- 2 days ago
George Cukor and Cyril Gardner's adaptation of a play by George S. Kaufman and Edna Ferber about a theatrical family inspired by the Barrymore family, including an Oscar nominated role for Fredric March.
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Short filmTranscript
00:00:02The
00:00:45Garry, the Jecks.
00:00:51The lead.
00:00:52The lead.
00:00:53The lead.
00:00:54He came home, Miss Cavendish.
00:00:56He came home.
00:00:57He came home.
00:00:58Oh, you're the young fellow from the Tribune.
00:01:00No, Miss Cavendish ain't gone home yet.
00:01:02Say, old Tyler, maybe you can tell us something about this rumor.
00:01:06What rumor?
00:01:07What about Miss Cavendish retiring from the stage
00:01:09and letting her daughter take her place.
00:01:12Say, listen.
00:01:14Do you two young newspaper fellas want to know something?
00:01:16Sure.
00:01:17Well, I'll tell you.
00:01:19The Cavendishers never retire.
00:01:21Cavendish is eternal.
00:01:23They go on acting until they're dead.
00:01:26And when the Cavendishers die, they go right on up to heaven
00:01:29and start acting with the Cavendishers up there.
00:01:32You don't tell me.
00:01:33Yes, I do tell you.
00:01:35Go on around there to the stage or around the corner.
00:01:38See if that looks like you and the Cavendish is going to retire.
00:01:41Come on, Pete.
00:01:53Cavendish, will you please?
00:01:54Oh, my goodness.
00:02:02I'm from the news.
00:02:03We heard you were going to retire.
00:02:05Retire?
00:02:06Where would I retire to?
00:02:07Anything to say about your brother, Tony?
00:02:09That jam on the coast?
00:02:11I don't know anything about it.
00:02:12Oh, it's time to come!
00:02:14It's time to come!
00:02:26It's time to come!
00:02:30It's time to come!
00:02:32It's time to come!
00:02:33It's time to come!
00:02:33Mother, do you want to act on the road this fall?
00:02:35I most certainly do!
00:02:37Then won't you please take care of yourself?
00:02:39You know, Dr. Parker said you weren't to go out at night for a while.
00:02:41Dr. Parker's an old goat.
00:02:44Do you know that?
00:02:46Is Oscar know you're out?
00:02:48It's Oscar Woolby's business to look after my tour, not after my health.
00:02:52All right, but please take care of yourself.
00:02:56Oh, sir.
00:02:57Look! Look at that!
00:03:03Tony Cavendish!
00:03:04My son of Cavendish in Hollywood.
00:03:08All talking, all color,
00:03:10all terrible.
00:03:13I wonder what that reporter meant.
00:03:15What reporter?
00:03:17Oh, nothing.
00:03:19Where are you going with all your fancy clothes?
00:03:21I was going to a party, but I've changed my mind.
00:03:24I'm tired tonight.
00:03:26What's the matter with the house board?
00:03:27Oh, they were lovely.
00:03:29Seven curtain calls.
00:03:31No, eight.
00:03:31I always considered it a bad night if I didn't take at least 14.
00:03:36I know, Fanny, but that was you.
00:03:39Oh, I suppose it's just because I'm tired,
00:03:41but somehow the fun seems to have gone out of it all.
00:03:46I've been doing it so long, Mother.
00:03:48You're going to wait until you're my age.
00:03:50You love it, don't you, Mother?
00:03:51Yes.
00:03:52And Gwen loves it.
00:03:53But I'm just in between now.
00:03:56Between my mother and my daughter.
00:03:58It's no fun to look either back or forward.
00:04:02You are tired.
00:04:04The way I feel tonight,
00:04:06I'd give the whole thing up for one man who really loved me.
00:04:10Who'd give me a happy, peaceful home.
00:04:13Well, my dear,
00:04:14you are America's leading actress.
00:04:17Besides, you're me.
00:04:19You have a daughter who's going into her first play next week.
00:04:22With you.
00:04:23And a brother who's almost as good an actor as his father Aubrey was.
00:04:28That Hollywood place hasn't ruined him.
00:04:32You are part of a great tradition, Julie.
00:04:35A member of a royal family.
00:04:37A little bit late to talk about love.
00:04:39It's never too late to talk about love.
00:04:41It's never too late to talk about peace and happy home.
00:04:43It doesn't hurt to wish occasionally
00:04:45that ours is a little less like a madhouse.
00:04:48But what do you want to do with the rest of your life?
00:04:50Sit at home and crochet?
00:04:51I don't know how to crochet.
00:04:52But do you want to end it as I am?
00:04:54Still trooping.
00:04:55Still carrying on.
00:04:57Have a heart full of splendid memories.
00:04:59memories of a great career as a great actress.
00:05:05For Cavendish.
00:05:07One vote for Cavendish.
00:05:10No, Miss Cavendish hasn't returned from the theater yet.
00:05:14Well, any minute now.
00:05:16What?
00:05:17Yes, I'll tell her.
00:05:19Yes, I'll tell her.
00:05:20What is it, Della?
00:05:21I don't know.
00:05:22It's something for Miss Julie.
00:05:23Oh, you ought to call the Marine Operator as well.
00:05:26Marine Operator? What's that?
00:05:28It's a ship of sea calling.
00:05:30They've been trying to get you all evening.
00:05:32A ship of sea.
00:05:38Miss French wants you to speak at her school on the 11th.
00:05:42And there's some radio company wants you to talk for 15 minutes on the 9th.
00:05:46The Evening Journal telephoned again.
00:05:48And the Postal Telegraph wants you to call.
00:05:50And 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.
00:05:56And here are these checks to sign for those bills.
00:05:58Oh, not now, Della.
00:05:59No, I'll attend to those later.
00:06:00The Langhorne studio wants you to have another sitting.
00:06:03That's all, Della.
00:06:03Please.
00:06:04Yes, Miss Julie.
00:06:06Here's a telegram for you.
00:06:07Oh, thank you.
00:06:08You see, Mother, that's what I mean.
00:06:10My poor darling.
00:06:14You'll see us better in the morning, dear.
00:06:16Yes, of course, Della.
00:06:19Oh, good heavens.
00:06:20What?
00:06:20It's from Tony.
00:06:21Dear little brother Tony.
00:06:22Oh, gracious.
00:06:23Anything serious?
00:06:24Well, as far as I can make out, he seems to have killed somebody.
00:06:28Anyone we know?
00:06:30From Dodge City.
00:06:32Dodge City?
00:06:33California?
00:06:34No, he's on his way here.
00:06:35Listen.
00:06:36Pay no attention to possible account of Deming incident.
00:06:39His injury is not fatal.
00:06:41Takes more than that.
00:06:42To 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.
00:07:03Who's she?
00:07:04A movie actress, I suppose.
00:07:05My heavens.
00:07:07Oh, my dear Julie, do you think it's serious?
00:07:09Oh, no, Mother, of course not.
00:07:11Now, Tony will get out of it all right.
00:07:13He always does.
00:07:14We may as well prepare for the storm when he arrives.
00:07:18That's all this little house needs now.
00:07:19One more storm.
00:07:20Well, I do hope, Julie, that Tony's all right.
00:07:24Oh, Tony's all right, Mother.
00:07:25Now, please, why don't you go upstairs and get some sleep?
00:07:28Oh, yes.
00:07:29To bed.
00:07:30To bed.
00:07:31Knocking at the gate.
00:07:33What's done can not be undone.
00:07:36To bed.
00:07:37To bed.
00:07:41To bed.
00:07:56To bed.
00:08:09To bed.
00:08:11To bed.
00:08:11To bed.
00:08:19Hello?
00:08:20No, Miss Cavendish is not here.
00:08:23I don't know.
00:08:24What?
00:08:26What?
00:08:28The SS Cristobal are calling.
00:08:30I don't know any SS Cristobal.
00:08:33Who?
00:08:34From where?
00:08:36South America.
00:08:39Who?
00:08:40This is here.
00:08:41Who is it, Mrs. Cavendish?
00:08:42Who?
00:08:45Marshall?
00:08:48Oh, Gilmore Marshall!
00:08:51Oh, but of course!
00:08:54Of course!
00:08:57Why, Gil!
00:09:00What in the world?
00:09:02Why, it's been years and years.
00:09:08I know.
00:09:11Well...
00:09:13Well, how are you?
00:09:16Well, what are you doing on a boat called the SS Cristabella?
00:09:21Oh, you're arriving tomorrow.
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!
00:10:03Come at four shops.
