Stage Struck

I've got the hottest ticket in town...

-Excuse me, how can I find Mr Lewis Easton's office?

-Through the alley.

-Thank you.

-What did you do Monday?

-Sandy's.

-Not there! Through the alley and around. Up the elevator.

-Thank you.

..Believe me when I tell you... Hello, Mr Hedges.

-Hi, Mr Hedges. >

-Hello, dear.

Here it is. Mr Easton wants you to wait. He doesn't want you to read it.

..It ran two years in Paris...

Well, now, good afternoon.

-I believe Mr Easton is casting.

-Who sent you?

-Nobody.

-I don't think Mr Easton...

-I'll wait.

..It's by that Frenchman, that great author - Andre Berron...Berrin... You wouldn't know the name.

Joe Sheridan adapted it. ..Yes, Sheridan - critics' award last year.

BUZZER

Miss Hall? He will see you now.

-I shouldn't be doing this. I've done the adaptation. I'm written out.

-Benny, don't let Harley get away.

-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.

-Why are we changing it?

-This isn't Paris. We want a hit in New York. Come in. Joe Sheridan, Gwen Hall.

How do you do? I enjoyed The Unquiet Valley.

It's a beautiful and sensitive play.

-We're doing the Dame Jalouse. Do you play the violin?

-Doesn't everybody?!

I mean, are you serious? Because I DID study when I was six years old.

HE CHUCKLES

Excuse me. You're Robert Harley Hedges, aren't you?

-Yes.

-Oh, I've been staring at you. Your face was so familiar.

Then your name came to me, and when I realised...

-It's always pleasant to be recognised by someone so young.

-I've never seen you on the stage,

but there is a picture of you in one of my theatre magazines.

-Oh, you were so handsome!

-My dear child!

May I ask you something? Would there be a part in there for me?

There are several pretty young things in this script. What parts do you play?

I've played them all!

Nora in the Doll's House, Hedda, Nina, Emily in Our Town, Madame Ranevskaya.

Anna Christie, The Glass Menagerie - the mother,

-Juliet, Portia, Hamlet...

-Hamlet?

-Yes - my legs are quite good.

Well, that's a varied experience. Where was all this?

-With the Mummers in Ordway, Vermont.

-A summer theatre?

We move into the high school in winter. It gets cold in Vermont.

-So I'd heard.

-My Uncle Jamie taught English. He was my inspiration.

But then he died last spring and, well, we all went our own ways.

Tell me, do you like Eva Lovelace?

Eva Lovelace? I don't think I know her.

No, I mean as a stage name for me.

You see, I've taken it but now I feel ungrateful.

I should make my family's name famous, but I can't.

"Gertrude Langenfelder in Saint Joan"!

Well, I...I think Eva Lovelace is a charming name.

It sounds like the heroine in a fairy story.

Besides, I'm in favour of anything that gives you confidence.

DOOR OPENS

Thanks very much, Mr Easton.

Sorry to keep you you waiting. Have you read it, and are you free?

-Not yet, but I am free.

-I was afraid you'd still be in England.

You're not keeping up with television. Every morning, I tell people to use Disprol.

-Oh, this is Miss Eva Lovelace from Vermont.

-How do you do?

Do you have a part for me? I'd like to start work with you. I reverence what you've done in the theatre.

When you brought the Old Vic over, I wanted to give up Death Of A Salesman to see them, but couldn't.

-Where did you do Salesman?

-In Ordway, Vermont.

-Oh.

I've trained in the classics. I've done Shakespeare and Restoration comedies.

I've brought my credentials, such as they are.

You'd be taking a chance, but the theatre is all chance.

-I have a solid background - Ibsen, Chekov, Shaw...

-We're not doing Ibsen, Chekov and Shaw.

I know. You are doing La Dame Jalouse. I read it in French.

I admire your courage. You're known for it.

-If we ever do Chekov, come and see me.

-I'll see you before that.

-Benny's got a contract for you.

-Yes. Goodbye, Miss Lovelace.

I'm sure we shall see each other again soon.

-I WILL see you. You're my first friend in New York.

-Ohh.

Could I watch rehearsals?

-Hello, Joe.

-Hello.

-You'd better ask Mr Sheridan. He's the author...

once removed!

That's up to Constantine. He's directing this charade, and I'm afraid he doesn't allow it.

Oh, look. They're casting angels for the Easter show at the music hall.

-Why don't you try that?

-I could easily ask you, "Why don't you pose for hair tonic commercials?"

-If this play's a bomb, that's what I'll be doing!

-No, you won't.

I should say something flattering about The Unquiet Valley,

but I didn't see it and I never lie about things in the theatre. It matters too much.

-The theatre's a steep climb.

-Not if you have nowhere else to go.

Besides, don't you think that if you want something terribly you get it?

No. I think you can aim high and land in the gutter.

- Rita! How's my favourite actress? - Hello!

Joe! The Times says you sold The Unquiet Valley to Goldwyn. Tax time now!

What do you think of this French thing? Don't ask - I'm adapting it.

Hello. I think it's tripe. Oh, not your work, darling, but the whole basic idea.

Harley! Are they trying to rope you into this thing too?

I'm doing my best to be roped.

If she doesn't like it, why is she in it?

If it runs, she made it. If it doesn't, it's my words that went wrong!

-I spoke to Mr Easton about you.

-Thank you.

-He had a wonderful suggestion.

-I'll take any part - old lady, maid...

I don't care about the money. I could get along on 25 a week.

Of course. But the Actors' Studio are holding auditions every day next week.

It's wonderful training. All sorts of very talented youngsters come out of there.

Hedges, Hedges, Hedges.

