Paul's Case (1980) - full transcript
Lost in a world of fantasy, young working-class Paul dreams of escaping his dreary existence in turn-of-the-century Pittsburgh. As fate would have it Paul gets his chance by stealing some money and subsequently running off to glamorous New York City.
-Giant factories, the harnessing
of power, an enormous output
of hard goods, these
are the familiar symbols
of the Industrial Revolution.
But no less important
is the human turmoil
that resulted when this new
order polarized the classes.
The industrialized workers found
themselves with regular jobs.
But the labor was
deadening, often demeaning.
The lives of these
citizens were narrow,
with only limited access
to education, art, music,
literature, all the
passions of the spirit.
Willa Cather, who began
writing early in this century,
was one of those
troubled by the fact
that the average person
no longer experienced
the dramatic challenges
of the American frontier.
The expansive vision
that characterized
many of the pioneers was shrunk
by an increasing emphasis
on material acquisition and
by the restrictive pieties
of small-minded people.
It seemed as though a
distorted sense of virtue
was threatening to choke out
life's adventure and romance.
In her novels and short
stories, Willa Cather
often wrote on a theme
of artistic sensibility,
and the way it can be
smothered by society
and its narrow standards.
Most of all, she mourned
the tragic loss to the world
when a talented,
sensitive child was
denied the chance to develop.
She wrote that there is no work
of art so big or so beautiful
that it was not
once all contained
in some youthful body.
Her story, "Paul's Case,"
which you're about to see,
was first published in 1905.
It's a story of longing.
It tells of a young
man who yearns
to escape the frustrations
of the daily round
and into the bright
world of high art.
In a way, he does succeed.
But Miss Cather knew escape from
small-mindedness is not easy.
[clock ticking]
-Well?
What have you got to say
for yourself, young man?
Well, go on.
Speak up.
-I'd like to come
back to school.
HEADMASTER: You would?
-Ye-- yes, sir.
-Are you aware of the
charges against you?
-I think so.
-You think so?
TEACHER: Paul was
a constant source
of distraction in my classroom.
He distracts those around him.
As an instance, the other
day I was at the board
trying to explain a diagram,
the Pythagorean theorem.
And, uh, there was muttering
and mumbling from Paul's area.
And soon he had the
entire class in, uh--
FEMALE TEACHER: Excuse me.
I think we're being a
little hard on Paul.
Well, it's true he doesn't
always pay attention in class,
and causes other
little commotions.
But that's not all bad.
It's a form of
boyish mirthfulness.
-You see the
architectural details
are quite well laid out.
And they go toward
this end-- Paul.
FEMALE TEACHER: I mean, there
are other students sometimes--
-Excuse me.
I would like to speak
directly to Paul,
please, since he's present.
Paul, we each seem to have our
difficulty in dealing with you.
I will speak to the
point of my difficulty.
I think you'll remember
a week ago when
I asked you to diagram a simple
sentence on the blackboard.
Yo made a terrible
mess of the sentence.
I chose not to reprimand
you in front of the class--
-Don't!
-But to go up to
you and gently guide
your hand to
correct your errors.
You replied with a vehement--
-Don't do that.
-Don't?
You say don't to me.
You did it wrong!
Don't you say don't to me!
-Don't do it like that.
HEADMASTER: Is that
anyway to speak
to your teacher, young man?
-I don't know.
I-- I didn't mean to be
polite, or impolite either.
It's a sort of way I have, I
guess, of just saying things,
regardless.
-Regardless of other feelings?
I suggest it's a way you
best get rid of young man,
and quickly.
-Yes, sir.
-You can go now.
[children shouting]
[humming]
[snoring]
[bells tolling]
[bells tolling]
-I want you to
make sure that you
get one of these
in every program.
-You're late again!
-Sorry.
-How is it that every boy
gets here on time except you?
-I was here.
In fact, I was early.
Only, I was upstairs.
-That's no excuse.
Just see that it
never happens again!
-It won't.
-Five minutes, and
then we'll open up.
-What's upstairs?
-Paintings, beautiful paintings.
-Of what?
