0:02:23 > 0:02:27I've got the hottest ticket in town...
0:02:27 > 0:02:33- Excuse me, how can I find Mr Lewis Easton's office? - Through the alley.- Thank you.
0:02:33 > 0:02:41- What did you do Monday?- Sandy's. - Not there! Through the alley and around. Up the elevator.- Thank you.
0:02:50 > 0:02:54..Believe me when I tell you... Hello, Mr Hedges.
0:02:54 > 0:02:57- Hi, Mr Hedges. > - Hello, dear.
0:02:57 > 0:03:02Here it is. Mr Easton wants you to wait. He doesn't want you to read it.
0:03:02 > 0:03:05..It ran two years in Paris...
0:03:05 > 0:03:08Well, now, good afternoon.
0:03:08 > 0:03:12- I believe Mr Easton is casting. - Who sent you?- Nobody.
0:03:12 > 0:03:15- I don't think Mr Easton... - I'll wait.
0:03:15 > 0:03:22..It's by that Frenchman, that great author - Andre Berron...Berrin... You wouldn't know the name.
0:03:22 > 0:03:27Joe Sheridan adapted it. ..Yes, Sheridan - critics' award last year.
0:03:27 > 0:03:31BUZZER
0:03:28 > 0:03:31Miss Hall? He will see you now.
0:03:35 > 0:03:42- I shouldn't be doing this. I've done the adaptation. I'm written out. - Benny, don't let Harley get away.
0:03:42 > 0:03:49- I'm doing my own play.- It's an easy rewrite. I want you to see Gwen Hall for that bit in the third act.
0:03:49 > 0:03:56- Why are we changing it?- This isn't Paris. We want a hit in New York. Come in. Joe Sheridan, Gwen Hall.
0:03:56 > 0:04:01How do you do? I enjoyed The Unquiet Valley.
0:04:01 > 0:04:04It's a beautiful and sensitive play.
0:04:04 > 0:04:11- We're doing the Dame Jalouse. Do you play the violin? - Doesn't everybody?!
0:04:11 > 0:04:17I mean, are you serious? Because I DID study when I was six years old.
0:04:17 > 0:04:19HE CHUCKLES
0:04:26 > 0:04:31Excuse me. You're Robert Harley Hedges, aren't you?
0:04:31 > 0:04:35- Yes.- Oh, I've been staring at you. Your face was so familiar.
0:04:35 > 0:04:39Then your name came to me, and when I realised...
0:04:39 > 0:04:46- It's always pleasant to be recognised by someone so young. - I've never seen you on the stage,
0:04:46 > 0:04:51but there is a picture of you in one of my theatre magazines.
0:04:51 > 0:04:54- Oh, you were so handsome! - My dear child!
0:04:54 > 0:05:01May I ask you something? Would there be a part in there for me?
0:05:01 > 0:05:07There are several pretty young things in this script. What parts do you play?
0:05:07 > 0:05:10I've played them all!
0:05:10 > 0:05:16Nora in the Doll's House, Hedda, Nina, Emily in Our Town, Madame Ranevskaya.
0:05:16 > 0:05:20Anna Christie, The Glass Menagerie - the mother,
0:05:20 > 0:05:25- Juliet, Portia, Hamlet...- Hamlet? - Yes - my legs are quite good.
0:05:25 > 0:05:30Well, that's a varied experience. Where was all this?
0:05:30 > 0:05:34- With the Mummers in Ordway, Vermont. - A summer theatre?
0:05:34 > 0:05:40We move into the high school in winter. It gets cold in Vermont.
0:05:40 > 0:05:45- So I'd heard.- My Uncle Jamie taught English. He was my inspiration.
0:05:45 > 0:05:51But then he died last spring and, well, we all went our own ways.
0:05:51 > 0:05:55Tell me, do you like Eva Lovelace?
0:05:55 > 0:05:59Eva Lovelace? I don't think I know her.
0:05:59 > 0:06:01No, I mean as a stage name for me.
0:06:01 > 0:06:06You see, I've taken it but now I feel ungrateful.
0:06:06 > 0:06:10I should make my family's name famous, but I can't.
0:06:10 > 0:06:14"Gertrude Langenfelder in Saint Joan"!
0:06:14 > 0:06:18Well, I...I think Eva Lovelace is a charming name.
0:06:18 > 0:06:22It sounds like the heroine in a fairy story.
0:06:22 > 0:06:27Besides, I'm in favour of anything that gives you confidence.
0:06:27 > 0:06:29DOOR OPENS
0:06:29 > 0:06:32Thanks very much, Mr Easton.
0:06:32 > 0:06:36Sorry to keep you you waiting. Have you read it, and are you free?
0:06:36 > 0:06:41- Not yet, but I am free.- I was afraid you'd still be in England.
0:06:41 > 0:06:47You're not keeping up with television. Every morning, I tell people to use Disprol.
0:06:47 > 0:06:51- Oh, this is Miss Eva Lovelace from Vermont.- How do you do?
0:06:51 > 0:06:59Do you have a part for me? I'd like to start work with you. I reverence what you've done in the theatre.
0:06:59 > 0:07:05When you brought the Old Vic over, I wanted to give up Death Of A Salesman to see them, but couldn't.
0:07:05 > 0:07:10- Where did you do Salesman? - In Ordway, Vermont.- Oh.
0:07:10 > 0:07:16I've trained in the classics. I've done Shakespeare and Restoration comedies.
0:07:16 > 0:07:20I've brought my credentials, such as they are.
0:07:20 > 0:07:24You'd be taking a chance, but the theatre is all chance.
0:07:24 > 0:07:31- I have a solid background - Ibsen, Chekov, Shaw...- We're not doing Ibsen, Chekov and Shaw.
0:07:31 > 0:07:35I know. You are doing La Dame Jalouse. I read it in French.
0:07:35 > 0:07:39I admire your courage. You're known for it.
0:07:39 > 0:07:43- If we ever do Chekov, come and see me.- I'll see you before that.
0:07:43 > 0:07:48- Benny's got a contract for you. - Yes. Goodbye, Miss Lovelace.
0:07:48 > 0:07:51I'm sure we shall see each other again soon.
0:07:51 > 0:07:56- I WILL see you. You're my first friend in New York.- Ohh.
0:07:56 > 0:07:59Could I watch rehearsals?
0:07:59 > 0:08:04- Hello, Joe.- Hello.- You'd better ask Mr Sheridan. He's the author...
0:08:04 > 0:08:06once removed!
0:08:06 > 0:08:12That's up to Constantine. He's directing this charade, and I'm afraid he doesn't allow it.
0:08:34 > 0:08:39Oh, look. They're casting angels for the Easter show at the music hall.
0:08:41 > 0:08:47- Why don't you try that?- I could easily ask you, "Why don't you pose for hair tonic commercials?"
0:08:47 > 0:08:52- If this play's a bomb, that's what I'll be doing!- No, you won't.
0:08:53 > 0:08:58I should say something flattering about The Unquiet Valley,
0:08:58 > 0:09:04but I didn't see it and I never lie about things in the theatre. It matters too much.
0:09:04 > 0:09:09- The theatre's a steep climb. - Not if you have nowhere else to go.
0:09:09 > 0:09:15Besides, don't you think that if you want something terribly you get it?
0:09:15 > 0:09:20No. I think you can aim high and land in the gutter.
0:09:22 > 0:09:26- Rita! How's my favourite actress? - Hello!
0:09:26 > 0:09:32Joe! The Times says you sold The Unquiet Valley to Goldwyn. Tax time now!
0:09:32 > 0:09:37What do you think of this French thing? Don't ask - I'm adapting it.
0:09:37 > 0:09:44Hello. I think it's tripe. Oh, not your work, darling, but the whole basic idea.
0:09:44 > 0:09:48Harley! Are they trying to rope you into this thing too?
0:09:48 > 0:09:51I'm doing my best to be roped.
0:09:53 > 0:09:56If she doesn't like it, why is she in it?
0:09:56 > 0:10:02If it runs, she made it. If it doesn't, it's my words that went wrong!
0:10:02 > 0:10:06- I spoke to Mr Easton about you. - Thank you.
0:10:06 > 0:10:12- He had a wonderful suggestion.- I'll take any part - old lady, maid...
0:10:12 > 0:10:17I don't care about the money. I could get along on 25 a week.
0:10:17 > 0:10:24Of course. But the Actors' Studio are holding auditions every day next week.
0:10:24 > 0:10:30It's wonderful training. All sorts of very talented youngsters come out of there.
0:10:30 > 0:10:32Hedges, Hedges, Hedges.
0:10:32 > 0:10:35Hedges, Hedges, Hedges.
0:10:35 > 0:10:38Hedges, Hedges, Hedges, Hedges, Hedges.
0:10:38 > 0:10:40Me!
0:10:40 > 0:10:44- What do I do during that long debate?- Wave your handkerchief.
0:10:44 > 0:10:50It isn't what I expected. The woman's frivolous. She has no heart.
0:10:50 > 0:10:55The man's part is better. And that scene between the two of them...!
0:10:55 > 0:10:58- Your cigarette case.- Thank you.
0:10:58 > 0:11:04I should have read it weeks ago. When I said yes, I thought it would be like Joe's Unquiet Valley.
0:11:04 > 0:11:07There's a part I could have played...
0:11:07 > 0:11:10- Joe has another play coming up.- No!
0:11:10 > 0:11:14- "No"? Isn't Lewis doing it? - Nothing's settled.
0:11:14 > 0:11:22- If you're doing it... - I was going to do it myself. - That's wonderful! You should.
