatre?
00:29:46Because it was such a wonderful play.
00:29:48Peter wrote it for us and we'd have been jolly good in it.
00:29:50Don't you see?
00:29:51It was our chance to show what we could do to get somewhere.
00:29:54All right, you can sneer.
00:29:55But I know if only we had the chance we'd get somewhere.
00:29:58That's just the way I talked in this room.
00:30:00Then don't laugh at me.
00:30:02Laugh?
00:30:03I envy you.
00:30:04Courage and enthusiasm.
00:30:05Burning to conquer the world and fearing neither God nor man.
00:30:08That's what I had.
00:30:09I thought I'd lost it forever.
00:30:11If you wanted to do a certain thing, would you stop for a minute to consider the risk?
00:30:14Of course I wouldn't.
00:30:15Then neither will I.
00:30:16Risk in.
00:30:17Pay off that cab and send it home.
00:30:18Now, pop downstairs and get the script and coffee.
00:30:21Lashings of it.
00:30:21What about the contract?
00:30:22Only an idiot would remind me of that now.
00:30:24Get along, do what I say.
00:30:26Ha!
00:30:28This is a nice time of night to start learning lines.
00:30:34Mr. Morrison to see you.
00:30:36Tell him he can't find me.
00:30:37But it's Mr. Morrison, the play producer.
00:30:38All from the provinces, I think.
00:30:39Oh, hello, Morrison.
00:30:40No, just a couple of days holiday looks okay.
00:30:42And after three months of Robert Mayne, I guess I've earned it.
00:30:44Yeah, never mind that.
00:30:45What about his play?
00:30:46What play?
00:30:47Hey, can't you guys afford a newspaper?
00:30:48He left England yesterday.
00:30:49Ah?
00:30:50It's quite a coincidence that he got me out of bed last night to answer the phone.
00:30:53Do you have any other dreams?
00:30:54Only he thought I ought to see it.
00:30:55One of the downfall won't say why till Monday.
00:30:57Ah, somebody's been rubbing you.
00:30:58Did you personally see him leave the country?
00:31:01No, but I...
00:31:01No?
00:31:02Well, don't tell me I don't know his voice when I hear it.
00:31:04Hey, wait a minute.
00:31:06Get me the Atlantic Steamship Line.
00:31:08What? On Sunday?
00:31:14Atlantic Steamship Line, we're closed.
00:31:16Here, did Mr. Robert Mayne sail on the normatic?
00:31:18Ring again Monday.
00:31:19Here, don't give me that stuff.
00:31:21I want an answer and I want it now.
00:31:22Who checks the outgoing passenger list?
00:31:24Well, sir, there's a Mr. Fred Grover mostly does that.
00:31:29The number's Penge, 4075.
00:31:32Penge, 4075.
00:31:33Penge, 4075.
00:31:34Penge, 4075.
00:31:38Fred, quick.
00:31:39It's ringing.
00:31:43Must be about my lodge.
00:31:46Hello, is that Brother Evans?
00:31:50I beg your pardon, sir.
00:31:51Listen, did Robert Mayne sail on the normatic?
00:31:54Well, now you've come to mention it, he didn't.
00:31:57No, sir.
00:31:58Apparently, he never reached the ship.
00:32:01I'm sure I'm very sorry, sir, but it never occurred to me to inform anybody.
00:32:04Why, you dumb cluck.
00:32:05The most important figure in the world's screen fails to occupy a suite and you do nothing about it?
00:32:09Well, sir, I'm sorry, sir.
00:32:11Don't talk back to me.
00:32:12You're fired.
00:32:13What a country.
00:32:15Great dear, whatever's the matter?
00:32:17I've been fired.
00:32:19But that wasn't your boss.
00:32:22Nor it was.
00:32:23Never thought of that.
00:32:25Where does he kill himself he's going to play?
00:32:27He won't tell me till Monday.
00:32:29Grendel?
00:32:29Yes, sir.
00:32:29Take a telegram.
00:32:30To Robert Mayne.
00:32:31Absolutely out of the question you're appearing in play.
00:32:33Regan.
00:32:34Where shall I address it?
00:32:35To every provincial theatre in the British Isles.
00:32:43The theatre's fixed.
00:32:44I stood the mayor a drop of water, and he ate out of my hand.
00:32:46Now, here are the slips of the bills, and I'll have this one on you.
00:32:49Oh, Mr. Miller, I'm from the Devonshire Post.
00:32:50We heard that the actors were taking over the theatre.
00:32:52Correct, Elson.
00:32:53If you come round at nine in the morning, I'll surprise you.
00:32:55You wouldn't like to surprise me now?
00:32:56Sorry if I might have Cecile.
00:32:58All right.
00:32:59How's the rehearsal going?
00:33:00Have they got to my bitch yet?
00:33:01Just about.
00:33:02What's the idea of sending him off?
00:33:03Don't you want publicity?
00:33:04We'll get all we want, but if he gets out too soon, they may stop him playing.
00:33:06That'd be terrible.
00:33:07Disaster.
00:33:10How's it going?
00:33:11Beautifully.
00:33:11He's put new life into everyone.
00:33:13We're lucky to be in a profession where people do such splendid things.
00:33:16That's our cue, dear.
00:33:17Of course.
00:33:17We were just coming through the introductions, weren't we?
