Forever Female (1953) - full transcript

I KNOW YOU'VE
SEEN THIS VIEW

OF TIMES SQUARE,
NEW YORK CITY,

SEVERAL THOUSAND TIMES,

BUT I JUST WANT TO
LET YOU KNOW WHERE WE ARE.

I PROMISE YOU WON'T
SEE IT AGAIN.

LESS FAMILIAR
ARE THE SIDE STREETS--

44th AND 45th

SHOOTING WEST
TOWARDS 8th AVENUE.

NESTLED
IN THIS COMPACT AREA

ARE PERHAPS A DOZEN
LEGITIMATE THEATERS.

I'M HARRY PHILLIPS,
A PRODUCER OF PLAYS.



IF I SOUND
A LITTLE NERVOUS,

IT'S BECAUSE ONE OF MY PLAYS
IS OPENING TONIGHT.

YOU CAN TELL
BY THE SIZE OF THE TYPE
WHO THE STAR IS.

THINGS ARE QUIET NOW,
BUT SOON THE DOORS WILL OPEN

FOR THE FIRST-ACT
INTERMISSION,

THE TIME BEING 9:25.

AND THE WORD, GOOD OR BAD,
WILL BE FLASHED IMMEDIATELY

TO SARDI'S ON 44th STREET,

WHERE IS GATHERED
A CROSS SECTION

OF THE THEATRICAL WORLD.

THE MOST REPRESENTATIVE
OF THIS GROUP

IS COLLECTED,
I'M SORRY TO SAY,
AT THE BAR.

THIS IS A PRODUCER

WHO TURNED DOWN
NO LAUGHING MATTER



BECAUSE IT WASN'T
UP TO HIS STANDARDS.

HERE'S A PLAYWRIGHT

WHOSE OPINION OF THE AUTHOR
OF NO LAUGHING MATTER

IS THAT HE COULDN'T
WRITE HIS WAY

OUT OF A PAPER BAG.

THIS CHAP
IS A SCENIC DESIGNER.

I THREW OUT HIS SETS
AND HIM WITH THEM.

THIS ACTRESS
WAS THE BEATRICE PAGE
OF TWO DECADES AGO.

SHE HASN'T CARED FOR
ANOTHER ACTRESS SINCE.

AND HERE ARE A COUPLE
OF PRESS AGENTS--

WELL, NEVER MIND THEM.

IT MUST BE TIME FOR
THE FIRST-ACT INTERMISSION.

WILLIE WOLFE IS HIS NAME.

THE REASON YOU DON'T
RECOGNIZE HIM

IS THAT HIS PICTURE

AT THE TOP OF HIS WIDELY
SYNDICATED BROADWAY COLUMN

WAS TAKEN
AT LEAST 10 YEARS AGO.

HE'S ON HIS WAY
TO SARDI'S

FOR HIS USUAL
BETWEEN-THE-ACTS DRINK.

SO THAT YOU WON'T
BE SURPRISED LATER,

WE'LL TELL YOU NOW
THAT IT'S GINGER ALE.

WILLIE DRINKS NOTHING
BUT GINGER ALE.

WILLIE HAS
JUST TOLD THEM

THAT THE FIRST ACT
IS GREAT.

THE PLAY
LOOKS LIKE A HIT.

THIS IS THE KIND OF TALK
THAT CAN RUIN

THEIR ENTIRE EVENING.

(APPLAUSE)

MANY HAPPY
RETURNS, ALICE.

OH, MY GOODNESS!

IS THIS
MY BIRTHDAY?

WELL, IF I'D KNOWN,
I WOULD HAVE DRESSED!

I WAS SO DETERMINED
TO FORGET

THAT THIS IS
MY BIRTHDAY.

HELLO.

MANY HAPPY RETURNS.

AS LONG AS YOU'VE
REMEMBERED MY BIRTHDAY,

I HOPE YOU REMEMBERED
THE PRESENTS, TOO.

I FEEL I'VE ARRIVED
AT SUCH A SILLY AGE.

WHY DO YOU SAY THAT?
YOU'RE ONLY 29.

THAT'S AN
EXCITING AGE.

THAT'S WHAT
I'LL PROBABLY THINK
NEXT YEAR.

IN THE MEANTIME,

I THINK 27
WOULD BE SUCH FUN

AND 25 POSITIVELY
HILARIOUS.

SHE'S 29 LIKE I'M 29.

She doesn't
look much more
than that to me.

I MADE THE RESERVATIONS
MYSELF.

IN WONDER WHO'S FIGHTING
THERE TONIGHT.

(LAUGHTER)

ALL RIGHT, ALL RIGHT,

SO HARRY PHILLIPS
HAS A HIT.

A HIT?

THE SECOND ACT FELL
RIGHT ON ITS SITZFLEISCH.

TOO BAD!

LET ME BUY YOU
A DRINK.

OH, THAT
EDDIE PROBISH.

I'VE SAID IT
BEFORE--

HE COULDN'T
WRITE HIS WAY

OUT OF A PAPER BAG.

HOW THEY
EVER EXPECTED
TO GET LAUGHS

IN THOSE
DREARY SETS...

AND HOW WAS MISS PAGE?

ONLY GREAT.

THERE WAS AN OVATION--

FOR HER, NOT THE PLAY.

HELLO, WILLIE.
TWO SCOTCHES.

I WANT YOU TO MEET
A CLIENT OF MINE.

WILLIE WOLFE,
STANLEY KROWN.

HI.

HOW ARE YOU?

ANY CLIENT
OF EDDIE WOODS
IS IN TROUBLE.

WHAT HAVE YOU
BEEN IN?

I HAVEN'T BEEN
IN ANYTHING.

STANLEY'S A WRITER.

OH, A WRITER.

(APPLAUSE)

HELLO, BETTY.

THEY EXPECT
A SPEECH.

PLEASE, FELIX.

SHE'S JUST THE TYPE
WHO WOULD.

THAT'S MUCH SAFER.

I KNOW IT'S CORNY,
BUT IT'S TOUCHING.

I WOULD CALL IT
HEARTWARMING,

BUT I HAVE NO HEART.

WE ALL KNOW THAT,
HARRY.

(CLAPPING)

SIT DOWN.

YEAH, YOU'VE
BEEN NOTICED.

WHY IS SHE
CARRYING ON?

SHE COULDN'T EVEN
HAVE SEEN THE PLAY.

SHE'S BEEN
IN HERE ALL NIGHT.

IT'S AN OLD TRICK
TO DRAW ATTENTION
TO HERSELF,

SO IF SHE COMES UP
FOR A PART,

THEY'LL
RECOGNIZE HER.

SHE'S AN ACTRESS?

SOME ACTRESS.

DOES TELEVISION
COMMERCIALS.

OPENS DOORS
ON REFRIGERATORS.

WHO'S THE GUY
WITH THE MENU?

HARRY PHILLIPS,
A CLIENT OF MINE.

HER PRODUCER
AND HUSBAND.

EX-HUSBAND,
I SHOULD SAY.

THEY'VE BEEN DIVORCED
SOME TIME NOW.

AND THE CREW CUT?

THE BOYFRIEND.

THIS SEASON'S.

I DON'T KNOW HIS NAME.

NOBODY DOES.

I DON'T THINK SHE DOES.

FUNNY COMBINATION.

WHY?

HARRY DOESN'T MIND
THE BOYFRIENDS.

HE OUTLASTS
ALL OF THEM.

HE AND BEA
ARE THE BEST OF FRIENDS.

YOU KNOW HOW IT IS
IN SHOW BUSINESS.

BEA, DARLING, I THOUGHT
YOU WERE WONDERFUL.

THANK YOU.

I'M ALWAYS TERRIBLE
ON OPENING NIGHTS

BUT NEVER LIKE THIS.

PROMISE
YOU'LL SEE ME
SOMETIME LATER.

NOT TOO MUCH LATER.
WE MAY CLOSE.

DO YOU KNOW--BEA,
WHAT'S HIS NAME AGAIN?

YOU KNOW
PERFECTLY WELL.

IT'S
GEORGE COURTLAND.

THERE'S A SORT
OF ROMAN NUMERAL
AFTER IT,

ISN'T THERE,
DARLING?

YES, IV, THE 4th.

JUST OUT OF THE MONEY,
YOU KNOW.

HI, GEORGE.

DID YOU GET
ANY TELEGRAMS

I CAN USE
IN THE COLUMN?

I WAS TOO NERVOUS
TO LOOK AT THEM,

BUT I'LL READ THEM
TONIGHT.

REMEMBER,
I GET FIRST CALL
ON THE FUNNY ONES.

I'M STOPPING IN
AT THE STORK AND 21.

MADAME,
I KISS ZE HAND.

OH, DARLING.

ONE THING
ABOUT WILLIE--

HE ALWAYS MAKES
A GOOD EXIT.

YEAH,
BUT NOT OFTEN ENOUGH.

LET'S EAT, HUH?

BEATRICE, HONEY.

CAN AN OLD FRIEND TELL YOU
HOW WONDERFUL YOU ARE?

I'D LOVE IT.

SIT DOWN
AND START LYING.

WELL,
LIE NUMBER ONE--

EDDIE,
MAY I PRESENT--

UH, WHAT'S
HIS NAME AGAIN?

HE'S NEEDLING ME,
GEORGE, NOT YOU.

THAT'S IT, GEORGE.

HOW DO YOU DO?

HOW DO YOU DO?

THERE YOU ARE,
THE TIMES.

OH, THANK YOU,
FELIX.

I'M SURE
THE REVIEW IS GOOD.

IT SAYS, "BEATRICE PAGE
IS RADIANT,

BUT THE PLAY
IS TERRIBLE."

WELL, ANYWAY,
I'M GLAD FOR YOU, BEA.

I'M SORRY ABOUT
THE PLAY, HARRY.

THERE'LL BE
OTHER REVIEWS.

THEY WON'T
BE ANY DIFFERENT.

WE'LL BE ROASTED,
AND SHE'LL BE RADIANT.

I WANT TO READ
THAT PART AGAIN

WHERE IT SAYS
I'M RADIANT.

WHO IS, UH, THAT MAN?

THAT'S A NEW CLIENT
OF MINE, WRITER.

JUST WRITTEN
HIS FIRST PLAY.

GREAT STUFF
IN IT, TOO.

JUST PICKED IT UP
AT THE TYPING AGENCY.

NOT SOMETHING
FOR BEA?

WISH IT WAS.

YOU OUGHT TO
MEET HIM ANYWAY.

WOULD YOU LIKE
TO MEET SOMEONE

WHO'S WRITTEN
A PLAY

WITHOUT A PART
FOR YOU?

NOT USUALLY.

BUT I'D LIKE
TO STARE AT HIM
FOR A CHANGE.

TRY TO REMEMBER
GEORGE'S NAME
THIS TIME.

ALL I NEED
IS A CLUE.

BEA, DARLING,
I'D LIKE YOU TO MEET

MR. STANLEY KROWN,
MISS PAGE.

HOW DO
YOU DO?

HELLO.

MR. HARRY PHILLIPS.

AND LAST BUT NOT LEAST,
GEORGE...

UH...

GEORGE...

FOR CRYING OUT LOUD.
COURTLAND.

COURTLAND!

HI.

HOW DO YOU DO?

IT'S
A SIMPLE NAME.

FOR A SIMPLE FELLOW.

WON'T YOU JOIN US?

THANK YOU.

IT LOOKS AS THOUGH
I'M OUTNUMBERED.

OH, UH, CIGARETTE?

NO, THANKS.

DID YOU
SEE THE PLAY
TONIGHT?

YES.

WELL?

DID YOU SEE
THE TIMES'
REVIEW?

SOMEBODY
READ IT OUT LOUD.

TELL ME, MR. PHILLIPS,

WHY IS IT WHEN
SOMEONE HAS A FAILURE

THEY ALL SEEM
SO PLEASED?

IT'S ALL RIGHT.

WHEN THEY HAVE A FLOP,
I'M PLEASED, TOO.

I SUPPOSE
IT'S HUMAN NATURE.

I BELIEVE
YOU'VE SUMMED IT UP.

I'M GOING TO
ASK THIS QUESTION
IF IT KILLS ME.

HOW DID YOU LIKE ME
IN THE PLAY?

OH, HE WAS
CRAZY ABOUT YOU!

I ALWAYS SAY
WHAT I THINK,
MISS PAGE.

I HAVE
VERY FEW FRIENDS.

I WITHDRAW
THE QUESTION.

I THOUGHT
YOU WERE CHARMING.

WELL, IT'S A CHANGE
FROM RADIANT.

HALF THE TIME.

WHAT DO YOU MEAN,
HALF THE TIME?

HALF THE TIME I THOUGHT
YOU WERE CHARMING.

THE OTHER HALF,
YOU WERE SO SURE
YOU WERE CHARMING

IT GAVE ME KIND
OF A QUEASY FEELING.

DON'T LOOK AT ME.

I DON'T KNOW WHETHER
HE'S KIDDING OR NOT.

YOU WEREN'T WORKING
TO ENTERTAIN THE AUDIENCE.

YOU ALLOWED THEM
TO BE ENTERTAINED.

YOU WERE
CONDESCENDING,
PATRONIZING.

YOU WERE SUPERIOR
TO THE PLAY

AND THE PEOPLE
WHO PAID TO SEE IT.

ONLY HALF THE TIME, DARLING,
ONLY HALF THE TIME.

ANYONE
WHO'S BEEN GRANTED
A GIFT OF TALENT

OWES SOMETHING
TO EVERYBODY.

THE GREATEST QUALITY
AN ACTRESS CAN HAVE

IS HUMILITY,

AND THAT'S SOMETHING,
MISS PAGE,

YOU'LL HAVE TO LEARN.

I THINK I'M BEHAVING
BEAUTIFULLY.