0:11:22 > 0:11:25But the girl's part is plain, dowdy.
0:11:25 > 0:11:31I'm an actress, not a model. "Looks are a dime a dozen in the theatre."
0:11:31 > 0:11:36Those are your words, Lewis. You always talk about star quality.
0:11:36 > 0:11:42I believe in this play. It suits you. When I read those words, I hear you.
0:11:42 > 0:11:45- Trust me.- I trust...
0:11:45 > 0:11:48the applause and a large box office.
0:11:48 > 0:11:52Joseph, may I read your new play. Sure. Anybody can.
0:11:52 > 0:11:59I'm not anybody. May I read it with an idea of doing it next season? Lewis?
0:11:59 > 0:12:06Yes, of course. Joe, Rita wouldn't want to do this if she didn't think she could do it justice.
0:12:06 > 0:12:08She's a very intelligent girl.
0:12:08 > 0:12:11Benny, have you got an envelope?
0:12:14 > 0:12:21No, no, this is not just a school. It's a kind of workshop for professional actors.
0:12:21 > 0:12:24It's what I have of my own that's precious,
0:12:24 > 0:12:28not the tricks or mannerisms I pick up in an acting school.
0:12:28 > 0:12:31I have something wonderful in me.
0:12:31 > 0:12:34- You'll see.- I will?
0:12:34 > 0:12:38You don't believe me, do you?
0:12:38 > 0:12:44Your aim is fine, but you're giving yourself the testimonial dinner too soon.
0:12:44 > 0:12:50You've got your Oscar acceptance speech all memorised. You're forgetting the work between.
0:12:50 > 0:12:56I want to work, I have to work. I can't go to a place like the Actors' Studio.
0:12:56 > 0:13:01I've burnt my bridges. This isn't the first office I've been to.
0:13:01 > 0:13:06I have seen producers and directors at CBS and NBC.
0:13:06 > 0:13:10I can't tell you how often I've left my name.
0:13:10 > 0:13:14Unless you're working in the theatre, they won't listen,
0:13:14 > 0:13:19and you can't work unless you ARE working, and if you ARE working...
0:13:23 > 0:13:26It just goes on and on, doesn't it?
0:13:26 > 0:13:32This is the first time a producer's shown any interest, thanks to you.
0:13:32 > 0:13:35I am so grateful to you.
0:13:36 > 0:13:38Bless you.
0:13:40 > 0:13:46- Are you going uptown or downtown?- Across town. I'd like to walk with you.- Fine.
0:13:46 > 0:13:52- Wait a second. I want to thank him. - Don't disturb him.- I won't.
0:13:52 > 0:13:56- Yes?- I wanted to say goodbye. - Goodbye.
0:13:56 > 0:14:02- Thanks for taking a personal interest. I'd love to do it, but can't spare the time.- Do what?
0:14:02 > 0:14:09The Actors' Studio. When I'm between engagements, I mean to go for practice and interpretation,
0:14:09 > 0:14:13but at the moment nothing can replace a live audience.
0:14:13 > 0:14:17Yes. Just leave your name with Benny.
0:14:17 > 0:14:23If I got calls from everyone I've left my name with, I'd need a switchboard! I wish you success.
0:14:23 > 0:14:27- Thank you.- I'm waiting for you. - I'm sorry.
0:14:27 > 0:14:34Goodbye, Mr Sheridan. When you do your next play, if there is a congenial part, and if I am free,
0:14:34 > 0:14:36please let me read for you.
0:14:36 > 0:14:41Goodbye, Miss Vernon. I hope you disprove Pirandello's theory
0:14:41 > 0:14:46that there's never been a beautiful woman who is also a great actress.
0:14:46 > 0:14:48Your escort awaits, princess!
0:14:51 > 0:14:56Doesn't Antony call Cleopatra the loveliest things?
0:14:56 > 0:14:58Miss Lovelace...
0:14:58 > 0:15:01The theatre's gain is Macy's loss!
0:15:04 > 0:15:07Is this Sheridan really a nice guy?
0:15:07 > 0:15:12Joe's a fine writer - great theatre sense. He gave me a hit last year.
0:15:12 > 0:15:16Still doing well in Chicago. For me he's a nice guy.
0:15:16 > 0:15:19Let's get back to this.
0:15:19 > 0:15:23Let's talk terms.
0:15:23 > 0:15:27- This stops our trip to Jamaica. - I know, sweetie.
0:15:28 > 0:15:33What would you think of 1,000 a week against 5%?
0:15:35 > 0:15:37Fool!
0:15:37 > 0:15:391,250?
0:15:40 > 0:15:42Against 10%?
0:15:42 > 0:15:45I wouldn't give Garbo ten!
0:15:45 > 0:15:48I can't refuse you anything.
0:15:48 > 0:15:50Make it eight.
0:15:50 > 0:15:53Finally, darling, five.
0:15:55 > 0:15:58If I can do Sheridan's next play.
0:15:58 > 0:16:04- Darling, this might run two seasons. - I get out in June, willy-nilly, lover.
0:16:06 > 0:16:11- You haven't anyone else in mind, have you?- No, no, no.
0:16:12 > 0:16:15- I beg your pardon. - Why? What did you do?
0:16:15 > 0:16:20- I just told that kid to come to the theatre tomorrow morning.- Why?
0:16:20 > 0:16:28- To audition for Act III. She broke my heart.- A fine director you'll make! They'll all break your heart!
0:16:31 > 0:16:36OK, honey, go on out there and let Mr Constantine get a look at you.
0:16:44 > 0:16:46Connie!
0:16:50 > 0:16:53It's terribly close back here.
0:16:53 > 0:16:56Well, breathe!
0:16:57 > 0:17:03If only I could do something I know - like Cordelia's speech from Lear.
0:17:03 > 0:17:07- What part are you looking at? - All of them. I read it five times.
0:17:07 > 0:17:14- You don't know what part?- Oh, yes - the young peasant woman in Act III.
0:17:14 > 0:17:17- What are you? - The cafe violinist, I hope.
0:17:17 > 0:17:24- You'll get it.- Maybe not. - They know what you can do. They don't know me from beans.
0:17:24 > 0:17:28I must understand the entire play to give a real performance.
0:17:28 > 0:17:31All right, Gwen. Thanks, Benny.
0:17:31 > 0:17:36Mr Stern, would there be a shawl backstage or someplace?
0:17:36 > 0:17:38- Are you cold?- No.
0:17:38 > 0:17:41- Hello, Mr Easton.- Hello.
0:17:44 > 0:17:50GWEN: Haven't I got feelings? Am I supposed to be happy with an hour with you, or a day with you?
0:17:50 > 0:17:55Don't shake your head and make weak-kneed apologies.
0:17:55 > 0:17:58Am I just here for the customers' entertainment?
0:17:58 > 0:18:03To be played with, waiting for anyone who wants me?
0:18:03 > 0:18:06Jonathan, get out! I've had it!
0:18:06 > 0:18:08I've had it!
0:18:09 > 0:18:12- Thanks, Frank. - OK.
0:18:12 > 0:18:15Benny, bring in the next girl.
0:18:15 > 0:18:17All right. >
0:18:18 > 0:18:20< Constantine?
0:18:20 > 0:18:23< Connie, this is Miss Lovelace.
0:18:26 > 0:18:33How do you do, Mr Constantine? Forgive this makeshift. I wanted to find a shawl - something for mood.
0:18:34 > 0:18:41I think Mr Sheridan had a more buxom country woman in mind...but maybe not.
0:18:41 > 0:18:44You might take the sweater off.
0:18:44 > 0:18:48- Oh, of course.- I just want to hear your voice, dear.
0:18:48 > 0:18:50Turn to III:i:17.
0:18:50 > 0:18:55- FRENCH ACCENT:- I do a French accent, if you like.- No, just your voice.
0:18:55 > 0:18:58Read those two lines for me, please.
0:18:58 > 0:19:01Full voice. Don't whisper. OK, Frank.
0:19:03 > 0:19:05FRANK: OK, miss?
0:19:06 > 0:19:09Where's Gaston? I've got to find him.
0:19:09 > 0:19:14I will call him. He is at the Estimine playing bezique!
0:19:14 > 0:19:21- Where is that? - I said that rather than "He's playing cards in the bar,"
0:19:21 > 0:19:26because it has more flavour, and "bezique" is such a lovely word.
0:19:26 > 0:19:34Now would you just walk straight upstage with your back to me - for height, that is.
0:19:34 > 0:19:36Oh, yes, indeed.
0:19:38 > 0:19:41I can't have anything like that.
0:19:42 > 0:19:47Fine, Miss Lovelace, fine. We will let you know. Thank you.
0:19:52 > 0:19:57It's a tiny part but it's got to be acted.
0:19:57 > 0:19:59Yeah.
0:19:59 > 0:20:02Does this mean anything special to you?
0:20:02 > 0:20:04No. No.
0:20:05 > 0:20:07No.
0:20:08 > 0:20:10OK, Frank. Next.
0:20:19 > 0:20:24They got back in fast for an opening night. That's a good sign.
0:20:24 > 0:20:26Is it?
0:20:37 > 0:20:42It's going all right. Coughing their heads off.
0:20:44 > 0:20:47LAUGHTER FROM WITHIN
0:20:47 > 0:20:50A few more of those and we're in.
0:20:50 > 0:20:54Rita's got that sticky scene. I can't watch. Let's get a drink.
0:20:54 > 0:20:59No. I'll go up in the side box to try to see Atkinson's face.
0:21:10 > 0:21:12Why, hello!