00:33:21Granny, this is Charles.
00:33:24I've often wondered what Bluebeard looked like.
00:33:26Oh, darling, that's not fair.
00:33:27Nobody wants to marry an amateur.
00:33:28More, a man has already had three wives and hasn't buried one of them.
00:33:32But isn't that all in my favour?
00:33:33In every other something of activity, experience is a recommendation.
00:33:38Then why not in marriage?
00:33:40I assure you, my dear lady, blah, blah, blah, blah, blah.
00:33:43I'll never get this speech.
00:33:44It'll be all right in the night.
00:33:45Blah, blah, blah, blah, blah.
00:33:46One of the most?
00:33:47One of the most pathetic spectacles in the world is an amateur on his way to the altar.
00:33:50So you've made up your mind to get married?
00:33:52Over your dead body.
00:33:53If you're relying on inheriting anything from me, you can put it out of your mind.
00:33:57Believe me, dear lady, nothing could be further from my thoughts.
00:34:02Nothing is further from my thoughts with the possible exception of this very brilliant speech,
00:34:05which I've entirely forgotten.
00:34:06Blah, blah, blah, blah, blah, blah, blah.
00:34:07Embrace curtain and deafening applause.
00:34:10You made it up with her, yes?
00:34:12No, I usually wait three days.
00:34:14Isn't that lucky?
00:34:15You shouldn't this time.
00:34:18Why not carry her off after rehearsal?
00:34:20Of course.
00:34:21As astonishing as it may seem, I've already decided to.
00:34:26I say, Peter, is that more or less how you see it?
00:34:28Yes, rather.
00:34:28Go ahead, do whatever you like.
00:34:29No, but I want an honest opinion.
00:34:30After all, I'm a very new member of the company.
00:34:32Don't talk right.
00:34:33You're grand.
00:34:34Oh, fine.
00:34:35Let's have a smack for the last seat.
00:34:35Yes, well, I'm all right.
00:34:36That's it.
00:34:37Miss Feenleaf, may I present Mr. John Fotheringham?
00:34:40I'm sure you should be loved.
00:34:42Let's go together.
00:34:47Wish I could think where I'd seen that fellow's face.
00:34:50He may have been part of your romantic past.
00:34:52Oh, if he was, I'm sure I'd remember him.
00:34:55Perhaps it was a dark night.
00:34:57Are you Robert Mayne?
00:34:59No, I'm not.
00:34:59I don't want any of your lips.
00:35:00Well, I've got a telegram for him.
00:35:02You see?
00:35:03Hmm.
00:35:04No one of that name here.
00:35:06Who did he say it was for?
00:35:07Robert Mayne.
00:35:08Same name as the film star.
00:35:09Fred!
00:35:10What's the matter?
00:35:11That's who he is.
00:35:12That's why he put your face in the potatoes.
00:35:17Grace, I've made the first mistake of my life.
00:35:21And while we're on the subject, what about the truth of your affair with Elise?
00:35:24My dear Kenneth, raking in the ashes of a dead love affair seldom pays a dividend.
00:35:28The wise guy lives in the present and regards the past as a banking account from which he draws experience.
00:35:34I must say you're very easy to work with.
00:35:36Me?
00:35:37Yeah, I'm much easier when I've had a couple.
00:35:39Aren't you the Charles Miller who used to play juveniles for de Maurier?
00:35:43No connection whatever.
00:35:45When I was walking on, I waited three quarters of an hour outside Wyndham's for his autograph.
00:35:50I'm still very proud of it.
00:35:57Peter, do you mind if we call it a day?
00:35:59I'll try and get up some of these lines.
00:36:00Sure.
00:36:01Rehearsal tomorrow at nine.
00:36:02Suits me.
00:36:03Okay.
00:36:03Mother, do you think we could spare half a crown?
00:36:05Of course, dear.
00:36:06Whatever for?
00:36:07It struck me as the oldest member of the company.
00:36:09It'd be rather nice to offer him a drink.
00:36:11I think it's a very good idea.
00:36:14Captain, are you tired?
00:36:15Not a bit.
00:36:16How about taking a motorboat to Tuesday Island?
00:36:18Lovely.
00:36:18Oh, but they're awfully expensive.
00:36:19I'm in a reckless mood.
00:36:20That is, if there are still gulls on Tuesday Island.
00:36:22Thousands only.
00:36:23I have an insatiable desire to throw them sandwiches.
00:36:25Mr. Main, would you do me the honor of accepting a drink?
00:36:28Oh, what a pity.
00:36:29We're just off to Tuesday Island.
00:36:30Oh.
00:36:31I'm so sorry.
00:36:32May I when we come back?
00:36:33I should be delighted.
00:36:34So shall I.
00:36:36He was very pleased, wasn't he?
00:36:40Hello.
00:36:40What have you got there?
00:36:41Three rock cakes, four ham sandwiches, two minerals and a melon.
00:36:44You actors do go to face.
00:36:46Yes.
00:36:46Our life's one long round of pleasure.
00:36:48Will you take your best girl on the beano?
00:36:49If she'll come, I'm just going to ask her.
00:36:51Here.
00:36:52How about a pass for Monday night?
00:36:53What?
00:36:54You mean converted to the theatre?
00:36:55No.