I HAVEN'T SCREAMED
OR ANYTHING.

IF I WERE STILL
YOUR HUSBAND,

I'D ASK HIM
TO STEP OUTSIDE.

BUT AS IT IS,
IT'S UP TO MR. COURTLAND.

NOW YOU REMEMBER
MY NAME.

VERY WELL. AN ACTRESS
SHOULD HAVE HUMILITY.

MR. KROWN,
SHOULD A WRITER
HAVE HUMILITY ALSO?

NEVER.

HUMILITY CAN
RUIN A WRITER.

A WRITER SHOULD
BE CONCERNED

ONLY ABOUT
PLEASING HIMSELF.

HE SHOULDN'T CARE
WHAT ANYONE THINKS

ABOUT HIM OR HIS WORK.

HE SHOULD BE ARROGANT,
SELF-CENTERED...

AND EVEN RUDE.

HE ISN'T
UNDER CONTRACT TO ME.

WE HAVEN'T A THING
IN WRITING.

NO, NO, NO,
I'M FASCINATED.

I THINK WE'VE
BEEN A LITTLE RUDE
OURSELVES, HARRY.

WHY DON'T WE ASK
THIS YOUNG MAN

TO HAVE A DRINK
WITH US

AND CONTINUE
THIS DISCUSSION?

I'M SORRY. I CAN'T.

I'VE GOT
TO GO TO WORK.

AT 1:00
IN THE MORNING?

IS THAT
WHEN YOU WRITE?

NO, NOT WRITING.

I WORK AT
THE WASHINGTON MARKET.

WASHINGTON MARKET?

WASHINGTON MARKET.

SORRY IF I SPOKE
OUT OF LINE, MISS PAGE,

BUT I HAVE TO SAY
WHAT I THINK.

IT'S A HABIT
I'LL HAVE TO BREAK.

GOOD NIGHT.

UH, LET'S SEE,

WHERE WERE WE BEFORE
IT STARTED TO RAIN?

OH, HE FORGOT
HIS ENVELOPE.

THAT'S HIS PLAY.

I'LL GIVE IT
TO HIM TOMORROW.

LET ME HAVE IT.

I'D LIKE TO
BROWSE THROUGH IT

WHEN I HAVE
THE TIME.

SURE. IT'S JUST LIKE
HIM--STRONG STUFF.

THE TRIBUNE IS OUT,
MISS PAGE,

IT SAYS
YOU WERE SPARKLING.

THANK YOU.

WE KNOW BETTER,
DON'T WE, DARLING?

I'M PATRONIZING,
SUPERIOR,

AND MUCH TOO SURE
I'M CHARMING.

WELL! I DIDN'T KNOW
YOU STAYED OVER.

YEAH. I STARTED TO READ
THAT KID'S PLAY.

GOT LATE, SO I SLEPT
IN THE STUDY.

YOU READ THEM ALL?

YES. MORNING, EMMA.

GOOD MORNING,
MISS PAGE.

UH...

WHERE'S MY ORANGE JUICE?

DID HE DRINK
THAT, TOO?

HE'S HAD FOUR.

STOOL PIGEON.

YOU KNOW WHAT A FLOP
DOES TO HIS APPETITE.

I'LL SQUEEZE
SOME MORE.

DID YOU TELEPHONE
THE BOX OFFICE?

YEAH.
THERE'S PRACTICALLY
NO CALL FOR TICKETS.

WE WON'T RUN.

HERE I AM,
BROKE AGAIN.

OH, I AM SORRY, DARLING.

WE'LL DO BETTER
WITH THE NEXT PLAY.

SAY, WHAT DOES THIS DO
TO MY ALIMONY PAYMENTS?

WELL...I WAS THINKING
ALONG THE LINES

OF A POSTDATED CHECK.

OH, HARRY, NOT AGAIN.

DO YOU KNOW
HOW MUCH YOU OWE ME
IN BACK ALIMONY?

I DON'T,
BUT I'M SURE YOU DO.

TO THE PENNY.

THERE'S
NO ONE IN THE WORLD
I'M MORE FOND OF

THAN I AM OF YOU, HARRY,

BUT BUSINESS IS BUSINESS.

$11,201.37.

THAT DOESN'T INCLUDE
THE INTEREST,

WHICH IS 670-ODD DOLLARS.

6% DOESN'T STRIKE ME
AS VERY FRIENDLY.

AT THE MERCHANTS
AND SEAMEN'S BANK,

I CAN GET
A LOAN FOR 3%.

THE MERCHANTS
AND SEAMEN'S BANK

DID NOT GIVE YOU
THE BEST YEARS OF ITS LIFE.

COULDN'T YOU AT LEAST
SCRAPE UP THE INTEREST?

NO, BUT I MIGHT
MANAGE THE INTEREST
ON THE INTEREST.

OH, DARLING,
I WONDER WHAT MAKES ME

SO DISAGREEABLE
ABOUT MONEY MATTERS.

OTHERWISE, I'M REALLY
A RATHER GENEROUS,

WARMHEARTED, THOROUGHLY
DELIGHTFUL PERSON.

6% OF $673
IS 6 TIMES--

OH, THANK YOU, EMMA.

I GUESS
THERE IS SOMETHING
IN THE PAPER TODAY

BESIDES US.

HMM, WOULD YOU
FIX MY COFFEE
FOR ME, DARLING?

YES.

WITH SUGAR.

SINCE WHEN
ARE YOU USING SUGAR?

OH, WELL,
I'M SO DEPRESSED.

IT'S MUCH CHEAPER THAN
GOING TO AN ANALYST,
ISN'T IT?

NO SUGAR.

HMM, IS THAT
THE LIGHTER I GAVE YOU
FOR CHRISTMAS?

ALMOST. IT'S THE ONE
I EXCHANGED

FOR THE ONE YOU GAVE ME
FOR CHRISTMAS.

HAVING BREAKFAST
WITH YOU LIKE THIS
IS SUCH FUN.

DID WE HAVE ANY FUN
WHEN WE WERE
MARRIED, HARRY?

I'D HAVE TO
THINK ABOUT THAT.

NO, I DON'T THINK SO,

NOT AT BREAKFAST
ANYWAY.

IT WAS ALWAYS
BICKER, BICKER, BICKER,
SOMETHING AWFUL.

HOW LONG HAVE WE
BEEN DIVORCED, HARRY?

I DON'T REMEMBER EXACTLY.
PRETTY LONG, THOUGH.

LONG ENOUGH FOR ME
TO PILE UP 11,000
IN BACK ALIMONY.

DON'T WORRY, DARLING,
YOU'LL PAY IT,

EVERY CENT.

THERE'S
A MR. KROWN
HERE TO SEE YOU.

A MR. WHO?

A MR. KROWN.

THE KID FROM LAST NIGHT.

SEND HIM IN, EM.

OH, THAT MR. KROWN.

THE WASHINGTON MARKET
MR. KROWN.

HELLO.

HELLO, MR. KROWN.

STANLEY,
HOW ARE YOU?

WELL, IF YOU
KNEW ME WELL ENOUGH

TO INSULT ME
LAST NIGHT,

I KNOW YOU WELL ENOUGH

TO CALL YOU STANLEY
THIS MORNING.

WON'T YOU HAVE
SOME BREAKFAST, STANLEY?

BREAKFAST? IT'S 12:30.

WON'T YOU HAVE
SOME LUNCH THEN?

NO, THANKS. I JUST
FINISHED WORK.

I USUALLY GO
RIGHT TO BED.

WE'RE NOT
KEEPING YOU UP?

NO. I CAME
TO SEE YOU.

YOU TOOK A COPY
OF MY PLAY LAST NIGHT?

YES.

YOUR OFFICE SAID
I MIGHT FIND YOU HERE.

WHAT DID YOU THINK?

WAIT. YOU DON'T
GIVE A FELLOW
MUCH TIME.

DID YOU START
TO READ IT?

YEAH.

THEN YOU FINISHED IT.

IT'S THAT KIND
OF A PLAY.

IT NEEDS WORK,

BUT IT IS
THAT KIND
OF A PLAY.

YOU'RE GOING
TO PRODUCE IT?

NO.

IT'S NOT
FOR MISS PAGE.

DOES MISS PAGE
HAVE TO BE
IN EVERY PLAY?

EVERY PLAY
I PRODUCE,

HUMILITY
OR NO HUMILITY.

WHAT'S IT ABOUT,
ANYWAY?

A MOTHER-DAUGHTER
CONFLICT,

A WONDERFUL PART
FOR A GIRL 19 OR 20.

A CONCERT PIANIST,
HAS TO LEAVE HOME.

MOTHER DOESN'T
LIKE IT.

THAT'S ALL
YOU NEED TO KNOW

IF YOU'RE NOT
GOING TO BE IN IT.

WAIT. YOU MADE IT
SOUND TERRIBLE.

IT'S NOT THE STORY,
IT'S THE SCENES.

THE SCENES ARE POWERFUL.

HERE, LET ME START
AT THE BEGINNING.

IN THE FIRST SCENE--

(YAWNS)

EXCUSE ME. THIS IS
USUALLY MY BEDTIME.

WOULD SOME COFFEE
OR JUICE HELP?

YEAH. I COULD
USE SOME JUICE.

IT'S A LONG PLAY,

AND MY THROAT'S
KIND OF DRY.

EMMA.

OH, HERE, SQUEEZE THESE.

JUST CAME UP FROM FLORIDA
THIS MORNING.

I WONDERED WHAT
THOSE BULGES WERE.

I KNEW IT COULDN'T
BE THYROID.

THANKS. I'LL HAVE
EMMA SQUEEZE THEM.

OH, UH, COULD YOU
USE SOME, UH...

RADISHES?

THESE ARE PRIZE RADISHES.

WELL, THANK YOU.

NOW, WHY DIDN'T I
KNOW YOU YEARS AGO

WHEN I WAS
A STARVING ACTRESS?

WELL, NOT SO MANY
YEARS AGO.

FROM HERE ON IN,
NOTHING WILL
SURPRISE ME.

I LIKE THIS, UH,
APARTMENT OF YOURS.

IT'S NOT MY APARTMENT,
IT'S MISS PAGE'S.

IT USED TO BE
MY APARTMENT,

WHEN MISS PAGE
AND I WERE MARRIED.

WELL, MISS PAGE AND I
WERE MARRIED--

PERFECTLY TERRIBLE
MARRIAGE.

NOW I'M HERE
ALL THE TIME.

IN FACT, IT'S MY HOME
AWAY FROM HOME.

WELL, LOTS OF TIMES
WE WORK LATE,

AND I SLEEP OVER--

WHAT BUSINESS
IS IT OF YOURS?

AS A WRITER,
EVERYTHING'S MY BUSINESS.

OH, IT IS?

HARRY, I HAVE A WONDERFUL IDEA.

HOW OLD DID YOU SAY
THE MOTHER WAS?

OH, 51, 50.

WELL, IF SHE'S 50,
THE DAUGHTER COULD
EASILY BE 29.

WHY?

BECAUSE THEN
I COULD PLAY HER.

MAYBE THERE'S
AN IDEA THERE.

MAKE THE GIRL
10 YEARS OLDER?

THAT WOULD
SPOIL EVERYTHING.

IT MIGHT MAKE IT
MUCH STRONGER.

GIVES THE MOTHER
10 MORE YEARS

TO FRUSTRATE
THE DAUGHTER.

A GIRL 19'S A KID,
AT 29, A WOMAN.

IT WOULD BE
A DIFFERENT PLAY.

MAYBE BETTER.

I'VE THOUGHT
ABOUT THIS PLAY
FOR 10 YEARS,

AND IT MEANS
TOO MUCH TO ME

TO CHANGE ONE LINE,

EVEN FOR A BEAUTIFUL
ACTRESS LIKE MISS PAGE.

THANK YOU.

I'VE NEVER REALLY THOUGHT
OF MYSELF AS BEAUTIFUL.

ONE ARGUMENT
AT A TIME.

I'D BE THE LAST GUY
IN THE WORLD

TO TRY
AND GET A WRITER
TO COMPROMISE,

BUT WHY DON'T YOU
EXAMINE YOUR PLAY?

SEE IF A GROWN WOMAN

BEING TIED
TO AN APRON STRING

ISN'T
MUCH MORE DRAMATIC

THAN A KID'S
BEING DOMINATED.

NOW, WHAT'S SO
UNUSUAL ABOUT THAT?

I'D HAVE TO GIVE IT
AN AWFUL LOT OF THOUGHT.

LET'S SEE...

IN THE FIRST SCENE...

HARRY.

SUPPOSING IT DOES WORK,
WHEN COULD WE START?

WELL, THREE OR FOUR
WEEKS' REWRITE.

WE COULD GO
RIGHT INTO REHEARSAL--

UH-OH, THERE'S GOING
TO BE A BIG PROBLEM.

WHAT'S THAT?

THE MOTHER ISN'T
AS BIG A PART
AS THE DAUGHTER,

BUT IT'S GOING TO BE
TOUGH TO CAST.

I CAN'T THINK OF ANYBODY.

WHAT DOES IT CALL FOR?

A TYRANT WITH CHARM.

SHE'S GOT
TO BE ATTRACTIVE

AND, WELL, VESTIGES
OF GREAT BEAUTY.

HOW ABOUT MABEL TAFT?

MABEL TAFT?

VESTIGES
OF GREAT BEAUTY?

DON'T
MAKE ME LAUGH.

HA!

CLAIRE KING.

CAN'T ACT.

ANITA BLACK.

AAH!

KATHERINE BLISS.

SHE COULD NEVER DO IT.

HOW ABOUT POLLY CARTER?

SHE HATES ME,
AND I HATE HER,

AND YOU KNOW IT!

MAYBE STANLEY HAD
SOMEONE IN MIND.

(SNORING)

OH, MORNING, DICK.