00:10:04I'll have them wheel me downstairs.
00:10:08No, of course not.
00:10:11No.
00:10:11No, you'll be surprised.
00:10:13No, I'm much younger than I used to be.
00:10:17No, not a silver thread.
00:10:20Hey, how about you?
00:10:22Oh, I'm about the same.
00:10:25I've settled down quite a bit.
00:10:26Yes.
00:10:28At least I'd...
00:10:29I'd like to settle down.
00:10:32Tell me, Julia.
00:10:34Are you...
00:10:35Are you still on the stage?
00:10:39Well...
00:10:39What a question!
00:10:41Don't you ever read the newspapers down there?
00:10:44Now, Gil, you must tell me all about yourself.
00:10:46No.
00:10:47Oh, no, no, not now.
00:10:49No.
00:10:50Tomorrow at four.
00:10:51Yes.
00:10:54Yes.
00:10:58Yes.
00:11:00Well, goodbye then.
00:11:04I'm taking your roses up to my room.
00:11:08Goodbye, my dear.
00:11:37Yes.
00:11:37Yes, yes.
00:12:02And I'm going to trust you.
00:12:03What about you, Gloria?
00:12:04I'm going to get your glasses off.
00:12:04I'm not going to be right here until you get a minute.
00:12:06I'm not going to do this, but my son.
00:12:07How do you ever make an unmask in any day, Julia?
00:12:09I mean a star, Oscar. They wait for me.
00:12:13It's a very good answer, 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.
00:12:28I think it's beginning at 4 o'clock, it is.
00:12:30Hello, darling.
00:12:32Don't you look terrible?
00:12:33Oh, I know I'm a delight, mother, but I'm going to light up and change.
00:12:39Oh, how lovely, how peaceful, lovey.
00:12:46Oh, peace, peace.
00:12:49Go on, Oscar. I'll help you.
00:12:52A COD package, Mr. Tuesday, $39.
00:12:55COD?
00:12:56What?
00:12:57A package, $39.
00:12:59What do I buy for $39?
00:13:01All that for $39?
00:13:03Who's got $39?
00:13:07Oscar, let me have this.
00:13:21Oh, Oscar, you're terrified.
00:13:23I'll cut it short.
00:13:25Oh, it's five minutes past two already.
00:13:28I want you downtown in my office.
00:13:29You and Gwen, 3 o'clock sharp.
00:13:31Your office? I never go to your office, Oscar. What do you mean?
00:13:33Oh, don't start to holler before I tell you.
00:13:36Now, you remember I told you last night I was going to meet the Mauritania?
00:13:40Well, he came in.
00:13:42Send John Throckmorton.
00:13:44Oh, the author. Oh, send him back.
00:13:47Avoid authors that come over water.
00:13:49An old Chinese proverb.
00:13:51In fact, avoid all authors. Let them eat cake.
00:13:55If you convenience will keep still a minute, I'll tell you what it is now.
00:13:59This Throckmorton is a new playwright and English to go.
00:14:02And nothing will satisfy him.
00:14:04He wants to read his new play to the entire company.
00:14:06The gesture?
00:14:08Oh, I've never heard him be so idiotic in my life.
00:14:11If you're really serious, I'll go through with it.
00:14:13But it can't be this afternoon.
00:14:15Julia, how often do I ask your favor?
00:14:18Now, this fellow has got another play that I'm crazy to get to hold on.
00:14:23If we all humor him a little bit and tell him how good he is.
00:14:27Now, what do you say?
00:14:28Oh, Oscar, no.
00:14:30Well, what do you say, Fanny?
00:14:31Don't go jump in the lake.
00:14:34But why does it be this afternoon?
00:14:36Some other 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?
00:14:44I can't do it, that's all. I can't.
00:14:46So, so you wouldn't even do this for your poor old manager, huh?
00:14:49You've got a little appointment.
00:14:51Tea or buy a new hat and compare to that.
00:14:54Oscar, Oscar, it doesn't matter.
00:14:55Now, Oscar, don't cry. Your tears unmanned me.
00:14:58Well, well, well, never mind.
00:15:00Never mind.
00:15:00But the next time you'll ask me to do something for you, I...
00:15:05Oh, I'll do it anyhow.
00:15:08Well, what are you doing with so important this afternoon?
00:15:10Well, I, uh, I don't pay any attention to Oscar.
00:15:14I'll see that she's there.
00:15:15Oh, you don't understand that thought.
00:15:16Oscar's done a lot of things for you.
00:15:22You win, Oscar.
00:15:24At 3 o'clock, enter Julie Cavendish's lap.
00:15:27That's right, girl.
00:15:28Now, don't forget, 3 o'clock sharp.
00:15:30You both went down in my office, huh?
00:15:32You start your 20-minute sharp, huh?
00:15:34All right?
00:15:35We'll be there, but I could kill you for it.
00:15:37That's the way to talk.
00:15:39Goodbye, everybody.
00:15:40Goodbye, Ruth.
00:15:41Goodbye.
00:15:49Now, dear.
00:15:53Now, Julie Cavendish.
00:15:54What's all this mooning about?
00:15:57What's this big renunciation scene?
00:15:59I can't do it this afternoon.
00:16:00I can't.
00:16:01What'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.
00:16:11So 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.
00:16:19The devil will just have to put him off, that's all.
00:16:22So he's come back to New York to spend his millions.
00:16:25And I think if it hadn't been for me,
00:16:27you'd have gone off to South America and given up your career and everything.
00:16:30I wonder what he's like now.
00:16:33He may have become very charming.
00:16:35South America and Indians.
00:16:38Probably a little gray here.
00:16:41Sounds rather romantic, huh?
00:16:42No more romantic now than he was years ago.
00:16:45Oh.
00:16:46What a siege that was.
00:16:48Yes, and what a demon you were, darling.
00:16:51I had to be.
00:16:52You certainly acted like a mother in a melodrama.
00:16:54How I ever got you where you are today is more than I know.
00:16:57You were always at the point of running off with some young squirt.
00:17:00And when you finally married, Rex told me.
00:17:03Mother, out of the whole crowd, why did I marry Rex?
00:17:06He was the weakest, I guess.
00:17:08He had the most lovely manners.
00:17:09Yes.
00:17:10He was the kind of man that could kiss your hand without looking silly.
00:17:13I guess that's what he must have been doing when I needed him.
00:17:17That's one thing you must admit about.
00:17:19Still, Mother, he would have been dependable.
00:17:22And when you get a little older, you begin to think that maybe...
00:17:27What's that?
00:17:28What's that?
00:17:29Oh, don't be alarmed, darling.
00:17:31But I am curious to see him.
00:17:34I had all stayed so beautifully, too.
00:17:37I wore my rose beige and a hat for the brim.
00:17:41I looked dignified and wistful.
00:17:43Yet girlish.
00:17:45It was a world at all.
00:17:48Oh, dear.
00:17:49Oh, dear.
00:17:52Here, behave yourself.
00:17:54You can put that act on for him just as well tomorrow.
00:17:58It's been a good many years.
00:17:59What's a couple of hours more?
00:18:02I do hate disappointing Gilwell.
00:18:08And I did so want to look gorgeous and gay and glamorous.
00:18:14Is that all?
00:18:16Oh, that won't be very difficult, my darling.
00:18:20Thanks, Mother.
00:18:22You're sweet.
00:18:25Am I a fool?
00:18:26Yes.
00:18:31Oh, don't you look so well.
00:18:35Oh, Gwen.
00:18:37Was it this afternoon you were going out to Westchester with Perry?
00:18:39Yes.
00:18:40He'll be along any minute.
00:18:41Oh, well, darling.
00:18:44You can't roll, that's all.
00:18:46You'll just have to put 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 a third.
00:18:53You 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.
00:19:01How can I?
00:19:03Can 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.
00:19:08I promise.
00:19:10Now then, Perry will understand.
00:19:13I hope someone else will.
00:19:14He picked a good day for us, Mr. Singambobs.
00:19:20Who is that?
00:19:22Joe, tell her.
00:19:23You're coming in by a tree.
00:19:24I've never had a place.
00:19:26I've never imagined this that was my life.
00:19:28Oh, it's surely that's not a grill already!
00:19:31Tommy, what are you doing here?
00:19:35He's making fun of your jokes.
00:19:37All right, everybody.
00:19:39Shut up!
00:19:41Take everything off my room, Joe.
00:19:43Yes, this way, boys.
00:19:45Somebody go out there and lock the back door.
00:19:47Hey, you.
00:19:48Take a look out that window.