00:36:56My brother wants to see you.
00:36:57He's just come out of the asylum.
00:37:03My dear old boy, I was just coming along to see you.
00:37:06Oh?
00:37:06What for?
00:37:07As dear old Irving used to say, never be afraid to admit your mistakes.
00:37:10In other words, I'm prepared to wash out all that happened last night and to begin afresh.
00:37:13In other words, you've found out who's paying for us.
00:37:15I don't propose to discuss my motives.
00:37:17I've made you an offer.
00:37:18And I've turned it down.
00:37:19What scenery do you propose to use?
00:37:21Professor Oak Chamber.
00:37:22Which happens to belong to me.
00:37:23Well, we'll hire it.
00:37:24My price is a hundred pounds a week.
00:37:25That's ridiculous.
00:37:26The whole thing isn't worth it.
00:37:27I say my price is a hundred pounds a week.
00:37:29Payable here and now.
00:37:30Otherwise, you'll play and bear walls.
00:37:31Unless, of course, you'll want me to take over on the old terms.
00:37:36Anything rather than that.
00:37:38You'll find this exactly right.
00:37:40Dirty crook.
00:37:41No, no.
00:37:41Business is business.
00:37:42Sensible to know when you're beaten.
00:37:43I so agree.
00:37:45Oh, Mr. Sanborn, it's only fair to tell you that I intend to inform Equity that you repeatedly
00:37:50cut your company's salaries, dismiss them without proper notice, and finally levied blackmail
00:37:54for a lot of rubbishy scenery.
00:37:55What's that?
00:37:56You realize, of course, you'll be blacklisted.
00:37:58My price is one hundred pounds, payable here and now.
00:38:03Miss Deere.
00:38:07Exit Sanborn through Gap in Hedge.
00:38:09Mattery.
00:38:09Mattery.
00:38:10Hello.
00:38:11The boat's ready.
00:38:12Well, stand it.
00:38:13I'm going to take your leading lady for a breath of sea air.
00:38:15Don't mind, do it.
00:38:16No, I don't mind.
00:38:33If you think I'm jealous, you're a hundred percent right.
00:38:37He's a darned attractive man.
00:38:38He would come in just as we were in the middle of a quarrel.
00:38:40She's only flattered by him.
00:38:42It isn't anything.
00:38:43Now, just tear off a yard of that silver lining and gag yourself, would you?
00:38:52That's to use the island.
00:38:53I know.
00:38:54It's charged with romantic memories.
00:38:56Better let me take it for sure.
00:38:57It's full of blocks.
00:38:58Don't talk to the man at the helm.
00:38:59Don't talk to the man at the helm.
00:38:59He knows this channel like the back of his hand.
00:39:11Oh, look what's happened.
00:39:14Come on, we're sinking.
00:39:15Hurray.
00:39:16Everyone for himself and we'll come back to the picnic basket.
00:39:26I played this scene in Hawaii on honeymoon.
00:39:28Seventeen takes and a sharp attack of lumbago.
00:39:30Oh, you have been in the boat before.
00:39:32One more crack I got and you'll walk home.
00:39:40To think these are the descendants of the gulls I used to feed.
00:39:43Is that very important?
00:39:44Commendously.
00:39:45What else did you do besides feeding gulls?
00:39:47Write verses and hide them in the rocks.
00:39:48Whatever for.
00:39:50Posterity.
00:39:51Now, wait a moment.
00:39:53It's somewhere here.
00:39:56Now, where on earth?
00:39:58Ah.
00:40:00Gosh.
00:40:04What is that?
00:40:05Little Bobby's toffee team.
00:40:08Look.
00:40:08It's still here.
00:40:09It's still here.
00:40:14The Honour.
00:40:17Phyllis Page and Robert Mayne came here and will come again.
00:40:20Tea they had and chips enough.
00:40:22Sail back to play in a little bit of flight.
00:40:23Doesn't scare.
00:40:25Well, you're young.
00:40:25It doesn't have to.
00:40:27Why is she pretty?
00:40:28Well, she had a vangileli and used to sing Dad and Ellen.
00:40:32Were you in love with her?
00:40:34I suppose so.
00:40:36Did you make love to her here?
00:40:39I suppose so.
00:40:41I wish you hadn't told me.
00:40:45So do I.
00:40:48What are you lacking at?
00:40:50One of my lines in the play tomorrow.
00:40:52Raking in the ashes of a dead love affair seldom pays a dividend.
00:40:58Gosh, how dead that is.
00:41:05Exit for this page.
00:41:11I'm terribly sorry.
00:41:13Let's write a verse about ourselves, shall we?
00:41:15Not if you're coming back to throw it into the sea.
00:41:16No, I swear I won't.
00:41:18All right.
00:41:19Now, Robert Mayne and Carol Sands came here once.
00:41:23Are holding hands.
00:41:26The boat was wrecked.
00:41:27The boat was wrecked.
00:41:29They had a soaker and played next night in Yellow Oga.
00:41:31That's dolly good.
00:41:32That's outstanding.
00:41:33Except, of course, we are not holding hands.
00:41:36No, I suppose we're not.
00:41:38Would you like to?
00:41:40Ah, you're a nice kid.
00:41:41I'm 19.
00:41:42That's depressingly young.
00:41:44I wish I were 28.