Hedges, Hedges, Hedges.

Hedges, Hedges, Hedges, Hedges, Hedges.

Me!

-What do I do during that long debate?

-Wave your handkerchief.

It isn't what I expected. The woman's frivolous. She has no heart.

The man's part is better. And that scene between the two of them...!

-Your cigarette case.

-Thank you.

I should have read it weeks ago. When I said yes, I thought it would be like Joe's Unquiet Valley.

There's a part I could have played...

-Joe has another play coming up.

-No!

-"No"? Isn't Lewis doing it?

-Nothing's settled.

- If you're doing it... - I was going to do it myself. - That's wonderful! You should.

But the girl's part is plain, dowdy.

I'm an actress, not a model. "Looks are a dime a dozen in the theatre."

Those are your words, Lewis. You always talk about star quality.

I believe in this play. It suits you. When I read those words, I hear you.

-Trust me.

-I trust...

the applause and a large box office.

Joseph, may I read your new play. Sure. Anybody can.

I'm not anybody. May I read it with an idea of doing it next season? Lewis?

Yes, of course. Joe, Rita wouldn't want to do this if she didn't think she could do it justice.

She's a very intelligent girl.

Benny, have you got an envelope?

No, no, this is not just a school. It's a kind of workshop for professional actors.

It's what I have of my own that's precious,

not the tricks or mannerisms I pick up in an acting school.

I have something wonderful in me.

-You'll see.

-I will?

You don't believe me, do you?

Your aim is fine, but you're giving yourself the testimonial dinner too soon.

You've got your Oscar acceptance speech all memorised. You're forgetting the work between.

I want to work, I have to work. I can't go to a place like the Actors' Studio.

I've burnt my bridges. This isn't the first office I've been to.

I have seen producers and directors at CBS and NBC.

I can't tell you how often I've left my name.

Unless you're working in the theatre, they won't listen,

and you can't work unless you ARE working, and if you ARE working...

It just goes on and on, doesn't it?

This is the first time a producer's shown any interest, thanks to you.

I am so grateful to you.

Bless you.

-Are you going uptown or downtown?

-Across town. I'd like to walk with you.

-Fine.

-Wait a second. I want to thank him.

-Don't disturb him.

-I won't.

-Yes?

-I wanted to say goodbye.

-Goodbye.

-Thanks for taking a personal interest. I'd love to do it, but can't spare the time.

-Do what?

The Actors' Studio. When I'm between engagements, I mean to go for practice and interpretation,

but at the moment nothing can replace a live audience.

Yes. Just leave your name with Benny.

If I got calls from everyone I've left my name with, I'd need a switchboard! I wish you success.

-Thank you.

-I'm waiting for you.

-I'm sorry.

Goodbye, Mr Sheridan. When you do your next play, if there is a congenial part, and if I am free,

please let me read for you.

Goodbye, Miss Vernon. I hope you disprove Pirandello's theory

that there's never been a beautiful woman who is also a great actress.

Your escort awaits, princess!

Doesn't Antony call Cleopatra the loveliest things?

Miss Lovelace...

The theatre's gain is Macy's loss!

Is this Sheridan really a nice guy?

Joe's a fine writer - great theatre sense. He gave me a hit last year.

Still doing well in Chicago. For me he's a nice guy.

Let's get back to this.

Let's talk terms.

-This stops our trip to Jamaica.

-I know, sweetie.

What would you think of 1,000 a week against 5%?

Fool!

1,250?

Against 10%?

I wouldn't give Garbo ten!

I can't refuse you anything.

Make it eight.

Finally, darling, five.

If I can do Sheridan's next play.

-Darling, this might run two seasons.

-I get out in June, willy-nilly, lover.

-You haven't anyone else in mind, have you?

-No, no, no.

-I beg your pardon.

-Why? What did you do?

-I just told that kid to come to the theatre tomorrow morning.

-Why?

-To audition for Act III. She broke my heart.

-A fine director you'll make! They'll all break your heart!

OK, honey, go on out there and let Mr Constantine get a look at you.

Connie!

It's terribly close back here.

Well, breathe!

If only I could do something I know - like Cordelia's speech from Lear.

-What part are you looking at?

-All of them. I read it five times.

-You don't know what part?

-Oh, yes - the young peasant woman in Act III.

-What are you?

-The cafe violinist, I hope.

-You'll get it.

-Maybe not.

-They know what you can do. They don't know me from beans.

I must understand the entire play to give a real performance.

All right, Gwen. Thanks, Benny.

Mr Stern, would there be a shawl backstage or someplace?

-Are you cold?

-No.

-Hello, Mr Easton.

-Hello.

GWEN: Haven't I got feelings? Am I supposed to be happy with an hour with you, or a day with you?

Don't shake your head and make weak-kneed apologies.

Am I just here for the customers' entertainment?

To be played with, waiting for anyone who wants me?

Jonathan, get out! I've had it!

I've had it!

- Thanks, Frank. - OK.

Benny, bring in the next girl.

All right. >

< Constantine?

< Connie, this is Miss Lovelace.

How do you do, Mr Constantine? Forgive this makeshift. I wanted to find a shawl - something for mood.

I think Mr Sheridan had a more buxom country woman in mind...but maybe not.

You might take the sweater off.

-Oh, of course.

-I just want to hear your voice, dear.

Turn to III:i:17.

-FRENCH ACCENT:

-I do a French accent, if you like.

-No, just your voice.

Read those two lines for me, please.

Full voice. Don't whisper. OK, Frank.

FRANK: OK, miss?

Where's Gaston? I've got to find him.

I will call him. He is at the Estimine playing bezique!

-Where is that?