00:19:49See if there's a man out there in a long overcoat.
00:19:50About filthy cut.
00:19:54Well, how's America, sweetheart?
00:19:57Aren't you glad to see you, baby boy?
00:19:59Donut! Donut! Donut!
00:20:00Donut, will you explain this thick entrance? How'd you get here?
00:20:03Tell me all about it in a minute.
00:20:05Jerry got 20 bucks. Jerry brought me in for many older.
00:20:07Ten apiece for the rest of the boys. How many are there?
00:20:09Seven, sir. Six in the door.
00:20:11All right, that makes about 90 bucks.
00:20:12Now, remember you, fellas, if any of those reported us, you didn't see me.
00:20:15I never came in here, you don't know anything about me.
00:20:16In fact, you never even heard of me.
00:20:17Oh, no, you better not say that.
00:20:19They wouldn't believe you.
00:20:21Hello, it's this.
00:20:22Well, hey, uh, let him have the money, will you?
00:20:29Don't eat your arm!
00:20:30Don't hurt him!
00:20:31Oh, that doesn't amount to anything. I hit him too hard, that's all.
00:20:35How does the fight start in the first place?
00:20:37Well, you see...
00:20:38Ah, this will be good. Tell us all about it, Uncle Tony.
00:20:40Uncle? It'll strangle us.
00:20:42Hello, Del.
00:20:43Hell, yes, I haven't had a fight in 12 hours.
00:20:45Bring me everything you got, will you? Eh, babe?
00:20:47Hey, first, I got to have a hot bath.
00:20:49Come on upstairs, everybody, while I take a bath.
00:20:51Now, don't care, Tony, can't be sure you listen to me.
00:20:53What is the market?
00:20:54Tony, how did you get here? You were in Dodge City yesterday.
00:20:56Blue, a bus came by airplane from Chicago.
00:20:58Blue!
00:20:59Hey, I'm disappointed.
00:21:00I couldn't come on the trains. They're watching the trains.
00:21:02And I've got to lay low in this apartment until I sail.
00:21:04Sail, sail where?
00:21:05You're up, of course, tomorrow in the Aquitania.
00:21:08Ah, I hate pictures.
00:21:10Come on, come on, I've got to have a bath.
00:21:11Tony, how did he start?
00:21:13How did this fight start?
00:21:16Oh, this alleged director.
00:21:17Ah!
00:21:18What about you?
00:21:19Ah, he had it coming to him ever since we started the shoot.
00:21:22He put his girl in the picture, and when she got stuck on me, he got sore.
00:21:26But, Tony, I want you to...
00:21:27Well, I knew, Tony, I knew.
00:21:28And then what happened then?
00:21:29What happened after that? Come on, we're up here.
00:21:31Well, how do you say when, uh, we're not on location doing a desert scene, see?
00:21:38Well, this guy, Demi, picked out the worst camel in the pack,
00:21:41and he said to me, you ride that one.
00:21:44I took one look at it and said, you ride it yourself and see how you like it.
00:21:49Well, he said, who's directing this picture, you or me?
00:21:52I said, you're directing the picture, but you're not directing me.
00:21:54I am through with it, and you can take this to remember me by.
00:21:58I don't think you're so worried about him.
00:22:00Mr. Gilders, who is this train woman?
00:22:04Who is this Dick Ray Zachern?
00:22:10Oh, my mama, she's a pole.
00:22:20Look out for a pole.
00:22:22Yeah.
00:22:37What a fancy meeting you here.
00:22:40Shut up, Eric.
00:22:42Well, I can't go.
00:22:44What do you mean you can't go?
00:22:46I've got to go to Wolf's office to hear the play read.
00:22:49There's no way out of it. I've got to do it.
00:22:51You can't mean that you're breaking this date just to go and hear somebody read a play.
00:22:56What play?
00:22:56The play. The play that goes to rehearsal tomorrow.
00:23:00That mother and I do it.
00:23:01Well, 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?
00:23:11Oh, Perry.
00:23:13I wanted horribly to go with me.
00:23:16I made an offer first, but what could I do?
00:23:19You know, Gwen, this isn't the first time you've done this to me.
00:23:22Oh, Perry, don't be unreasonable. You know it's just because of the new play.
00:23:26Yeah, but there will always be a new play, won't there?
00:23:29Well, I realize it's inconvenient sometimes. It is for me, too.
00:23:34But what are we heading for? That's what I'd like to know.
00:23:37How's it all going to work out?
00:23:40Well, I don't know.
00:23:43What is it going to work out?
00:23:49After all, you marry the person you'd rather be with more than anybody else in the world.
00:23:53But where will you be half the time? Rehearsing or something?
00:23:57Now, it'll be fantastic. Rehearsals last three weeks.
00:23:59All right, and then what? You'll be at the theater every night.
00:24:02Your work will just begin when mine's all over.
00:24:04You'll have dinner at six. I probably won't even be home.
00:24:07By midnight, you're all keyed up and ready to start out.
00:24:11And I've got to be at work in the morning.
00:24:13Now, you wouldn't want me to be one of those wives, would you?
00:24:16Bridge and household and babies.
00:24:18Why not? What's the matter with that?
00:24:21Because I can't do that sort of thing any more than you can do the others.
00:24:24I'm an actress, Terry. An actress.
00:24:27Well, what does that mean?
00:24:28Suppose you turn out to be as good as your mother, or better.
00:24:31What is it to it when it's all over?
00:24:33Get your name up in electric lights, a fuse blows up, and where are you?
00:24:38Oh, I suppose the world would go to pieces if you didn't sell a hundred shares of consolidated whatnot
00:24:43for tens of more than somebody paid for it.
00:24:46Oh, now, listen. You can't compare acting with business.
00:24:48Is that so? I can give you the names of actors and actresses of 300 years ago.
00:24:54Dozens of them. Name me two 17th century stockbrokers.
00:24:59All right. I'll give up my work, trail along after you carry a little Pekingese.
00:25:04It's not a Pekingese.
00:25:07Oh, it's very...
00:25:08How can he talk? How can he talk?
00:25:12And all of the equipment.
00:25:26Have you ever done?
00:25:27I've ever had a daughter.
00:25:28Oh, my God.
00:25:33Oh, my God.
00:25:34Oh, my God.
00:25:34Oh, my God, I've never had a miracle.
00:25:34It's not so bad that I can't wait to hear you.
00:25:38Oh, my God.
00:25:40I'm a fool of idiots who had never fallen before.
00:25:43And we won't again.
00:25:45There isn't anything in the world that matters to me except you.
00:25:48We must have been crazy.
00:25:50And you're all that matters to me.
00:25:52Oh, Gwen, darling. Darling.
00:25:58Now, come on, honey. It's late.
00:26:00What?
00:26:01Boy, you're coming with me, aren't you?
00:26:03Oh, Perry.
00:26:05What?
00:26:07You haven't heard a word I've said.
00:26:10I heard everything you said.
00:26:12You heard what I said, too, didn't you?
00:26:14Oh, it's like a sad dream.
00:26:16I can't go. I haven't explained to you I can't.
00:26:19Oh, yes.
00:26:21Well, I got to be going, of course.
00:26:23Get there.
00:26:28Police! Are you ready?
00:26:30I'll be right, Gwen.
00:26:31Well, are you ready?
00:26:40Soon, to my old grave, I'll go.
00:26:43Oh, to my grave, I'll go.
00:26:47Oh, I'll go.
00:26:50Oh, I'll go.
00:26:50Bravo, Johnny, bravo!
00:26:53If I'm not violating any general tradition of the cabin dishes,
00:26:57would it be all right for me to ask where all my lunch is?
00:27:00In fact, where lies?
00:27:04Oh, I'm not feeling!
00:27:07I can't see my house!
00:27:08I can't see my house!
00:27:09Mr. Wolfe just telephoned from the office, Miss Julie.
00:27:11Alex, goodbye, Mother Dolly.
00:27:12Goodbye, you fools.
00:27:14Come on, Gwen.
00:27:15I'm not coming.
00:27:18Gwen!
00:27:20Will you please put on your handcoat?
00:27:24I don't just mean that I'm not coming now.
00:27:26I'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!
00:27:31Is it where you start?
00:27:34I'm not going to have it mess up my whole life.
00:27:38You mean...
00:27:39as you think it has in mind?
00:27:41If you like.
00:27:42Oh, Gwen, darling.
00:27:44What 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?
00:27:53Oh, my dear.
00:27:55You don't know what you're talking about.
00:27:59I'm sick of all this.