00:41:45Why 28?
00:41:46It's my ideal age.
00:41:47I shan't look for the old and I shall have got somewhere.
00:41:50You'll be seeing my name in lights when I'm 28.
00:41:52I wonder what you'll be like.
00:41:54Well, of course, I should be a lot more sort of experienced and sophisticated.
00:41:58Naturally.
00:41:58I shall wear black practically always.
00:42:00I would now, only cheap black isn't quite the same.
00:42:03I hope you won't be temperamental and make scenes at rehearsals.
00:42:06No, of course I won't.
00:42:07And I shan't cut in on other people's lines and steal laughs.
00:42:11I'm always going to remember that it's the play that counts and not my own part.
00:42:15And I shall always be very kind to understudies and small party actors and people who haven't been lucky.
00:42:22You wouldn't laugh at me if I were 28.
00:42:24If you were 28, I might treat you very differently.
00:42:27With more respect.
00:42:29Or less.
00:42:35Oh, a sail! We're saved!
00:42:37Aye!
00:42:38We've arrived!
00:42:39We've got no boat!
00:42:40Send the boat back!
00:42:42Aye!
00:42:44Well, at our last chance, we'll be stuck here all night.
00:42:47Couldn't we pet up the boat?
00:42:48No, pets have a way of coming out in the mid-ocean.
00:42:50Of course, we could swim back.
00:42:52It would take us till next Friday.
00:42:54Gosh, we've got to be back in time for the show!
00:42:56No!
00:42:56Now, don't you panic.
00:42:57I thought of something.
00:42:59You see those corks?
00:43:00What?
00:43:01Lobster pots?
00:43:02In the old days, a fellow used to collect them first thing in the morning.
00:43:04He still does!
00:43:05Old Tom Jewel!
00:43:06I bet you he still talks to the sea serpent to show off the friendly eyes.
00:43:08He does!
00:43:09Old Tom!
00:43:09Old Tom Jewel and his sea serpent!
00:43:12That's a jolly prospect after a night on the seaweed.
00:43:31Oh, Carol, there you are!
00:43:33My dear, are you all right?
00:43:35You have had a night!
00:43:36Tom Jewel told me all about it!
00:43:38What an embarrassing experience!
00:43:40For both of you!
00:43:42What are you talking about?
00:43:43Why?
00:43:44Have I said something I shouldn't?
00:43:46No.
00:43:47If it's of any interest, we were marooned on Tuesday Island.
00:43:49Marooned?
00:43:50Did you hear that?
00:43:51Yes.
00:43:52And what I'm afraid of is that with Mr. Maine's romantic reputation, people may not believe
00:43:58it was an accident.
00:43:59I let you into a secret.
00:44:00It wasn't.
00:44:02Really?
00:44:03I deliberately lured her onto those desert shores.
00:44:05I scuttled the schooner Hesperus and I stifled her outcry with laminaria.
00:44:11Laminaria?
00:44:12Seaweed.
00:44:12In Scotland, they make an excellent soup with it.
00:44:15Only the Winkles witnessed what followed.
00:44:17I think you're trying to be amusing at my expense.
00:44:20And you're being offensive at hers.
00:44:22Well, really, Mr. Maine.
00:44:23And we haven't even been introduced.
00:44:25I can say good morning without further ceremony.
00:44:30Yellow oka to you.
00:44:35Well, I think it's time we were getting off to rehearsal.
00:44:38Yes, come along.
00:44:42What a nasty bit of work Grace is.
00:44:44Yes, but for once I agree with her.
00:44:50My dear Elise, I realise it's always harder for you to forget the man you haven't married
00:44:54than the man you have.
00:44:55That's not what you said yesterday.
00:44:57That's part of his charm.
00:44:58Never the same two days run.
00:45:00Nevertheless, I do think we should give your husband the passing thought.
00:45:05What did you mean by that crack about Grace?
00:45:07What I said?
00:45:08You can't expect me to shout with joy because you and Maine spent a night on an island.
00:45:12Don't keep talking as if it was an orgy.
00:45:13I don't care what it was.
00:45:14I'm not interested.
00:45:15Stop being a fuss.
00:45:17Are you in love with him?
00:45:19I thought you said you weren't interested.
00:45:21Are you in love with him?
00:45:23Yes, I am.
00:45:26Don't kid yourself he's in love with you.
00:45:28That's all.
00:45:29Of course he's not in love with me.
00:45:30I don't care if he isn't.
00:45:32I don't care if he's forgotten all about me in a week's time.
00:45:34In fact, you made a fool of yourself.
00:45:35All right, I have.
00:45:35Just because he's a film star.
00:45:37Oh, that's a stinky film star.
00:45:37Just because he's older than I am.
00:45:39A man of the world who makes pretty speeches.
00:45:41It's nothing whatever to do with you and I don't want to hear another word about it.
00:45:43So shut up.
00:45:46Peter, we've never been like this before.
00:45:49Well, we can't expect to go on being bosom pals, can we?
00:45:52Can't we?
00:45:53No, we can't.
00:45:54We're waiting, Carol.
00:45:58Peter, I'm sorry.
00:46:06Hello, son.
00:46:07What's biting you?
00:46:09Why is it so much easier to lose your temper with someone you're in love with?
00:46:12It's just to make love more difficult.