-Landscapes and people.
-You got in trouble for that?
-It's worth it.
It's splendid up there.
-Yeah, well you wouldn't catch
me looking at no paintings.
I wouldn't even be here if it
wasn't for the $0.50 they give
me.
-Don't you like the music?
-Nah.
-Don't you like seeing
all the fine people?
-What for?
I ain't one of them.
Come on, before he
gives it to you again.
-Hello, Mr. and Mrs.
Livingston, right this way.
That's a lovely dress.
Your program, sir.
Enjoy the concert.
-Paul.
-These are Dr. Mayfield's seats.
-He gave them to me.
-Follow me, please.
Right this way.
Your program, sir.
Enjoy the concert.
[symphony warming up]
[applause]
[symphony music]
[OPERA SINGING IN FOREIGN
LANGUAGE]
[applause]
-This charming
young lady said she
would go to the ends of
the Earth to hear you sing.
-You already have, my dear.
MALE SPEAKER: Lord pray for
[inaudible] much more beautiful
than in Salzburg.
OPERA SINGER: Than what they
are doing in Pittsburgh!
[laughter]
-Boy!
Out!
Out!
[muffled yelling]
[baby crying]
FATHER: Where have you been?
-The concert went long tonight.
FATHER: Do you have any
idea what time it is?
I hope you've done
your homework.
-Yes, sir.
FATHER: You're starting fresh.
And you're going
to do your best.
Well?
Aren't you?
-I'll try.
FATHER: Well, that's all I ask.
If not for me, or for yourself,
then think of your mother.
-I don't remember her.
FATHER: She was a fine woman,
sensitive, and cultured.
She appreciated duty.
She made the supper.
-I know.
FATHER: You know what
it means, feed my lambs?
-Yes, sir.
-That's what I did.
I fed my lambs.
PAUL (THOUGHTS): Suppose father
hurt getting in at the window.
Come down, shot for a burglar.
Shot for a burglar.
Suppose father shot me.
[bells tolling]
-Ladies, how are
you this morning?
-Ms. Rita, Ms. Swanson.
What's the matter with you?
Too damn unfriendly
to say hello?
Think you're better
than anyone else?
Hi, dear.
I got you reinstated in school
by the skin of your teeth.
You better change your manners.
Hey, better be careful,
young man! [chuckling].
Could at least teach
him to say thank you.
Morning!
-I'm planning to
make six of my--
-Morning, Sam!
-Morning, sir.
Paul.
-How's the little one?
-He gained two pounds
in the last week.
-Two pounds!
My, my.
How are things down at the mill?
-Ah, couldn't be better.
-Well, any day now
I expect to hear
you've been made supervisor.
Your boss still up on his yacht?
-In the Mediterranean.
He takes two stenographers
with him, just
like a floating office.
-Who knows?
One day, you might have
a palace and a yacht.
That son of yours might
inherit an empire.
-Did you like the roast?
-Very tasty.
It must have been expensive.
-Not too.
I did what you told me.
I complained to the butcher.
I said, $0.29 a pound
is highway robbery.
So he gave it to me for $0.27.
So he gave it to me for $0.27.
I made your favorite
for dessert.
It's rhubarb pie.
-None for me tonight,
no room for it.
-Uh.
George said if I came over,
he'd help me with my geometry.
Could I have a
dime for car fare?
Could I?
-What's your point of
your being an usher
if you don't save your money?
-I try to.
-Where's it all go?
I don't see why you
can't study with someone
who lives in the neighborhood.
-I don't know anybody.
-You mean this boy George who
lives on the other side of town
is the only one
who can help you?
Next time, I expect you
to pay for it yourself.
Else find someone
around here to help you.
-Thank you.
Yeah
Yeah
Yeah
[muffled voices]
-I want to dance.
[chuckling]
-What is the matter?
-Nothing, I lost my breath.
-Margaret is ill!
-No, it is nothing.
Don't stop.
[coughing]
-I'm afraid you are ill.
-No, really, it is nothing.
Do go into the other room.
I shall be with you presently.
-We had better go.