GOOD MORNING,
MR. PHILLIPS.

THEY'RE ALL HERE.

AH!

GOOD MORNING, HARRY.

HELLO, HELLO.

IT'S BEEN
A LONG TIME.

WELL, BLESS
YOUR HEART.

THIS IS AS SORRY-LOOKING
A BEVY OF BIDDIES

AS I'VE SEEN IN YEARS.

YOU DON'T
EXACTLY SEND SHIVERS
UP MY SPINE, HARRY.

JUST FOR THAT,
YOU'LL READ FIRST.

I WANT TO TELL
YOU HARRIDANS

THE MOTHER IS TOUGH.

I DON'T
EXPECT TO FIND HER
AMONG YOU FRUMPS.

BUT ONE OF YOU MAY
HAVE BEEN HOARDING

SOME TALENT
FOR YOUR OLD AGE.

LISTEN TO HIM!

WELL, OLGA,
SHALL WE START?

NOW DICK HERE WILL
GIVE YOU THE SIDES.

WE'RE GOING TO DO
THE LAST SCENE
FROM THE FIRST ACT.

LOOK IT OVER, THEN DICK
WILL READ WITH YOU.

OH, AND BY THE WAY,
THE YOUNG MAN DOWN HERE,

WHOSE SHOES
NEED RESOLING,

IS THE AUTHOR OF
THIS PIECE OF STRUDEL.

STANLEY KROWN,
OLGA O'BRIEN.

HI, MISS O'BRIEN.

HELLO, MR. KROWN.

I LOVE YOUR SCRIPT,

WHAT I'VE READ OF IT.

THANK YOU.

LET US KNOW
WHEN YOU'RE READY.

I'M NEVER VERY GOOD
AT COLD READINGS,

BUT HERE GOES.

"I HAVEN'T ASKED YOU
WHERE YOU'VE BEEN.

"I DON'T INTEND TO.

BUT IF
YOU'RE VOLUNTEERING..."

"THE IDEA'S RIDICULOUS,
AND I WON'T HEAR OF IT.

"I KNOW
WHAT'S GOOD FOR YOU.

I'VE KNOW WHAT'S GOOD
FOR YOU FOR 29 YEARS."

THAT'S FINE, KATHERINE,
JUST FINE.

IN FACT, THAT'S ABOUT
THE CLOSEST READING

WE'VE HAD SO FAR.

WELL, IT'S THE FIRST TIME
I SAW THE SCRIPT.

COLD READING.

DARN GOOD, CONSIDERING.

WHO HANDLES YOU,
WILLIAM MORRIS?

YES.

WE'LL BE IN TOUCH.

THANK YOU, HARRY.

WE JUST
HAVE TO KEEP LOOKING.

I THINK THAT COVERS
EVERYBODY FOR TODAY.

DICK, IS THERE
ANYONE ELSE OUT THERE?

NO, SIR.

YOU'D THINK A MOTHER
WOULD BE EASY TO CAST.

MOTHERS HAVE
ALWAYS BEEN TOUGH.

DON'T LET IT
DISCOURAGE YOU.

WE'LL KEEP LOOKING
TILL WE GET
THE RIGHT ONE.

PHONE SARDI'S

AND TELL FELIX
WE'RE ON OUR WAY OVER.

THEN TAKE THE SCRIPTS
UP TO THE OFFICE.

OH, MR. PHILLIPS?

YES?

I'D LIKE TO
READ FOR YOU
IF I MAY.

AREN'T YOU
A LITTLE YOUNG

TO PLAY THE MOTHER
OF A 29-YEAR-OLD GIRL?

29? SHE
WAS JUST 19
THE OTHER DAY.

HOW DO YOU KNOW
SHE WAS JUST 19
THE OTHER DAY?

OH, I WORK PART-TIME

AT THE RIALTO
TYPING AGENCY.

I READ EVERY PLAY
THEY TYPE.

OH, YOURS IS ONE
OF THE BETTER ONES.

THANK YOU.

IT NEEDS A LOT
OF WORK, THOUGH.

AREN'T YOU
A LITTLE YOUNG

TO PLAY THE MOTHER
OF A 19-YEAR-OLD?

HOW OLD ARE YOU?

19.

I WANT TO PLAY
THE DAUGHTER.

IN FACT, WELL,
I MIGHT AS WELL
TELL YOU NOW,

I'M GOING TO PLAY
THE DAUGHTER.

I'M SORRY, BUT THE PART
HAS BEEN CAST.

MISS BEATRICE PAGE
IS PLAYING THE DAUGHTER.

OH, NO!

NO, NO, NO, NO!

OH, THIS IS THE END,

THE ABSOLUTE
SIAMESE END!

BEATRICE PAGE
PLAYING A DAUGHTER!

OH, YOU CAN'T LET THEM
DO THIS TO YOU.

DON'T LET THEM DO THIS
TO YOUR BEAUTIFUL PLAY!

YOU JUST SAID IT NEEDED
A LOT OF WORK.

HOW CAN BEATRICE PAGE
PLAY ANYBODY'S DAUGHTER,

EVEN A DAUGHTER OF 29?

SHE'S PLAYING A WOMAN
OF 29 RIGHT NOW.

BUT WHO IS SHE FOOLING?

NOT ME.
NOT FOR ONE SECOND.

NOT FOR
ONE SIAMESE SECOND.

I DON'T KNOW WHETHER
TO LAUGH OR CRY.

THE PART DOESN'T NEED
THE BEATRICE PAGE CHARM--

THAT TIRED OLD
BEATRICE PAGE CHARM.

IT--IT NEEDS
YOUTH AND BOUNCE

AND VITALITY
AND MAGNETISM.

AND DON'T YOU SEE?

THAT'S ME.

OH, THAT'S YOU,
IS IT?

WHO ARE YOU?

WHAT ARE YOU?

SHE LOOKS FAMILIAR
TO ME.

I'M SALLY CARVER,

AND I'M AN ACTRESS.

REALLY? WHAT
HAVE YOU ACTED IN?

OH, UH, DOZENS OF THINGS.

WHERE?

UH, DOZENS OF PLACES.

WHICH MEANS
YOU'VE NEVER
ACTED ON BROADWAY

FOR PAY
IN YOUR LIFE.

WELL, I'M ONLY 19,
AREN'T I?

AND I'M ALREADY
ON TELEVISION.

OH, OF COURSE.

YOU'RE THE GIRL WHO
DID ALL THE APPLAUDING
AT SARDI'S.

SHE OPENS DOORS
ON REFRIGERATORS.

I DO MORE THAN THAT NOW.

YOU PROBABLY
DEFROST, TOO.

AND I TAKE OUT TRAYS.

I'M VERY GOOD
AT IT, TOO.

I'VE HAD
A VERY TRYING DAY,

AND IF YOU'LL PLEASE
GET OFF MY TOE,

I'D LIKE TO GO
SOMEPLACE QUICK
AND HAVE A DRINK.

THERE'S A SCENE HERE
THAT I'VE BEEN WORKING ON.

IF YOU'LL JUST LISTEN.

"YOU SHUT EVERYBODY OUT,

"BUT I'M TELLING YOU,
NOT ME ANY LONGER.

YOU CAN'T SHUT ME OUT."

I'LL BUY YOU A DRINK.

YOU LOOK SHAKEN, TOO.

IT'LL JUST TAKE A SECOND.

"I WANT TO KNOW WHY.

"WHEN YOU'VE
GOT EVERYTHING,

"WHY ARE YOU SATISFIED
WITH NOTHING?

"WHY DO YOU
DESPISE PEOPLE?

"WHY DO YOU
DESPISE YOURSELF?

WHY IN HEAVEN'S NAME"--

(DOOR CLOSES)

OH!

I'M GOING TO PLAY
THIS PART.

SEE IF I DON'T.

I'M GOING TO PLAY
THIS PART,

AND THAT'S
THE SIAMESE TRUTH!

(BEATRICE)
HA HA HA HA!

HA HA HA HA!

HEY, THAT
PLAYWRIGHT OF YOURS

MUST BE
A PRETTY FUNNY KID.

STANLEY KROWN IS A WRITER
OF UNSHAKABLE PRINCIPLES

AND HIGH INTEGRITY.

THAT KIND NEVER MAKES
ANYBODY LAUGH.

THEN WHAT'S HE DOING,
TICKLING HER?

A WOMAN'S LAUGH

IS VERY OFTEN
JUST A MATING CALL.

HA HA HA HA!

IT MAY BE FUNNY TO YOU,

BUT I'LL TAKE VEGETABLES
OVER FLOWERS ANY DAY.

COME ON, BEA.

ONLY A HALF-HOUR
TO CURTAIN.

STAY HERE
AND FINISH YOUR DINNER.

WE'LL MEET YOU
AFTER THE SHOW.

I'VE GOT TO WORK
ON THE SCRIPT.

I'M BEHIND ON THE TYPING

WITH THAT
HUNT-AND-PECK SYSTEM.

HOW DOES GEORGE
SPELL HIS SECOND NAME,

A "D" OR A "DT"?

JUST A "D."

GEORGE WON'T MIND.
THE MARKET WENT UP TODAY.

DON'T WORK TOO HARD,
STANLEY.

YOU LOOK
A LITTLE PEAKED.

DOESN'T HE LOOK
A LITTLE PEAKED?

I'M JEALOUS.
YOU NEVER TELL GEORGE
HE LOOKS PEAKED.

OH, WELL.

FELIX.

YES?

I'M CROOKED.

SORRY, MISS PAGE.

IT WON'T
HAPPEN AGAIN.

DROP UP FOR A COCKTAIL
TOMORROW, HUH, STAN?

I'LL SET MY ALARM
FOR 5:00.

GOOD NIGHT,
LAMBIE PIE.

YOU'RE, UH,
REALLY LIVING,
LAMBIE PIE,

AREN'T YOU?

HE'S ALONE.

HE'S GOOD-LOOKING
FROM HERE.

WELL, FOR A WRITER.

WHERE IS IT?

WHAT?

MY THING.

YOU'RE SITTING ON IT.

OH!

WELL, HERE GOES.

UH...

HELLO.

OH, HELLO.

I JUST BET YOU...

YOU DON'T REMEMBER ME.

OH, YES, I DO.
IT'S ONLY BEEN TWO WEEKS.

WHO COULD FORGET
A CHARACTER LIKE YOU
IN TWO WEEKS?

I REMEMBER YOUR NAME--
SALLY CARVER.

PEGGY PRUITT.

PEGGY PRUITT?

I COULD HAVE SWORN
IT WAS SALLY CARVER.

WELL, TWO WEEKS AGO
IT WAS SALLY CARVER,

BUT TODAY
IT'S PEGGY PRUITT.

I WASN'T HAVING MUCH
LUCK AS SALLY CARVER,

SO I CHANGED IT,
THAT'S ALL.

OH,
I'VE HAD LOTS OF NAMES.

YOU SEE,
YOU KEEP GETTING
TURNED DOWN FOR JOBS

UNDER ONE NAME,

AND THAT NAME
GETS A REPUTATION
FOR BEING UNEMPLOYABLE,

SO YOU CHANGE YOUR NAME.

OH, I HAVE HIGH HOPES
FOR PEGGY PRUITT.

WHAT CAN I DO FOR YOU,
MISS PRUITT?

MISS PRUITT.

IT SOUNDS STRANGE.

I JUST TOOK THAT NAME
THIS MORNING.

OH, UH, I HAVE SOMETHING
VERY INTERESTING

TO SHOW YOU, MR. KROWN.

UH, WOULD YOU LIKE
A CUP OF COFFEE?

NO, NO, NO.
THANK YOU.

WHAT HAVE YOU GOT
THAT'S READY?

SPAGHETTI MARINARA,
OUR SPECIALTY.

OH, THAT'S FINE,
AND MAYBE A MIXED SALAD

AND A PLATE OF SPUMONE.

I MIGHT AS WELL HAVE
THE COFFEE, TOO.

VERY WELL.

TELL ME SOMETHING--

DOES ANYONE IN THE THEATER
EVER BUY THEIR OWN DINNER?

OH,
NOT IF THEY CAN HELP IT.

YOU SEE,
MY TELEVISION SHOW
IS OFF,

AND THINGS
ARE PRETTY SLOW

DOWN
AT THE TYPING AGENCY.

WELL, IF YOUR PLAY
SHOULD BE A FLOP

AND PEG PRUITT
A SUCCESS,

I'LL BUY YOU A DINNER.

THAT'S THE WAY THINGS
ARE DONE IN THE THEATER.

OH, I SHOULD HAVE
HAD A MARTINI.

YOU WERE GOING
TO SHOW ME SOMETHING.

OH, YES.
WHERE IS IT?

OH!

I'M SITTING ON IT AGAIN.

THIS IS A COPY
OF THE THEATER ARTS
MAGAZINE.

I HAVEN'T SEEN
THE LATEST ISSUE.

LATEST ISSUE?

THIS COPY IS SO OLD,
IT'S FALLING APART.

AH, TAKE A LOOK
AT THAT.

"ALICE BRADY,
JAMES RENNIE,
AND HENRY HULL

IN A SCENE
FROM THE NEW SUCCESS
THE FORGOTTEN LIGHT."

WELL, WHAT ABOUT IT?

DON'T YOU NOTICE
ANYTHING FUNNY
ABOUT THE MAID?

YEAH.
WHAT'S FUNNY ABOUT HER?

DON'T YOU
RECOGNIZE HER?

IT'S BEATRICE PAGE.

YOU'RE CRAZY.

THAT'S NOT BEATRICE PAGE.

YOU'RE CRAZY.

IT'S NOBODY
BUT BEATRICE PAGE.

THE PICTURE'S SO FADED.

HOW CAN YOU TELL?

ANYWAY, WHAT ARE YOU
TRYING TO PROVE?