00:46:14My dear, you surely don't contemplate going out with Charles in those appalling trousers.
00:46:18When you're walking on air, nobody notices what you've got on.
00:46:21When I was a boy of six, I wore a sailor suit.
00:46:22It had a permanent effect on my character.
00:46:29What was all that row between you and Peter?
00:46:31Oh, just a lot of rock.
00:46:32We were sort of engaged once.
00:46:33You were?
00:46:33Yes, it's all off now.
00:46:34Nothing to do with me.
00:46:35No, of course not.
00:46:36What was he angry about?
00:46:38Oh, nothing.
00:46:38Come on, out with it.
00:46:41Well, he would insist that last night was an orgy.
00:46:44An unhappy plight seems to become a smoke room story.
00:46:48Did he make you very miserable?
00:46:53Did he ask if you were in love with me?
00:46:56Yes.
00:46:59Are you?
00:47:01Yes.
00:47:03Oh, I told you you weren't in love with me or anything silly like that.
00:47:05That's a monstrous lie.
00:47:08You know that, don't you?
00:47:10No.
00:47:17It's a funny thing, but I, I feel rather sick.
00:47:21That's a dismal reaction to a declaration of love.
00:47:23It was rather a surprise.
00:47:25It was to me too.
00:47:27I don't make a habit of falling in love.
00:47:29I do wish you knew how much I love you.
00:47:35Mr. Maine!
00:47:36Mr. Maine!
00:47:36It's 11 o'clock!
00:47:37Zero hour!
00:47:38Put up the posters, announce the news.
00:47:40Shout it from the house duck.
00:47:41Ah, wonderful!
00:47:47There, and what do you say to that, Mr. Prendergast?
00:47:49You can fool some of the people some of the time, and my brother from the soil of all of
00:47:53the time, but you can't fool me none of the time.
00:48:01And Mr. Maine was so convinced it was a play of the century that he took off the part at
00:48:04a moment's notice.
00:48:05Well, do you mind if I telephone the London papers?
00:48:06Splash it, old boy, and make the Welkin ring!
00:48:08That's fine.
00:48:10My dear, they're simply fighting for seats.
00:48:12I haven't been so excited since you went on for Fred Terry in the Pimpernel.
00:48:15I was far from good as Sir Percy Blakely.
00:48:17Nonsense, dear, you acted them all off the stage.
00:48:20And, of course, you always had the highest opinion of Mr. Maine's ability as an actor.
00:48:23Nothing of the kind, and I don't want a lot of foolish sayings put into my mouth.
00:48:27If I ask for a drink before the performance, don't give it me.
00:48:29You are taking this play serious.
00:48:31If I beg for it, if I plead for it with tears in my eyes, don't give it me.
00:48:34What kind of a part are you playing?
00:48:36The drunk.
00:48:37Rosie, I want the finest flowers money can buy.
00:48:39How much money?
00:48:40One and ten for the table.
00:48:41Oh, well, how about some nice miscellties?
00:48:43That means I love you.
00:48:44She knows, dear.
00:48:45Give me something that means I've made a complete fool of myself and I ought to be shot,
00:48:49but I still think you're terrific.
00:48:51Listen, old things, we're absolutely sold out.
00:48:53Oh, isn't that comfortable?
00:48:54There's a huge crowd for you at the stage door.
00:48:56I must insist on your accepting that drink.
00:48:58Gosh, what publicity.
00:48:59This will put us on our feet and keep us, sir.
00:49:01A telegram for you, Mr. Maine.
00:49:03Aha, this will be from Morrison, the theatre man.
00:49:05I wired in this morning.
00:49:11Oh.
00:49:11What's the matter?
00:49:13Absolutely out of the question, you're appearing in play.
00:49:16Regan Majestic Films.
00:49:18Well, that's that.
00:49:19After I'm getting so excited about everything.
00:49:22Nothing ever has gone right with this company.
00:49:24It'll be a fine how-do-you-do when we give them their money back.
00:49:27Well, we're not going to.
00:49:28Jim, if an angry man with an American accent asks me tonight, push him in the sea.
00:49:31You're going to play?
00:49:32It'll take a brigade of guards to stop me.
00:49:34Ha, ha, ha!
00:49:51Oh
00:49:52All tickets please and the manager you what can I love would you come on outside?
00:50:00First you lose me the part and now I can't even see the show. I always knew I should never
00:50:04have married beneath me. In my opinion, you'd have to crawl down a drain to do that.
00:50:10What are you doing here?
00:50:12I'm looking after my brother. Oh, take it please, straight down.
00:50:20I got to see Mr. Main at once. Are you American? No, Chinese. Mr. Main was expecting an American.
00:50:24Listen brother, I am an American. Then he don't want to see you.
00:50:32What a...
00:50:40Just to wish you luck, Emily. My white Heather, you'll never forget, do you dear?
00:50:46Good luck.
00:50:53I'm a lonely old woman. I sit here day after day. Nobody ever comes to see me. Nobody ever comes
00:51:01to see me. Nobody ever...
00:51:04Excuse me lady, but I'm in a hurry.
00:51:06You're not Mr. Regan by any chance.
00:51:07I'll say I am.
00:51:08Then you haven't a moment to lose. Mr. Main's expecting you.
00:51:11Well, that's very kind of you.