She always wants to be alone
when she feels like that.
-Yes, do go.
I shall be with you presently.
-Mademoiselle Gotier.
Margaret?
-Why such devotion?
-I'm irresistibly drawn to you.
I wish that I could be
your friend, or relation
that I might take care of you.
-Charming boy.
Take this flower.
Bring it back to me.
-When?
-When it is faded.
[applause]
-Magic in the air tonight.
Did you feel it?
-It was as if Dumas himself
had breathed every word of it
to me.
-I could tell from the way
you spoke, your every gesture!
I felt as if the ghosts
of the Comedie-Francaise
were on stage with us
tonight, Moliere, Rasin, Cone.
-The divine Selma van Hoff.
ACTOR: [inaudible].
Paul!
Well, come on.
I gotta get changed
for the second act.
So you saw the first act?
-The last part.
-How was I?
-You were brilliant.
-Brilliant?
-Well, I thought so.
-That good?
I suppose I did have a
special feel for it tonight.
I could tell.
Here.
Where's my vest?
-It's right here.
It must be wonderful to
say and do splendid things.
-It is.
It is, my boy.
That's what they call acting.
Bet you'd like to get up on
the board yourself some day.
-No.
-Come on.
You can tell old Charlie.
-No, really.
-You don't have a great
secret desire to be an actor?
-I just want to be here
in the atmosphere of it,
be caught up by it,
float on the wave of it.
-Such poetry.
-It's not real.
It'd wilt under the lights.
Here, help me out with my coat.
-Hey, Charlie, you
got any lip rouge?
-Sure, love.
Come on in.
May I present, Paul.
-I know Paul.
Hi, Paul.
-He's a connoisseur
of great art.
-I admired your
performance greatly.
-There you go.
-Thanks, Charlie.
Hey, you're a real gem.
-You know, you
really ought to go
into the big time with that act.
-I want to go to New York.
-Don't we all.
Don't we all.
-Well, I have a scrapbook
at home of New York.
And look what I
brought to show you.
I've got pictures of New York.
That is the plaza.
Isn't it grand?
And this is inside the plaza.
I love those ladies.
Look at those dresses
and that silver.
Isn't it swell?
And this, that's the Waldorf.
-What is this?
-It's the Adriatic.
-The Adriatic?
Have you ever been there?
-No.
-Then how do you know
what it looks like?
How can you draw something
you haven't seen?
-I've seen pictures of it.
And sometimes I dream about it.
-Then what you were doing
just now was research?
[chuckles]
[train whistle]
-Hey, Paul, how's your research?
-Wake up!
-Cut it out.
-You know, you're
going to flunk out.
-I'm not gonna flunk out.
-Yes, you are.
-And what if I do?
Do you think school is the most
important thing in the world?
I've met members
of the symphony.
And I might be going to Egypt,
or even California, sometime.
[laughter]
-I know members of the
acting company personally.
See?
-Who's that?
-Charlie Edwards,
some dumb actor.
-Here.
Give it back.
-Come on.
Let's get out of here.
[chairs banging]
-You!
Tell me your name is.
Don't bother.
-What?
-I've got a boy to replace you.
-I was on time tonight.
-You can hang up your uniform.
-Where do you
think you're going?
-Upstairs.
-You're not allowed up there.
-Why not?
-There's no excuses now.
-I work for Mr. Charles Edwards.
-Those are my orders.
Out.
-Whose orders?
Whose orders?
MAN: Out.
-(SINGING) I'd like someone
like you, just to tell her--
Charlie.
-Hey, Paul.
-You're here today
early, my boy.
-Well-- I came to see you.
Only-- only, the doorman
wouldn't let me in.
What's the matter?
-Look.
Your father stopped by.
-My father?
-He doesn't think you should
be hanging around us great
artists.
CHARLIE: We promised him we
wouldn't see you anymore.
-You wouldn't see me anymore?
-I wish you'd tell my husband
what a great artist I am,
if you can find him.
-Look, why don't you
go back to school?
That way you can
get a good job--
-I don't want a job.
I just want what you have.
-Oh, you've really
got a bad case of it.