00:28:01I'm sick of being a Cavendish.
00:28:02I want to be a human being.
00:28:04But you are a Cavendish.
00:28:05Then I don't want to be.
00:28:07But you've got to be.
00:28:10Gwen, you can be the greatest of us all.
00:28:12Aubrey and Sandy Cavendish have just been stepping stones for you.
00:28:15What's that?
00:28:16What's that?
00:28:17I'll be a stepping stone for nobody.
00:28:19And as for Aubrey Cavendish,
00:28:20there's nobody since his day that can touch him.
00:28:24That's what I mean.
00:28:26What's that to it when it's all over?
00:28:28Get your name up and I like to throw a snow light to a work or something.
00:28:32And then where are you?
00:28:36And you, the great Cavendish,
00:28:38that none of the young girls in this country can come to sleep on account of.
00:28:42I 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?
00:28:54You've touched on a secret dream of mine, Gwen.
00:28:58I wish you had spared...
00:29:00Lunch!
00:29:03I'm through with you all.
00:29:05I'm going to be Mrs. Harris Stewart.
00:29:07And whoever wants to be a Cavendish is welcome to it.
00:29:11Come on, Gwen!
00:29:16Why am I saying this?
00:29:26Come on, Gwen.
00:29:27I'm the girls in.
00:29:28I just wanted to know Grandma don't forget my name!
00:29:33Give me the trouble, Gwen!
00:29:33Why is she?
00:29:33Daven?
00:29:39Or here is David.
00:29:42Get out!
00:29:46He's only been home 24 hours, and he's carved his way through every room in the house.
00:29:50I had to lock the door in my bathroom.
00:29:56He's waiting for water!
00:29:58Too late!
00:29:58Expect no money from Antony the Elegant!
00:30:01Uh-uh, Mr. Colby!
00:30:02Sorry, good.
00:30:04Aha, boys!
00:30:05Now, Mr. O'Connor, let's make the burglary throughout this town.
00:30:07Now, it's going to smack him against the nifty set of swordsmen in all the past.
00:30:11And then, I'll let you in.
00:30:15And then, I'll let you in.
00:30:18And then, I'll let you in.
00:30:20My last line.
00:30:22I lit the door.
00:30:24Come against my pretty wench!
00:30:27Well, have I not won thee fairly?
00:30:29My Yes!
00:30:31Here you are, Max.
00:30:32I'll be up in a couple of minutes.
00:30:33I told you, he was good.
00:30:35Oh, you should've seen your father hold off eight children.
00:30:40Oh, what a sportsman he was, what an actor.
00:30:46Aubrey and Sammy Cavanagh, and a gentleman of science.
00:30:51He sent one head first right down the stairway.
00:30:55Then another, he throw the barrister, then quick as a wink he'd whirl,
00:30:58and catch one coming up behind him.
00:31:00Drus, yes, parry, eh?
00:31:08That scene alone took a full bottle of liniment every week.
00:31:14How those were the days, Fanny.
00:31:19Those were the days.
00:31:21Hey, wait, Julie, what time is it, anyhow? It's late.
00:31:24She should be here any minute.
00:31:26The matinee's over at the quarters of time.
00:31:28Is she getting my passport, isn't she? I've got to get out of here.
00:31:31If you can't steal without a passport, she ought to know that.
00:31:32Well, she isn't getting your passport. Who says you've got to go to Europe?
00:31:35What for?
00:31:36A million reasons!
00:31:37I feel like it.
00:31:39I want to get away.
00:31:40You can have it, your ancient and royal profession of acting.
00:31:43I'm through!
00:31:44Oh, yes, you've been saying that ever since you played Little Lord Hauntler, right?
00:31:48All right, I mean it this time. That's why I'm going abroad.
00:31:51You give me two years in Munich with my violin under Asher,
00:31:54I'll show you what the stage means to me.
00:31:58I can be a great musician.
00:32:02Or I might go away into India with Krishnamurti,
00:32:05studying Hindu philosophy. It's the only real thing in the world.
00:32:09You wear just one garment, a long white robe,
00:32:13and you eat just one food, rice.
00:32:17Now, that'll be restful.
00:32:19The stage.
00:32:22I'd rather spend ten minutes in the cathedral that's shot than a fool.
00:32:25I'll hear you hear.
00:32:27You think you're fooling me about why you're going to Europe?
00:32:31The cathedral and violins and rice.
00:32:35That day-go woman you're running away from.
00:32:38Well, I suppose I am.
00:32:40But I'm not afraid of her.
00:32:42Well, what is it?
00:32:45It's a breach of promise suit.
00:32:48What breach of promise suit?
00:32:50Two hundred thousand dollars.
00:32:52She wants two hundred...
00:32:54That's why I've got to stay cooped up here.
00:32:56You don't suppose I'm afraid of reporters, do you?
00:32:58But if they ever clap that little paper on me, I can't fail.
00:33:00Two hundred thousand breach of promise.
00:33:05Why wasn't I told of this?
00:33:07I suppose I was too young to know.
00:33:09Two hundred thousand dollars.
00:33:10Well, you see, Fran...
00:33:11Give away from me.
00:33:13Two hundred thousand dollars for breach of promise.
00:33:16Salt and battery on this director, probably another hundred thousand.
00:33:21Well, it's worth it, I tell you.
00:33:24What did you ever promise this movie actress that's worth two hundred thousand dollars?
00:33:30What?
00:33:37A woman's voice?
00:33:38I don't know.
00:33:40No, but I'm not taking any chances.
00:33:48Who's that?
00:33:54Oh, it's Julie.
00:33:55Julie, sorry.
00:33:56Oh, hello, Julie.
00:33:58Oh, I'm getting pretty fed up on your dear public, Tony.
00:34:01You get it, Julie?
00:34:02The entire population of New York is standing on the doorstep,
00:34:05howling for a glimpse of America's foremost screen lovers.
00:34:08In the meantime, they take what fortune sends, or a piece of it.
00:34:12My dear, your coat is ripped.
00:34:13I know.
00:34:14Come and sit down.
00:34:15You'll be worn out for another performance to play.
00:34:17Julie, the passport.
00:34:18Have you got my passport?
00:34:19Oh, dear.
00:34:20What a day this has been.
00:34:22Mother, how's Gwen?
00:34:23Is she better?
00:34:24No, no.
00:34:24She's still sulking in her room.
00:34:26She hasn't been out all day.
00:34:27Now look here, Julie.
00:34:28Shut up, Tony.
00:34:29Has she eaten anything?
00:34:30No.
00:34:30She wouldn't even drink her tea.
00:34:32Miss Julie.
00:34:32Mr. Cartwright's phone.
00:34:34Mrs. Blair's dinner has been postponed a week for Wednesday.
00:34:37Please.
00:34:37The Labo Hameshop called out about your fitting.
00:34:40Your dress won't be written.
00:34:41Let me hang my boat sails at midnight.
00:34:43What have you done about my passport?
00:34:45Tony, my love, Wolf is bringing it.
00:34:48Oh, he is, eh?
00:34:50Well, I didn't say so.
00:34:54He's bringing you the money, too.
00:34:55Thanks, ma'am.
00:34:56I paid for your reservation.
00:34:58By the way, you neglected to tell me that you were roughing it across in the royal suite.
00:35:02You don't expect him to travel like a stowaway, do you?
00:35:04You've got the right idea, ma'am.
00:35:06Well, hire a battleship, if you like.
00:35:09Don't forget, I'm a poor working girl.
00:35:11Well, it'll all blow over in a month.
00:35:12That's why I want to get away.
00:35:14Well, why must it be Europe?
00:35:16What are you going to do when you get there?
00:35:18He's going to eat rice and play the violin.
00:35:22Oh, well, I'm going to see Gwen.
00:35:24Don't forget, nobody's to know I'm in the house.
00:35:26Well, there are only about 10,000 people downstairs who seem to have caught onto your secret.
00:35:30Well, I'll manage them all right.
00:35:31You'll have to go out to catch the boat, would you?
00:35:33Oh, no.
00:35:35Oh, no.
00:35:35It's all been arranged.
00:35:36They're going to back the Aquitania up to the door for him.
00:35:45They're telling me.
00:35:46I know that.
00:35:46Mr. Marshall phoned eight times.
00:35:48He laughed, I mean he'd be right over.
00:35:51Now, why don't you lie down and relax?
00:35:54Or I'll bring you dinner on the train.
00:35:56You'll have another performance tonight.
00:35:58I know, darling.
00:35:59I'm going up to see Gwen.