00:51:12I love helping people.
00:51:15Regan's arrived.
00:51:16Regan?
00:51:17Gosh, I'm for it.
00:51:19But I'll play if it's at the point of a gun.
00:51:20That's a stuff.
00:51:21Got a dinner about tomorrow night.
00:51:22Oh, tomorrow can take care of itself.
00:51:24I'll look after the losses till we get a new man.
00:51:25After publicity like this, there won't be any losses.
00:51:27You know, I haven't had a thrill like this since, well, since I went up the spout in London.
00:51:30Now, you look to your laurels, Garbo, I'm going to act you off the stage.
00:51:33If you hear anything funny, don't take any notice.
00:51:36I never do.
00:51:40That's the last time I'll trust the stage, mother.
00:51:42Now, before you say anything, I am going on tonight.
00:51:44I'll say you're going on.
00:51:45I'm not going to be torn to pieces by your fans.
00:51:48Well, what's all the fuss about?
00:51:49Fuss. The coast has been on the wire.
00:51:51Your new picture starts in eight days.
00:51:53You've got to be on board the Queen Mary tomorrow.
00:51:55Queen Mary tomorrow?
00:51:56I suppose I'm not.
00:51:57Oh, you'll be there.
00:51:58The whole cast is lined up.
00:52:00And you're not the sort of a guy that duck from under.
00:52:03Wait here a minute.
00:52:06Carol, I haven't been behaving too well just lately.
00:52:08I couldn't let you go on without getting it off my chest.
00:52:11Here's some flowers for you.
00:52:12They're not orchids, but they mean well.
00:52:15Peter.
00:52:16I've just been handing out apologies.
00:52:18I owe you one, too.
00:52:20My dear fellow.
00:52:21Regan's here.
00:52:21I've got to go back to Hollywood tonight.
00:52:23But you can't.
00:52:23I know, but it's not as easy as all that.
00:52:25I've never let them down before.
00:52:26I mean, people out of work there.
00:52:27People as decent as Christine, Charlie, the Truscottes.
00:52:30Darling.
00:52:31I can't go without you.
00:52:34Would it make it any easier if I came to?
00:52:39You needn't ask that.
00:52:43But there's a difficulty.
00:52:45One of the ghosts we raised last night, Phyllis Page.
00:52:50I married her.
00:52:51It was not an outstanding success.
00:52:54It was my fault, I dare say, but she won't give me a divorce.
00:52:56She never will.
00:52:59I could never marry you.
00:53:00I wouldn't care.
00:53:01You even needn't those.
00:53:08Oh, that was good and she'll have to go.
00:53:27I would Lord have to wait for us man.
00:53:43And you've got to be mean to give us a proper hand.
00:53:47Ladies and gentlemen, we thank you from the bottom of our hearts
00:53:50for the reception you have given to the play and ourselves.
00:53:54Tonight I have rediscovered the thrill of living contact with living audiences
00:53:58and for that I shall ever remain in your debt
00:54:00and in the debt of this brilliant little company which has made it possible.
00:54:04Good night, goodbye, and God bless you.
00:54:12Boy, you were great.
00:54:13Hurry up and get that make-up off.
00:54:15Give us a break.
00:54:16You've got a train to catch.
00:54:17Ah, the stage mother herself.
00:54:19Listen, I want to talk to you.
00:54:20You're a woman of the world, ma'am.
00:54:22It takes a woman of the world to shut me up in a cupboard.
00:54:24Listen, you and me have got a situation to handle.
00:54:26Come on.
00:54:27Mr. Morrison, to see you, sir.
00:54:29Morrison.
00:54:29By the pasture.
00:54:31If he's going to take the play to downtown to get the girls and boys.
00:54:33I bet I won't.
00:54:33All right, boy.
00:54:35It's all right?
00:54:36You really think, sir?
00:54:37It's funny, but it lacks space.
00:54:38Do you think we've got a chance?
00:54:40I never prophesy.
00:54:41How are you fixed down here?
00:54:42Well, we've got the theatre for a week, but no leading man.
00:54:44Right.
00:54:45Open at the Haymarket Friday at Fortnight with Thirl in Main's Park.
00:54:47You mean you're going to do it?
00:54:48Five percent up to a thousand, seven and a half up to twelve fifty, ten over.
00:54:52Half the film rights, and I want the girl.
00:54:53What about the rest of them?
00:54:55I said nothing.
00:54:56But, you see, I sort of wrote the play with those people in mind.
00:55:00Don't you ever change your mind?
00:55:01I'd be sorry to over this.
00:55:04Charlie Miller can stop if he stays sober.
00:55:06But Christine and the Truscottes, they work like slaves.
00:55:08I never run a theatre on sentiment.
00:55:12Come in.
00:55:15Aunt Mayne, I know you're in a hurry.
00:55:18Never too much of a hurry for you, darling.
00:55:19But you don't know what I'm going to say.
00:55:20I'm breaking the rule of a lifetime.
00:55:23Never to interfere.
00:55:25That's an awfully good rule.
00:55:27Are you and Carol very much in love?
00:55:29Desperately.
00:55:30Then it's very hard you can't marry her.
00:55:32How do you know I can't?
00:55:33Years ago, we acted with your wife.
00:55:35She was so rude to my dear husband.