-I said that rather than "He's playing cards in the bar,"

because it has more flavour, and "bezique" is such a lovely word.

Now would you just walk straight upstage with your back to me - for height, that is.

Oh, yes, indeed.

I can't have anything like that.

Fine, Miss Lovelace, fine. We will let you know. Thank you.

It's a tiny part but it's got to be acted.

Yeah.

Does this mean anything special to you?

No. No.

No.

OK, Frank. Next.

They got back in fast for an opening night. That's a good sign.

Is it?

It's going all right. Coughing their heads off.

LAUGHTER FROM WITHIN

A few more of those and we're in.

Rita's got that sticky scene. I can't watch. Let's get a drink.

No. I'll go up in the side box to try to see Atkinson's face.

Why, hello!

Er, hello, Mr Sheridan. I know it's your opening night.

I wanted to send Mr Hedges a telegram but thought it would be nicer to drop him a note personally.

-Er, where's the stage door?

-Right there.

What have you been doing? Getting married or engaged?

-No, just following my star.

-Oh, you still have that in sight, have you?

-Where are you living?

-Oh, over there - a few blocks west.

I like to be able to walk to the theatre if we have late rehearsals.

-What rehearsals?

-Er, it promises to be a very lively season.

-You mean next season?

-Yes.

-Well, er, how are you making out now?

Right now, I mean - tomorrow.

-Well, I have several irons in the fire.

-Like what?

Er, well, there's this Shakespearian company that's getting organised.

If they get started, they promised me a part - Ophelia, I think.

And, er, tomorrow I'm probably reading for Mr Joshua Logan.

-But he's in Japan.

-Let me finish. I'm reading for his assistant.

Would you like to see the end of this thing?

Well, er, I'm really not dressed for an opening night.

Neither am I. Come on.

Oh, by the way, I used "bezique".

-Oh!

-Come on!

First edition's on the stands. But I want Atkinson's review.

That don't come down till 12.30.

CAR HOOTS

-I can take you home if you're tired.

-Tired?! I've never been more awake.

Maybe it's the vodka, but I don't think so. I feel like one of the elite, like show people.

I AM show people, but I never felt so close to the rest of us before.

Marlene Dietrich was backstage, and Noel Coward. I saw Helen Hayes.

Mystic, unattainable people. But they're not! We are a happy breed!

Vodka depresses me. I have a feeling the critics will knock my brains out.

Hey, buddy! Here you are.

JOE WHISTLES

JOE: "In this subtle adaptation by Joseph Sheridan, previously known for The Unquiet Valley,

"Sheridan has displayed virtuosity and flair for a young playwright."

"Mr Sheridan has proven unfounded the hesitation we felt

"when Mr Easton announced he would undertake this project."

How about that? I'm gonna write a new one!

Hey, I got the Times!

-How is it?

-It's good.

Do you wanna hear this?

"A French play crossed the Atlantic and landed successfully at the Drew Theatre last night."

-The ladies are leaving their coats right in there.

-Thank you.

< CHEERING

-Is this Mr Easton's room?

-No, miss. This is a guest room.

The bath is there, and you'll find a comb on the dressing table.

I'm entitled to my opinion. I'm glad you liked it. Thank you.

Benny Stern got a phone call from the Tram. It's a rave!

Is Rita Vernon here? I must congratulate her.

Oh, you darling! I love you!

There's some great food going around. Here, sweetie.

-Did you hear about the Tram?

-Yes.

-You remember Eva?

-Of course.

-I'm not properly dressed.

-You look charming.

-I didn't know I was coming to the opening night.

-Did you like it?

-Very much.

-Then you're welcome here!

Congratulations, Joseph. I want you to meet Marguerite...

-How have you been?

-I made a fool of myself when I read for you.

-No.

It was a nice little part. I should have let it be just that.

But I never think of myself as a little part.

Opinions seem to differ as to whether I'll ever make good.

What do you think yourself?

I'm almost afraid to think.

-You don't like that. Maybe you'd prefer some Scotch.

-Oh, no.

-You know any of these people?

-Well, I know WHO they are.

-It's like being in a page of Theatre Arts.

-Let's meet a few.

Oh, there's Mr Hedges! Excuse me.

-Mr Hedges!

-My little friend again! How nice to see you here.

I tried to get backstage to your dressing room, but it was crowded.

Mr Constantine, I want to congratulate you on your superb direction.

Thank you. After you.

Remember... SHE SINGS IN FRENCH

Miss Vernon, I wanted to tell you how divine you were.

Thank you for an inspired evening in the theatre.

That's very sweet of you.

I like Claridges. If you have a long run, you ought to take a servant.

I wish Lewis would produce in England.

I can see you on the Queen's birthday list - "Dame Rita Vernon".

Really, my darling, you go far, far too far.

I guess it all turned out...

-Hey, how are you making out?

-Like the country mouse.

Well, I guess the country mouse isn't used to champagne, is she?

I'm not used to anything. These people are used to everything.

-Success! Whoops!

-Success.

Fur coats! Love!

Love everything!

Do you know why Mr Easton is so great?

Sure.

He plays the favourite and, you know, he's a past-performance better.

He backs winners.

No, no, no, no. They do. They're the "what have you done?" people.

Not Mr Easton. He's the only one who talked to me, outside of Mr Hedges.

Mr Easton was interested in me.

He liked me.

-I like you.

-No, you like to help people.

-What's wrong with that?

-Because it is the quality of mercy.

-Oh.

-It is a gentle rain from heaven.

It is twice blessed. It blesses him that gives and him that takes.

Ah, Portia.

I think you need a little food.

-Come on.

-Ahh!

-Come on.