IF SHE PLAYED A MAID
SO LONG AGO,

HOW CAN SHE PLAY
A GIRL OF 19 TODAY?

SHE'S NOT 19 ANYMORE.
SHE'S 29.

WAIT.
THEY MUST LIST THE CAST.

"MAID--EILEEN PRENTISS."

WELL?

MY, THIS...
SPAGHETTI IS GOOD.

UH, WHAT ARE YOU DOING
AFTER DINNER TONIGHT?

ME?

WELL, I--I USUALLY TAKE
A BRISK HALF-HOUR WALK.

GOOD FOR THE DIGESTION
AND THE FIGURE.

AND, UH, AFTER THE WALK?

WELL, THIS IS NEW YORK.

THERE ARE MILLIONS
OF THINGS TO DO,

ONLY I NEVER SEEM
TO DO ANY OF THEM.

TONIGHT,
LIKE MOST NIGHTS,
I'M GOING TO GO HOME,

UNLESS YOU'RE THINKING
OF ASKING ME

TO GO TO THE BALLET.

I HATE BALLET.

OH.

UM...

HOW ABOUT COMING UP
TO MY APARTMENT?

I FEEL
ABOUT MEN'S APARTMENTS

THE WAY YOU FEEL
ABOUT THE BALLET.

WELL, A BRISK WALK
FROM HERE TO MY APARTMENT

TAKES ABOUT
A HALF AN HOUR.

HOW ABOUT IT?

WELL...

O.K.

OH, UH,
EXCUSE ME A MINUTE

WHILE I TELL
MY GIRLFRIEND
NOT TO WAIT FOR ME.

WHEN THE WAITER
BRINGS THE SPUMONE,

ASK HIM
FOR SOME MACAROONS.

WELL,
IT'S FINALLY HAPPENED.

WHAT?

I'VE BEEN HANGING AROUND
BROADWAY FOR THREE YEARS

AND NOT EVEN A LEER
FROM A PRODUCER,

PLAYWRIGHT, DIRECTOR,
OR EVEN STAGE MANAGER,

BUT NOW!

YOU MEAN STANLEY KROWN?

HE INVITED ME UP
TO HIS APARTMENT.

I GUESS PEGGY PRUITT
HAS MORE APPEAL
THAN SALLY CARVER.

WELL, YOU'RE NOT GOING.

INDEED I AM.

HE'LL HAVE A SCRIPT
IN HIS APARTMENT.

BEFORE HE KNOWS IT,
I'LL BE GIVING HIM
A READING.

IT MAY NOT BE
WHAT HE HAS IN MIND,

BUT THAT'S WHAT
HE'S GOING TO GET.

HE DOESN'T LOOK LIKE
HE'D STAND STILL
FOR A READING.

MAYBE YOU'D
BETTER PHONE ME
EVERY 15 MINUTES.

HE'S PROBABLY
IN THE PHONE BOOK.

ALL RIGHT,
BUT BE CAREFUL.

DON'T WORRY
ABOUT ME, PATTY.

HE HASN'T GOT
A SIAMESE CHANCE.

COME ON.
IT'S GETTING LATE.

WHAT ABOUT MY SPUMONE?

I ATE IT.
IT WAS DELICIOUS.

IF YOU DON'T MIND,

I'D RATHER NOT HEAR
ANY MORE ABOUT IT.

OH,
DON'T BE A CHILD.

SHE'S LYING
ABOUT HER AGE.

EVERYBODY IN THE THEATER
LIES ABOUT THEIR AGE.

YOU, TOO?

WELL, OF COURSE
ME, TOO.

I, UH, I TOLD YOU
I WAS 19, DIDN'T I?

IF YOU'RE NOT 19,
HOW OLD ARE YOU?

22. PRACTICALLY 23.

YE GODS!

WHAT DO YOU
HAVE TO LIE FOR AT 22

OR EVEN
PRACTICALLY 23?

YOU'RE NAIVE.

I'M NOT LYING FOR NOW.

I'M LYING FOR
15 YEARS FROM NOW

WHEN I'LL BE 38

AND WANT PEOPLE
TO THINK I'M 35.

YOU'RE CRAZY.

YEAH.

I DON'T SEE ANY KITCHEN.

EVEN BACHELORS EAT,
DON'T THEY?

WHERE DO YOU DO
YOUR, UH, COOKING?

I'LL SHOW YOU AFTERWARDS.

IS THERE A--A DRINK
ON THE PREMISES?

AFTERWARDS.

AFTER...WHAT?

LET'S SEE.
IS THERE ENOUGH LIGHT?

FOR WHAT?

HERE. YOU SIT HERE.

HERE. CATCH!

OH!

MAYBE
A LITTLE MORE LIGHT.

THERE. THAT'S BETTER.

OH.

THIS IS
FOR THE SADDLE SORES.

NOW, THREE CARBONS
OUGHT TO BE ENOUGH.

THREE CARBONS OF WHAT?

THE CHANGES ON MY PLAY.

THERE'S QUITE A BATCH.

WAIT A MINUTE.

YOU MEAN TO SAY
YOU GOT ME UP HERE

TO DO YOUR TYPING
FOR YOU?

THAT'S RIGHT.
YOU TYPE, DON'T YOU?

SAID YOU WORKED
AT THE RIALTO AGENCY.

WELL, YOU'VE GOT
ONE FINE SIAMESE NERVE!

DO YOU KNOW WHAT I GET
FOR TYPING?

$1.00 AN HOUR.
THIS WILL TAKE ME
FIVE HOURS AT LEAST!

THAT'S FINE.

THAT'S JUST ABOUT
WHAT YOUR DINNER COST ME,

INCLUDING THE TIP.

WHEN YOU FINISH
THAT BATCH,

THERE'LL BE ANOTHER.

(TELEPHONE RINGS)

(RING)

(RING)

HELLO.

PATTY!

WHAT?

WHAT'S HAPPENING?

I'M TYPING.
THAT'S WHAT'S HAPPENING.

YES, THAT'S WHAT I SAID--
TYPING.

YEAH. WELL, YOU'RE--
YOU'RE RIGHT, PATTY.

PLAYWRIGHTS JUST AIN'T
WHAT THEY USED TO BE,
THAT'S ALL.

(TYPING)

(PEGGY)
HA HA HA!

HA HA HA HA!

HA HA HA HA!

PRETTY FUNNY,
HUH?

FRANKLY, STANLEY,
I DIDN'T THINK
YOU HAD IT IN YOU.

THE FIRST SCRIPT I READ
HAD NO LAUGHS.

HARRY THOUGHT IT COULD
USE A LITTLE COMEDY,
SO I WROTE--

THIS ISN'T
A COMEDY SCENE.

IT ISN'T?

THIS IS A NEW
DRAMATIC SCENE.

WELL, IF IT IS, STANLEY,
YOU'RE IN TROUBLE.

LET ME LOOK AT IT AGAIN.

DO YOU KNOW WHAT IT IS,
STANLEY?

CHANGING THE GIRL
FROM 19 TO 29,

THAT'S WHAT DOES IT.

THAT'S WHAT'S RUINING
YOUR PLAY.

HARRY PHILLIPS
DOESN'T THINK SO.

HARRY PHILLIPS
IS IN LOVE WITH
BEATRICE PAGE.

HOW DO YOU KNOW THAT?

EVERYBODY KNOWS IT
BUT HARRY PHILLIPS
AND BEATRICE PAGE.

WELL, I'M NOT IN LOVE
WITH BEATRICE PAGE.

EVEN IF I WERE,
I WOULDN'T CHANGE
ONE LINE FOR HER

IF I DIDN'T THINK
IT WAS RIGHT.

BY MAKING
THE GIRL MORE MATURE,

I MAKE THE PLAY
MORE MATURE.

IS THAT WHAT YOU BELIEVE,

OR IS THAT WHAT THEY
TALKED YOU INTO BELIEVING?

I MADE SOME COFFEE.
WOULD YOU LIKE A CUP?

IS IT FREE, OR DO I
HAVE TO DO YOUR LAUNDRY?

AW, DON'T WORRY.
IT'S GOING TO
BE ALL RIGHT.

ALL YOU HAVE TO DO
IS CHANGE THE GIRL
BACK TO 19

AND PERSUADE ME
TO PLAY THE PART.

I COULD BE PERSUADED,
YOU KNOW.

I KNOW.

MMM!

OOH, THIS IS PERFECTLY
TERRIBLE COFFEE.

I KNOW.

WOULD IT, UH,

WOULD IT CHANGE
YOUR ATTITUDE
ABOUT THE BALLET ANY

IF I TOLD YOU
I COULD GET TWO PASSES
FOR TOMORROW NIGHT?

NO, IT WOULDN'T.

HAVE YOU ANY BROTHERS
OR SISTERS?

I'VE GOT
A KID SISTER.

WHAT DIFFERENCE
DOES IT MAKE?

NONE.

I, UH,
I'M AN ONLY CHILD.

THAT'S OBVIOUS.

ARE YOU ENGAGED
OR ANYTHING?

AND DON'T ASK ME
WHAT DIFFERENCE
DOES IT MAKE.

IT MAKES
A BIG DIFFERENCE.

TO WHOM?

TO ME.

YOU KNOW,
I'M REALLY LOOKING AT YOU
FOR THE FIRST TIME...

AS A MALE, I MEAN.

YOU WERE JUST A MAN
WHO COULD GIVE ME A JOB.

THAT KIND OF MAN
IS ALWAYS ATTRACTIVE,
BUT NOW...

LISTEN.

WHY DON'T YOU LOOK AT ME
FOR THE FIRST TIME, TOO?

HA HA HA HA!

YOU'VE GOT SUCH
A SURPRISED LOOK,

A REAL SIAMESE
SURPRISED LOOK.

TELL ME SOMETHING.

WHAT IS THIS SIAMESE BIT
YOU DO ALL THE TIME?

OH, IT DOESN'T
MEAN ANYTHING.

EVERY PERSON SHOULD
HAVE AN EXPRESSION
PECULIAR TO HIMSELF.

IT DRAWS ATTENTION.

YOU SEE?
IT WORKED WITH YOU.

YOU SEEM TO HAVE
A LOT OF CHARACTERISTICS

PECULIAR TO YOURSELF.

OH, ONE GOOD THING
ABOUT BAD COFFEE--

IT MAKES YOU SO NICE
AND DROWSY.

MY SISTER USED TO
HAVE A KITTEN THAT
STRETCHED LIKE THAT.

IT MUST HAVE BEEN
AN ONLY KITTEN.

(DOORBELL RINGS)

OH, IT'S THE PHONE.
I'LL GET IT.

NEVER MIND, PATTY.
IT'S ALL--

(RING)

PATTY?

PATTY?

THAT'S FUNNY.
THERE'S NOBODY ON THE PHONE.

IT'S THE DOORBELL.

(RING)

(RING)

WELL, HELLO.

OH, HELLO.

IT'S RAINING,
SO I THOUGHT I'D DROP UP

AND DRIVE YOU TO WORK.

OH, I'M SORRY.

I DIDN'T KNOW
YOU HAD COMPANY.

OH, SHE'S NOT COMPANY.

SHE'S, UH, MISS PRUITT,
I THINK.

UH, SHE'S A TYPIST.

I'M NOT A TYPIST.

I'M AN ACTRESS.

OH, REALLY?
SO AM I.

I'M BEATRICE PAGE.
HOW DO YOU DO?

I'M HELPING HIM
WITH THE CHANGES.

OH.

(ALARM RINGS)

NO, NO.
IT'S THE ALARM.

IT'S SUPPOSED
TO WAKE ME UP
AND GET ME TO WORK.

TURN IT OFF
AND GET YOUR COAT.

YOU'RE GOING TO
THE MARKET IN STYLE.

THAT'S SWELL OF YOU.

I'LL SEE YOU
IN A SECOND.

AND ALL FOR ME.

YOU KNOW WHAT MY FIRST
JOB IN THE THEATER WAS?

TYPIST AT AN AGENCY.

(TELEPHONE RINGS)

OH, THIS HAS GOT
TO BE THE PHONE.

(RING)

HELLO?

HELLO, PATTY.

NO, NO,
NO TROUBLE.

NO HITS,
NO RUNS.

ONE ERROR.

THAT YOUR CAR?

YES.

OH, MAY WE
DROP YOU?

I'M GOING TO WALK HOME.

I LOVE WALKING
IN THE RAIN.

YOU'RE CRAZY.

THE WIND IN YOUR HAIR,
THE RAIN ON YOUR FACE,

IT'S EXHILARATING!

YOU TWO BETTER GET
IN THE CAR.

YOU'RE DARN RIGHT.

WAIT. IT ISN'T
RAINING THAT HARD.

IT DOES GIVE YOU
A TINGLE.

LET'S WALK HALF
THE WAY AND THEN
TAKE A TAXI.

OH, JUST BECAUSE
THIS LUNATIC--

A LITTLE WATER
WON'T HURT YOU.

COME ON.

WHAT ARE WE
TRYING TO PROVE?

HELLO, MR. PHILLIPS.

HELLO,
WHATEVER YOUR NAME IS.

OH,
IT'S STILL PEGGY PRUITT.

I'D RATHER BE ALONE,
MISS PRUITT.

I SUPPOSE IF I DON'T
ASK YOU TO SIT DOWN,

YOU WILL ANYWAY,
SO SIT DOWN.

THANK YOU, MR. PHILLIPS.

I IMAGINE YOU HAVE
A DRINK IN THE BACK
OF YOUR MIND.

I ASSUMED YOU'D ASK,

SO I ORDERED
A PLANTER'S PUNCH.

I READ THAT YOU'RE
FLYING TO HOLLYWOOD
TO SIGN UP A MOTHER.

IN AN HOUR AND A HALF.

WE START REHEARSALS
A WEEK FROM TOMORROW,

AND WE HAVE NO MOTHER.