Haven't you, [inaudible]?
-Get up on your school
books that your father took.
FATHER: There's no point.
You won't be needing it.
I talked to the principal.
You're expelled.
Your didn't change a bit.
Did you?
You told me you would,
that you'd try harder.
But instead of
studying, you went
sneaking off to the theater.
You fall asleep in class,
talk back to your teachers.
What's the matter with you?
You don't have to say anything.
It's all decided.
You're going to work.
It's time you
learned a few things.
You start at Denny & Carson
first thing on Monday morning.
I talked to Mr. Carson himself.
He's agreed to hire you
as a personal favor to me.
It's a good firm.
In six months time,
if you apply yourself,
there'll be a chance
for advancement.
You don't know
how lucky you are.
[keys banging]
[distant train whistle]
-Paul, take this to the bank.
And leave the book
to be balanced.
MAN: New York City!
Pennsylvania station!
[loud street noise]
[whistling]
-Brooks Brothers clothing
store and a [inaudible]
to the Waldorf.
Would you gentlemen
please send this
to my suite at the Waldorf.
-Yes, sir?
-I'd like a suite of rooms?
-A suite?
-I've come from Washington
to meet my parents.
They're arriving from
Southampton Friday
on the Helvetia.
I'll pay in advance.
-If you'll sign
the register, sir.
I'll have a bell hop
show you to your suite.
[ding]
-Just this way sir, please.
-There are no flowers.
Would you bring me some roses?
-Yes, sir.
-Oh, and, uh, keep
the rest for yourself.
-Thank you, sir.
[string music]
-Oh, I can take
that for you, sir.
-Thank you.
-Would there be
anything else, sir?
-A glass of champagne.
-Thank you very much.
Have a nice dinner.
-This is what the
world's striving for.
This is what the
struggle's all about.
-In that case, it's
a wonder there's
an honest man left
in this world at all.
[laughter]
-Champagne, sir.
Are you ready to order, sir?
Sir?
-Uh.
I'll have the
[poorly pronounced french].
and the consume--
-The consomme, sir?
-Right,
-Yes, thank you very much, sir.
-Your daily "Pittsburgh
Courier," sir.
-Thank you.
-Enjoy your breakfast.
[harp music]
[string music]
[laughter]
-Nice morning, if you
like snow, that is.
Where you from?
-Washington.
-Washington.
I'm down from Yale
for the weekend.
-Yale?
-Yes, I try to get down
every chance I get.
New Haven's a bit provincial,
if you know what I mean.
Care for a drink?
-It's awfully early.
-Start off the day
on the right foot.
What do you say?
Come on.
-What'll you have?
-Champagne.
-Champagne.
That's rare.
Your honor, Whisky neat,
and a glass of champagne.
Your first time in the Big City?
-No.
No, I come in here
whenever I'm out of school.
-Then you must know
your way around.
Have you heard about this new
place over by Gramercy Park?
They're supposed to have the
most beautiful girls in New
York.
-No, I haven't.
-I like brunettes, myself.
How about you?
-Oh, you mean women?
Uh, I like all kinds.
-That's the right attitude.
Take everything you can get.
-No, I mean--
-And life's too short to waste.
Drink up.
Do you know how many beautiful
women there are out there?
And I've got to be back
for class Monday morning.
-Like as the waves make
towards their pebbled shore,
so do our minutes
hasten to their end.
-What's that?
-Something I
memorized in school.
-What a card.
No, no, this one's on me.
-Where are we going?
-To Gramercy Park,
before our, uh, minutes
hasten to their end!
Come on.
What's the matter?
What's the matter?
-I just remembered I
have to meet someone.
-Meet someone?
Now?
-I'm sorry.
But I can't go.
-Well, of course you can.
I'll hail a cab.
-No.
Thank you for the drink.
I'll excuse myself.
-Geez, what a dud.
[keys banging]
[keys banging]
-Cab!
Cab!
Cab to Penn Station!
-Flowers, sir.
Flowers?
MAN: Newark!
Newark!
-You can stop right here.
I'll walk the rest of the way.