-Where is our charming host?

INAUDIBLE

-Don't be so passive.

-You want me to tell Atkinson you're the greatest actress since Laurette Taylor?

"Miss Vernon's emotions are entirely frontal."

-What does he mean?

-I think it's funny.

I don't. What's more, the New York critics don't regard me as anything but a high comedy actress.

-You don't either.

-I think you're a serious artist with a lovely figure.

-That's not an answer.

-Rita, you want a fight. I don't want a fight.

I'm very happy about the reviews. We'll have a pleasant little run.

-I'm relaxed, tired, I ate too much and I want to go to bed.

-Don't worry. I'm going home.

Maybe not directly...

Oh, Mr Easton. Pardon me. It was a great play.

-It was a wonderful expression of the post-expressionist school...

-Call me at the office.

Ah-ah!

Ah, it's beautiful food, Mr Easton,

but it seems such a waste of time to eat on a night like this.

-No, it's a waste of time to do something you don't wanna do.

-Yes.

-Let's continue our talk.

-Were we talking about something?

-You know, I wouldn't be surprised if I was a great actress.

-You think so?

Either I am a rotten actress, or I'm a great actress. I'm not just a pretty good actress.

Sometimes I think that I am very, very, very bad. No good.

Tonight, I think I'm wrong when I think that.

I feel wonderful, Mr Easton!

Could it be the champagne?

I suppose it is. Anyway, I am not afraid any more.

Oh, that men should put an enemy in their mouths to steal away their brains.

That we should with joy, pleasance revel and applause

transform ourselves into beasts!

That is from Othello.

I know.

Now I shall give you Saint Joan -

Shaw's best play, in my humble opinion.

Fair lady,

I think the hour of our departure nears.

Oh, alas, I who of late was so volatile and gay

Like a trade wind must now blow...

BOTH: All one way.

Darling, that is Sheridan -

Richard Brinsley Sheridan, sir.

- What's she doing? Tallulah? - Can you do Monroe?

I am not a mimic. I am an actress.

-Miss Lovelace...

-Mr Hedges, I enjoyed your performance tonight. Let me repay you in kind.

-Romeo, Romeo! Wherefore art thou, Romeo?

-Oh, no.

He jests at scars that never felt a wound.

Deny thy father, and refuse thy name

Or, if thou wilt not, be but sworn my love

And I'll no longer be a Capulet.

Shall I hear more, or shall I speak at this?

'Tis but thy name that is my enemy

Thou art thyself not a Montague.

What's Montague? It is nor...

hand nor foot nor arm...

Nor any other part belonging to a man.

Be some other name. What's in a name?

That which we call a rose by any other name would smell as sweet.

So Romeo would were he not Romeo called.

Retain that dear perfection which he owes without that title.

Romeo,

Doff thy name

And for that name, which is no part of thee, take all myself.

I take thee at thy word. Call me but love, and I'll be new baptiz'd.

My ears have not yet drunk a hundred words of that tongue's uttering

Yet I know the sound.

-Art thou not Romeo, and a Montague?

-Neither, fair maid, if either thee dislike.

Thou knowest the mask of night is on my face

Else would a maiden blush repaint my cheek for that which thou hast heard me speak tonight.

Fain would I dwell on form, fain, fain deny what I have spoke.

But farewell compliment! Dost thou love me?

I know thou wilt say ay, and I will take thy word.

Gentle Romeo, if thou dost love, pronounce it faithfully.

Or, if thou think'st me too quickly won, I'll frown, and be perverse

And say thee nay, so thou wilt woo.

But else not for the world. In truth, fair Montague, I am too fond.

My love is deep. The more I give to thee, the more I have

For both are infinite.

Although I joy in thee, I have no joy in this contract tonight.

It is too rash, too unadvised, too sudden, too like the lightning

Which doth cease to be 'ere one can say, "It lightens."

This bud of love, by summer's ripening breath

May prove a beauteous flow'r when next we meet.

Good night!

As sweet repose and rest come to thy heart

As that within my breast!

Parting is such...

..sweet sorrow.

I shall say good night till it be morrow.

Child, it was beautiful -

impossibly beautiful.

-Do you think I'm going to be a great actress?

-I don't know, but you were a great Juliet just now.

I'm a little dizzy.

-Where are you going?

-Home. I've given my performance. Now I'd better make my exit.

My car's out front. The driver's name is Tom. Tell him I said to take you home.

-Thank you.

-Sheridan will go with you.

-No. Let him enjoy the evening.

Will you call me at the office? Maybe I can do something for you.

I'll call you.

Oh, Lewis...

Why don't you just leave it? George, clean up in the morning.

Thank you, sir. Good night.

Good night, George.

Where is everybody?

Good heavens!

I fell asleep. What time is it?

It's four o'clock. How do you feel?

-I'm not quite sure.

-Would you like some coffee?

-Oh, no. I'm perfectly all right.

Did I dream it...

..or did I play Juliet tonight?

You did, and you were fine.

Hmm. You're on my balcony.

First time this balcony ever made sense.

I love it.

If you'd played it out that way, you'd have been playing to all New York.

I played it to the only person in New York...

..I care about.

Well?

The rest of the notices are fine.

You had me brought all the way over here to tell me that?

I didn't get to bed till four.

It's now 8.30 and I'm going back to it.

Joe, not everybody left last night when you did.

-I bet they feel worse than I do.

-I wish I felt the way you do.

A hangover - I'd settle for that.

I got myself involved, but good.

Don't.

I don't feel like smiling. It's a shabby business.

Did you go out on the town?

-No, I wish I had. I've been out of the apartment since six.

-Tom told me.

-I couldn't face her.