WE HAVE
A WELL-TYPED SCRIPT,
THANKS TO YOU,

ALMOST ENOUGH MONEY,
BUT NO MOTHER.
I THINK IT'S VERY SAD.

HOW MANY DRINKS
HAVE YOU HAD,
MR. PHILLIPS?

INNUMERABLE,

AND IF I CAN PRONOUNCE
INNUMERABLE,

I HAVEN'T HAD ENOUGH.

MAKE IT A DOUBLE
THIS TIME.

I KNOW WHY YOU'RE UPSET.

IF I TOLD YOU
TO SHUT UP,

YOU'D KEEP TALKING.

YOU'RE FLYING
TO THE COAST,

AND BEATRICE PAGE
ISN'T EVEN HERE
TO SEE YOU OFF.

I BET IT'S THE FIRST TIME
IT'S HAPPENED, TOO.

IT USED TO BE
THAT IF I WENT TO
THE POLO GROUNDS,

SHE PUT ME
ON THE SUBWAY TRAIN.

AND WHERE IS SHE TONIGHT?

OUT TO SOME STUPID PARTY

WITH THAT SUPREME IDIOT
STANLEY KROWN.

I KNOW BECAUSE I ASKED HIM

TO TAKE ME
TO THE BALLET TONIGHT.

THEY'RE THE HOTTEST
ROMANCE OF THE CENTURY.

THEY'RE MAKING BUMS OUT
OF TRISTAN AND ISOLDE.

OH, I THINK
IT'S DISGRACEFUL.

WHY DOESN'T SHE
LEAVE HIM ALONE?

WHAT DOES SHE
WANT WITH HIM?

AS LONG AS A MAN
AS YOUNG AND ATTRACTIVE
AS STANLEY

LOOKS AT HER
THE WAY HE DOES,

SHE HAS
THAT WONDERFUL FEELING

THAT SHE'S STILL
IN THERE PITCHING.

ALLOW ME TO MIX
A METAPHOR.

SHE FEELS THAT
THE DOOR HASN'T
CLOSED ON HER YET.

EVERY WOMAN HAS
ONE FOOT IN THERE

TRYING TO KEEP THAT DOOR
FROM SLAMMING SHUT.

THE FOOT IS BARE.
IT'S BROKEN AND BRUISED.

IT'S BLEEDING
FROM EVERY TOE,

BUT IT'S IN THERE.

AND DON'T LOOK
SO DISDAINFUL.

YOU'LL BE DOING
THE SAME THING YOURSELF.

I BETTER GET MY CHECK
AND GET OUT OF HERE.

ALL RIGHT.

I CAN UNDERSTAND HER
GOING FOR HIM,

BUT WHAT DOES
HE SEE IN HER?

HERE I AM
FLINGING MYSELF AT HIM,

AND THERE'S NO SENSE
IN BEING MODEST.

I'M FAIRLY ATTRACTIVE,
AREN'T I?

WELL, IF I WERE
10 YEARS YOUNGER

AND THE PLANE
WAS LEAVING
AN HOUR LATER, I--

THE HORRIBLE PART
OF BEA'S DUSTING OFF
GEORGE COURTLAND

IS THAT I CAN'T SIGN
HIS NAME ANYMORE. THANK YOU.

NICE TRIP,
MR. PHILLIPS.

THANK YOU, JIMMY.

LOOK, RIGHT NOW YOU
HAVEN'T GOT A CHANCE.

YOU SEE, BEA IS GLAMOUR.

SHE TAKES HIM TO
ALL THE SNAZZY PARTIES.

HE MEETS
NOT THE BEST PEOPLE,

BUT THE BEST-KNOWN
PEOPLE.

THIS IS A BIG LEAP
FROM WASHINGTON MARKET.

HE'S IN A WHIRL.

WELL, I'M NOT GIVING UP.

YOU'RE JUST
A GOOD LITTLE MAN

FIGHTING A GOOD BIG MAN.

IT'S DEMPSEY
AND CARPENTIER
ALL OVER AGAIN.

DEMPSEY, CARPENTIER?
I WASN'T EVEN BORN YET.

BEA KNOWS ALL ABOUT
DEMPSEY AND CARPENTIER.

SHE PROBABLY
REFEREED THE FIGHT.

HI, HARRY.

I'VE BEEN TRYING TO
CALL YOU ALL DAY LONG.

I HAVE NO PHONE.

I'VE GOT A PART
FOR YOU--

FOURTH ROAD COMPANY
OF THE NIGHT IS BLUE.

YOU PLAY TENTS,
GYMNASIUMS,
EVEN THEATERS.

IT'S THE INGENUE LEAD.

INGENUE LEAD?

I'LL LEAVE YOU TWO
TO SETTLE THE DETAILS.

I'VE GOT TO GO OUT
INTO THE WILD BLUE YONDER
AND FIND A MOTHER.

YOU'RE NOT MAKING
A MISTAKE, EDDIE.
SHE'S GOOD.

ONCE I ALMOST
HEARD HER READ.

GOODBYE, PEGGY.

GOODBYE, EDDIE.

GOODBYE, WRITERS,
PRODUCERS, DIRECTORS,

AGENTS, BALLET DANCERS.

GOODBYE, EVERYBODY.

FLIGHT NUMBER 125
FROM WASHINGTON

NOW ARRIVING
GATE NUMBER 3.

HARRY.
I THOUGHT I'D NEVER
GET HERE ON TIME.

WHAT'S THE MATTER,
THE PARTY DULL?

THE UNEMPLOYED ACTORS
WERE ENTERTAINING.

THEY'LL NEVER KNOW
I'M GONE.

(CLERK)
SORRY, EXCESS. 15.80.

OH, MY.
THIS IS HEAVY.

WELL, IT'S WAY
OVER 40 POUNDS.

YOU'LL HAVE
TO PAY EXCESS.

$1.50, $2.00--
WHAT'S THE DIFFERENCE?

DON'T BE SILLY.
WHY SHOULD
YOU PAY ANYTHING?

THE AIRLINE DOESN'T
NEED THE MONEY.

HARRY.

COME ALONG. COME ALONG.
FOLLOW ME.

DON'T MAKE A SCENE.

BE QUIET.

GIVE ME THAT BAG,
WILL YOU?

EXCUSE ME.

WHAT ARE YOU
GOING TO DO?

NEVER MIND.

PUT THIS
IN YOUR POCKET.

PUT IT
IN YOUR POCKET.

FOR PETE'S SAKE.

WHY ARE YOU
BRINGING THIS?

THE FRAME
WEIGHS A TON.

PUT THIS
IN ONE POCKET.

I'M SORRY.

GOT THE OTHER.

DON'T WORRY.
EVERYBODY DOES IT.

AT LEAST PRETEND
TO BE MAKING A PHONE CALL.

CARRY THAT.
PRETEND IT'S A BOOK.

I DON'T KNOW WHY
YOU'RE NOT THE WORLD'S
RICHEST WOMAN.

BECAUSE A CERTAIN
SPENDTHRIFT I KNOW
OWES ME LOTS OF MONEY.

COME, THOMAS.

HERE YOU ARE.

THERE'S THE TICKET.

WHERE'S
THE BOY PLAYWRIGHT?

HE'S STILL AT THE PARTY.

HOWEVER DID HE
LET YOU GO?

I SLIPPED SOMETHING
INTO HIS DRINK.

VERY FUNNY.

A QUARTER
OF A POUND OVER.

WHAT?

THERE'S NO CHARGE.

THERE'S YOUR BAGGAGE
CHECK AND GATE PASS.

THANK YOU.

YOU MIGHT AT LEAST
THANK ME.

IT'S WONDERFUL--
A MAN YOUR AGE
BEING JEALOUS.

IT'S EVEN MORE WONDERFUL
YOU BEING ABLE
TO MAKE ME JEALOUS.

OH, WHAT'S THE MATTER?

YOU'VE BEEN THROUGH
GEORGE COURTLAND,

ROGER BAKER,
JOHNNY MORROW,

AND ALL MY OTHER LITTLE
HARMFUL FLIRTATIONS.

I'VE GOT A FUNNY FEELING
ABOUT STANLEY KROWN.
HE'S DIFFERENT.

YES, HE IS DIFFERENT.

STANLEY WORRIES ME.

HE'S NOT BEHAVING
ACCORDING TO FREUD.

A YOUNG, CHARMING GIRL
THROWS HERSELF AT HIM--

PEGGY PRUITT?

YEAH.

I GOT HER A JOB

IN THE ROAD COMPANY
OF THE NIGHT IS BLUE.

YOU DID, EH?

YES, I DID.

SHE NEEDED THE JOB,
DIDN'T SHE?

YOU DID IT BECAUSE
SHE NEEDED THE JOB, EH?

NOT TO GET HER AWAY
FROM STANLEY?

OH, HARRY.
TAKE CARE OF YOURSELF.

I DON'T KNOW
WHAT I'D DO WITHOUT YOU.

I'LL TAKE VERY
GOOD CARE OF MYSELF.

THANKS FOR TAKING
MY PICTURE ALONG.

A PLEASURE.

BEA,

BY ANY CHANCE
DID YOU REFEREE

THE DEMPSEY-
CARPENTIER FIGHT?

OH, FOR ME? CELERY.

EMMA.

MR. KROWN.

YEAH.

A YOUNG LADY WANTS
TO SEE THE RUN-THROUGH--

A FRIEND OF YOURS.

WHAT'S HER NAME?

CLAUDIA SOUVAINE.

CLAUDIA SOUVAINE.

I DON'T KNOW
A CLAUDIA SOUVAINE.

SHE SEEMS TO KNOW YOU
RIGHT WELL.

WHERE IS SHE?

IN THE LOBBY.

ALL RIGHT.

CLAUDIA SOUVAINE?

OH.

THEY LOVE THAT SORT
OF NAME ON THE ROAD.

ONLY I'M NOT
ON THE ROAD ANYMORE.

THEY FIRE YOU ALREADY?

I GAVE MY NOTICE.

WHAT FOR?

IT'S A STUPID PART
ANY OF 10,000
INGENUES CAN PLAY.

IT'S A WASTE
OF MY TALENT.

YOU KNEW THAT
BEFORE YOU TOOK
THE PART, DIDN'T YOU?

YEAH, BUT...

YEAH, BUT WHAT?

I DIDN'T KNOW I'D BE
MISSING YOU SO MUCH.

OH.

IT WASN'T SO BAD
IN HAZELTON AND SCRANTON

AND PLACES LIKE THAT,

BUT AS WE KEPT GOING
FARTHER WEST, I...

DID...YOU MISS ME ANY?

UH, WELL, I, UH...

I WAS SO BUSY.

YOU CAN BE BUSY AND
STILL MISS A PERSON.

I WAS BUSY, TOO.

I THINK I DID THINK
ABOUT YOU NOW AND THEN.

AREN'T YOU TOUCHED
BY WHAT I DID--

I MEAN, GIVING UP A JOB
AND EVERYTHING?

WELL, OF COURSE
I'M TOUCHED.

WHO WOULDN'T BE? BUT...

ALSO I THINK
YOU'RE A LITTLE TETCHED.

WHAT'S THE MATTER?

THAT'S A NICE,
WARM SMILE.

I LIKE IT.

UH,

UH, YOU LOSE
SOME WEIGHT?

YEAH, A POUND OR TWO.

ARE YOU WORRIED
ABOUT ME?

UH, YES. I DON'T KNOW
WHY I SHOULD BE,

BUT I'M WORRIED ABOUT YOU.

THANK YOU
FOR WORRYING ABOUT ME.

LOOK, AFTER
THE RUN-THROUGH,

WE'RE GOING OUT FOR
COFFEE AND SANDWICHES.

YOU WANT TO JOIN US?

I WAS HOPING
YOU'D ASK ME.

I WAS PLANNING
TO ANYWAY,

BUT I WAS HOPING
YOU'D ASK ME.

READY, MR. KROWN.

OH, THANKS.

OH, COULD I
WATCH IT, JUST
FROM THE BACK?

SURE. LOOK, IT'S
JUST A RUN-THROUGH--

NO SCENERY, NO LIGHTS.

YOU CAN'T GET MUCH REACTION
FROM 10 AUDIENCE MEMBERS.

DON'T WORRY ABOUT ME.

I KNOW
ALL ABOUT RUN-THROUGHS.

NO, MOTHER.
I WON'T WAIT.

I'VE WAITED
FOR 10 YEARS.

I REFUSE
TO BE TREATED AS
A CHILD ANY LONGER.

AND WHEN
YOU GROW UP,

YOU CAN FIND ME
AT THE HOTEL TREMONT.

CURTAIN!

O.K., MR. PHILLIPS?

I'LL CHECK THE NOTES LATER.

O.K., PEOPLE. NOT BAD.

PRETTY GOOD.

PRETTY GOOD? NOT BAD?
WHY, IT'S GREAT,

AND THAT'S NOT A WORD
I USE VERY OFTEN.

BILL,
WHAT DO YOU THINK?

ONE ACT'S
ALL I WANT TO SEE.

IF THAT 5%
IS STILL OPEN, YOU'LL
HAVE MY CHECK TOMORROW.

BLESS YOU AND
YOUR BLACK MARKET MONEY.

DICK, THE ENTIRE COMPANY
ON STAGE, PLEASE.

WHAT'S THE MATTER?
I CAN SEE YOU
DIDN'T LIKE IT.

IT'S DREADFUL.
I'M FURIOUS.

THEY TOOK YOUR PLAY
ABOUT A YOUNG GIRL

AND MADE HER A WOMAN,
AND NOW IT'S--IT'S NOTHING.

I DIDN'T BELIEVE
A WORD OF IT.

NOT A WORD, HUH?

FOUR WEEKS ON THE ROAD,
AND YOU KNOW MORE
THAN THESE PEOPLE.