00:55:37Carol knows.
00:55:39She doesn't mind.
00:55:40But taking her away is a very big step.
00:55:43I might have been penalized all my life
00:55:44because I married the wrong girl.
00:55:46At 19, before I knew my own mind.
00:55:48How old is Carol?
00:55:50Perhaps she doesn't know her own mind.
00:55:52She's a right to decide.
00:55:53You haven't given her time to think.
00:55:55I haven't had time myself.
00:55:56That's why I want you to hesitate a little.
00:56:00I'm prepared to take a chance.
00:56:02Of making her unhappy.
00:56:04You may make her unhappy, you know.
00:56:06You're a great deal older than she is.
00:56:08That's nothing to do with it.
00:56:09And you're at different ends of the same job.
00:56:11Carol's only just beginning.
00:56:13She's what you were 20 years ago.
00:56:16But I can make her a success.
00:56:17Would that make her happy?
00:56:18A success because she was Robert Mayne's girlfriend.
00:56:21Mrs. Truscott, when two people are in love,
00:56:24they prefer to solve their own problems.
00:56:25But Carol's still in love with Peter.
00:56:28She is, you know.
00:56:29Even if you've swept her off her feet for a moment.
00:56:31She quarreled with Peter before I came.
00:56:33At her age, you always quarrel when you're in love.
00:56:36It would have made it up long ago if it hadn't been for you.
00:56:39Mr. Mayne, they're both at the same end of the ladder.
00:56:43They'll grow up together and share experiences.
00:56:46She will grow up, you know.
00:56:48And if you take her away,
00:56:50you're making yourself responsible for what she'll become.
00:56:52And if there's something hard and bitter,
00:56:55something spoiled that needn't have been spoiled.
00:56:58Aren't you ignoring my point of view?
00:57:00It's your point of view I'm thinking of.
00:57:05If I didn't know you loved her,
00:57:07it'd be no good my talking to you.
00:57:10You do love her.
00:57:12As I've loved no one in the world before.
00:57:16This is my chance of happiness.
00:57:19It's fixed.
00:57:20We open at the Haymarket on Friday Fort.
00:57:21I've talked him into taking everybody.
00:57:23Oh, Peter.
00:57:24It's come, Carol.
00:57:25This is our chance.
00:57:26Your chance, Peter.
00:57:29I'm going to Hollywood with men.
00:57:31We're leaving tonight.
00:57:34Congratulations, Peter.
00:57:35I hear Morrison's taking the play.
00:57:37Oh, thanks very much.
00:57:38I want to wish you luck, too.
00:57:39Carol's just told me your news.
00:57:42You're a good fellow.
00:57:44I wonder who he'll have in my part.
00:57:46Oh, Sylvia Lane.
00:57:47I think she's usually in here, sure.
00:57:48Oh, but Peter, she's terrible.
00:57:50Don't you remember when we saw her in finder's keepers?
00:57:52Yes, the day we tried to get into the old short pantomime.
00:57:54And you'd give me a huge meal because we thought we'd landed the job.
00:57:56Then we found we have.
00:57:57I cried about it for weeks.
00:57:59Of course, we were very young at the time.
00:58:01It was two years ago.
00:58:01You needn't have worried.
00:58:02You would have been terrible as Miss Muffet.
00:58:03You would have been a riot as the demon king.
00:58:07Have you two known each other long?
00:58:09Yes, ages.
00:58:10All our lives.
00:58:11Makes me feel rotten taking her away from you.
00:58:13No, that's all right.
00:58:15Of course, we shall miss her terribly.
00:58:18But nobody to look after poor Peter now.
00:58:20He's awful about things like going to the dentist.
00:58:22I always tell him he'll have false teeth by the time he's 40.
00:58:26Oh, I say.
00:58:28You haven't got false teeth by any chance, have you?
00:58:30As a matter of fact, I haven't.
00:58:33We don't know very much about each other yet, do we?
00:58:36But we'll learn, won't we?
00:58:39You've got to get going if you want to pack.
00:58:41Come on, come on.
00:58:42You've got fans a mile deep outside.
00:58:44I'll clear up here and follow you.
00:58:46Snap out of it, will you?
00:58:49You wouldn't look after yourself, Peter, dear, won't you?
00:58:51Yes, of course I will.
00:58:52Dear, I do wish everything hadn't happened at once.
00:58:55If I wasn't so happy, I'd be awfully miserable.
00:59:02As an example of love's young dream, you're very silent.
00:59:06What's eating your conscience?
00:59:08What you got to do with you?
00:59:09Oh, nothing, nothing.
00:59:11When a kid's as young as that, and pretty, and got the whole world before her.
00:59:15What?
00:59:17Say, that was a swell picture you were in.
00:59:19Youth to youth.
00:59:20Remember that.
00:59:23Shut up.
00:59:30Now, Mr. Bench.
00:59:39I'm very glad of your success.
00:59:42How's the seal?
00:59:43He's asleep.
00:59:44I'm very troubled.
00:59:45But do not make yourself unhappy for him.
00:59:52I packed your bag.
00:59:53But don't send me any of your wedding cake.
00:59:55No, there'll be one.
00:59:56Listen, lady, if anybody's going to call down Robert Mayne, I'll do it, see?
00:59:59I don't know who you are, so keep your opinions to them that do.