0:21:14 > 0:21:18Er, hello, Mr Sheridan. I know it's your opening night.
0:21:18 > 0:21:25I wanted to send Mr Hedges a telegram but thought it would be nicer to drop him a note personally.
0:21:25 > 0:21:28- Er, where's the stage door? - Right there.
0:21:29 > 0:21:34What have you been doing? Getting married or engaged?
0:21:34 > 0:21:39- No, just following my star.- Oh, you still have that in sight, have you?
0:21:39 > 0:21:44- Where are you living? - Oh, over there - a few blocks west.
0:21:44 > 0:21:49I like to be able to walk to the theatre if we have late rehearsals.
0:21:49 > 0:21:54- What rehearsals?- Er, it promises to be a very lively season.
0:21:54 > 0:21:59- You mean next season?- Yes.- Well, er, how are you making out now?
0:21:59 > 0:22:02Right now, I mean - tomorrow.
0:22:02 > 0:22:06- Well, I have several irons in the fire.- Like what?
0:22:06 > 0:22:12Er, well, there's this Shakespearian company that's getting organised.
0:22:12 > 0:22:18If they get started, they promised me a part - Ophelia, I think.
0:22:18 > 0:22:23And, er, tomorrow I'm probably reading for Mr Joshua Logan.
0:22:23 > 0:22:29- But he's in Japan.- Let me finish. I'm reading for his assistant.
0:22:31 > 0:22:35Would you like to see the end of this thing?
0:22:35 > 0:22:41Well, er, I'm really not dressed for an opening night.
0:22:41 > 0:22:45Neither am I. Come on.
0:22:50 > 0:22:55Oh, by the way, I used "bezique".
0:22:55 > 0:22:57- Oh!- Come on!
0:22:59 > 0:23:04First edition's on the stands. But I want Atkinson's review.
0:23:04 > 0:23:06That don't come down till 12.30.
0:23:06 > 0:23:09CAR HOOTS
0:23:13 > 0:23:19- I can take you home if you're tired. - Tired?! I've never been more awake.
0:23:19 > 0:23:26Maybe it's the vodka, but I don't think so. I feel like one of the elite, like show people.
0:23:26 > 0:23:32I AM show people, but I never felt so close to the rest of us before.
0:23:32 > 0:23:37Marlene Dietrich was backstage, and Noel Coward. I saw Helen Hayes.
0:23:37 > 0:23:42Mystic, unattainable people. But they're not! We are a happy breed!
0:23:42 > 0:23:48Vodka depresses me. I have a feeling the critics will knock my brains out.
0:23:48 > 0:23:50Hey, buddy! Here you are.
0:23:58 > 0:24:01JOE WHISTLES
0:24:13 > 0:24:20JOE: "In this subtle adaptation by Joseph Sheridan, previously known for The Unquiet Valley,
0:24:20 > 0:24:26"Sheridan has displayed virtuosity and flair for a young playwright."
0:24:26 > 0:24:30"Mr Sheridan has proven unfounded the hesitation we felt
0:24:30 > 0:24:35"when Mr Easton announced he would undertake this project."
0:24:35 > 0:24:39How about that? I'm gonna write a new one!
0:24:56 > 0:24:59Hey, I got the Times!
0:24:59 > 0:25:02- How is it?- It's good.
0:25:02 > 0:25:04Do you wanna hear this?
0:25:04 > 0:25:11"A French play crossed the Atlantic and landed successfully at the Drew Theatre last night."
0:25:11 > 0:25:16- The ladies are leaving their coats right in there.- Thank you.
0:25:22 > 0:25:24< CHEERING
0:25:24 > 0:25:29- Is this Mr Easton's room? - No, miss. This is a guest room.
0:25:29 > 0:25:34The bath is there, and you'll find a comb on the dressing table.
0:25:36 > 0:25:41I'm entitled to my opinion. I'm glad you liked it. Thank you.
0:25:45 > 0:25:49Benny Stern got a phone call from the Tram. It's a rave!
0:25:49 > 0:25:53Is Rita Vernon here? I must congratulate her.
0:25:53 > 0:25:56Oh, you darling! I love you!
0:25:56 > 0:26:00There's some great food going around. Here, sweetie.
0:26:00 > 0:26:04- Did you hear about the Tram?- Yes. - You remember Eva?- Of course.
0:26:04 > 0:26:11- I'm not properly dressed. - You look charming.- I didn't know I was coming to the opening night.
0:26:11 > 0:26:15- Did you like it?- Very much. - Then you're welcome here!
0:26:15 > 0:26:20Congratulations, Joseph. I want you to meet Marguerite...
0:26:20 > 0:26:25- How have you been?- I made a fool of myself when I read for you.- No.
0:26:25 > 0:26:29It was a nice little part. I should have let it be just that.
0:26:29 > 0:26:33But I never think of myself as a little part.
0:26:33 > 0:26:38Opinions seem to differ as to whether I'll ever make good.
0:26:38 > 0:26:40What do you think yourself?
0:26:40 > 0:26:43I'm almost afraid to think.
0:26:43 > 0:26:48- You don't like that. Maybe you'd prefer some Scotch.- Oh, no.
0:26:49 > 0:26:54- You know any of these people? - Well, I know WHO they are.
0:26:54 > 0:26:59- It's like being in a page of Theatre Arts.- Let's meet a few.
0:26:59 > 0:27:01Oh, there's Mr Hedges! Excuse me.
0:27:03 > 0:27:08- Mr Hedges!- My little friend again! How nice to see you here.
0:27:08 > 0:27:13I tried to get backstage to your dressing room, but it was crowded.
0:27:13 > 0:27:19Mr Constantine, I want to congratulate you on your superb direction.
0:27:19 > 0:27:22Thank you. After you.
0:27:25 > 0:27:30Remember... SHE SINGS IN FRENCH
0:27:32 > 0:27:36Miss Vernon, I wanted to tell you how divine you were.
0:27:36 > 0:27:40Thank you for an inspired evening in the theatre.
0:27:40 > 0:27:43That's very sweet of you.
0:27:43 > 0:27:49I like Claridges. If you have a long run, you ought to take a servant.
0:27:49 > 0:27:52I wish Lewis would produce in England.
0:27:52 > 0:27:56I can see you on the Queen's birthday list - "Dame Rita Vernon".
0:27:56 > 0:28:01Really, my darling, you go far, far too far.
0:28:06 > 0:28:08I guess it all turned out...
0:28:08 > 0:28:13- Hey, how are you making out? - Like the country mouse.
0:28:15 > 0:28:21Well, I guess the country mouse isn't used to champagne, is she?
0:28:22 > 0:28:26I'm not used to anything. These people are used to everything.
0:28:26 > 0:28:30- Success! Whoops!- Success.
0:28:30 > 0:28:32Fur coats! Love!
0:28:32 > 0:28:35Love everything!
0:28:38 > 0:28:42Do you know why Mr Easton is so great?
0:28:42 > 0:28:44Sure.
0:28:44 > 0:28:49He plays the favourite and, you know, he's a past-performance better.
0:28:49 > 0:28:52He backs winners.
0:28:52 > 0:28:57No, no, no, no. They do. They're the "what have you done?" people.
0:28:57 > 0:29:03Not Mr Easton. He's the only one who talked to me, outside of Mr Hedges.
0:29:03 > 0:29:08Mr Easton was interested in me.
0:29:08 > 0:29:10He liked me.
0:29:10 > 0:29:15- I like you. - No, you like to help people.
0:29:15 > 0:29:20- What's wrong with that? - Because it is the quality of mercy.
0:29:20 > 0:29:23- Oh.- It is a gentle rain from heaven.
0:29:23 > 0:29:28It is twice blessed. It blesses him that gives and him that takes.
0:29:28 > 0:29:30Ah, Portia.
0:29:32 > 0:29:35I think you need a little food.
0:29:35 > 0:29:37- Come on.- Ahh!
0:29:37 > 0:29:41- Come on. - Where is our charming host?
0:29:46 > 0:29:48INAUDIBLE
0:29:48 > 0:29:55- Don't be so passive.- You want me to tell Atkinson you're the greatest actress since Laurette Taylor?
0:29:55 > 0:30:00"Miss Vernon's emotions are entirely frontal."
0:30:00 > 0:30:03- What does he mean? - I think it's funny.
0:30:03 > 0:30:10I don't. What's more, the New York critics don't regard me as anything but a high comedy actress.
0:30:10 > 0:30:15- You don't either.- I think you're a serious artist with a lovely figure.
0:30:15 > 0:30:20- That's not an answer.- Rita, you want a fight. I don't want a fight.
0:30:20 > 0:30:25I'm very happy about the reviews. We'll have a pleasant little run.
0:30:25 > 0:30:32- I'm relaxed, tired, I ate too much and I want to go to bed. - Don't worry. I'm going home.
0:30:32 > 0:30:35Maybe not directly...
0:30:47 > 0:30:51Oh, Mr Easton. Pardon me. It was a great play.
0:30:51 > 0:30:58- It was a wonderful expression of the post-expressionist school... - Call me at the office.
0:30:59 > 0:31:01Ah-ah!
0:31:01 > 0:31:05Ah, it's beautiful food, Mr Easton,
0:31:05 > 0:31:09but it seems such a waste of time to eat on a night like this.
0:31:09 > 0:31:14- No, it's a waste of time to do something you don't wanna do.- Yes.
0:31:14 > 0:31:20- Let's continue our talk. - Were we talking about something?
0:31:20 > 0:31:26- You know, I wouldn't be surprised if I was a great actress. - You think so?