I DON'T CARE ABOUT THEM.
WHAT DO YOU THINK
ABOUT YOUR PLAY?

YOU'RE AFRAID TO TELL ME.

IT'S MY FIRST PLAY.

IF ALL THESE PEOPLE
EXPERIENCED
IN THE THEATER--

DON'T YOU KNOW
NOBODY TELLS THE TRUTH
AT A RUN-THROUGH?

I'M TELLING YOU THE TRUTH
BECAUSE I LOVE YOU.

IT'LL BE A FIASCO
IN WASHINGTON.

O.K., THAT'S
YOUR OPINION.

THANK YOU.

IF I LIED, YOU'D BE
FALLING ALL OVER ME

THE WAY YOU'RE FALLING
ALL OVER THAT WOMAN.

SHE'S RUINED YOUR PLAY.

NOW, LISTEN--

SHH! SHH!

I WANT YOU TO LEAVE
THAT WOMAN--

I MEAN MISS PAGE--
OUT OF THIS.

YOU, THE THEATER
TOUGH GUY,

YOU CAME OUT OF
WASHINGTON MARKET,

AND NOBODY COULD TELL
YOU WHAT TO DO.

THEY TOLD ME
HOW TO GET A STAR
LIKE BEATRICE PAGE.

BEATRICE PAGE'S TWISTING YOU
AROUND HER LITTLE FINGER.

IT'S AS PLAIN
AS THE SIAMESE NOSE
ON YOUR SIAMESE FACE.

THAT'S ENOUGH.

YOU'RE TOO DUMB
TO KNOW IT

AND TO KNOW
I'D BE WONDERFUL FOR YOU,

OR MY NAME ISN'T
CLAUDIA SOUVAINE.

IT ISN'T, OR IT
WON'T BE NEXT WEEK.

YOU AND BEATRICE PAGE--
WHY, IT'S PITIFUL.

AN EAGLE SWOOPING DOWN
ON AN INNOCENT SPARROW

AND CARRYING HIM OFF--

SHUT UP AND GIVE
THE ACTORS A CHANCE.

GET OUT
AND NEVER COME BACK.

I NEVER WANT
TO SEE OR HEAR
FROM YOU AGAIN OR--

WHAT ABOUT
THAT SANDWICH AND DRINK
YOU INVITED ME OUT FOR?

Get out!

OH, THEY'RE LOVELY.

THANK YOU.

SOME MORE TELEGRAMS.

OH, THANK YOU, DARLING.

OH, THANK YOU, HARRY,
FOR THE ROSES.

THEY'RE LOVELY.

WHATEVER DID
YOU USE FOR MONEY?

YOUR ALIMONY PAYMENT.

NEVERTHELESS
I AM TOUCHED.

ROSES ALWAYS
MAKE ME WANT TO CRY.
LONG-STEMMED ROSES.

(KNOCK ON DOOR)

COME IN.

HI.

HELLO, STANLEY.

Y-YOU NERVOUS?

YEAH.

I, UH, BROUGHT YOU
A LITTLE SOMETHING.

DARLING,
YOU SHOULDN'T HAVE.

THE PLACE'S FILLED
WITH FLOWERS ALREADY.

WELL, THESE AREN'T
EXACTLY FLOWERS.

THEY'RE, UH, STRAWBERRIES,
PRIZE STRAWBERRIES.

OH, WELL, THANK YOU,
STANLEY.

WE'LL, UH, WE'LL EAT
THEM AFTER THE SHOW.

MARKET HERE'S ALMOST
AS GOOD AS NEW YORK'S.

THEY MADE ME
A PRESENT OF THESE.

PROFESSIONAL COURTESY,
NO DOUBT.

DID YOU, UH, SPEND
ALL DAY AT THE MARKET?

NO. I WALKED ALONG
THE POTOMAC RIVER.

AGAIN?

WELL, THE VIEW SEEMS
TO SETTLE MY STOMACH.

IT'S BEEN CHURNING
EVER SINCE WE CAME
TO WASHINGTON.

THANK YOU.

THIS IS
THE MOST IMPORTANT
NIGHT OF MY LIFE.

IN A COUPLE HOURS,
I'LL KNOW WHETHER
I BELONG IN THE THEATER

OR BACK TO FRUITS
AND VEGETABLES.

ANOTHER BATCH
OF WIRES.

THANK YOU.

AND A COUPLE FOR YOU.

I DIDN'T KNOW
YOU HAD ANY FRIENDS.

IT'S FROM EDDIE WOODS.

"10 WORDS WISHING YOU
AND MY 10% GOOD LUCK."

FOR 20 YEARS,
HE'S SENT THAT SAME WIRE
TO HIS CLIENTS.

WHO'S THE OTHER ONE
FROM?

"I LOVE YOU...

CLAUDIA SOUVAINE."

CHEAPSKATE.
ONLY THREE WORDS.

SHE'S PROBABLY
LIKE EDDIE WOODS--

SENDS
THE SAME TELEGRAM
TO EVERYONE.

(KNOCK ON DOOR)

COME IN.

FIVE MINUTES,
PLEASE, MISS PAGE.

WELL...

NO, DON'T--DON'T WISH ME
LUCK. I'M SUPERSTITIOUS.

BUT YOU MAY KISS ME.

OH, COME ON. COME ON.

YOU HAVEN'T GOT
ALL NIGHT. DO YOU MIND?

FOR LUCK.

I HOPE YOU WATCHED
AND LEARNED SOMETHING.

WELL?

NOT A TRACE OF HIM.

I PHONED THE HOTEL AND
HAD HIM PAGED AT THE BAR.

IT'S TOO EARLY
TO CALL THE HOSPITALS
AND POLICE STATIONS.

I CAN'T GET OVER IT.

YOU SAY HE DIDN'T COME
BACK FOR THE THIRD ACT.

HE DIDN'T EVEN STAY
FOR THE END OF THE SECOND.

WAS IT THAT BAD?

THE CURTAIN WENT UP,
AND NOTHING HAPPENED.

IN ALL MY YEARS
IN THE THEATER,
I DON'T KNOW WHY.

LET'S GO BACK
TO THE HOTEL.

MAYBE THE BARTENDER
WILL KNOW WHY.

WAIT. YOU GO BACK.

I HAVE AN IDEA
WHERE HE MAY BE.

DRIVER.

DRIVER, STOP HERE.

I CAME TO APOLOGIZE
FOR RUINING YOUR PLAY.

THERE WASN'T ENOUGH
OF A PLAY TO RUIN.

WELL, WHATEVER THERE WAS
I RUINED.

YOU DON'T
REALLY BELIEVE THAT.

OF COURSE I DON'T.

I THOUGHT
I WAS QUITE WONDERFUL.

WHY DID YOU SAY IT?

THE FIRST TIME WE MET,

YOU SAID THAT AN ACTRESS
SHOULD HAVE HUMILITY.

I'M HAVING HUMILITY.

I ALSO REMEMBER YOUR
SAYING SOMETHING ELSE--

THAT A WRITER
SHOULD BE ARROGANT.

YOU WERE VERY DEFINITE
ABOUT THAT.

AN ACTRESS SHOULD
BE HUMBLE. A WRITER
SHOULD BE ARROGANT.

YOU DON'T LOOK
VERY ARROGANT TO ME.

I FOUND OUT
I'M NO WRITER.

I'M A FRUIT
AND VEGETABLE MAN.

I'M GOING BACK
TO WASHINGTON MARKET.

NO, YOU'RE GOING
RIGHT BACK TO WORK
ON THE PLAY.

I WORKED ON THAT PLAY
A WHOLE YEAR--

FROM 6:00 AT NIGHT
UNTIL 3:00 IN THE MORNING--

ON THE SUBWAY
GOING TO THE MARKET
AND ON THE SUBWAY BACK.

I THOUGHT
ABOUT IT SHAVING

AND THOUGHT
ABOUT IT SHOWERING.

I'VE HAD IT.
FORGET THE WHOLE THING.

NO, I WON'T.

WE'LL CLOSE THE PLAY.

I'LL GO TO EUROPE
FOR A VACATION.

YOU'LL WORK ON THE PLAY
EVERY MOMENT I'M GONE.

WHEN I RETURN, WE'LL
START ALL OVER AGAIN--

MORE REWRITING,
MORE REHEARSAL,

AND WE'LL HAVE A HIT.

WE'LL HAVE THE BIGGEST
SMASH SINCE--

POP McNALLY.

POP McNALLY?

OUR HIGH SCHOOL
BASKETBALL COACH

USED TO GIVE JUST
THE SORT OF PEP TALK

IN BETWEEN HALVES
WHEN WE WERE LOSING.

WELL, DID IT WORK?

NOT ONCE. WE HAD
THE LEAGUE'S WORST TEAM,

AT LEAST
WHEN I WAS ON IT.

THIS ISN'T
A LOCKER ROOM,

AND THERE'S A BIG
DIFFERENCE BETWEEN
ME AND POP McNALLY.

HE DOESN'T WANT
TO MARRY YOU.

WHAT?

I SAID, "HE DOESN'T
WANT TO MARRY YOU."

WELL, HE--HE
NEVER MENTIONED IT
ONE WAY OR THE OTHER.

WELL, I SHOULDN'T HAVE
MENTIONED IT EITHER.

I WANTED TO MARRY YOU,
BUT NOT ANYMORE.

I DON'T MIND
PEOPLE FEELING
SORRY FOR THEMSELVES,

BUT WHEN THEY ENJOY IT.

IF YOU WERE
REALLY MISERABLE,

YOU'D BE STARING
AT A BLANK WALL.

BUT YOU'RE BEING UNHAPPY
ON THIS BEAUTIFUL RIVER,

STARING AT
THE JEFFERSON MEMORIAL.

I WANTED TO MARRY YOU,

BUT NOW, IN YOUR
OWN IMMORTAL WORDS,

"FORGET
THE WHOLE THING."

NOW, IS THERE
A TAXI HERE,

OR DO I HAVE TO RUN
BACK TO THE HOTEL?

LET'S TRY ONE
FROM DOWN HERE.

HOLD IT JUST
LIKE THAT.

LOVELY!

DARLING,
LET'S SEE IF I'VE GOT
EVERYTHING STRAIGHT.

YOU'RE GOING TO PARIS, ROME,
ISRAEL, AND SCANDINAVIA.

HOME AFTER LABOR DAY,
MARRY STANLEY,
OPEN THE PLAY.

OR IS IT THE OTHER
WAY AROUND--

OPEN THE PLAY,
THEN MARRY STANLEY?

IT'S MARRY STANLEY
FIRST.

ANY WORD
FROM HARRY YET?

I DON'T KNOW
WHERE HE IS.

HIS NOSE NEEDS POWDER.

TAKE MISS PAGE. I DON'T
WANT ANY MORE PICTURES.

O.K. YOU DON'T
SELL PAPERS.

HOW ABOUT BY THE PIANO?

I'LL ONLY BE A MINUTE.

LOOK REAL SWEET,
DARLING.

MY NOSE
NEEDS POWDER.

HOLD IT
LIKE THAT.

THAT'S IT.

(DOORBELL RINGS)

(DOORBELL RINGS)

OH. HELLO, CLAUDIA.

IS IT STILL CLAUDIA?

MR. KROWN,
ONE LAST PICTURE--

YOU AND MISS PAGE
IN A CLUTCH, HUH?

KEEP YOUR BACK
TO THE CAMERA.

YOU CAN SCOWL
AS MUCH AS YOU LIKE.

ISN'T HE SWEET?

MR. PHILLIPS.

MR. PHILLIPS!

HARRY...

WHERE HAVE YOU BEEN?

NONE OF YOUR BUSINESS.

WHAT DO YOU THINK
OF BEA MARRYING STANLEY?

THE THREE OF US
WILL BE VERY HAPPY.

I'LL FIX YOU
SOME FOOD.

SHE CAN'T WAIT TO KNOW
WHAT I THINK ABOUT IT.

TRUE ENOUGH.

IS THE ENGAGEMENT
BROKE?

SEE IF MY GUESTS
NEED ANYTHING.

I'LL SAY THIS TO YOU
AGAIN, MISS PAGE--

HE'S A LOVELY BOY,
BUT HE AIN'T NO
HARRY PHILLIPS.

EVEN HARRY PHILLIPS AIN'T
NO HARRY PHILLIPS ANYMORE.

LISTEN HERE.
YOU KNOW SOMETHING?

YOU'RE LIABLE
TO HAVE THE SHORTEST
ENGAGEMENT ON RECORD.

YOU SOUND SO TIRED.

I JUST GOT OFF A PLANE.

WHERE WERE YOU?

LOTS OF PLACES.

WHY DIDN'T I
HEAR FROM YOU?

WHY DIDN'T YOU
ACCEPT MY CALL?

WHY SHOULD I ACCEPT
A COLLECT CALL?

DON'T FORGET TO INVITE ME
TO THE WEDDING.

I CRY AT WEDDINGS.

EVERYBODY ELSE
WILL BE LAUGHING.

SO YOU THINK
THE WHOLE THING'S CRAZY?

BEA, YOU KNOW
IT'LL NEVER WORK.

THAT'S
WHAT THEY SAID ABOUT
THE WRIGHT BROTHERS

AND ABOUT THE STEAMBOAT.

NOT ME. I KEPT ENCOURAGING
ROBERT FULTON.

IF YOU CAN'T BE
SERIOUS, GET OUT.

YOU'VE--YOU'VE PLAYED
COMEDY LONG ENOUGH

TO KNOW WHEN
A THING'S FUNNY.

HOW CAN YOU TAKE A SILLY,
CHILDISH THING LIKE THIS--

WHAT IS THIS?

THE VERY LATEST
BERMUDA ONIONS,

A SORT OF GOING-AWAY
GIFT FROM STANLEY.

WELL, LET'S SEE.