DRIVER: It's going
to snow again.
-That's all right.
It's beautiful.
Thank you.
[distant train whistle]
[train screeching]
[music playing]
of power, an enormous output
of hard goods, these
are the familiar symbols
of the Industrial Revolution.
But no less important
is the human turmoil
that resulted when this new
order polarized the classes.
The industrialized workers found
themselves with regular jobs.
But the labor was
deadening, often demeaning.
The lives of these
citizens were narrow,
with only limited access
to education, art, music,
literature, all the
passions of the spirit.
Willa Cather, who began
writing early in this century,
was one of those
troubled by the fact
that the average person
no longer experienced
the dramatic challenges
of the American frontier.
The expansive vision
that characterized
many of the pioneers was shrunk
by an increasing emphasis
on material acquisition and
by the restrictive pieties
of small-minded people.
It seemed as though a
distorted sense of virtue
was threatening to choke out
life's adventure and romance.
In her novels and short
stories, Willa Cather
often wrote on a theme
of artistic sensibility,
and the way it can be
smothered by society
and its narrow standards.
Most of all, she mourned
the tragic loss to the world
when a talented,
sensitive child was
denied the chance to develop.
She wrote that there is no work
of art so big or so beautiful
that it was not
once all contained
in some youthful body.
Her story, "Paul's Case,"
which you're about to see,
was first published in 1905.
It's a story of longing.
It tells of a young
man who yearns
to escape the frustrations
of the daily round
and into the bright
world of high art.
In a way, he does succeed.
But Miss Cather knew escape from
small-mindedness is not easy.
[clock ticking]
-Well?
What have you got to say
for yourself, young man?
Well, go on.
Speak up.
-I'd like to come
back to school.
HEADMASTER: You would?
-Ye-- yes, sir.
-Are you aware of the
charges against you?
-I think so.
-You think so?
TEACHER: Paul was
a constant source
of distraction in my classroom.
He distracts those around him.
As an instance, the other
day I was at the board
trying to explain a diagram,
the Pythagorean theorem.
And, uh, there was muttering
and mumbling from Paul's area.
And soon he had the
entire class in, uh--
FEMALE TEACHER: Excuse me.
I think we're being a
little hard on Paul.
Well, it's true he doesn't
always pay attention in class,
and causes other
little commotions.
But that's not all bad.
It's a form of
boyish mirthfulness.
-You see the
architectural details
are quite well laid out.
And they go toward
this end-- Paul.
FEMALE TEACHER: I mean, there
are other students sometimes--
-Excuse me.
I would like to speak
directly to Paul,
please, since he's present.
Paul, we each seem to have our
difficulty in dealing with you.
I will speak to the
point of my difficulty.
I think you'll remember
a week ago when
I asked you to diagram a simple
sentence on the blackboard.
Yo made a terrible
mess of the sentence.
I chose not to reprimand
you in front of the class--
-Don't!
-But to go up to
you and gently guide
your hand to
correct your errors.
You replied with a vehement--
-Don't do that.
-Don't?
You say don't to me.
You did it wrong!
Don't you say don't to me!
-Don't do it like that.
HEADMASTER: Is that
anyway to speak
to your teacher, young man?
-I don't know.
I-- I didn't mean to be
polite, or impolite either.
It's a sort of way I have, I
guess, of just saying things,
regardless.
-Regardless of other feelings?
I suggest it's a way you
best get rid of young man,
and quickly.
-Yes, sir.
-You can go now.
[children shouting]
[humming]
[snoring]
[bells tolling]
[bells tolling]
-I want you to
make sure that you
get one of these
in every program.
-You're late again!
-Sorry.
-How is it that every boy
gets here on time except you?
-I was here.
In fact, I was early.
Only, I was upstairs.
-That's no excuse.
Just see that it
never happens again!
-It won't.
-Five minutes, and
then we'll open up.
-What's upstairs?
-Paintings, beautiful paintings.
-Of what?
-Landscapes and people.
-You got in trouble for that?
-It's worth it.
It's splendid up there.
-Yeah, well you wouldn't catch
me looking at no paintings.