01:00:01Listen, sweetheart, none of you.
01:00:18Get out!
01:00:31Some very nasty physic for my seal.
01:00:34He will hate it, but it may do him good.
01:00:37One must be cruel, only to be kind.
01:00:41There's a devil of a lot of truth in that.
01:00:52Hello.
01:00:53I'm nearly ready.
01:00:54Fine.
01:00:55I'm afraid I haven't got very many clothes, but I can get some lovely ones in Hollywood, can't I?
01:00:59Yes.
01:01:00Carol, do you think we're wise in rushing things like this?
01:01:05What's the matter?
01:01:06Oh, I don't know.
01:01:07Anti-climax, I suppose.
01:01:08You get all worked up for the first night, and afterwards everything goes flat.
01:01:12It isn't every day you get a chance of playing in the West End.
01:01:15I think you should take it.
01:01:17You mean come out and join you afterwards?
01:01:19Hmm?
01:01:20Yes.
01:01:23I'd rather come with you.
01:01:24I don't mind about the play.
01:01:25Really, I don't.
01:01:26No, we mustn't be silly, darling.
01:01:27We got carried away tonight, and quite right, too.
01:01:29But now we've got to be practical.
01:01:31You're in a funny mood.
01:01:32No, I'm not.
01:01:33I'm being dismally sane.
01:01:34We've been making love continuously for two days.
01:01:36Oh, I don't regret that.
01:01:37It was for the good of the play.
01:01:40Was it?
01:01:41Of course.
01:01:42Can't make love on the stage unless you get a little, well, a little worked up about your leading lady.
01:01:47Do you frequently get worked up about your leading ladies?
01:01:51Invariably.
01:01:53Now, you mustn't be petulant, darling.
01:01:55It's a very sound policy.
01:01:57Look how good we were tonight.
01:02:00What you said to me in the dressing room?
01:02:03Did you mean it?
01:02:04Yes, of course I did in a sort of way.
01:02:06You know, just before the great night, audience crowding in, orchestra tuning up, call boys shouting beginners.
01:02:11I was carried away, and I meant it.
01:02:13Every word of it.
01:02:15In the same way as you meant every word you said to me.
01:02:19I really meant it.
01:02:24Darling, that's the truth.
01:02:27You meant it.
01:02:28In Hollywood, the girls I worked with, well, they weren't 19.
01:02:32We had some grand times, though, whispering words of love and honey, swearing eternal passions.
01:02:39And all the time, both of us knowing Don, well, we didn't mean a word we said.
01:02:44I'm sorry.
01:02:45I didn't know.
01:02:46Darling, that's not your fault.
01:02:48You can't help being young.
01:02:49You take the part and join me the moment you give it.
01:02:53I don't think I want to come anymore.
01:02:55No.
01:02:57Well, darling, perhaps it's for the best.
01:03:00Please go away now.
01:03:02All right.
01:03:03We had a grand time.
01:03:05Let's not have a hangover.
01:03:06Hmm?
01:03:15Try not to be too unhappy about it, Carol.
01:03:18It's experience.
01:03:20You can't be a good actress without experience.
01:03:26Well, goodbye, darling.
01:03:28And don't you forget me.
01:03:38Miss Carol, Miss Carol, Miss Carol, come quick.
01:03:42My seed is better.
01:03:43Oh, but you are crying.
01:03:46No, I'm not.
01:03:46Please, excuse me.
01:03:48I was happy because of my seed.
01:03:51You will come and see him.
01:03:53He's splashing about in the bath like a baby.
01:03:56He must be quite recovered or he will not eat the sponge.
01:03:58Carol, I met Mayne on the stairs.
01:04:00He told me you wanted me.
01:04:01Oh, Peter, the seal's all right again now.
01:04:03Isn't that wonderful?
01:04:04Yes, wonderful.
01:04:05Look, he's so happy.
01:04:07How lovely.
01:04:11Peter.
01:04:12Yes?
01:04:13I'm not going to Hollywood after all.
01:04:15Oh, Peter, I made such an awful fool of myself.
01:04:19That's the whole point of being young.
01:04:21If you make a fool of yourself, it doesn't matter.
01:04:24Doesn't it?
01:04:25No, of course it doesn't.
01:04:32Oh, there you are.
01:04:35Hello.
01:04:35I didn't like to think you'd know where to see you off.
01:04:38That is good of you.
01:04:39You'll be a great comfort to it.
01:04:41I'm glad you did it the David Garrick way.
01:04:43It was easier for her.
01:04:44And I don't suppose she'd ever seen the play.
01:04:47I'm so proud of you.
01:04:50Then I haven't lived in vain.
01:04:52You're not going to mope, are you?
01:04:53That would be very silly.
01:04:55Of course you would.
01:04:56It isn't easy to be gay on a Miltran, but it's not beyond me.
01:04:59And whenever I stumble by the wayside,
01:05:02I shall always ask myself,
01:05:03what would Mrs. Truscott do?
01:05:07Well, bless you, darling.
01:05:10Give my love to Carol.
01:05:13When, when she's not listening.
01:05:22Oh, dear, I cut him such nice sandwiches.
01:05:26And I quite forgot to give them to him.
01:05:28I don't want to give them to me.
01:05:47The End
01:06:15The End
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