00:36:17I don't mean to act like a prima donna, but I feel like hell, that's all.
00:36:21I know, dear.
00:36:24What's all this darkness about here?
00:36:29You've got your hand before your face.
00:36:31He didn't even telephone.
00:36:33He might at least have telephoned.
00:36:35I don't know, he didn't telephone.
00:36:37Tony's had the receiver off almost.
00:36:39Maybe he tried to.
00:36:42There, Gwen.
00:36:44I 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, it's hard for us to realize that you wouldn't want to carry on.
00:36:58Your mother and I both got married, but we didn't think we had to drop more important things to do
00:37:03it.
00:37:03There isn't anything more important.
00:37:05Oh, Phyllis.
00:37:06Marriage isn't a career, dear.
00:37:08It's an incident.
00:37:11Aubrey Cavendish and I were married in the church of St. Mary Redshift.
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 you.
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.
00:37:32The day might come when you hate him for it.
00:37:35Hey, Terry.
00:37:37You just don't know what you're talking about.
00:37:39Oh, but I do.
00:37:41There 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 that 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.
00:38:01You 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.
00:38:16Meat and drink.
00:38:18And home and babies.
00:38:21Well, 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.
00:38:29You think I could have stood these last two years hobbling 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, I'm really down there at the theater.
00:38:467.30.
00:38:48They're just going in at the stage door.
00:38:52Good evening to the dorm men.
00:38:54Taking down their keys, looking in the mail rack.
00:38:58Eight o'clock.
00:38:59The stage hands are setting up.
00:39:02How about, Miss Cavendish?
00:39:05Half horse, grease paint, rouge, mascara.
00:39:0915 minutes, Miss Cavendish.
00:39:13My costume.
00:39:15More rouge, where's the rabbit foot?
00:39:18Overpure, overpure.
00:39:21Good evening, everybody.
00:39:23How's the house tonight?
00:39:25Good evening, Mr. Jackson.
00:39:27The captain's up.
00:39:28Crocs, cue.
00:39:30Enter!
00:39:34That's all that kept me alive.
00:39:37These last two years.
00:39:40The view was down there for me!
00:39:44Going on.
00:39:47Going on.
00:39:48What's going on?
00:39:50Oh, Mother!
00:39:52Mother!
00:39:53What is it?
00:39:54Oh, I can kill her!
00:39:55Don't!
00:39:55Don't!
00:39:56I'll do it!
00:39:57I won't!
00:39:57I'll go on, Grandma!
00:39:58I promise!
00:39:59I'll go on!
00:40:00I'll go on!
00:40:01What's going on?
00:40:02What's going on?
00:40:03What's going on?
00:40:05What's going on?
00:40:05What's going on?
00:40:06Well, do something!
00:40:07What are you all standing around for?
00:40:08Keep quiet!
00:40:09Oh, Mom!
00:40:10Oh, Mom!
00:40:12Oh, my poor, Mom!
00:40:14Oh, my poor, Mom!
00:40:16Oh, Mom!
00:40:16Here you are!
00:40:16Hold her, Mom!
00:40:17Oh, my poor, Mom!
00:40:18You all right, Mom?
00:40:19Oh, Johnny!
00:40:22Oh, Mom!
00:40:23Here, I'll take your shoes off here!
00:40:25Here, Mom, here!
00:40:26Hold her head!
00:40:27Hey, I'll take a swig of it!
00:40:28You'll be alright in a minute, Helen.
00:40:29Sure, that'll make you better.
00:40:32Get you better now, Mom?
00:40:34Don't take her all day on the counter!
00:40:35Oh, my poor!
00:40:35Oh, no!
00:40:35Come on!
00:40:36Come on!
00:40:36I'll take her, Jo!
00:40:37I'll take her!
00:40:38All right, bring her down.
00:40:39I'll let her sit here and let her head off.
00:40:42See?
00:40:42I'm right over here, see?
00:40:43Come along, darling!
00:40:44Just take it easy.
00:40:46You're doing well.
00:40:49Put your feet on.
00:40:53Get 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 care of her.
00:41:04Do you feel better now?
00:41:09I'll never forgive myself.
00:41:11Gwen, you must stop blaming yourself.
00:41:14Well, how's your mother?
00:41:16Oh, 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.
00:41:26I suppose the bull felt the same way about the china shop.
00:41:30Oscar!
00:41:31What about my passport?
00:41:33That's what I came to talk about.
00:41:35What?
00:41:35It's not so easy.
00:41:37These fellows...
00:41:38Oscar, you don't mean to 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 and you can order straight jackets for two.
00:41:46No, no, no, no.
00:41:47Did Oscar ever fail you?
00:41:49We'll get that passport, all right.
00:41:52Uh, hope.
00:41:54Well, I won't take no for an answer.
00:41:56You've got to get that passport.
00:41:57Tell me you're being unreasonable.
00:41:59Certainly I'm being unreasonable.
00:42:00But you haven't done anything so terrible.
00:42:02You've hit a movie director and made love to a pole.
00:42:05Well, chances are both will recover.
00:42:07You don't know what you're talking about.
00:42:09You'll find out if it's terrible, Nat.
00:42:15Why, if this woman needs...
00:42:17Oh, Tony, stop acting.
00:42:18Now, what can she do to you?
00:42:20Now, keep quiet and calm down.
00:42:25What can she do to me?
00:42:27Say, what kind of a jam do you think I'm in?
00:42:29What do you suppose I'd do all the way from California for, the ride?
00:42:32I've got to get out of here, I tell you.
00:42:35Zadak's in town where that comes.
00:42:36You know what that means?
00:42:37You don't know that polecat.
00:42:39Why, I've seen her pick up.
00:42:43She's a killer.
00:42:44She just don't shoot us, look at you.
00:42:45She's a pole.
00:42:46She's cuckoo about me.
00:42:48And she knows I'm through with her.
00:42:49Now, if you don't want to do anything to help me, why, all right.
00:42:52You're a fool.
00:42:52Fine, sister, I'm only your brother, so why should you bother about me?
00:42:55But I'm telling you now, to get me, I'll be over the front page,
00:42:57and so will you and so will 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.
00:43:18Well, I suppose that's what must be our ears.
00:43:20No, no, no.
00:43:21I'm going to see how grandma is.
00:43:22What's the matter with your grandma?
00:43:24She's ill.
00:43:24She's ill?
00:43:25Oh, yes, she fainted.
00:43:26She fainted?
00:43:27Yes.
00:43:27She fainted?
00:43:28And you didn't tell me anything?
00:43:30Oscar, I haven't heard anything.
00:43:31She's an old man to you.
00:43:32You're half on Iska's doctor.
00:43:33She's unfair.
00:43:34It's quite all right for you to go up there, Oscar.
00:43:36He must have quiet.
00:43:36He's excited now.
00:43:37He mustn't have any excitement now.
00:43:39Remember.
00:43:42Gil.
00:43:46Oh, Gil.
00:43:48You must really make allowances for us.
00:43:50We're even more upset than usual this afternoon.
00:43:54Is there anything wrong?
00:43:55Can I help you?
00:44:00Perhaps I shouldn't have come.
00:44:01Oh, no.
00:44:02I'm glad you did.
00:44:03You're still sane, aren't you, Gil?
00:44:06You're strong and reliable and sure.
00:44:10Oh, dear.
00:44:13I was going to be so ravishing on our first meeting.
00:44:16I'm going to be so divinely cool, so beautifully serene.
00:44:20I had all plans.
00:44:23Look, you go out and come in again.
00:44:26Just go out and come in and out of my hand like that.
00:44:29And I'll say, oh, Gil, so it's really you after all these years.
00:44:38They seem like centuries.
00:44:43You haven't changed a bit.
00:44:46Oh, come over here.
00:44:52Still the same.
00:44:54The same slim, fair-haired girl I knew so well.
00:44:58Mm-hmm.
00:45:00Tell me, are you as famous as they say?
00:45:03No, probably.
00:45:05But you haven't exactly been hidden from the public gaze yourself.
00:45:08What was it you found lying in the streets?
00:45:11Radium or something?
00:45:12No, not radium.
00:45:13Platinum.
00:45:14Oh, only platinum.
00:45:16Anyway, you've got millions and millions, haven't you?
00:45:19Let me touch you.
00:45:20Oh, I've done pretty well.
00:45:23You're certainly the top of the heap in your line, aren't you?
00:45:26No.
00:45:27The zenith.
00:45:28It's illegal to get out a tabloid newspaper nowadays.
00:45:31He's got a story of one of the family.