0:31:26 > 0:31:34Either I am a rotten actress, or I'm a great actress. I'm not just a pretty good actress.
0:31:34 > 0:31:39Sometimes I think that I am very, very, very bad. No good.
0:31:39 > 0:31:43Tonight, I think I'm wrong when I think that.
0:31:43 > 0:31:46I feel wonderful, Mr Easton!
0:31:46 > 0:31:49Could it be the champagne?
0:31:49 > 0:31:54I suppose it is. Anyway, I am not afraid any more.
0:32:08 > 0:32:14Oh, that men should put an enemy in their mouths to steal away their brains.
0:32:14 > 0:32:18That we should with joy, pleasance revel and applause
0:32:18 > 0:32:21transform ourselves into beasts!
0:32:23 > 0:32:25That is from Othello.
0:32:25 > 0:32:28I know.
0:32:29 > 0:32:34Now I shall give you Saint Joan -
0:32:34 > 0:32:38Shaw's best play, in my humble opinion.
0:32:40 > 0:32:42Fair lady,
0:32:42 > 0:32:46I think the hour of our departure nears.
0:32:46 > 0:32:51Oh, alas, I who of late was so volatile and gay
0:32:51 > 0:32:56Like a trade wind must now blow...
0:32:56 > 0:32:58BOTH: All one way.
0:32:58 > 0:33:02Darling, that is Sheridan -
0:33:02 > 0:33:05Richard Brinsley Sheridan, sir.
0:33:08 > 0:33:12- What's she doing? Tallulah? - Can you do Monroe?
0:33:13 > 0:33:16I am not a mimic. I am an actress.
0:33:18 > 0:33:25- Miss Lovelace...- Mr Hedges, I enjoyed your performance tonight. Let me repay you in kind.
0:33:25 > 0:33:30- Romeo, Romeo! Wherefore art thou, Romeo?- Oh, no.
0:33:32 > 0:33:35He jests at scars that never felt a wound.
0:33:36 > 0:33:41Deny thy father, and refuse thy name
0:33:41 > 0:33:45Or, if thou wilt not, be but sworn my love
0:33:45 > 0:33:47And I'll no longer be a Capulet.
0:33:47 > 0:33:51Shall I hear more, or shall I speak at this?
0:33:51 > 0:33:54'Tis but thy name that is my enemy
0:33:54 > 0:33:58Thou art thyself not a Montague.
0:33:58 > 0:34:01What's Montague? It is nor...
0:34:01 > 0:34:04hand nor foot nor arm...
0:34:04 > 0:34:08Nor any other part belonging to a man.
0:34:09 > 0:34:13Be some other name. What's in a name?
0:34:13 > 0:34:19That which we call a rose by any other name would smell as sweet.
0:34:19 > 0:34:22So Romeo would were he not Romeo called.
0:34:22 > 0:34:27Retain that dear perfection which he owes without that title.
0:34:29 > 0:34:32Romeo,
0:34:32 > 0:34:34Doff thy name
0:34:34 > 0:34:40And for that name, which is no part of thee, take all myself.
0:34:40 > 0:34:46I take thee at thy word. Call me but love, and I'll be new baptiz'd.
0:34:47 > 0:34:53My ears have not yet drunk a hundred words of that tongue's uttering
0:34:53 > 0:34:56Yet I know the sound.
0:34:56 > 0:35:01- Art thou not Romeo, and a Montague? - Neither, fair maid, if either thee dislike.
0:35:07 > 0:35:10Thou knowest the mask of night is on my face
0:35:10 > 0:35:16Else would a maiden blush repaint my cheek for that which thou hast heard me speak tonight.
0:35:16 > 0:35:21Fain would I dwell on form, fain, fain deny what I have spoke.
0:35:21 > 0:35:26But farewell compliment! Dost thou love me?
0:35:29 > 0:35:33I know thou wilt say ay, and I will take thy word.
0:35:33 > 0:35:37Gentle Romeo, if thou dost love, pronounce it faithfully.
0:35:37 > 0:35:42Or, if thou think'st me too quickly won, I'll frown, and be perverse
0:35:42 > 0:35:45And say thee nay, so thou wilt woo.
0:35:45 > 0:35:52But else not for the world. In truth, fair Montague, I am too fond.
0:35:55 > 0:36:00My love is deep. The more I give to thee, the more I have
0:36:00 > 0:36:03For both are infinite.
0:36:04 > 0:36:09Although I joy in thee, I have no joy in this contract tonight.
0:36:09 > 0:36:15It is too rash, too unadvised, too sudden, too like the lightning
0:36:15 > 0:36:19Which doth cease to be 'ere one can say, "It lightens."
0:36:20 > 0:36:25This bud of love, by summer's ripening breath
0:36:25 > 0:36:29May prove a beauteous flow'r when next we meet.
0:36:35 > 0:36:37Good night!
0:36:37 > 0:36:41As sweet repose and rest come to thy heart
0:36:41 > 0:36:44As that within my breast!
0:36:45 > 0:36:47Parting is such...
0:36:50 > 0:36:52..sweet sorrow.
0:36:52 > 0:36:56I shall say good night till it be morrow.
0:37:08 > 0:37:10Child, it was beautiful -
0:37:10 > 0:37:13impossibly beautiful.
0:37:16 > 0:37:24- Do you think I'm going to be a great actress?- I don't know, but you were a great Juliet just now.
0:37:31 > 0:37:34I'm a little dizzy.
0:37:34 > 0:37:41- Where are you going? - Home. I've given my performance. Now I'd better make my exit.
0:37:41 > 0:37:47My car's out front. The driver's name is Tom. Tell him I said to take you home.
0:37:47 > 0:37:52- Thank you.- Sheridan will go with you.- No. Let him enjoy the evening.
0:37:52 > 0:37:57Will you call me at the office? Maybe I can do something for you.
0:37:57 > 0:38:00I'll call you.
0:38:01 > 0:38:03Oh, Lewis...
0:38:22 > 0:38:27Why don't you just leave it? George, clean up in the morning.
0:38:27 > 0:38:29Thank you, sir. Good night.
0:38:30 > 0:38:33Good night, George.
0:39:13 > 0:39:16Where is everybody?
0:39:16 > 0:39:18Good heavens!
0:39:18 > 0:39:21I fell asleep. What time is it?
0:39:25 > 0:39:28It's four o'clock. How do you feel?
0:39:28 > 0:39:35- I'm not quite sure. - Would you like some coffee? - Oh, no. I'm perfectly all right.
0:39:35 > 0:39:38Did I dream it...
0:39:39 > 0:39:42..or did I play Juliet tonight?
0:39:42 > 0:39:45You did, and you were fine.
0:39:45 > 0:39:48Hmm. You're on my balcony.
0:39:49 > 0:39:53First time this balcony ever made sense.
0:39:54 > 0:39:56I love it.
0:39:58 > 0:40:05If you'd played it out that way, you'd have been playing to all New York.
0:40:06 > 0:40:09I played it to the only person in New York...
0:40:12 > 0:40:14..I care about.
0:40:54 > 0:40:56Well?
0:40:56 > 0:41:00The rest of the notices are fine.
0:41:00 > 0:41:04You had me brought all the way over here to tell me that?
0:41:04 > 0:41:07I didn't get to bed till four.
0:41:07 > 0:41:11It's now 8.30 and I'm going back to it.
0:41:11 > 0:41:15Joe, not everybody left last night when you did.
0:41:15 > 0:41:20- I bet they feel worse than I do. - I wish I felt the way you do.
0:41:20 > 0:41:23A hangover - I'd settle for that.
0:41:25 > 0:41:28I got myself involved, but good.
0:41:29 > 0:41:31Don't.
0:41:31 > 0:41:35I don't feel like smiling. It's a shabby business.
0:41:35 > 0:41:38Did you go out on the town?
0:41:38 > 0:41:44- No, I wish I had. I've been out of the apartment since six. - Tom told me.- I couldn't face her.
0:41:44 > 0:41:50You want me to write you an exit speech? It's too early for that.
0:41:50 > 0:41:54It's too late in my life to feel the way I do.
0:41:54 > 0:41:58She's a delight, she's decent, she's...
0:41:58 > 0:42:00I don't know girls like that.
0:42:00 > 0:42:05She's everything I don't have time for. You know the way I live.
0:42:05 > 0:42:13- She's a fool. She's a nuisance. She's stage struck. You know that. - How do I know?- You brought her.
0:42:14 > 0:42:16Eva?
0:42:16 > 0:42:19I want you to give her this.
0:42:19 > 0:42:22- What is this? - It's her fare back home.
0:42:22 > 0:42:24Money?
0:42:24 > 0:42:29There's enough to keep her travelling away from me.
0:42:29 > 0:42:34I've seen too much, lived too long. I can't start this.
0:42:34 > 0:42:36Go to the apartment and give her it.
0:42:36 > 0:42:41She'll hate me, but the sooner she finds out the better.
0:42:41 > 0:42:47- I know this is tough for you, but it's tougher for me. - Nothing's tough for you.
0:42:52 > 0:42:54Joe...
0:42:54 > 0:42:57Joe, I didn't know.
0:43:46 > 0:43:53- Eva...- I'm in a hurry.- I've got to talk to you.- I want to go home before he finds out I've left.
0:43:53 > 0:43:59It's just that there's so much in my heart, I want to be alone.
0:43:59 > 0:44:02- You understand?- Yes...
0:44:02 > 0:44:05I had never...
0:44:07 > 0:44:11..dreamed it would be Lewis Easton.
0:44:14 > 0:44:17It's not just loving.