I wouldn't even be here if it
wasn't for the $0.50 they give
me.
-Don't you like the music?
-Nah.
-Don't you like seeing
all the fine people?
-What for?
I ain't one of them.
Come on, before he
gives it to you again.
-Hello, Mr. and Mrs.
Livingston, right this way.
That's a lovely dress.
Your program, sir.
Enjoy the concert.
-Paul.
-These are Dr. Mayfield's seats.
-He gave them to me.
-Follow me, please.
Right this way.
Your program, sir.
Enjoy the concert.
[symphony warming up]
[applause]
[symphony music]
[OPERA SINGING IN FOREIGN
LANGUAGE]
[applause]
-This charming
young lady said she
would go to the ends of
the Earth to hear you sing.
-You already have, my dear.
MALE SPEAKER: Lord pray for
[inaudible] much more beautiful
than in Salzburg.
OPERA SINGER: Than what they
are doing in Pittsburgh!
[laughter]
-Boy!
Out!
Out!
[muffled yelling]
[baby crying]
FATHER: Where have you been?
-The concert went long tonight.
FATHER: Do you have any
idea what time it is?
I hope you've done
your homework.
-Yes, sir.
FATHER: You're starting fresh.
And you're going
to do your best.
Well?
Aren't you?
-I'll try.
FATHER: Well, that's all I ask.
If not for me, or for yourself,
then think of your mother.
-I don't remember her.
FATHER: She was a fine woman,
sensitive, and cultured.
She appreciated duty.
She made the supper.
-I know.
FATHER: You know what
it means, feed my lambs?
-Yes, sir.
-That's what I did.
I fed my lambs.
PAUL (THOUGHTS): Suppose father
hurt getting in at the window.
Come down, shot for a burglar.
Shot for a burglar.
Suppose father shot me.
[bells tolling]
-Ladies, how are
you this morning?
-Ms. Rita, Ms. Swanson.
What's the matter with you?
Too damn unfriendly
to say hello?
Think you're better
than anyone else?
Hi, dear.
I got you reinstated in school
by the skin of your teeth.
You better change your manners.
Hey, better be careful,
young man! [chuckling].
Could at least teach
him to say thank you.
Morning!
-I'm planning to
make six of my--
-Morning, Sam!
-Morning, sir.
Paul.
-How's the little one?
-He gained two pounds
in the last week.
-Two pounds!
My, my.
How are things down at the mill?
-Ah, couldn't be better.
-Well, any day now
I expect to hear
you've been made supervisor.
Your boss still up on his yacht?
-In the Mediterranean.
He takes two stenographers
with him, just
like a floating office.
-Who knows?
One day, you might have
a palace and a yacht.
That son of yours might
inherit an empire.
-Did you like the roast?
-Very tasty.
It must have been expensive.
-Not too.
I did what you told me.
I complained to the butcher.
I said, $0.29 a pound
is highway robbery.
So he gave it to me for $0.27.
So he gave it to me for $0.27.
I made your favorite
for dessert.
It's rhubarb pie.
-None for me tonight,
no room for it.
-Uh.
George said if I came over,
he'd help me with my geometry.
Could I have a
dime for car fare?
Could I?
-What's your point of
your being an usher
if you don't save your money?
-I try to.
-Where's it all go?
I don't see why you
can't study with someone
who lives in the neighborhood.
-I don't know anybody.
-You mean this boy George who
lives on the other side of town
is the only one
who can help you?
Next time, I expect you
to pay for it yourself.
Else find someone
around here to help you.
-Thank you.
Yeah
Yeah
Yeah
[muffled voices]
-I want to dance.
[chuckling]
-What is the matter?
-Nothing, I lost my breath.
-Margaret is ill!
-No, it is nothing.
Don't stop.
[coughing]
-I'm afraid you are ill.
-No, really, it is nothing.
Do go into the other room.
I shall be with you presently.
-We had better go.
She always wants to be alone
when she feels like that.
-Yes, do go.
I shall be with you presently.
-Mademoiselle Gotier.
Margaret?
-Why such devotion?