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,
00:45:43and we can't get a passport.
00:45:45Passport?
00:45:46Aquitania?
00:45:47Tonight?
00:45:48Well, Gil, you mean you know somebody who might...
00:45:53Rolling green, 92097.
00:45:56Oh!
00:45:59How soon can you get down there?
00:46:00Oh, right away, I should think.
00:46:02Tell him to get ready.
00:46:03John, let me talk to Moran.
00:46:05You actually mean you can do it?
00:46:07Oh, if you only could.
00:46:09Why don't you know there isn't anything in the world that I wouldn't...
00:46:11Hello.
00:46:13Julia, if I thought you needed me, I'd go to the end for the...
00:46:16Hello.
00:46:17Oh, Moran, this is Marshall.
00:46:18I'll get this.
00:46:20I want an emergency passport at Aquitania tonight.
00:46:23That's right.
00:46:24Meet me on the Cunard dock in half an hour.
00:46:26Can you make it in half an hour?
00:46:27Yes, yes.
00:46:28Oh, 20 minutes.
00:46:29I'll give you the date here as I see you.
00:46:31Tony, Tony!
00:46:32Oh, Gil, it's wonderful of you.
00:46:34You're one of those strong, silent men, aren't you?
00:46:45Tony, Tony!
00:46:48We've got it.
00:46:49Hurry up, get your things on.
00:46:50What, you mean the passport?
00:46:52Yes.
00:46:53Gil got it for you.
00:46:54Gil who?
00:46:54Never mind, give him 50 bucks.
00:46:59Joe!
00:46:59Joe!
00:47:00Yes, sir.
00:47:00Yes, sir.
00:47:01Is everything ready?
00:47:01Yes, it will be.
00:47:02All right, go to it.
00:47:03Yes, sir.
00:47:04Ah, Stish, you're a grand kid.
00:47:06I knew I could call on you all reliable.
00:47:09Watch your eyes, old fella.
00:47:10Who is he, anyway?
00:47:11No, no.
00:47:18Is 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.
00:47:49Julia, the reason I went away was so that you could go ahead and be an actress.
00:47:53All that stuff about Cavendish and the stage being your real life and the only way you could be happy.
00:47:59Well, you've got everything you went after.
00:48:01And how about it?
00:48:03Are you happy?
00:48:07Happy?
00:48:10I don't know.
00:48:12Why, of course you're not, Julia.
00:48:16Why, straight away, all of these years, well, I thought at least you were living the life you wanted most.
00:48:20And now I come back and find this.
00:48:25Why, you ought to have everything in the world.
00:48:27You ought to have everything done for you.
00:48:30Done for you by someone who loves you.
00:48:39Don't you know what you ought to be doing instead of this?
00:48:41The sort of life you ought to be living?
00:48:44Why, you ought to be in a country house somewhere.
00:48:48With gardens and trees.
00:48:52Somehow you'll look gardens and trees.
00:48:55Oh, Gil.
00:48:58Julia, I've...
00:48:59I've got a little place in England, it's...
00:49:03I can't describe it, I'm not good at that sort of thing.
00:49:06Don't try.
00:49:08Let me imagine.
00:49:10Before you can go, you can go any place else you want.
00:49:13Cairo.
00:49:14St. Marie.
00:49:16Any place you want.
00:49:19Well, my dear?
00:49:25Oh, I'm so tired of deciding things.
00:49:35Julia.
00:49:36What fools we've been.
00:49:42Wait, let me think.
00:49:45You'll have too long to think.
00:49:48It's settled.
00:49:53Oh, please.
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.
00:50:02I mean, something 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.
00:50:14Well, I can come back, can't I?
00:50:18Tonight, after the theater.
00:50:38I'll tell you.
00:50:40I'll tell you.
00:50:41I'll tell you.
00:50:50You're making any hullabaloo! You're making all the hullabaloo!
00:50:52Nobody would be gladder than I am!
00:50:55You're gladder a person can't get away!
00:50:57Mother, what are you doing?
00:50:58Hiya, Fran, all right again, eh?
00:50:59Go back to your room, Fanny Cavendish. Just a minute, go back to bed.
00:51:02Julia, make her go to bed. I'll go and get her submitted.
00:51:05Oh, what's your excitement about? What's this all about?
00:51:08There you are, Fran. You're the comeback kid.
00:51:09You want to be thanked for this? When?
00:51:11But I've come along to bed.
00:51:12I can't go to bed now. It's totally going.
00:51:14Well, how soon has he been gone?
00:51:15I said he'll be gone 30 seconds. All aboard for Europe!
00:51:18Hello there.
00:51:19Yes, you take Mother's mother on.
00:51:21I don't mean, Mother.
00:51:23I don't want to.
00:51:24I don't want to.
00:51:25I don't want to.
00:51:26I don't want to.
00:51:26Jill, 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.
00:51:36It's not true, Jill.
00:51:37Tony 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, the end of a perfect day.
00:51:44Go!
00:51:45Now, Tony, don't hire us, have him come back.
00:52:02Don't let him go.
00:52:07Don't let him go.
00:52:08He's never gone like this before.
00:52:13He didn't look at me.
00:52:17He didn't speak to me.
00:52:22Ah, Tony.
00:52:25Tony.
00:52:29Oh, Mother, darling, it's all right.
00:52:31Don't.
00:52:32You've never been to a radio.
00:52:33Now, don't you.
00:52:34Make yourself a hearing.
00:52:35Oh, what?
00:52:38Farewell appearance.
00:52:40Tony!
00:52:42How do you like it?
00:52:44Good on me, isn't it, eh?
00:52:46What are you all made up for?
00:52:48Going aboard, of course.
00:52:49Like that?
00:52:49Why, sure.
00:52:50My double.
00:52:51Make a dash for the taxi.
00:52:52The crowd will all swarm after him.
00:52:53Give him a nice run up Fifth Avenue.
00:52:54Then I go down.
00:52:55Get into my cab.
00:52:56Ten minutes, I'm on the dock.
00:52:57Voila.
00:52:57Oh, goodness.
00:52:58Goodbye, everybody.
00:52:59Goodbye, Mom.
00:53:01The open sea.
00:53:02The salt bay.
00:53:03The Arctic wind.
00:53:03I'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 be something.
00:53:20Oh, I know.
00:53:20It's late.
00:53:20You've got to get to your performance.
00:53:21Yes, I know.
00:53:22Now, Mother, you promised me you'd go to bed.
00:53:24And I won't.
00:53:25No, I won't go to bed.
00:53:26Oh, please.
00:53:26What?
00:53:26Family, nothing bad?
00:53:27Julia, what are you thinking of?
00:53:29What?
00:53:29I've tried to get in.
00:53:30You should be in the theater anyway.
00:53:32You've got to see Throckmorton before you go on.
00:53:34What?
00:53:35Her mother hasn't had her dinner yet.
00:53:36She don't need anything in her.
00:53:37She's got to watch her wait.
00:53:42What's the matter?
00:53:42What's going on?
00:53:43Jerry.
00:53:44Jerry, take her out of this.
00:53:45Take her away before it's too late.
00:53:47Take her away.
00:53:47She'll never hear the word Sage again or Cavendish.
00:53:49Take her away.
00:53:50Julie, Julie.
00:53:51I'm not going to marry him.
00:53:53I'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 thought I'd better let you throw away your whole life,
00:54:01and for what?
00:54:02This?
00:54:02So that years from 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.
00:54:11No, I won't.
00:54:12Oh, yes, you are.
00:54:13You're going to do what I didn't do.
00:54:15He told me I had to be a Cavendish.
00:54:17Oh, yes, you did.
00:54:18Well, you're going to marry him now, tonight, tomorrow,
00:54:20and I'm going to be there with you and stand up beside you
00:54:22and cry for happiness and wish it was me.
00:54:26And why not?
00:54:27You've all had your turn.
00:54:29Why shouldn't I have mine?
00:54:30I can walk out and nobody can stop me.
00:54:33From now on, I'm going to live.
00:54:35You don't believe it?
00:54:36Well, I'll show you.
00:54:37I'm going to marry Gil Marshall
00:54:38and go to Egypt and Cairo and come to Statednopel.
00:54:40And what do you think of that?
00:54:41And as far as the state is concerned, I've grown in it.
00:54:43I'm never going to act again.
00:54:45I'm never going to put my foot on another stage again
00:54:46as long as I live.
00:54:47I'm never going to get inside of a theater again.
00:54:49I'm never going to do me a date of croc.