0:44:17 > 0:44:22It's loving a man you admire and respect,
0:44:22 > 0:44:27a man who's been a legend to me.
0:44:28 > 0:44:30I'll make him very proud of me.
0:44:34 > 0:44:38Life is suddenly very different.
0:44:38 > 0:44:41But I think you understand, don't you?
0:44:43 > 0:44:45I understand.
0:44:48 > 0:44:50Joe...
0:44:50 > 0:44:53you've been very good to me.
0:45:03 > 0:45:05Thank you.
0:45:22 > 0:45:28We had a nice little line at the box office all day - not sensational, but steady.
0:45:28 > 0:45:34- How was the broker call?- Very good. - You'll have a comfortable winter, Joe.
0:45:34 > 0:45:39Deposit half of every royalty cheque for taxes. Don't get caught.
0:45:39 > 0:45:42- PHONE RINGS - Take that.
0:45:42 > 0:45:45Hello? ..Yes. ..Yes, that's right.
0:45:45 > 0:45:48Print tickets right through March.
0:45:48 > 0:45:50..OK.
0:45:53 > 0:45:56What are your plans, Joe?
0:45:56 > 0:45:59Going to finish my play.
0:45:59 > 0:46:06- How long will it take?- Four months, if I go away and do nothing else. - I'd like rehearsals in August.
0:46:06 > 0:46:10- PHONE RINGS - Where's Betty?- Out.- Take it, Benny.
0:46:11 > 0:46:14..Hello? ..Yes.
0:46:14 > 0:46:16..Who?
0:46:16 > 0:46:19..Eva Lovelace?
0:46:19 > 0:46:22..Oh, yes, well, Mr Easton is in Jamaica.
0:46:23 > 0:46:27..He didn't say. ..No.
0:46:27 > 0:46:30..That's right - Jamaica in the West Indies.
0:46:30 > 0:46:32..I will.
0:46:40 > 0:46:42Where will you go, Joe?
0:46:44 > 0:46:49I'm going to sit on top of a mountain in Virginia.
0:46:49 > 0:46:53"Her every aspect pleases. Only man is vile."
0:47:03 > 0:47:06It's out of a hymn I used to sing.
0:47:07 > 0:47:10DOOR SHUTS
0:47:35 > 0:47:38< Darling!
0:47:38 > 0:47:41Well, well! Rita, how are you?
0:47:41 > 0:47:44You look wonderful! So do you.
0:47:44 > 0:47:48I love your new play, Joe. When did you read it?
0:47:48 > 0:47:52I've read each act you've sent to Lewis.
0:47:52 > 0:47:55I've just one little comment.
0:47:55 > 0:48:00My character is a little passive. But that can be fixed in rehearsal.
0:48:00 > 0:48:06Aren't you going on the road? No, I'm sticking to my contract.
0:48:06 > 0:48:09I get out of this June 1st.
0:48:09 > 0:48:11Darling!
0:48:11 > 0:48:14- It's our young author! - Harley, how are you?
0:48:14 > 0:48:19Doesn't he look handsome? See you later, darling.
0:48:19 > 0:48:23- Did you have a good rest? - No. I finished my play.
0:48:23 > 0:48:27Congratulations. Come in while I change, will you?
0:48:36 > 0:48:41How would you go about finding a young actress?
0:48:41 > 0:48:46For your new play? There are thousands of talented actresses.
0:48:46 > 0:48:49- What part is it? - It's not about casting.
0:48:49 > 0:48:55- Remember that young girl I took to Easton's party on opening night?- Indeed I do.
0:48:55 > 0:48:58You mean this one?
0:49:02 > 0:49:06She's there every night but Sunday.
0:49:08 > 0:49:13# ..I'll live with my son
0:49:13 > 0:49:16# We'll work at the weaver's
0:49:16 > 0:49:21# And when I look into... #
0:49:21 > 0:49:28You can sit anywhere. The Hotshot is down the street and Johnny's is round the corner.
0:49:28 > 0:49:32I know where the Hotshot is. I spent my youth at the Hotshot.
0:49:32 > 0:49:35He thinks we're the American legion.
0:49:35 > 0:49:39Let's sit up at the bar.
0:49:39 > 0:49:46- Bottle of beer, please. - Scotch, nothing for the rocks - I don't like ice. And a lemon twist.
0:49:46 > 0:49:51SINGING STOPS AND MUTED APPLAUSE
0:50:01 > 0:50:04Hotshot wasn't a bad idea!
0:50:11 > 0:50:14- She's a prop man!- Wait.
0:50:22 > 0:50:29- This is ridiculous. - No, it isn't. It's splendid. - There isn't a dime in this place.
0:50:29 > 0:50:33- This is all wrong. - It's as right as rain.
0:50:33 > 0:50:39Thank the Lord they have a roof over them, otherwise they'd be on a street corner.
0:50:45 > 0:50:49Good evening...again.
0:50:53 > 0:50:55When I was one-and-twenty
0:50:55 > 0:50:58I heard a wise man say,
0:50:58 > 0:51:01"Give crowns and pounds and guineas
0:51:01 > 0:51:04"But not your heart away;
0:51:04 > 0:51:07"Give pearls away and rubies
0:51:07 > 0:51:10"Keep your fancy free."
0:51:12 > 0:51:15But I was one-and-twenty
0:51:15 > 0:51:18No use to talk to me.
0:51:18 > 0:51:20When I was one-and-twenty
0:51:20 > 0:51:23I heard him say again,
0:51:23 > 0:51:25"The heart out of the bosom
0:51:25 > 0:51:29"Was never given in vain;
0:51:29 > 0:51:32"'Tis paid with sighs a plenty
0:51:32 > 0:51:36"And sold for endless rue."
0:51:36 > 0:51:41And I am two-and-twenty
0:51:41 > 0:51:46And oh, 'tis true,
0:51:46 > 0:51:48'tis true.
0:51:51 > 0:51:55That is by AE Housman.
0:51:56 > 0:51:59Annabel Lee?
0:52:02 > 0:52:07It was many and many a year ago In a kingdom by the sea
0:52:07 > 0:52:10That a maiden lived, whom you...
0:52:13 > 0:52:17..may know By the name of Annabel Lee
0:52:17 > 0:52:24And this maiden she lived with no other thought Than to love and be loved by me...
0:52:51 > 0:52:54Excuse me. Here we are. Here we are.
0:52:54 > 0:52:57Just be patient. You'll get a seat.
0:52:57 > 0:53:01It's near Charlottesville. I stayed to finish my play.
0:53:01 > 0:53:06I don't care if I ever see a tree again, unless it's a backdrop.
0:53:06 > 0:53:11- But the country's a great place to work.- So is New York.
0:53:16 > 0:53:21- What's your play about?- Well, I'm glad you asked me. It's about life.
0:53:25 > 0:53:28I'm gonna direct the play myself.
0:53:28 > 0:53:34And of course I could say, "No Rita Vernon. She's absolutely wrong for the part."
0:53:34 > 0:53:39And Easton might say, "No Rita, no show." I'm awful short on integrity.
0:53:39 > 0:53:43You don't have to make excuses to me.
0:53:43 > 0:53:48After all, I am casting this show. Would you consider a small part?
0:53:48 > 0:53:52I couldn't walk into a room where Easton is, let alone try for a part.
0:53:52 > 0:53:59- Eva, you're playing a love scene. - Yes, I am. You'll have to give that small part to some other actress.
0:54:01 > 0:54:05- Can I take you home? - I like the subway.
0:54:05 > 0:54:07So do I.
0:54:47 > 0:54:52- WOMAN: ..They were just visiting! MAN:- Do you think I'm an idiot?!
0:54:52 > 0:54:56You're imagining all kinds of things that aren't true.
0:54:56 > 0:54:58THEY ALL SHOUT AT ONCE
0:54:58 > 0:55:03Oh, Dick, I'll follow you anywhere you say.
0:55:03 > 0:55:07Anywhere you go, that's where I'll be.
0:55:08 > 0:55:12Is our young author/director in the house?
0:55:12 > 0:55:14What is it, Rita?
0:55:14 > 0:55:18How can I say a line like that and mean it?
0:55:18 > 0:55:22"I'll follow you anywhere." The fellow hasn't a quarter.
0:55:22 > 0:55:25I've had this for three weeks now.
0:55:25 > 0:55:29Well?! Just a second, Rita.
0:55:29 > 0:55:33She doesn't understand a thing about the character.
0:55:33 > 0:55:35You wrote it, explain it to her.
0:55:37 > 0:55:39Rita.
0:55:43 > 0:55:45Rita, look...
0:55:47 > 0:55:52This girl...is not thinking about her economic future.
0:55:52 > 0:55:54Here we go again.
0:55:54 > 0:55:57I know what she's thinking.
0:55:57 > 0:56:00And what she's thinking doesn't make sense.
0:56:00 > 0:56:04It's love, Rita. Pure love.
0:56:04 > 0:56:11Are you out there, Lewis? Will you get your young author down off cloud seven?
0:56:11 > 0:56:16I can't! I can't read lines like that and mean them!
0:56:16 > 0:56:19And it's late. And I don't propose to try.
0:56:21 > 0:56:25Um...the rest of the cast... take five.
0:56:25 > 0:56:31- It's quitting time, Mr Sheridan, you wanna hold on? - No. Tomorrow at one, thanks.
0:56:31 > 0:56:35- I give up! - Easy to say but what do we do?
0:56:35 > 0:56:40- I want the right girl.- It's October. Wasn't April the time to say that?