YOU OUGHT
TO BE MARRIED JUST
IN TIME FOR CANTALOUPES.

IT MAKES ME
A LITTLE HESITANT

TO BRING FORTH
MY SLIGHT OFFERING.

YOU BROUGHT ME
A PRESENT?

IN A WEAK MOMENT.

OH, HARRY.

NEEDLESS TO SAY,
IT'S NOT REAL GOLD.

WELL, IT IS TO ME.

WHY DO YOU HAVE
TO MARRY HIM, BEA?

WHY CAN'T IT BE LIKE
GEORGE COURTLAND,
ROGER BAKER, JOHNNY MORROW?

YOU SAID IT ONCE
YOURSELF, HARRY.

STANLEY IS DIFFERENT.

OH, I DON'T KNOW.

MAYBE
I'M GETTING SCARED.

EVERYBODY
HAS THEIR MOMENTS
WHEN THEY'RE SCARED.

WITH ME,
IT'S USUALLY QUARTER
OF 5:00 IN THE MORNING.

I KNOW BECAUSE
I LOOK AT MY WATCH.

MAYBE
YOU'RE RIGHT, HARRY.

MAYBE THE WHOLE THING
IS CRAZY, BUT...

I NEED STANLEY.

HE--HE MAKES ME HAPPY.

WELL, DON'T YOU WANT ME
TO BE HAPPY, HARRY?

I JUST WANT YOU
TO BE SURE, BABY.

BABY...

YOU HAVEN'T CALLED ME
BABY IN...

WHEN WAS THE LAST TIME
YOU CALLED ME BABY?

I REMEMBER EXACTLY WHEN,

BUT THE CHILDREN
MAY BE LISTENING.

AT LEAST I WON'T HAVE
TO PAY ALIMONY ANYMORE.

THAT'S TRUE. YOU WON'T.

OF COURSE
YOU'LL STILL OWE ME
THE BACK PAYMENTS.

YOU'RE NOT CANCELING
THE BACK PAYMENTS?

YOU OWE IT TO ME.

YOU'RE KIDDING.

YOU KNOW I'M NOT.

YOU'RE GETTING MARRIED.

I DON'T SEE
ANY CONNECTION BETWEEN
MY GETTING MARRIED

AND MONEY YOU OWE ME.

AFTER I BOUGHT YOU
THIS MAGNIFICENT GIFT?

IT ISN'T EVEN REAL GOLD!

THAT'S THE LIMIT!

EVERY KISS,
EVERY LOOK I EVER
BESTOWED UPON YOU,

EVERY KIND THOUGHT
I EVER HAD ABOUT YOU,

I TAKE BACK!

SUE ME FOR THE MONEY!

I'LL CARRY IT
TO THE SUPREME COURT!

HARRY!

HARRY!

(TELEPHONE RINGS)

HARRY?

STAN.

(HARRY)
YEAH, WHAT'S UP?

I SEE A STOCK COMPANY
IN MAINE'S DOING
THE UNHAPPY HOLIDAY.

HOW COME?

THAT'S WHAT
I'D LIKE TO FIND OUT.

I'M STILL REWRITING.

WHY DON'T
WE GET BEA'S CAR,

DRIVE UP THERE, AND
TAKE A LOOK AT THE PLAY?

MAYBE WE'LL FIND
A MOTHER IN IT.

DRUCILLA'S
GONE BACK TO HOLLYWOOD.
SHE WAS NO GOOD ANYHOW.

O.K., YOU ARRANGE IT.

HEY, LISTEN,
I GOT TWO LETTERS
FROM BEA TODAY.

ONE WAS FROM NICE.
ONE WAS FROM VENICE.

THAT'S NICE.
SAVE ME THE STAMPS.

(ROMANTIC PIANO MUSIC)

WE'RE A FEW MINUTES LATE.
I'LL GET THE TICKETS.

TWO FOR PHILLIPS, PLEASE.

I'M SORRY, MR. PHILLIPS.

WE COULDN'T HOLD
THE TICKETS PAST 8:30.

THEY DIDN'T
HOLD THE TICKETS.

WE'LL HAVE TO STAND
IN THE BACK.

LOOK WHO'S IN THE PLAY.

WHAT DO YOU KNOW?
AND CLARA MOOTZ YET.

OH, HENRY.

I STOOD OUTSIDE
LISTENING.

I DIDN'T WANT
TO INTERRUPT.

I THOUGHT IT WAS MOTHER.

I DO MY REHEARSING WHEN
MOTHER ISN'T AROUND.

YOU'VE PASSED
THE BEING-SPANKED STAGE.

HENRY,

MOTHER DOESN'T SPANK.
SHE HAS A PAINED SMILE.

IT'S MUCH WORSE
THAN SPANKING.

(ACTOR)
IT'S NONE
OF MY BUSINESS.

SHE'S DOING
THE FIRST VERSION.

YEAH. I WONDER...

WELL, MAYBE
IT IS MY BUSINESS.

I DON'T CARE.
SHE'S GREAT.

THE PLAY IS GREAT, TOO.

YOU SAID THAT
FOUR TIMES.

I'VE HAD FOUR DRINKS.

ONCE A DRINK
IS NOT TOO OFTEN.

IF YOU HAD GUTS,
YOU'D TAKE THE PLAY
FROM ME

AND CAST CLAUDIA OR
WHATEVER HER NAME IS

AS A 19-YEAR-OLD GIRL
AND HAVE A BIG HIT.

THAT IS, IF YOU HAD GUTS.

WHO'D TELL BEA?

YOU'RE ENGAGED TO HER.

WELL, YOU WERE
MARRIED TO HER.

(WOMAN LAUGHING)

HELLO, CLAUDIA.

THE, UH, NAME
IS CLARA MOOTZ.

OH, YES, YES.

WHAT ARE YOU
DRINKING?

BEER.

BILL, SEE IF YOU CAN
FIND US A CORNER TABLE.

CERTAINLY, CLARA.

JACK, GET US TWO BEERS

AND TELL MORTIE
AT THE PIANO I'M HERE.

O.K.

HE KNOWS WHAT I LIKE.

THEY...WORSHIP ME.

IN THE MEANTIME,
WHY DON'T WE DANCE?

WILL YOU TELL ME
SOMETHING?

WHY CLARA MOOTZ?

IT HAPPENS TO BE
MY REAL NAME.

COULDN'T BE.

WELL, IT IS,
AND I'M STICKING TO IT.

I'M THROUGH
WITH NAME CHANGING
AND ALL OTHER PRETENSES.

WHAT HAVE YOU BEEN
DOING WITH YOURSELF?

OH, UH, NOTHING MUCH.

WHAT DO YOU HEAR
FROM BEATRICE?

OH, UH, NOTHING MUCH.

WHAT SORT OF SUMMER
HAVE YOU BEEN HAVING?

HOT?

YEAH, KIND OF.

I'M TRYING
TO MAKE CONVERSATION.

I'M SORRY, CLARA.

IT'S JUST THAT I CAN'T
GET USED TO YOU.

AT THE THEATER, I WAS
COMPLETELY BOWLED OVER.

I WAS GOOD, WASN'T I?

GOOD? YOU WERE...

WELL, THIS--
THIS NEW MANNER
YOU HAVE...

THE NEW YOU.
YOU'RE...YOU'RE--

OH, BILL HAS
A TABLE FOR US.

THEY CLEARED OUT
SOON AS I TOLD THEM

WHO IT WAS FOR.

OH, THANKS.

HERE WE ARE.

UH, WE'D LIKE
TO BE ALONE, JACK.

OH, SURE.

OH, AND PLEASE SEE THAT
WE'RE NOT DISTURBED.

O.K.

ALL RIGHT,

TELL ME ABOUT
THE NEW ME.

WELL, YOU'RE SO MUCH
MORE SELF-ASSURED

IN A SO MUCH LESS
OBNOXIOUS WAY.

THAT'S VERY TRUE.

WHEN I KEPT SHOUTING
WHAT A GREAT ACTRESS
I WAS,

I REALLY DIDN'T
QUITE BELIEVE IT.

I WAS AWFULLY AFRAID
THAT MAYBE I WASN'T.

NOW, I KNOW.
I'M GOOD.

NOT GREAT YET,

BUT GOOD.

AND IT'S HAD
A STRANGE EFFECT ON ME.

I DON'T HAVE TO SHOUT
AT PEOPLE ANYMORE.

I'M ACTUALLY HUMBLE.

TO MY GREAT SURPRISE
I'VE DISCOVERED

THAT I'M REALLY
A VERY NICE PERSON.

YES, YOU ARE.

AND YOU LOOK
DIFFERENT, TOO.

YOU'RE...
YOU'RE MUCH MORE, UH...

WELL, YOU KNOW
WHAT I MEAN.

I KNOW WHAT YOU MEAN.

DO YOU REMEMBER
THE NIGHT,

THE NIGHT I CAME
TO YOUR APARTMENT
TO WRESTLE

AND REMAINED TO TYPE?

DO YOU REMEMBER
MY SAYING TO YOU,

"I'M REALLY
LOOKING AT YOU
FOR THE FIRST TIME"?

YES.

WELL, THAT'S
WHAT'S HAPPENING NOW.

YOU'RE REALLY
LOOKING AT ME

FOR THE FIRST TIME.

ONLY IT'S TOO LATE NOW.

THE TIMING IS ALL WRONG.

TWO PEOPLE HAVE TO
LOOK AT EACH OTHER

FOR THE FIRST TIME

AT THE SAME TIME,

OR IT'S NO GOOD.

YEAH. FUNNY, HUH?

NO, NOT VERY.

HEY, YOU'RE THE QUEEN
AROUND HERE.

CAN'T YOU GET THEM
TO PLAY SOMETHING ELSE?

I LIKE IT.

WHERE ARE YOU STAYING?

DOWN THE ROAD
WITH SOME OF THE KIDS.

MAYBE I COULD
WALK YOU HOME.

NO.

NO, IT'S MORE OF
A LANE THAN A ROAD,

AND IT'S
A VERY PRETTY LANE,

AND IT'S
A BEAUTIFUL NIGHT.

NO, WE'RE NOT GOING TO
FALL INTO THAT TRAP.

WHAT'S HAPPENING
TO US, SALLY?

WHY DID YOU CALL ME
SALLY ALL OF A SUDDEN?

I DON'T KNOW.
I--I DIDN'T REALIZE I HAD.

BUT YOU DID.

MAYBE IT'S BECAUSE
IT'S THE FIRST NAME

I KNEW YOU UNDER.

MAYBE THAT'S WHY
IT'S THE NAME THAT STUCK.

MAYBE BECAUSE IT'S
THE SWEETEST NAME.

NOW, YOU TELL ME THIS.

YOU CALL ME
THE WRONG NAME,

YOU SAY
THE WRONG THINGS.

FOR A WRITER,
YOU'RE A TERRIBLE DOPE!

GO FINISH YOUR DRINK
WITH HARRY PHILLIPS.

GOOD LUCK
WITH BEATRICE PAGE.

GOOD LUCK
WITH YOUR PLAY.

GOOD LUCK
WITH EVERYTHING!

YOU DON'T HAVE TO
TELL ME A THING.

I'M A LIP READER.

YOU FIND OUT WHO
GAVE THEM PERMISSION

TO DO THE PLAY?

NO, WELL, IT SEEMS
EDDIE WOODS--

I DON'T KNOW.

I WISH BEA WERE
BACK FROM EUROPE.

WHAT'S THE MATTER?
DO YOU MISS HER?

SURE.
SURE, I MISS HER.

THAT'S NOT
THE IMPRESSION
I GOT LAST NIGHT

WHEN YOU WERE
PLAYING FOOTSIE
WITH MISS MOOTZ.

FORGET LAST NIGHT.

SHE'D GIVEN
A GREAT PERFORMANCE,

THE ORCHESTRA WAS PLAYING,
THERE WAS A WATERFALL,

AND I HAD
A COUPLE OF BEERS.
SO FORGET IT.

O.K., I'LL FORGET IT
IF YOU WILL.

HARRY, THERE'S
A BIG DIFFERENCE
BETWEEN CLARA AND BEA.

CLARA'S SO...

SO...

WELL, YOU KNOW.

NO, I DON'T KNOW.
I'M STUPID.

WELL, TAKE BEA.

BEA'S SO...

WELL, I WISH SHE WERE
BACK FROM EUROPE.

YOU DO?

YES, I DO.

FUNNY THING YOU SHOULD
MENTION BEA JUST NOW.

WE'RE ONLY ABOUT
AN HOUR'S DRIVE

FROM HER MOTHER'S HOUSE.

BEA'S MOTHER?

SHE NEVER MENTIONED
HAVING A MOTHER.

WELL, SHE'S THAT
KIND OF A MOTHER.

WHY DON'T WE
DROP IN ON HER?

NO. IT'S LATE.
I WANT TO MAKE NEW YORK.

O.K., YOU'RE GOING
TO HAVE TO MEET HER
SOONER OR LATER.

IS THIS THE PLACE?

YEAH, HOP OUT.
I'LL WAIT HERE.

AREN'T YOU COMING?

I'D BETTER NOT.

THE OLD LADY KEEPS
HOUNDING ME ABOUT
BACK ALIMONY. GO ON.

I'M NOT FACING
ANY STRANGE WOMAN ALONE.

YOU'VE GOT TO INTRODUCE ME.

WELL...ALL RIGHT.

GO AHEAD, RING THE BELL

OR USE THE KNOCKER
OR SOMETHING.

WHAT'S THE MATTER?
WHAT ARE YOU
SO NERVOUS ABOUT?

MR. PHILLIPS.

MR. KROWN.

EMMA,
I DIDN'T EXPECT
TO SEE YOU HERE.

THAT GOES DOUBLE
FOR ME.

ARE YOU TAKING CARE
OF MISS PAGE'S MOTHER

WHILE MISS PAGE
IS IN EUROPE?