00:54:51Oh, good heavens, I'm lame.
00:54:53Let me move.
00:54:53Go on.
00:55:35Go on.
00:55:38Go on.
00:55:53Go on.
00:55:53Oh, Oscar, my lamb.
00:55:55You renegade.
00:55:58Oh, good, good.
00:56:00The lot you care about me.
00:56:02The only man on your mind is this Mr. Hooses.
00:56:05All the way from South America, he's got to come to ruin my business.
00:56:09He's supposed to get in tonight, huh?
00:56:10Couldn'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, baby.
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, all I need is Fanny should marry John D. Rockefeller and my season is
00:56:28over.
00:56:29Ask her.
00:56:31That's what I came to talk to you about.
00:56:33What? Is Fanny marrying Rockefeller?
00:56:36The doctor called up this morning. She 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 suspect anything.
00:57:05But, Junior, do you realize what that means?
00:57:09There won't be a Cavendish left on the stage.
00:57:13Yes, I know, but...
00:57:15Oh, Junior, listen. I've got a play here for you.
00:57:19Oh, no, Oscar.
00:57:19I've got a play. I'm so crazy to produce it, Junior.
00:57:22I don't care how much I lose on you.
00:57:24No, Oscar. I'm through with it. I'm through with it forever.
00:57:27I know. That's how you talk now. You just closed a big run. You're tired.
00:57:32What do you do when you're rested?
00:57:36What do I do when I'm going on my honeymoon?
00:57:39You're going to talk about the loan with this fellow.
00:57:42Platinum mining?
00:57:44Don't be absurd. Lots of things.
00:57:47The theater, he doesn't care about. Imagine.
00:57:52Well, there are lots of other things in the world besides the theater.
00:57:55Yes, but not for you.
00:57:59Oh, we're going to travel. We're going places.
00:58:01Amusing places, exciting places.
00:58:03Well, you might just well see the world. With him, you need it.
00:58:07Oh, Oscar, you just don't like Gil.
00:58:10No, no, not for you.
00:58:13He's the kind that will tell you you've got too much makeup on.
00:58:16He'll organize you.
00:58:19Well, that might be rather pleasant after years of practically checking my own trunk.
00:58:23No, no, not for you.
00:58:26You were independent too long.
00:58:29You got to be head man.
00:58:32Oh, Oscar, you just don't understand. I want to have fun.
00:58:36Fun.
00:58:37It's work that's fun.
00:58:39You'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?
00:58:51Oh, Oscar, I want peace and quiet.
00:58:55I want to relax.
00:58:56All right, go ahead.
00:58:57Relax when you could be making history.
00:59:00Go on.
00:59:01Get married.
00:59:02But wait till eight o'clock comes and you don't have to go to the theater anymore.
00:59:10How bored you'll be with your bargain.
00:59:17Don't be ridiculous.
00:59:28All right?
00:59:32I'm very excited.
00:59:33Son of a原
00:59:33of the press I have, you know,
00:59:34I probably wouldn't give her up.
00:59:35What was I?
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 wonder what happened to old stockings.
01:01:05Well, isn't it pretty?
01:01:06It's lovely.
01:01:09Stella?
01:01:11What's the matter with this place?
01:01:13I'm so thrilled.
01:01:16Flowers.
01:01:17That's what it is.
01:01:17We haven't got any flowers here anymore.
01:01:20No.
01:01:22Well, they don't come in like they used to, do they?
01:01:24They certainly don't.
01:01:26Well, I'll have to buy some.
01:01:32Stella, what do you suppose women who aren't actresses do with their evenings?
01:01:39They go to the theater, I suppose.
01:01:43Hey, that looks nice.
01:01:44Let me see.
01:01:45Let me tell you, ma'am.
01:01:46Wait a minute.
01:01:48What are you doing now?
01:01:49Well, now put this through your fingers.
01:01:51That's it.
01:01:52There.
01:01:53Now, now 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.
01:02:01All the way through.
01:02:02All the way.
01:02:05That's the way.
01:02:06Ah, that's fun.
01:02:07Now the next hole.
01:02:09Ah.
01:02:09Yeah.
01:02:10Yes, it's just a simple crochet stitch.
01:02:13Crochet?
01:02:15Is that what this...
01:02:16Am I crocheting?
01:02:18Take it away.
01:02:18Take it away, please.
01:02:20Oh, I never thought I'd come to that.
01:02:27What, Mr. Marshall?
01:02:28Never mind, Stella.
01:02:28I'll go, I'll go.
01:02:36Oh, Stella, I thought you'd never get here.
01:02:38I'm so glad to see you.
01:02:40Oh, please.
01:02:40I'm so glad to see you.
01:02:42I couldn't wait to get here, you know.
01:02:44You looked a bit marvellous.
01:02:45I never thought you was better in your life.
01:02:48Oh, come on.
01:02:48Tell me all about yourself.
01:02:49What you've been doing and everything about yourself.
01:02:51Now, how about the...
01:02:52The...
01:02:53The...
01:02:53The...
01:02:53Tell me about everything.
01:02:56Well, the trip was about as usual.
01:02:58Pretty hot when we started, but...
01:03:00It cooled off when we came up north.
01:03:01Oh, all right.
01:03:02You know, the trip usually takes about 18 and a half days,
01:03:04but this time, going into the perfect weather,
01:03:06we did in exactly 18 days.
01:03:0918 days?
01:03:11Oh, is it as far as that?
01:03:16Julia, you'll love it down there.
01:03:1860 miles from the nearest town.
01:03:20You won't see a theater, an electric sign, or a stage door
01:03:23from one year's end to the other.
01:03:26Up at six, in bed at ten.
01:03:28Peace, quiet, no traffic, no motor horns.
01:03:31Nothing but the vast solitude of those tremendous flames.
01:03:37That sounds rather restful.
01:03:40Our nearest neighbor is 30 miles away.
01:03:43Señor Tamaco, he's a Spaniard of the highest type.
01:03:47You'll see a lot of the Tamacos.
01:03:49He married a Kansas City girl, daughter of Julius Krantz.
01:03:53A big meatpacker, you know.
01:03:56Oh, Julius Krantz, yes.
01:03:58He's a very fine woman.
01:04:00And most entertaining.
01:04:06Yes, they're staying at the Ritz.
01:04:07I told them that I'd take you over there a little later on tonight.
01:04:10Good night, Gil.
01:04:12You and Sheila have lots in common.
01:04:15Really?
01:04:16Yes, she plays the house.
01:04:19Oh.
01:04:20Yes, I tell you, Julia, they're fine, solid, substantial people.
01:04:24None of you are.
01:04:26Oh, I wonder who that is.
01:04:27Well, no one, I hope, my first evening together.
01:04:30Hello, dear.
01:04:31Hello, dear.
01:04:34Or I suppose I could say father.
01:04:36Darling.
01:04:37How do you like being a Lady of Legal?
01:04:39So you're both getting sick, eh?
01:04:42Well, it's something nice to be all together like this.
01:04:45Well, well, giving up this page certainly seems to agree with people.
01:04:50Eh, Perry?
01:04:53Well, as a matter of fact, I, uh...
01:04:57Oh, Oscar, you tell them.
01:04:58No, no, no, no.
01:04:59You tell them yourself.
01:05:01Well, it's the most marvelous place.
01:05:03Only a bit, but 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, Claire's going on a business trip.
01:05:11What the hell is she talking about?
01:05:13She'll tell you.
01:05:14Oh.
01:05:15Is the boyfriend still upstage tonight, Mrs. Stewart?
01:05:18No.
01:05:19Oh, it's sort of a shock to him having the Leopard Shore spot.
01:05:23But Perry, darling, you'll be gone five whole weeks.
01:05:26Four?
01:05:26And the house runs itself, and I'll have nothing to do, and...
01:05:30I just can't give up this play.
01:05:33Because if I'm any good at all, it'll put me where I can...
01:05:38Well, anyway, Oscar says it can't possibly last more than two months at the most.
01:05:42Oh, a light begins to dawn, so it's Oscar's play.
01:05:46Oh, Oscar, aren't you the wily one?
01:05:49Well, Vaseline Mattoon, last season you and Gwen were to be in a play for me.
01:05:54Then Gwen got married, and now you're doing the walking out.
01:05:57But you still can have your part if you want to.
01:06:00Oh, no.
01:06:01Julie is through and all that sort of thing.
01:06:05Oh, Mother, you're pleased, aren't you?
01:06:08Of course, darling, of course I am.
01:06:12Uh, Julia, where's your mother?