0:56:40 > 0:56:46- You've been selling me Rita since I wrote the first act.- You never asked me to hear anyone else.
0:56:46 > 0:56:50That's because you know she's got real strength at the box office.
0:56:50 > 0:56:55- She has got star quality. And you want that too, Joe.- Oh, yes. I know.
0:57:00 > 0:57:05- Come to Sardi's for a drink. It'll do you good.- No, thanks.
0:57:05 > 0:57:09We haven't been out for months. You can't go home every night.
0:57:09 > 0:57:14Well, I like to take a walk and think about the script.
0:57:16 > 0:57:21I got myself a conscientious director but I lost a drinking pal.
0:57:21 > 0:57:23I'll be seeing you.
0:57:30 > 0:57:34All right, Mr Sheridan, everybody's gone.
0:57:34 > 0:57:38- Thanks, Sam.- You staying on again? - Yep.
0:57:38 > 0:57:43- What shall I do about the lights? - I'll turn them out when I leave.
0:57:55 > 0:57:58Are you there? It's OK now.
0:57:58 > 0:58:00I'm here.
0:58:03 > 0:58:06Sorry it got so late.
0:58:06 > 0:58:10- Have you been up there long? - For a while.
0:58:10 > 0:58:17- I asked Easton to watch it for the first time. - I know. I saw you talking to him.
0:58:17 > 0:58:20I tell you what I'd like to do right now.
0:58:20 > 0:58:25I'd like to go right to the middle of the third act with you.
0:58:41 > 0:58:42Why?
0:58:42 > 0:58:47Why? We've only done it twice and you need to work on it.
0:58:47 > 0:58:52I know...every line and every move of the play, Joseph.
0:58:52 > 0:58:54I'll never forget it.
0:58:54 > 0:58:58Maybe some day I'll play it somewhere but...
0:58:58 > 0:59:03It's late now, you've had a long day's rehearsal and I...
0:59:03 > 0:59:07ought to go back to the Village Voice where I belong.
0:59:07 > 0:59:12- What's wrong?- Let's stop fooling each other.- How am I fooling you?
0:59:12 > 0:59:14 The way you're fooling yourself.
0:59:14 > 0:59:19You want to help and I'm grateful, but your play comes first.
0:59:19 > 0:59:22- You can't take a chance.- Hold on. - Stay there!
0:59:22 > 0:59:26I don't want you to flatter me, encourage me or explain.
0:59:26 > 0:59:30I am not angry or hurt or blaming you.
0:59:30 > 0:59:32- I understand.- But you don't.
0:59:32 > 0:59:35I even understand myself.
0:59:35 > 0:59:39When I looked down and saw him talking to you,
0:59:39 > 0:59:43I knew why I'd been sneaking in here every night.
0:59:43 > 0:59:50I'd been telling myself it was the play, the part, the chance that I was interested in.
0:59:50 > 0:59:52It wasn't.
0:59:53 > 0:59:55I wanted to see him.
0:59:56 > 1:00:01I thought you would tell him that I was good.
1:00:01 > 1:00:06Better than Rita Vernon and he'd say, "Let's see her."
1:00:06 > 1:00:09And I'd go up on stage and be great.
1:00:09 > 1:00:12He'd congratulate me and I'd say,
1:00:12 > 1:00:17"Sorry, Mr Easton, I was only showing you how it should be done.
1:00:17 > 1:00:23"I haven't time to play the part, I haven't even time to answer your phone calls."
1:00:29 > 1:00:33That's what I thought was going to happen.
1:00:33 > 1:00:37Maybe that's why I didn't tell him about you.
1:00:38 > 1:00:44Cos I could feel you were more interested in him than me and my play.
1:00:44 > 1:00:50No, Joseph. You want a hit more than anything in the world.
1:00:50 > 1:00:57And you're just not sure I'll give it to you. That's why you haven't spoken to him and you never will.
1:00:57 > 1:01:01- You're using me to get to him. - What are you using me for?
1:01:01 > 1:01:06To practice on, to try things out and if they work, give them to her.
1:01:06 > 1:01:12Why have you pretended for three months that you wanted me in this play when you didn't?
1:01:12 > 1:01:16Because it was the only way I could see you.
1:01:16 > 1:01:19And I'm in love with you.
1:01:19 > 1:01:25Don't say that. Nobody loves anybody in the theatre, not until they're worth it.
1:01:25 > 1:01:27Eva...
1:01:28 > 1:01:34I'm not Lewis Easton, I'm Joe Sheridan. I don't care if you can't act your way out of a paper bag.
1:01:34 > 1:01:36I love you.
1:01:36 > 1:01:38You.
1:01:40 > 1:01:43Gertrude Langenfelder from Vermont.
1:01:43 > 1:01:46I am an actress.
1:01:46 > 1:01:49Good, bad or indifferent.
1:01:49 > 1:01:51I have been all my life.
1:01:51 > 1:01:54Maybe that's all I am.
1:01:54 > 1:01:57Maybe I'll never be up here.
1:01:57 > 1:02:05Maybe I'll end up an old woman reciting poetry and lying about the glories I never saw.
1:02:05 > 1:02:08But I want to deceive myself.
1:02:08 > 1:02:11You have no right to deceive me.
1:02:19 > 1:02:22I wish she'd had a full house.
1:02:24 > 1:02:27How long have you been there?
1:02:27 > 1:02:32For the record, I've been here right through the love scene.
1:02:32 > 1:02:36So you've been rehearsing her in Rita's part?
1:02:38 > 1:02:40Yeah.
1:02:40 > 1:02:44Well? Can she play it?
1:02:45 > 1:02:48How do I know if she can play it?
1:02:48 > 1:02:54- You oughta know. It's your play. You've told me Rita can't. Can she do it?- I'm too close to it.
1:02:54 > 1:02:59You're the one said we needed star quality. Rita's a star, Eva isn't.
1:02:59 > 1:03:06What do you expect me to do? Experiment? I've got too much riding on this one.
1:03:06 > 1:03:11- I'll buy you that drink.- No, thanks. I've got work to do.
1:03:11 > 1:03:16- We've nothing to do now. We open on Friday night.- Right, Friday night.
1:03:18 > 1:03:20Heart of gold.
1:03:26 > 1:03:30Hello. What time do the acts go on? Am I early?
1:03:30 > 1:03:32- About two weeks too late.- What?
1:03:32 > 1:03:36On Monday, you can get your pants pressed here. We're closed.
1:03:36 > 1:03:41- <- Hey, Vic, give me a hand. - I'm looking for Miss Eva Lovelace.
1:03:41 > 1:03:46- Do you know where she is?- Eva? No, she moved out of this league.
1:03:46 > 1:03:52- Know where I can find her? - Are you a friend?- Not exactly. Do you have her address?
1:03:52 > 1:03:58- No. Have you, Adrian? - No, but do you know Lewis Easton? - He's a big producer.
1:03:58 > 1:04:02- She's been rehearsing his show.- It opens Friday. You'll find her there.
1:04:02 > 1:04:09- Drew Theatre, 45th, west of Broadway.- Subway to 42nd Street. - Yes, I know where it is.
1:04:09 > 1:04:11Hey...
1:04:11 > 1:04:16- If we should see her, who'll I say is looking for her.- Joe Sheridan.
1:04:21 > 1:04:25- Baltimore?- No.- How about Pittsburgh?- They're booked.
1:04:25 > 1:04:29- I thought last night's preview went pretty well.- I didn't.
1:04:29 > 1:04:33- Who's in tonight?- Associated Hospitals took the whole house.
1:04:33 > 1:04:38- That's a good crowd if your show's dying.- Are you coming over?- Later.
1:04:40 > 1:04:42- 1a?- 1, 2, 3, 4.
1:04:42 > 1:04:48- What happened to your dimmer in the third act?- I was late with it. - Don't be late tomorrow night.
1:04:48 > 1:04:53- How did it go?- She had some ad-libs tonight that rocked them.- Ad-libs?!
1:04:53 > 1:04:58- Is she still here?- In her dressing room with Joe. Frank...
1:04:58 > 1:05:02Rita, darling, it didn't seem all of a piece to me.
1:05:02 > 1:05:06- Hello, Lewis.- Hello, Connie, I thought you were on the West Coast.
1:05:06 > 1:05:09He was until I called him last night.
1:05:09 > 1:05:12He flew in as a favour to me.
1:05:12 > 1:05:16Lewis, you've got Rita playing an emotional little girl.
1:05:16 > 1:05:18Let's face it, that she ain't.
1:05:18 > 1:05:23- You don't get Bob Hope to play Hamlet.- Connie, it's a little late...
1:05:23 > 1:05:29- You're not taking advantage of what Rita can do.- We open tomorrow. - I don't think you should!
1:05:29 > 1:05:35- I don't think you should open! - This isn't helping anyone. - I think you should postpone.
1:05:35 > 1:05:41- It's been done before. Let Joe lock himself up with a typewriter... - Thanks Connie.- Get a new second act.
1:05:41 > 1:05:44We'll send a cheque for your fare.
1:05:44 > 1:05:48- Why don't you listen?- You've had six weeks to hand in your notice.
1:05:48 > 1:05:54It's 11.30. You don't sleep before 4.00am. Four hours to rehearse.
1:05:54 > 1:05:59- That is not enough time for him to rewrite his play.- I like this play.
1:05:59 > 1:06:03When you're a producer, you do the play you like.
1:06:03 > 1:06:07- Frank...don't let Harley go, I want to rehearse.- Hold it!
1:06:07 > 1:06:11- There's something you don't know. - What?
1:06:11 > 1:06:14I am getting pneumonia.