WHAT'S THAT?

TELL MRS. PAGE
WE'D LIKE TO SEE HER.

MRS. PAGE?

YES, MRS. PAGE.
GO ALONG.

SHE'S IN
THE WORK SHED.

ALL RIGHT--

OH, NO. I'LL GO.

I'LL TELL HER
YOU'RE HERE.

OH, MISS PAGE.

MISS PAGE, HE'S HERE.

WHO?

HIM. MR. KROWN.

STANLEY?

AND HE TALKS AWFUL FUNNY.

HE SAYS,
"ARE YOU TAKING CARE
OF MISS PAGE'S MOTHER?"

HOW DOES HE KNOW
THAT I'M HERE?

WHY DOES HE THINK
I HAVE A MOTHER?

MR. PHILLIPS. HE SEEMS
TO THINK SO, TOO.

HE SAYS--

OH!
OH, NOW I GET IT.

WHY THE CONTEMPTIBLE,
THE DESPICABLE,

THE DIRTY, ROTTEN--

I KNOW WHAT
YOU'RE THINKING,

AND YOU'RE NOT
THINKING HALF ENOUGH.

WELL, LOOK AT
THE WAY I LOOK!

YOU--YOU GO
AND STALL THEM.

MAKE THEM A DRINK,
AND I'LL FIX UP.

YES, MISS PAGE.

OH!

MISS--MRS. PAGE
WILL BE RIGHT IN.

IN THE MEANTIME,

WOULD YOU GENTLEMEN
LIKE A DRINK--

OH.

ONE BOTTLE OF LIQUOR
IN THE WHOLE HOUSE.

(DOOR OPENS)

HELLO, BEA.

BEA.

HELLO, STANLEY.

YOU CAN'T BE HERE.

I SAW YOU OFF
ON A PLANE TO EUROPE.

I KNOW.

I GOT OFF AT BOSTON.

BUT ALL THOSE LETTERS
I RECEIVED FROM EUROPE.

A VERY SIMPLE MATTER
TO ARRANGE.

AND THIS MOTHER BUSINESS?

I HAVEN'T HAD A MOTHER
FOR 20 YEARS.

THIS WAS JUST HARRY'S
IDEA TO GET YOU HERE.

I DON'T GET IT.

WHY DID YOU SAY
YOU'RE GOING TO EUROPE?

I SAY EVERY YEAR
I'M GOING TO EUROPE,

THEN I SNEAK UP HERE
TO HIDE OUT.

HIDE OUT?

WHY?

WHY?

SO I CAN RELAX
AND PUT ON WEIGHT,

LET MY HAIR GO
AND BE AS SLOPPY

AND CAREFREE AS I LIKE.

SO I CAN PUT BEHIND ME,
FOR A WHILE,

THE DIETING
AND THE MASSAGING

AND THE HAIR DYING
AND THE BEAUTY PARLORING

AND ALL THE OTHER
LITTLE TORTURES
THAT MY PROFESSION--

AND MY VANITY--
INFLICT UPON ME.

IN SHORT, SO THAT
FOR TWO HEAVENLY MONTHS

OUT OF THE YEAR,

I CAN BE MY AGE.

WHY CAN'T YOU BE
YOUR AGE ALL YEAR?

YOU ASK AN ACTRESS
TO GIVE UP BEING 29?

WHEN YOU'RE
AN OLDER AND WISER
PLAYWRIGHT, STANLEY,

AND YOU WRITE A PLAY
FOR A WOMAN OF 34,

OR 35, OR EVEN 40,

YOU'LL FIND
THAT THE ACTRESS
WILL COME TO YOU

AND SAY, "WHY DOES
SHE HAVE TO BE 34?

"OR 35, OR EVEN 40?

WHY CAN'T SHE BE...29?"

IT'S SUCH
A WONDERFUL AGE.

CAN YOU BLAME US
FOR LINGERING AND
LINGERING AND LINGERING

AND THEN FINALLY HAVING
TO BE DRAGGED THROUGH?

AND IT ISN'T ONLY
IN THE THEATER.

LOOK AT THE AUDIENCE
SOMETIME.

IT'S FULL OF 29s.

SPEAKING OF 29--

I'M NOT SPEAKING
TO YOU.

NEVERTHELESS,
SPEAKING OF 29,

STANLEY AND I SAW
THE UNHAPPY HOLIDAY

AT LAKE MANAPAC
LAST NIGHT.

OH? REALLY?

YES, AND CLARA MOOTZ
PLAYED THE LEAD.

CLARA MOOTZ
ALIAS CLAUDIA SOUVAINE,

ALIAS PEGGY PRUITT, ALIAS
SALLY SOMETHING OR OTHER.

BEA, WHAT I DON'T
UNDERSTAND IS

WHY'D YOU LET ME SEE YOU?

I DIDN'T HAVE TO KNOW.

NO...

NO, YOU DIDN'T.

BUT ALL SUMMER LONG,
I SAT ON THE PORCH HERE

ROCKING AND THINKING
ABOUT YOU AND ME.

WE HAD SOME WONDERFUL
TIMES TOGETHER, STANLEY.

AND I FELT SOME
WONDERFUL THINGS
TOWARD YOU,

BUT IT WASN'T LOVE.

I ROCKED MYSELF
INTO THAT REALIZATION.

YOU KNOW, WHEN EMMA TOLD
ME THAT YOU WERE HERE,

AT FIRST, I GOT PANICKY.
I--I DIDN'T WANT TO
SEE YOU.

THEN
I KNEW IT WAS NO USE.

YOU'D FIND OUT
SOONER OR LATER.

E. HARRY PHILLIPS
WOULD SEE TO THAT,
WOULDN'T YOU, DEAR?

I CERTAINLY WOULD.

MAY I TELL YOU
SOMETHING ELSE?

THE MOMENT I SAW YOU,
I KNEW YOU'D BEEN HAVING

THE SAME SORT OF SUMMER.

HARRY, WHEN YOU
MENTIONED CLARA

DID YOU SEE
HIS FACE LIGHT UP?

LIKE A CHEAP
ROMAN CANDLE.

TELL ME,
DID YOU PLAY THE MAID

IN THE FORGOTTEN LIGHT
YEARS AGO?

YES, UNDER ANOTHER NAME.

I, TOO, HAVE HAD
MANY NAMES,

BUT NOTHING,
NOTHING LIKE MOOTZ.

WELL, STANLEY,

NOW WHAT?

WELL, THE--
THE WHOLE THING

IS SUCH A SURPRISE. I--

I REALLY DON'T KNOW...

LOOK, BEA, A FEW YEARS'
DIFFERENCE IN AGE,
WHAT DOES IT MATTER?

ON YOUR TOES, BEA.

HE'S GOING TO
BE GALLANT.

NO, I--

THANK YOU, STANLEY.
THAT'S SWEET OF YOU.

I'M TOUCHED.

IF I WERE YOUNG
AND FOOLISH,

YOU'D MAKE ME CRY.

IN FACT,
I WISH YOU WOULD GO,

BECAUSE I HAVE A FEELING

THAT IN A LITTLE WHILE,

I'LL BE CRYING
ALL OVER THE PLACE.

BEA--

NEVER MIND.
I'LL TAKE CARE OF HER.

HERE ARE THE CAR KEYS.

DRIVE TO NEW YORK
OR SOMEPLACE.

DRIVE TO LAKE MANAPAC.

THAT'S WHERE YOU
REALLY WANT TO GO.

GO ON. BEAT IT.

SOMEBODY'S ALWAYS
TELLING ME TO BEAT IT.

BEA...

DO YOU WANT TO KILL ME?

COULD I
GET YOU A CIGARETTE

OR A DRINK OR SOMETHING?

BEA, COULD I ASK YOU
JUST ONE QUESTION?

WAS IT YOUR DOING THAT
THE LAKE MANAPAC PLAYERS

GOT AHOLD
OF STANLEY'S PLAY?

I WROTE EDDIE WOODS...
FROM EUROPE.

WHY DID YOU DO IT?

OH, I DON'T KNOW.

BUT EVER SINCE WASHINGTON,
I HAD A FEELING--

I HATED TO ADMIT
EVEN TO MYSELF--

THAT MAYBE BY MAKING
STANLEY CHANGE HIS PLAY

WE'D RUINED IT.

I JUST WANTED TO SEE.

AND DID YOU?

I SNEAKED
INTO THE THEATER
THE OTHER NIGHT.

OH, DON'T LOOK AT ME

AS THOUGH I'D DONE
SOMETHING NOBLE.

IT WASN'T NOBLE AT ALL.

I KEPT HOPING THE PLAY
WOULD BE TERRIBLE

AND CLARA
WOULD BE EVEN WORSE.

BUT SHE WASN'T, WAS SHE?

NO.

SHE WAS WONDERFUL.

AND THE PLAY WAS
EVEN MORE WONDERFUL.

AND THAT'S WHAT YOU'VE
GOT TO DO, HARRY--

PRODUCE THAT PLAY
THE WAY IT WAS WRITTEN

WITH THAT GIRL
IN THE LEAD.

WHAT AM I GOING TO DO
ON OPENING NIGHT?

I WON'T EVEN BE ABLE
TO GO NEAR THE THEATER.

BEA.

BEA, I JUST THOUGHT
OF SOMETHING.

SOMETHING CRAZY.

WHAT?

PLEASE LISTEN TO ME

AND THEN YOU CAN HIT ME.

BUT SUPPOSE YOU WERE
TO PLAY THE MOTHER?

JUST SUPPOSE.

EVERYONE WOULD SAY
HOW COURAGEOUS

OF BEATRICE PAGE
TO PLAY A WOMAN OF 50.

SHE'S NOWHERE NEAR IT.

I AM NOWHERE NEAR IT.

SUPPOSE YOU HAVE
A FEW GRAY HAIRS.

THEY'LL THINK IT'S DYED.

THEY'LL SAY
WHAT A GREAT ARTIST,

TO DYE HER HAIR
GRAY FOR A PART.

I DON'T WANT TO SET FOOT
ON STAGE AGAIN.

BEA, YOU KNOW
THE TROUBLE WE'VE HAD
CASTING THE PART.

YOU'RE THE ONLY
WOMAN IN THE WORLD
WHO COULD PLAY IT.

YES, I KNOW.

AND WITH THAT MOOTZ KID
PLAYING THE DAUGHTER,

NOT THAT THE PART'S
ANY BETTER,

WE'LL HAVE
THE BIGGEST HIT
OF OUR LIVES!

OH, I DON'T KNOW.

I DON'T THINK SO.

ANYWAY, I DON'T
WANT TO DISCUSS IT.

SUDDENLY, I FEEL
I CAN'T STAY

IN THIS HOUSE
ANOTHER NIGHT.

YOU DON'T HAVE TO.
LET'S GET OUT.

YOU MEAN NOW, TONIGHT?

SURE. IS THERE A TRAIN?

A HORRIBLE ONE,
BUT A TRAIN.

OH, WE'D NEVER
MAKE IT. 15 MINUTES.

JUST THROW A COAT OVER.

YOU'VE GOT CLOTHES
IN NEW YORK.

GET MY COAT
AND MY PURSE.

WE MAY NOT MAKE IT.

WE CAN TRY!

EMMA!

YES?

YOU'RE DRIVING US
TO THE STATION! HURRY!

I MAY NOT HAVE
ENOUGH MONEY
FOR THE TICKETS.

WE'LL RIDE THE RAILS.

WE'VE ONLY GOT
12 MINUTES.

HARRY.

WHAT'S THE MATTER?

I WAS THINKING.
THE GIRL IN THE PLAY

IS GOING TO
BE 19 OR 20.

YEAH, BUT--

THEN WHY'S THE MOTHER
HAVE TO BE 50?

WHY CAN'T SHE BE...39?

COME ON,
FOR PETE'S SAKE!

WE'LL MISS THE TRAIN.

WELL, I WAS NERVOUS
AGAIN TONIGHT.

ANOTHER OPENING NIGHT.

ANYWAY, IT'S 11:30,

AND THANK HEAVEN
IT'S ALL OVER NOW.

SO, HARRY PHILLIPS
FINALLY HAS A HIT.

A LUCKY ONE, TOO,
I HEAR.

THE KID, HE'S
A ONE-PLAY PLAYWRIGHT.

YOU'LL NEVER HEAR FROM
THAT STANLEY KROWN AGAIN.

(APPLAUSE)

HOW GOOD WAS SHE
REALLY, HARRY?

VERY GOOD.

NOT AS GOOD AS THE PLAY.

NOT NEARLY
AS GOOD AS YOU.

YOU'LL GET
ALL THE NOTICES.
WAIT AND SEE.

IT'LL TAKE HER
FIVE YEARS,

BUT SHE'LL BE
BETTER THAN I.

THEY'RE VERY MUCH
IN LOVE, AREN'T THEY?

I DON'T ENVY THEM.

THEY'LL MARRY
AND GO THROUGH
ALL THE CRISES

AND BICKERINGS
AND HEARTBREAKS
OF YOUNG LOVE,

AND WE'VE GOT
ALL THAT BEHIND US.

WE OLDER PEOPLE
REALLY KNOW HAPPINESS.

YES, BUT IT'S TAKING US
TWO MARRIAGES

TO GET TO THAT STAGE.

CAN I HAVE
YOUR AUTOGRAPH?

YES, INDEED.

THERE YOU GO.

THANK YOU.

WAIT A MINUTE.

AT LEAST LET ME
GET IN FIRST.

WE'RE NOT REMARRIED
YET, YOU KNOW.

I'M SORRY.
I WASN'T THINKING.

WHAT'S THE MATTER?

HARRY, ARE YOU
REMARRYING ME

TO GET OUT
OF THE BACK ALIMONY?

OH, FOR PETE'S SAKE!