01:06:13Uh, Mother's on the road this season.
01:06:15She's playing in Brooklyn here.
01:06:17On the road?
01:06:18Well, 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, Americans.
01:06:30They had been stranded in Buenos Aires.
01:06:33Poor devils.
01:06:35They didn't even have enough money to get home.
01:06:38But we, uh, we got together and saw them through.
01:06:42Yes, I suppose I was a little bit sentimental on account of you people.
01:06:47I'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.
01:06:58Oh, Oscar knows that.
01:07:00You know, you, you'd think they'd be down hard of it.
01:07:02Not a bit of it.
01:07:03They were absolutely careful as soon as they got on the boat.
01:07:06And they turned out to be quite a decent lot.
01:07:08Why, some of them were married.
01:07:10Oh, yes.
01:07:10Oh, even actors married.
01:07:14Oh, what is that noise?
01:07:15It's so crazy.
01:07:17Come here.
01:07:26Oh, it's so big.
01:07:33Oh, it's so big.
01:07:41Oh, what are you looking for?
01:07:42Oh, I want to in the morning.
01:07:44Oh, my God!
01:07:45Oh, my God!
01:07:46Oh, my God, oh!
01:07:47My friend, tell you all about it in a minute.
01:07:50All the fascinating facts.
01:07:52Ganga, something I said I wrote them all.
01:07:54I'm not going to say that.
01:07:55I'm going to give up.
01:07:57I'm going to give up.
01:07:58Hey, Tut, show him where to go, will you?
01:08:01Are you going to stay in the house?
01:08:02Ganga, well, he saved my life over in India.
01:08:04Another minute, and the tiger would have had me.
01:08:05Well, what do you mean by bursting in on a scientist line?
01:08:07So let us know.
01:08:08I'm afraid to let you know.
01:08:09That's why I came by way to Canada.
01:08:10I landed in Canada.
01:08:11Canada.
01:08:12Canada.
01:08:13Canada?
01:08:13Hello, George.
01:08:14How are you?
01:08:15Glad to see you, boy.
01:08:16Well, why Canada?
01:08:16Because 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, yeah, it's been in the papers.
01:08:27Natalia broke off her engagement with Rupert of Schlesingen.
01:08:30And the Albanians...
01:08:31Just a moment.
01:08:32Who is Natalia?
01:08:34Natalia is the Princess of Albania.
01:08:37She's a nice kid, but I didn't mean anything serious.
01:08:41That's the trouble with these princesses.
01:08:43She's sheltered alive.
01:08:44You know, you dance with them a couple of times and they want to elope with you.
01:08:48Of course, when she broke off with Rupert and the Prime Minister sent for me, I figured...
01:08:52Oh, I'm beginning to understand.
01:08:54You've 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 a little food?
01:09:02Oh, that's a good idea.
01:09:03Stop that, Val.
01:09:04Anyway, that's why I came back.
01:09:06I was cruising around the bar in Canisburg one night,
01:09:08and I happened to pass a little theater stuck away in the courtyard.
01:09:11There was a poster of this thing on the outside, and I started to read it.
01:09:14I don't know why.
01:09:15I got a hunch about it, and I went in.
01:09:18Well, say.
01:09:19Good, it's the greatest showing of a 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's wrong?
01:09:30I'm going to act in it, of course.
01:09:31Oh, don't you think that's a mistake?
01:09:33Sure.
01:09:33Well, what's so wonderful about that?
01:09:35Wait, I'll show you.
01:09:36I'll show you.
01:09:38Here it is.
01:09:40Now, here's the scene plan.
01:09:44You can't make anything out of this, but I'll show you how it works.
01:09:48What's that there?
01:09:48You don't enter or exit in the ordinary sense.
01:09:50You just slide, see, or else let down by wires.
01:09:53Wires?
01:09:54Schwanger, the fellow that does it in Canisburg fainted six times the first night.
01:09:58Here'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.
01:10:07Now, out and act.
01:10:08Now, that swings the whole thing around.
01:10:09The audience becomes the actors, and the actors become the audience.
01:10:12That says them right.
01:10:13I tell you, it's a knockout.
01:10:14Of course, the great thing about this play is 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.
01:10:20It's a modern version of the Passion Play.
01:10:24And you play what?
01:10:26The League, of course.
01:10:29Pure blank verse.
01:10:30And the incidental music.
01:10:34Wait, I'll play it for you.
01:10:35Is there a good woman's part of it?
01:10:42Julia, I probably had a word with you.
01:10:46There's a circle picture motor runs right through.
01:10:47Here you are.
01:10:59Here you are.
01:11:00Julia, you're not into this sort of nonsense anymore, are you?
01:11:06Get your things on, Tony.
01:11:07You know, I don't like to be late, but I'll be counting if our friends are waiting.
01:11:14And then when he comes down from the mountains, it's a stunning passage.
01:11:40Come on, come on.
01:11:43Come on, sir.
01:11:53Oh, shut up!
01:11:58What?
01:11:59Mrs. Cavendish?
01:12:01Yes, yes, yes.
01:12:04Right away.
01:12:06What is it, Oscar?
01:12:07To your mother.
01:12:10About to go to the theater.
01:12:12Tell me, Gwen.
01:12:13Hurry up.
01:12:31I never have observed to rise in my life, did you think?
01:12:36She was giving one of the best performances I ever saw her give.
01:12:40Mr. Ferguson, what shall we do?
01:12:42Will Mrs. Cavendish be able to finish?
01:12:44I don't know.
01:12:45Shall I call the act as usual?
01:12:46Yes, yes.
01:12:47Okay.
01:12:48There, there.
01:12:50All right, come on.
01:12:56The music.
01:12:58The 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, Mom, take it easy.
01:13:11Please, my daughter.
01:13:12It's all right.
01:13:13It's all right, Mommy.
01:13:14Go on again tomorrow, too.
01:13:15Tonight.
01:13:17Better go out and tell the money refunded at the box office.
01:13:21Ring down the curtain.
01:13:24Ring down the curtain?
01:13:26Are you mad, Wolf?
01:13:28Ring down the curtain?
01:13:31Cavendish, isn't it?
01:13:33Run down the curtain.
01:13:34We always finish the place.
01:13:39Julie, help me.
01:13:40No, Mom.
01:13:41Help me.
01:13:44Katie, get my costume.
01:13:45Fanny, my girl, don't try.
01:13:47Don't try.
01:13:49Katie, fix that dress for me.
01:13:52Julie.
01:13:53It's all right, Mother.
01:13:54I know the part perfectly.
01:13:55We'll finish the play.
01:13:56She can play it, Mom.
01:13:58The last dance.
01:13:59Everybody on the stage for the last dance.
01:14:01Go, go, go, go.
01:14:04Mother, the first artist is there.
01:14:05One more, Captain Ford.
01:14:07One more.
01:14:07Yes.
01:14:10And then...
01:14:11Come now, sweetheart.
01:14:13Oh, is anyone at home beside yourself?
01:14:15No, no, no.
01:14:16No, no.
01:14:17Who's at home beside yourself?
01:14:19Who's at home beside yourself?
01:14:21Yes, I know.
01:14:21Lay it back. Lay it back.
01:14:24Lay it back.
01:14:24Ready, Cavendish?
01:14:31Yes, yes.
01:14:34I'm ready.
01:14:38Mother.
01:14:38Mother, doctor.
01:14:39Doctor, please.
01:14:40Quick.
01:14:55Oh, Grandma.
01:15:03Oh, my God.
01:15:06Oh, my God.
01:15:07The greatest trooper of the most.
01:15:10My...
01:15:12My...
01:15:12Girl.
01:15:15Are you coming up?
01:15:26Oh, my God.
01:15:26Go on, darling.
01:15:40Julia.
01:15:44I'm going back to South America.
01:15:46Alone.
01:15:48Well, I want you to know that I understand.
01:15:50This is your life up here, and that's mine down there.
01:15:53And we couldn't ever make a go of it.
01:15:56I think you're right to stay.
01:15:59And I am proud of you, Julia.
01:16:02I'm proud of your family.
01:16:07Goodbye.
01:16:13God bless you.
01:16:24Oh, I'll bring up the curtain.
01:16:25Yes, Miss Captain.
01:16:55I'll be right back.
01:17:09I'm proud of you.
01:17:21Thank you, you too.
01:17:21I'll be right back.
01:17:22Oh, come on.
01:17:22I'll enjoy your drive, I'll be right back.
01:17:23Bye.
01:17:23And then you'll find your drive.
01:17:23You've got fun.
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