1:06:14 > 1:06:20- Oh?- I'll have it in the morning and I'll have a doctor's certificate to prove it.
1:06:20 > 1:06:24The New York Times will be the first to hear of it. It'll take a week.
1:06:24 > 1:06:29By that time, there'll be a new second act - one I'm not miscast for.
1:06:29 > 1:06:33Now I have to go home and start on penicillin.
1:06:33 > 1:06:37- I'll have you up at Equity on charges.- And that takes a week too.
1:06:37 > 1:06:44- So either way, you open in a week... - If you walk out of here, I wouldn't let you open a can of sardines.
1:06:44 > 1:06:48I don't want to open a can of sardines.
1:06:48 > 1:06:51I want to open a hit and so do you.
1:06:51 > 1:06:54And so do you.
1:06:54 > 1:07:00Let me tell you something, you need every bit of strength you can muster for this play.
1:07:00 > 1:07:04You will need to draw the box office and you need a star.
1:07:04 > 1:07:07And that's me.
1:07:12 > 1:07:15Come on, Connie.
1:07:50 > 1:07:56I don't see how I can...rewrite and direct at the same time.
1:07:57 > 1:08:04- But I'll have to try.- It's easy. Write a play, take it to a producer, if he likes it, he'll produce it.
1:08:04 > 1:08:10- I don't like it before I read it. - Maybe she's right. - I've thought of that.
1:08:11 > 1:08:15Let's go before you give your typewriter away.
1:08:15 > 1:08:21Harley, I'm sorry, we were gonna rehearse. I'll buy you a drink. Joe.
1:08:21 > 1:08:23Joe!
1:08:23 > 1:08:28Joe, wait. Where's that Lovelace girl? Where does she live?
1:08:28 > 1:08:32Lewis, don't do anything for spite. That won't help the play.
1:08:32 > 1:08:35- Anyway, Eva hates you. - All right, keep me out of it.
1:08:35 > 1:08:42- Do it because you love her. Say you talked me into it.- You're crazy.- Go on. Miracles happen in the theatre.
1:08:42 > 1:08:47They do, don't they, Harley? They do, they do.
1:08:47 > 1:08:52- Good night, Betsy. How's business? - Couldn't be better, Mr Easton.
1:08:56 > 1:08:59- Adams.- Hold on, hold on. Adams.
1:08:59 > 1:09:05No, I won't take any returns. If you can't sell them, eat them.
1:09:05 > 1:09:09Her name is Eva Lovelace. ..No, not in this country. Stratford on Avon.
1:09:09 > 1:09:12She's remark... No, you can't return your tickets!
1:09:12 > 1:09:15Drew Theatre.
1:09:16 > 1:09:20Hello. ..Oh, sorry, Rita. Mr Easton's in Jamaica.
1:09:20 > 1:09:25Of course we're opening. Who says we don't want the critics?
1:09:25 > 1:09:26Yeah. ..Yeah.
1:09:26 > 1:09:32- Say, boss, do you think I better have a little make-up on?- What for?
1:09:32 > 1:09:34To read the announcement.
1:09:35 > 1:09:40"Ladies and gentlemen, due to sudden illness..." KNOCKING
1:09:40 > 1:09:44- What is it?- Mr Easton, please, can I see you a minute?
1:09:44 > 1:09:49- Something wrong with the wardrobe? - No. She's hysterical. Weak as a cat.
1:09:49 > 1:09:54- I sent out for some bromide.- Never mind bromide.- It might quieten her.
1:09:54 > 1:09:58- All I need's a quiet actress. - I don't know what to do with her.
1:10:02 > 1:10:04OK, Jack.
1:10:05 > 1:10:10- She's nervous. Have you talked to her?- No, I haven't seen her.
1:10:10 > 1:10:14Joe's handling the whole thing. I'm just spinning the wheel.
1:10:14 > 1:10:20- Round and round it goes. Wherever it stops, nobody knows. - It's courageous.- That's the theatre.
1:10:20 > 1:10:23You better go in and talk to her.
1:10:29 > 1:10:33SOBBING
1:10:35 > 1:10:40- How's our leading lady?- I'm not the leading lady. I want to go home.
1:10:40 > 1:10:45You can't go home. This is a fairytale. You can't end it here.
1:10:45 > 1:10:49I'm not a girl in a fairytale. I'm alive and I'm scared.
1:10:49 > 1:10:56Of course you are. You have to slay a dragon so all the Gertrude Langenfelders know it can be done.
1:10:56 > 1:10:59This is your chance to show them.
1:10:59 > 1:11:03I don't want the chance. It's too big. You know that.
1:11:03 > 1:11:07You saw me downtown. You know what I can and can't do.
1:11:07 > 1:11:11- You'll be wonderful. - But suppose I'm not wonderful?
1:11:11 > 1:11:15What does it matter to those people? What do they care?
1:11:15 > 1:11:20They don't. They don't care a hoot. Harley, you've got props to pick up.
1:11:20 > 1:11:24You've got enough acting to do tonight without wasting it in here.
1:11:24 > 1:11:27Go fix your eyes.
1:11:27 > 1:11:33Nobody knows you out there. Why should they? Who are you? Make them know you.
1:11:33 > 1:11:38Stop staring at me. Regina, get her into her costume right away.
1:11:38 > 1:11:42You've got ten minutes. You're a hungry little girl.
1:11:42 > 1:11:48You've been starving all your life. The theatre is serving you a feast.
1:11:48 > 1:11:51Take it or forever wish you had.
1:11:51 > 1:11:54DOOR SLAMS
1:12:06 > 1:12:10- 1a.- One, two, three, four.
1:12:10 > 1:12:12- Quarter to quarter.- Good.
1:12:12 > 1:12:14- 2a.- Five, six, seven...
1:12:14 > 1:12:17- They're all in. You can go any time. - OK.
1:12:37 > 1:12:40Standby. Here we go.
1:12:41 > 1:12:44Joe, everything OK on stage left?
1:12:44 > 1:12:47OK here.
1:12:54 > 1:12:57OK, Sam. Take the house to half.
1:13:09 > 1:13:12House is half.
1:13:13 > 1:13:17Standby sound for cue. 1, 1a and 2.
1:13:17 > 1:13:20And easy on that door.
1:13:22 > 1:13:25- Turn your work light. - Work light out.
1:13:25 > 1:13:27Go to preset, Jimmy.
1:13:43 > 1:13:47- Set here.- Standby electrics, cue 1.
1:13:47 > 1:13:482.
1:13:48 > 1:13:502a.
1:14:01 > 1:14:04Good luck, Miss Lovelace.
1:14:08 > 1:14:11Take the house out.
1:14:20 > 1:14:23- House out.- Here we go.
1:14:27 > 1:14:31MUSIC SWELLS
1:14:32 > 1:14:34DOOR SHUTS
1:14:34 > 1:14:36I'm sorry I'm late.
1:14:38 > 1:14:42- Have you had supper? - I waited for you.
1:15:04 > 1:15:08We've got a seven-minute intermission coming up.
1:15:08 > 1:15:12Don't let anyone in her dressing room. Not Sheridan, nobody.
1:15:12 > 1:15:17- Heighten her make-up for the second act. She's a little pale.- Yes.
1:15:18 > 1:15:21You'll do exactly as I say!
1:15:30 > 1:15:34- HE WHISPERS - Advance to the staircase.
1:15:36 > 1:15:39Pick up the book.
1:15:39 > 1:15:41Pick up the book.
1:15:41 > 1:15:44Do it.
1:15:44 > 1:15:46Hold it there.
1:15:53 > 1:15:55Good.
1:15:56 > 1:16:00APPLAUSE
1:16:03 > 1:16:07One more act. Stay on that balcony, Juliet.
1:16:16 > 1:16:23- The third act's too long. Play out with the second act curtain. I knew that when I wrote it.- Shhh!
1:16:24 > 1:16:26Here it is.
1:16:26 > 1:16:29APPLAUSE
1:16:29 > 1:16:32That's solid. Solid as a rock.
1:16:47 > 1:16:49- How many is that?- Eight.
1:16:54 > 1:16:58- Don't beg for it.- Nobody's begging.
1:17:04 > 1:17:06Listen to them.
1:17:09 > 1:17:12AUDIENCE: Bravo!
1:17:12 > 1:17:15APPLAUSE HEIGHTENS
1:17:16 > 1:17:20APPLAUSE AND CHEERING
1:17:23 > 1:17:25What did I tell you? How about her?
1:17:26 > 1:17:31APPLAUSE CONTINUES Bravo! Bravo!
1:17:34 > 1:17:37Go out and get her.
1:17:40 > 1:17:44- Is it really over? - Yes, it's really over.
1:17:44 > 1:17:46Here, wear it, lady.
1:17:46 > 1:17:49There'll be lots of people backstage.
1:17:49 > 1:17:56Go to your room, take deep breaths and wait for the pleasant things the world will want to say to you.
1:18:02 > 1:18:07How about that girl? I knew she'd make it. I knew it from the start.
1:18:07 > 1:18:10Greater faith hath no man.
1:18:13 > 1:18:17- She owes you a lot, Lewis. - She owes me nothing.
1:18:17 > 1:18:20Hey, you're a pretty classy fella.
1:18:20 > 1:18:23For a producer.
1:18:23 > 1:18:26Come on, let's pay the star a visit.
1:18:26 > 1:18:28You go ahead.
1:18:34 > 1:18:38- Oh, my dear! I've never seen anything like it!- Thank you.
1:18:38 > 1:18:40Eva!