You want me to write you an exit speech? It's too early for that.

It's too late in my life to feel the way I do.

She's a delight, she's decent, she's...

I don't know girls like that.

She's everything I don't have time for. You know the way I live.

-She's a fool. She's a nuisance. She's stage struck. You know that.

-How do I know?

-You brought her.

Eva?

I want you to give her this.

-What is this?

-It's her fare back home.

Money?

There's enough to keep her travelling away from me.

I've seen too much, lived too long. I can't start this.

Go to the apartment and give her it.

She'll hate me, but the sooner she finds out the better.

-I know this is tough for you, but it's tougher for me.

-Nothing's tough for you.

Joe...

Joe, I didn't know.

-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.

It's just that there's so much in my heart, I want to be alone.

-You understand?

-Yes...

I had never...

..dreamed it would be Lewis Easton.

It's not just loving.

It's loving a man you admire and respect,

a man who's been a legend to me.

I'll make him very proud of me.

Life is suddenly very different.

But I think you understand, don't you?

I understand.

Joe...

you've been very good to me.

Thank you.

We had a nice little line at the box office all day - not sensational, but steady.

-How was the broker call?

-Very good.

-You'll have a comfortable winter, Joe.

Deposit half of every royalty cheque for taxes. Don't get caught.

-PHONE RINGS

-Take that.

Hello? ..Yes. ..Yes, that's right.

Print tickets right through March.

..OK.

What are your plans, Joe?

Going to finish my play.

-How long will it take?

-Four months, if I go away and do nothing else.

-I'd like rehearsals in August.

-PHONE RINGS

-Where's Betty?

-Out.

-Take it, Benny.

..Hello? ..Yes.

..Who?

..Eva Lovelace?

..Oh, yes, well, Mr Easton is in Jamaica.

..He didn't say. ..No.

..That's right - Jamaica in the West Indies.

..I will.

Where will you go, Joe?

I'm going to sit on top of a mountain in Virginia.

"Her every aspect pleases. Only man is vile."

It's out of a hymn I used to sing.

DOOR SHUTS

< Darling!

Well, well! Rita, how are you?

You look wonderful! So do you.

I love your new play, Joe. When did you read it?

I've read each act you've sent to Lewis.

I've just one little comment.

My character is a little passive. But that can be fixed in rehearsal.

Aren't you going on the road? No, I'm sticking to my contract.

I get out of this June 1st.

Darling!

-It's our young author!

-Harley, how are you?

Doesn't he look handsome? See you later, darling.

-Did you have a good rest?

-No. I finished my play.

Congratulations. Come in while I change, will you?

How would you go about finding a young actress?

For your new play? There are thousands of talented actresses.

-What part is it?

-It's not about casting.

-Remember that young girl I took to Easton's party on opening night?

-Indeed I do.

You mean this one?

She's there every night but Sunday.

# ..I'll live with my son

# We'll work at the weaver's

# And when I look into... #

You can sit anywhere. The Hotshot is down the street and Johnny's is round the corner.

I know where the Hotshot is. I spent my youth at the Hotshot.

He thinks we're the American legion.

Let's sit up at the bar.

-Bottle of beer, please.

-Scotch, nothing for the rocks - I don't like ice. And a lemon twist.

SINGING STOPS AND MUTED APPLAUSE

Hotshot wasn't a bad idea!

-She's a prop man!

-Wait.

-This is ridiculous.

-No, it isn't. It's splendid.

-There isn't a dime in this place.

-This is all wrong.

-It's as right as rain.

Thank the Lord they have a roof over them, otherwise they'd be on a street corner.

Good evening...again.

When I was one-and-twenty

I heard a wise man say,

"Give crowns and pounds and guineas

"But not your heart away;

"Give pearls away and rubies

"Keep your fancy free."

But I was one-and-twenty

No use to talk to me.

When I was one-and-twenty

I heard him say again,

"The heart out of the bosom

"Was never given in vain;

"'Tis paid with sighs a plenty

"And sold for endless rue."

And I am two-and-twenty

And oh, 'tis true,

'tis true.

That is by AE Housman.

Annabel Lee?

It was many and many a year ago In a kingdom by the sea

That a maiden lived, whom you...

..may know By the name of Annabel Lee

And this maiden she lived with no other thought Than to love and be loved by me...

Excuse me. Here we are. Here we are.

Just be patient. You'll get a seat.

It's near Charlottesville. I stayed to finish my play.

I don't care if I ever see a tree again, unless it's a backdrop.

-But the country's a great place to work.

-So is New York.

-What's your play about?

-Well, I'm glad you asked me. It's about life.

I'm gonna direct the play myself.

And of course I could say, "No Rita Vernon. She's absolutely wrong for the part."

And Easton might say, "No Rita, no show." I'm awful short on integrity.

You don't have to make excuses to me.

After all, I am casting this show. Would you consider a small part?

I couldn't walk into a room where Easton is, let alone try for a part.

-Eva, you're playing a love scene.

-Yes, I am. You'll have to give that small part to some other actress.

-Can I take you home?

-I like the subway.

So do I.

-WOMAN: ..They were just visiting! MAN:

-Do you think I'm an idiot?!

You're imagining all kinds of things that aren't true.

THEY ALL SHOUT AT ONCE

Oh, Dick, I'll follow you anywhere you say.

Anywhere you go, that's where I'll be.

Is our young author/director in the house?

What is it, Rita?

How can I say a line like that and mean it?

"I'll follow you anywhere." The fellow hasn't a quarter.

I've had this for three weeks now.

Well?! Just a second, Rita.

She doesn't understand a thing about the character.

You wrote it, explain it to her.