-I'm irresistibly drawn to you.
I wish that I could be
your friend, or relation
that I might take care of you.
-Charming boy.
Take this flower.
Bring it back to me.
-When?
-When it is faded.
[applause]
-Magic in the air tonight.
Did you feel it?
-It was as if Dumas himself
had breathed every word of it
to me.
-I could tell from the way
you spoke, your every gesture!
I felt as if the ghosts
of the Comedie-Francaise
were on stage with us
tonight, Moliere, Rasin, Cone.
-The divine Selma van Hoff.
ACTOR: [inaudible].
Paul!
Well, come on.
I gotta get changed
for the second act.
So you saw the first act?
-The last part.
-How was I?
-You were brilliant.
-Brilliant?
-Well, I thought so.
-That good?
I suppose I did have a
special feel for it tonight.
I could tell.
Here.
Where's my vest?
-It's right here.
It must be wonderful to
say and do splendid things.
-It is.
It is, my boy.
That's what they call acting.
Bet you'd like to get up on
the board yourself some day.
-No.
-Come on.
You can tell old Charlie.
-No, really.
-You don't have a great
secret desire to be an actor?
-I just want to be here
in the atmosphere of it,
be caught up by it,
float on the wave of it.
-Such poetry.
-It's not real.
It'd wilt under the lights.
Here, help me out with my coat.
-Hey, Charlie, you
got any lip rouge?
-Sure, love.
Come on in.
May I present, Paul.
-I know Paul.
Hi, Paul.
-He's a connoisseur
of great art.
-I admired your
performance greatly.
-There you go.
-Thanks, Charlie.
Hey, you're a real gem.
-You know, you
really ought to go
into the big time with that act.
-I want to go to New York.
-Don't we all.
Don't we all.
-Well, I have a scrapbook
at home of New York.
And look what I
brought to show you.
I've got pictures of New York.
That is the plaza.
Isn't it grand?
And this is inside the plaza.
I love those ladies.
Look at those dresses
and that silver.
Isn't it swell?
And this, that's the Waldorf.
-What is this?
-It's the Adriatic.
-The Adriatic?
Have you ever been there?
-No.
-Then how do you know
what it looks like?
How can you draw something
you haven't seen?
-I've seen pictures of it.
And sometimes I dream about it.
-Then what you were doing
just now was research?
[chuckles]
[train whistle]
-Hey, Paul, how's your research?
-Wake up!
-Cut it out.
-You know, you're
going to flunk out.
-I'm not gonna flunk out.
-Yes, you are.
-And what if I do?
Do you think school is the most
important thing in the world?
I've met members
of the symphony.
And I might be going to Egypt,
or even California, sometime.
[laughter]
-I know members of the
acting company personally.
See?
-Who's that?
-Charlie Edwards,
some dumb actor.
-Here.
Give it back.
-Come on.
Let's get out of here.
[chairs banging]
-You!
Tell me your name is.
Don't bother.
-What?
-I've got a boy to replace you.
-I was on time tonight.
-You can hang up your uniform.
-Where do you
think you're going?
-Upstairs.
-You're not allowed up there.
-Why not?
-There's no excuses now.
-I work for Mr. Charles Edwards.
-Those are my orders.
Out.
-Whose orders?
Whose orders?
MAN: Out.
-(SINGING) I'd like someone
like you, just to tell her--
Charlie.
-Hey, Paul.
-You're here today
early, my boy.
-Well-- I came to see you.
Only-- only, the doorman
wouldn't let me in.
What's the matter?
-Look.
Your father stopped by.
-My father?
-He doesn't think you should
be hanging around us great
artists.
CHARLIE: We promised him we
wouldn't see you anymore.
-You wouldn't see me anymore?
-I wish you'd tell my husband
what a great artist I am,
if you can find him.
-Look, why don't you
go back to school?
That way you can
get a good job--
-I don't want a job.
I just want what you have.
-Oh, you've really
got a bad case of it.
Haven't you, [inaudible]?
-Get up on your school
books that your father took.
FATHER: There's no point.
You won't be needing it.
I talked to the principal.