1:18:40 > 1:18:44- Are you exhausted? - I could do this all night.
1:18:44 > 1:18:46Joe... Meet some friends...
1:18:46 > 1:18:49CROWD CHATTERS
1:18:57 > 1:18:59Come in.
1:18:59 > 1:19:01- Ah!- Harley!
1:19:01 > 1:19:04- Oh, my heart!- Oh, sorry!
1:19:04 > 1:19:09- Harley.- Wasn't she splendid?- Wasn't she?! And how wonderful you were.
1:19:09 > 1:19:13Oh, she was so easy to play with. Beautiful to play with.
1:19:13 > 1:19:16- She cut into a line now and again. - Ah, and she had you.
1:19:16 > 1:19:19- How's our young author?- Happy.
1:19:19 > 1:19:23- Has he lost her? Or will they go on?- I don't know.
1:19:23 > 1:19:25But I...
1:19:25 > 1:19:30I hope Eva Lovelace has the sense to take tonight and spread it out.
1:19:30 > 1:19:36I hope she goes from this to another. From a hit to a flop, from a hit to a flop.
1:19:36 > 1:19:41I don't know her plans but when the theatre gives you what she got,
1:19:41 > 1:19:47that's a marriage, a husband, kids, a cottage on Long Island. It's everything. Tell her that.
1:19:47 > 1:19:52Tell her to stay on that stage - never give up an honest lover.
1:19:52 > 1:19:55Eva, I can't tell you. I can't...
1:19:55 > 1:19:58- What can't you tell me? - You should have been out front.
1:19:58 > 1:20:01I wept like a baby.
1:20:01 > 1:20:06- Out of the spotlight for a minute. I want to talk to you.- Not just now.
1:20:06 > 1:20:11I don't wanna be sensible. Nothing sensible has happened.
1:20:11 > 1:20:15St Joan. Wouldn't she make a wonderful St Joan? Congratulations.
1:20:15 > 1:20:19- Soon this will be an old story. - It'll never be an old story.
1:20:19 > 1:20:24I'll always thank you for talking Easton into letting me do it.
1:20:24 > 1:20:28Just remember I loved you before you were a success.
1:20:28 > 1:20:32And I'll go on loving you after you stop, if you ever do.
1:20:32 > 1:20:36- Mr Hedges, my very first friend. - Cinderella.
1:20:36 > 1:20:43Cinderella blew her lines three times but the good fairy sat on her shoulder and whispered the words.
1:20:43 > 1:20:45And he loved doing it.
1:20:45 > 1:20:51Benny phoned a spy at the Times. The review's gonna be a rave. He loved the play. He loved Harley.
1:20:51 > 1:20:59About Miss Lovelace he said, "Her performance has beauty, radiance, all the adjectives in the book."
1:21:01 > 1:21:04Did you like my performance?
1:21:06 > 1:21:08Yes, I did.
1:21:08 > 1:21:11Very much.
1:21:15 > 1:21:17Eva, you were great!
1:21:17 > 1:21:20- Oh!- Can we have your autograph?
1:21:21 > 1:21:26- Hey, we've got a new cellar. Will you come?- Sure.- What a tax bracket!
1:21:26 > 1:21:32- Your play was great, Mr Sheridan. - Good thing you found her. - This is Mr Sheridan.
1:21:35 > 1:21:37- Who's he?- Mr Easton.
1:21:37 > 1:21:43- Easton?- If I'd known, I'd have looked for Eva with you! - No wonder you were scared to death.
1:21:43 > 1:21:49Can't find your star a couple of days before the opening. It's a wonder you didn't drag the river.
1:21:49 > 1:21:54- When did you go looking for me? - A few nights ago.
1:21:54 > 1:21:58Before Rita walked out?
1:22:00 > 1:22:07I'm glad he found you. Good night, Eva. See you in the papers. Good night. A long and happy run!
1:22:07 > 1:22:10Good night, Eva, see you in the movies.
1:22:12 > 1:22:17- Let's all go to Sardi's.- I've got to see Benny. Joe, take my car.
1:22:26 > 1:22:29Wear that. You look pretty in it.
1:22:29 > 1:22:31Regina.
1:22:32 > 1:22:37Find that nice evening wrap Miss Lovelace wears in the second act.
1:22:40 > 1:22:43Have a good time. You deserve it.
1:22:50 > 1:22:54Remember, tomorrow night, curtain 8.40.
1:22:59 > 1:23:04- You know, there goes a happy man. - Not half as happy as I am.
1:23:04 > 1:23:06It's not the same thing.
1:23:06 > 1:23:11We're the blue chips. He's the man who plays them.
1:23:11 > 1:23:14If you mean he's a gambler, you couldn't be more right.
1:23:14 > 1:23:17In this business, we're all gamblers.
1:23:17 > 1:23:20No, no. You'd have written another play.
1:23:20 > 1:23:23I'd have gone on to something else.
1:23:23 > 1:23:25And as for our Eva...
1:23:25 > 1:23:29Well, talent like hers is never wasted.
1:23:29 > 1:23:33No, it's the gambler who brings us all together.
1:23:33 > 1:23:37He's the one who's really stage struck.
1:23:37 > 1:23:41- I'm going to change into my own clothes.- Oh, no, you're not!
1:23:41 > 1:23:47Easton knew what he was talking about. You'll get applause when you walk into Sardi's.
1:23:47 > 1:23:50He wants you to look like a star.
1:23:54 > 1:23:57Bless you.
1:24:13 > 1:24:15You know this play?
1:24:15 > 1:24:19This play...is gonna run for a long time.
1:24:19 > 1:24:22Aren't you pleased?
1:24:22 > 1:24:24Mm-hmm.
1:24:24 > 1:24:29Except that means that you're going to be busy every night.
1:24:30 > 1:24:34And Wednesday and Saturday afternoons.
1:24:35 > 1:24:37And Sunday...
1:24:38 > 1:24:40..you'll sleep all day.
1:24:43 > 1:24:46I'm sorry you're such a good actress.
1:24:46 > 1:24:51I'm sorry you're such a good playwright.
1:24:51 > 1:24:54- Oh, no, you're not.- Oh, yes, I am.
1:24:54 > 1:24:57Right now, you're thinking
1:24:57 > 1:25:03what would she be if it weren't for my play?
1:25:03 > 1:25:09And I'm thinking what would his play be if it weren't for me?
1:25:09 > 1:25:15You know, Shakespeare had a miserable home life and so did Anne Hathaway.
1:25:16 > 1:25:21You go ahead to Sardi's, Joe. I'll join you in a little while.
1:25:21 > 1:25:24Wanna make a solo entrance, hmm?
1:25:24 > 1:25:26Yes.
1:25:26 > 1:25:28I guess that's it.
1:25:46 > 1:25:49- Set up for photos tomorrow? - At 11 o'clock.
1:25:49 > 1:25:53- Did you get Zed?- Yeah, we got him. - Great. Where's your girl?
1:25:53 > 1:25:56Oh, er, let me tell you something.
1:25:56 > 1:26:00Shakespeare had a miserable home life.
1:26:00 > 1:26:03So did Anne Hathaway.
1:26:06 > 1:26:08What's that all about?
1:26:08 > 1:26:12I hope I know. Good night, Benny.
1:26:31 > 1:26:36You've found your own balcony, haven't you, Juliet?
1:26:36 > 1:26:39No. They're both yours.
1:26:39 > 1:26:44If it weren't for you, I wouldn't have been on either of them.
1:26:46 > 1:26:48Are you in love with Joseph?
1:26:48 > 1:26:50No.
1:26:50 > 1:26:53I'm in love with this.
1:26:53 > 1:26:56So am I.
1:26:56 > 1:26:58Actresses shouldn't be in love.
1:26:58 > 1:27:03- No. And no man should love an actress.- No.
1:27:06 > 1:27:08Why not?
1:27:08 > 1:27:11You'll go from this play to another.
1:27:11 > 1:27:13And another.
1:27:13 > 1:27:19You'll be a different Eva in every play. There'll be too many of you to love.
1:27:19 > 1:27:22- Joseph couldn't stand that.- No.
1:27:22 > 1:27:24Nor could you.
1:27:27 > 1:27:29Only if you were great.
1:27:29 > 1:27:33That might make me great.
1:27:37 > 1:27:41- Are you going to Sardi's? - I don't know.
1:27:41 > 1:27:43Where are you going?
1:27:43 > 1:27:46I don't know.
1:27:52 > 1:27:56I could just stand here all night.
1:27:56 > 1:27:59That's all right with me.
1:28:02 > 1:28:07Can I have a run-of-the-play contract?
1:28:07 > 1:28:09Yes.
1:28:09 > 1:28:12And my name in lights?
1:28:12 > 1:28:14Yes.
1:28:23 > 1:28:25That was a thank you kiss.
1:28:26 > 1:28:29Yes, of course.
1:28:29 > 1:28:32Thank you.
1:28:37 > 1:28:41I wish I could...change that stupid beginning of ours.
1:28:43 > 1:28:48It could have been such a happy ending. For me, that is.
1:28:48 > 1:28:52I wish I'd taken better care of you.
1:28:52 > 1:28:55Not let you get lost.
1:29:01 > 1:29:06- Will they really applaud if I go into Sardi's?- Yes.
1:29:06 > 1:29:09I guess I'd better hurry then.
1:29:14 > 1:29:16Good night.
1:29:19 > 1:29:21Eva.
1:29:28 > 1:29:31That's from me to you.
1:29:31 > 1:29:34Personal, private.
1:29:36 > 1:29:38Before I get lost in the crowd.