Rita.

Rita, look...

This girl...is not thinking about her economic future.

Here we go again.

I know what she's thinking.

And what she's thinking doesn't make sense.

It's love, Rita. Pure love.

Are you out there, Lewis? Will you get your young author down off cloud seven?

I can't! I can't read lines like that and mean them!

And it's late. And I don't propose to try.

Um...the rest of the cast... take five.

-It's quitting time, Mr Sheridan, you wanna hold on?

-No. Tomorrow at one, thanks.

-I give up!

-Easy to say but what do we do?

-I want the right girl.

-It's October. Wasn't April the time to say that?

-You've been selling me Rita since I wrote the first act.

-You never asked me to hear anyone else.

That's because you know she's got real strength at the box office.

-She has got star quality. And you want that too, Joe.

-Oh, yes. I know.

-Come to Sardi's for a drink. It'll do you good.

-No, thanks.

We haven't been out for months. You can't go home every night.

Well, I like to take a walk and think about the script.

I got myself a conscientious director but I lost a drinking pal.

I'll be seeing you.

All right, Mr Sheridan, everybody's gone.

-Thanks, Sam.

-You staying on again?

-Yep.

-What shall I do about the lights?

-I'll turn them out when I leave.

Are you there? It's OK now.

I'm here.

Sorry it got so late.

-Have you been up there long?

-For a while.

-I asked Easton to watch it for the first time.

-I know. I saw you talking to him.

I tell you what I'd like to do right now.

I'd like to go right to the middle of the third act with you.

Why?

Why? We've only done it twice and you need to work on it.

I know...every line and every move of the play, Joseph.

I'll never forget it.

Maybe some day I'll play it somewhere but...

It's late now, you've had a long day's rehearsal and I...

ought to go back to the Village Voice where I belong.

-What's wrong?

-Let's stop fooling each other.

-How am I fooling you?

The way you're fooling yourself.

You want to help and I'm grateful, but your play comes first.

-You can't take a chance.

-Hold on.

-Stay there!

I don't want you to flatter me, encourage me or explain.

I am not angry or hurt or blaming you.

-I understand.

-But you don't.

I even understand myself.

When I looked down and saw him talking to you,

I knew why I'd been sneaking in here every night.

I'd been telling myself it was the play, the part, the chance that I was interested in.

It wasn't.

I wanted to see him.

I thought you would tell him that I was good.

Better than Rita Vernon and he'd say, "Let's see her."

And I'd go up on stage and be great.

He'd congratulate me and I'd say,

"Sorry, Mr Easton, I was only showing you how it should be done.

"I haven't time to play the part, I haven't even time to answer your phone calls."

That's what I thought was going to happen.

Maybe that's why I didn't tell him about you.

Cos I could feel you were more interested in him than me and my play.

No, Joseph. You want a hit more than anything in the world.

And you're just not sure I'll give it to you. That's why you haven't spoken to him and you never will.

-You're using me to get to him.

-What are you using me for?

To practice on, to try things out and if they work, give them to her.

Why have you pretended for three months that you wanted me in this play when you didn't?

Because it was the only way I could see you.

And I'm in love with you.

Don't say that. Nobody loves anybody in the theatre, not until they're worth it.

Eva...

I'm not Lewis Easton, I'm Joe Sheridan. I don't care if you can't act your way out of a paper bag.

I love you.

You.

Gertrude Langenfelder from Vermont.

I am an actress.

Good, bad or indifferent.

I have been all my life.

Maybe that's all I am.

Maybe I'll never be up here.

Maybe I'll end up an old woman reciting poetry and lying about the glories I never saw.

But I want to deceive myself.

You have no right to deceive me.

I wish she'd had a full house.

How long have you been there?

For the record, I've been here right through the love scene.

So you've been rehearsing her in Rita's part?

Yeah.

Well? Can she play it?

How do I know if she can play it?

-You oughta know. It's your play. You've told me Rita can't. Can she do it?

-I'm too close to it.

You're the one said we needed star quality. Rita's a star, Eva isn't.

What do you expect me to do? Experiment? I've got too much riding on this one.

-I'll buy you that drink.

-No, thanks. I've got work to do.

-We've nothing to do now. We open on Friday night.

-Right, Friday night.

Heart of gold.

Hello. What time do the acts go on? Am I early?

-About two weeks too late.

-What?

On Monday, you can get your pants pressed here. We're closed.

-<

-Hey, Vic, give me a hand.

-I'm looking for Miss Eva Lovelace.

-Do you know where she is?

-Eva? No, she moved out of this league.

-Know where I can find her?

-Are you a friend?

-Not exactly. Do you have her address?

-No. Have you, Adrian?

-No, but do you know Lewis Easton?

-He's a big producer.

-She's been rehearsing his show.

-It opens Friday. You'll find her there.

-Drew Theatre, 45th, west of Broadway.

-Subway to 42nd Street.

-Yes, I know where it is.

Hey...

-If we should see her, who'll I say is looking for her.

-Joe Sheridan.

-Baltimore?

-No.

-How about Pittsburgh?

-They're booked.

-I thought last night's preview went pretty well.

-I didn't.

-Who's in tonight?

-Associated Hospitals took the whole house.

-That's a good crowd if your show's dying.

-Are you coming over?

-Later.

-1a?

-1, 2, 3, 4.

-What happened to your dimmer in the third act?

-I was late with it.

-Don't be late tomorrow night.

-How did it go?

-She had some ad-libs tonight that rocked them.

-Ad-libs?!

-Is she still here?

-In her dressing room with Joe. Frank...

Rita, darling, it didn't seem all of a piece to me.

-Hello, Lewis.