You're expelled.
Your didn't change a bit.
Did you?
You told me you would,
that you'd try harder.
But instead of
studying, you went
sneaking off to the theater.
You fall asleep in class,
talk back to your teachers.
What's the matter with you?
You don't have to say anything.
It's all decided.
You're going to work.
It's time you
learned a few things.
You start at Denny & Carson
first thing on Monday morning.
I talked to Mr. Carson himself.
He's agreed to hire you
as a personal favor to me.
It's a good firm.
In six months time,
if you apply yourself,
there'll be a chance
for advancement.
You don't know
how lucky you are.
[keys banging]
[distant train whistle]
-Paul, take this to the bank.
And leave the book
to be balanced.
MAN: New York City!
Pennsylvania station!
[loud street noise]
[whistling]
-Brooks Brothers clothing
store and a [inaudible]
to the Waldorf.
Would you gentlemen
please send this
to my suite at the Waldorf.
-Yes, sir?
-I'd like a suite of rooms?
-A suite?
-I've come from Washington
to meet my parents.
They're arriving from
Southampton Friday
on the Helvetia.
I'll pay in advance.
-If you'll sign
the register, sir.
I'll have a bell hop
show you to your suite.
[ding]
-Just this way sir, please.
-There are no flowers.
Would you bring me some roses?
-Yes, sir.
-Oh, and, uh, keep
the rest for yourself.
-Thank you, sir.
[string music]
-Oh, I can take
that for you, sir.
-Thank you.
-Would there be
anything else, sir?
-A glass of champagne.
-Thank you very much.
Have a nice dinner.
-This is what the
world's striving for.
This is what the
struggle's all about.
-In that case, it's
a wonder there's
an honest man left
in this world at all.
[laughter]
-Champagne, sir.
Are you ready to order, sir?
Sir?
-Uh.
I'll have the
[poorly pronounced french].
and the consume--
-The consomme, sir?
-Right,
-Yes, thank you very much, sir.
-Your daily "Pittsburgh
Courier," sir.
-Thank you.
-Enjoy your breakfast.
[harp music]
[string music]
[laughter]
-Nice morning, if you
like snow, that is.
Where you from?
-Washington.
-Washington.
I'm down from Yale
for the weekend.
-Yale?
-Yes, I try to get down
every chance I get.
New Haven's a bit provincial,
if you know what I mean.
Care for a drink?
-It's awfully early.
-Start off the day
on the right foot.
What do you say?
Come on.
-What'll you have?
-Champagne.
-Champagne.
That's rare.
Your honor, Whisky neat,
and a glass of champagne.
Your first time in the Big City?
-No.
No, I come in here
whenever I'm out of school.
-Then you must know
your way around.
Have you heard about this new
place over by Gramercy Park?
They're supposed to have the
most beautiful girls in New
York.
-No, I haven't.
-I like brunettes, myself.
How about you?
-Oh, you mean women?
Uh, I like all kinds.
-That's the right attitude.
Take everything you can get.
-No, I mean--
-And life's too short to waste.
Drink up.
Do you know how many beautiful
women there are out there?
And I've got to be back
for class Monday morning.
-Like as the waves make
towards their pebbled shore,
so do our minutes
hasten to their end.
-What's that?
-Something I
memorized in school.
-What a card.
No, no, this one's on me.
-Where are we going?
-To Gramercy Park,
before our, uh, minutes
hasten to their end!
Come on.
What's the matter?
What's the matter?
-I just remembered I
have to meet someone.
-Meet someone?
Now?
-I'm sorry.
But I can't go.
-Well, of course you can.
I'll hail a cab.
-No.
Thank you for the drink.
I'll excuse myself.
-Geez, what a dud.
[keys banging]
[keys banging]
-Cab!
Cab!
Cab to Penn Station!
-Flowers, sir.
Flowers?
MAN: Newark!
Newark!
-You can stop right here.
I'll walk the rest of the way.
DRIVER: It's going
to snow again.
-That's all right.
It's beautiful.
Thank you.
[distant train whistle]
[train screeching]
[music playing]