-Hello, Connie, I thought you were on the West Coast.

He was until I called him last night.

He flew in as a favour to me.

Lewis, you've got Rita playing an emotional little girl.

Let's face it, that she ain't.

-You don't get Bob Hope to play Hamlet.

-Connie, it's a little late...

-You're not taking advantage of what Rita can do.

-We open tomorrow.

-I don't think you should!

-I don't think you should open!

-This isn't helping anyone.

-I think you should postpone.

-It's been done before. Let Joe lock himself up with a typewriter...

-Thanks Connie.

-Get a new second act.

We'll send a cheque for your fare.

-Why don't you listen?

-You've had six weeks to hand in your notice.

It's 11.30. You don't sleep before 4.00am. Four hours to rehearse.

-That is not enough time for him to rewrite his play.

-I like this play.

When you're a producer, you do the play you like.

-Frank...don't let Harley go, I want to rehearse.

-Hold it!

-There's something you don't know.

-What?

I am getting pneumonia.

-Oh?

-I'll have it in the morning and I'll have a doctor's certificate to prove it.

The New York Times will be the first to hear of it. It'll take a week.

By that time, there'll be a new second act - one I'm not miscast for.

Now I have to go home and start on penicillin.

-I'll have you up at Equity on charges.

-And that takes a week too.

-So either way, you open in a week...

-If you walk out of here, I wouldn't let you open a can of sardines.

I don't want to open a can of sardines.

I want to open a hit and so do you.

And so do you.

Let me tell you something, you need every bit of strength you can muster for this play.

You will need to draw the box office and you need a star.

And that's me.

Come on, Connie.

I don't see how I can...rewrite and direct at the same time.

-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.

-I don't like it before I read it.

-Maybe she's right.

-I've thought of that.

Let's go before you give your typewriter away.

Harley, I'm sorry, we were gonna rehearse. I'll buy you a drink. Joe.

Joe!

Joe, wait. Where's that Lovelace girl? Where does she live?

Lewis, don't do anything for spite. That won't help the play.

-Anyway, Eva hates you.

-All right, keep me out of it.

-Do it because you love her. Say you talked me into it.

-You're crazy.

-Go on. Miracles happen in the theatre.

They do, don't they, Harley? They do, they do.

-Good night, Betsy. How's business?

-Couldn't be better, Mr Easton.

-Adams.

-Hold on, hold on. Adams.

No, I won't take any returns. If you can't sell them, eat them.

Her name is Eva Lovelace. ..No, not in this country. Stratford on Avon.

She's remark... No, you can't return your tickets!

Drew Theatre.

Hello. ..Oh, sorry, Rita. Mr Easton's in Jamaica.

Of course we're opening. Who says we don't want the critics?

Yeah. ..Yeah.

-Say, boss, do you think I better have a little make-up on?

-What for?

To read the announcement.

"Ladies and gentlemen, due to sudden illness..." KNOCKING

-What is it?

-Mr Easton, please, can I see you a minute?

-Something wrong with the wardrobe?

-No. She's hysterical. Weak as a cat.

-I sent out for some bromide.

-Never mind bromide.

-It might quieten her.

-All I need's a quiet actress.

-I don't know what to do with her.

OK, Jack.

-She's nervous. Have you talked to her?

-No, I haven't seen her.

Joe's handling the whole thing. I'm just spinning the wheel.

-Round and round it goes. Wherever it stops, nobody knows.

-It's courageous.

-That's the theatre.

You better go in and talk to her.

SOBBING

-How's our leading lady?

-I'm not the leading lady. I want to go home.

You can't go home. This is a fairytale. You can't end it here.

I'm not a girl in a fairytale. I'm alive and I'm scared.

Of course you are. You have to slay a dragon so all the Gertrude Langenfelders know it can be done.

This is your chance to show them.

I don't want the chance. It's too big. You know that.

You saw me downtown. You know what I can and can't do.

-You'll be wonderful.

-But suppose I'm not wonderful?

What does it matter to those people? What do they care?

They don't. They don't care a hoot. Harley, you've got props to pick up.

You've got enough acting to do tonight without wasting it in here.

Go fix your eyes.

Nobody knows you out there. Why should they? Who are you? Make them know you.

Stop staring at me. Regina, get her into her costume right away.

You've got ten minutes. You're a hungry little girl.

You've been starving all your life. The theatre is serving you a feast.

Take it or forever wish you had.

DOOR SLAMS

-1a.

-One, two, three, four.

-Quarter to quarter.

-Good.

-2a.

-Five, six, seven...

-They're all in. You can go any time.

-OK.

Standby. Here we go.

Joe, everything OK on stage left?

OK here.

OK, Sam. Take the house to half.

House is half.

Standby sound for cue. 1, 1a and 2.

And easy on that door.

-Turn your work light.

-Work light out.

Go to preset, Jimmy.

-Set here.

-Standby electrics, cue 1.

2.

2a.

Good luck, Miss Lovelace.

Take the house out.

-House out.

-Here we go.

MUSIC SWELLS

DOOR SHUTS

I'm sorry I'm late.

-Have you had supper?

-I waited for you.

We've got a seven-minute intermission coming up.

Don't let anyone in her dressing room. Not Sheridan, nobody.

-Heighten her make-up for the second act. She's a little pale.

-Yes.

You'll do exactly as I say!

-HE WHISPERS

-Advance to the staircase.

Pick up the book.

Pick up the book.

Do it.

Hold it there.

Good.

APPLAUSE

One more act. Stay on that balcony, Juliet.

-The third act's too long. Play out with the second act curtain. I knew that when I wrote it.

-Shhh!

Here it is.

APPLAUSE

That's solid. Solid as a rock.

-How many is that?

-Eight.

-Don't beg for it.

-Nobody's begging.

Listen to them.

AUDIENCE: Bravo!

APPLAUSE HEIGHTENS

APPLAUSE AND CHEERING

What did I tell you? How about her?

APPLAUSE CONTINUES Bravo! Bravo!

Go out and get her.

-Is it really over?

-Yes, it's really over.

Here, wear it, lady.

There'll be lots of people backstage.

Go to your room, take deep breaths and wait for the pleasant things the world will want to say to you.

How about that girl? I knew she'd make it. I knew it from the start.

Greater faith hath no man.

-She owes you a lot, Lewis.

-She owes me nothing.

Hey, you're a pretty classy fella.

For a producer.

Come on, let's pay the star a visit.

You go ahead.

-Oh, my dear! I've never seen anything like it!

-Thank you.

Eva!

-Are you exhausted?

-I could do this all night.

Joe... Meet some friends...

CROWD CHATTERS

Come in.

-Ah!

-Harley!

-Oh, my heart!

-Oh, sorry!

-Harley.

-Wasn't she splendid?

-Wasn't she?! And how wonderful you were.

Oh, she was so easy to play with. Beautiful to play with.

-She cut into a line now and again.

-Ah, and she had you.

-How's our young author?

-Happy.

-Has he lost her? Or will they go on?

-I don't know.

But I...

I hope Eva Lovelace has the sense to take tonight and spread it out.

I hope she goes from this to another. From a hit to a flop, from a hit to a flop.

I don't know her plans but when the theatre gives you what she got,

that's a marriage, a husband, kids, a cottage on Long Island. It's everything. Tell her that.

Tell her to stay on that stage - never give up an honest lover.

Eva, I can't tell you. I can't...

-What can't you tell me?

-You should have been out front.

I wept like a baby.

-Out of the spotlight for a minute. I want to talk to you.

-Not just now.

I don't wanna be sensible. Nothing sensible has happened.

St Joan. Wouldn't she make a wonderful St Joan? Congratulations.

-Soon this will be an old story.

-It'll never be an old story.

I'll always thank you for talking Easton into letting me do it.

Just remember I loved you before you were a success.

And I'll go on loving you after you stop, if you ever do.

-Mr Hedges, my very first friend.

-Cinderella.

Cinderella blew her lines three times but the good fairy sat on her shoulder and whispered the words.

And he loved doing it.

Benny phoned a spy at the Times. The review's gonna be a rave. He loved the play. He loved Harley.

About Miss Lovelace he said, "Her performance has beauty, radiance, all the adjectives in the book."

Did you like my performance?

Yes, I did.

Very much.

Eva, you were great!

-Oh!

-Can we have your autograph?

-Hey, we've got a new cellar. Will you come?

-Sure.

-What a tax bracket!

-Your play was great, Mr Sheridan.

-Good thing you found her.

-This is Mr Sheridan.

-Who's he?

-Mr Easton.

-Easton?

-If I'd known, I'd have looked for Eva with you!

-No wonder you were scared to death.

Can't find your star a couple of days before the opening. It's a wonder you didn't drag the river.

-When did you go looking for me?

-A few nights ago.

Before Rita walked out?

I'm glad he found you. Good night, Eva. See you in the papers. Good night. A long and happy run!

Good night, Eva, see you in the movies.

-Let's all go to Sardi's.

-I've got to see Benny. Joe, take my car.

Wear that. You look pretty in it.

Regina.

Find that nice evening wrap Miss Lovelace wears in the second act.

Have a good time. You deserve it.

Remember, tomorrow night, curtain 8.40.

-You know, there goes a happy man.

-Not half as happy as I am.

It's not the same thing.

We're the blue chips. He's the man who plays them.

If you mean he's a gambler, you couldn't be more right.

In this business, we're all gamblers.

No, no. You'd have written another play.

I'd have gone on to something else.

And as for our Eva...

Well, talent like hers is never wasted.

No, it's the gambler who brings us all together.

He's the one who's really stage struck.

-I'm going to change into my own clothes.

-Oh, no, you're not!

Easton knew what he was talking about. You'll get applause when you walk into Sardi's.

He wants you to look like a star.

Bless you.

You know this play?

This play...is gonna run for a long time.

Aren't you pleased?

Mm-hmm.

Except that means that you're going to be busy every night.

And Wednesday and Saturday afternoons.

And Sunday...

..you'll sleep all day.

I'm sorry you're such a good actress.

I'm sorry you're such a good playwright.

-Oh, no, you're not.

-Oh, yes, I am.

Right now, you're thinking

what would she be if it weren't for my play?

And I'm thinking what would his play be if it weren't for me?

You know, Shakespeare had a miserable home life and so did Anne Hathaway.

You go ahead to Sardi's, Joe. I'll join you in a little while.

Wanna make a solo entrance, hmm?

Yes.

I guess that's it.

-Set up for photos tomorrow?

-At 11 o'clock.

-Did you get Zed?

-Yeah, we got him.

-Great. Where's your girl?

Oh, er, let me tell you something.

Shakespeare had a miserable home life.

So did Anne Hathaway.

What's that all about?

I hope I know. Good night, Benny.

You've found your own balcony, haven't you, Juliet?

No. They're both yours.

If it weren't for you, I wouldn't have been on either of them.

Are you in love with Joseph?

No.

I'm in love with this.

So am I.

Actresses shouldn't be in love.

-No. And no man should love an actress.

-No.

Why not?

You'll go from this play to another.

And another.

You'll be a different Eva in every play. There'll be too many of you to love.

-Joseph couldn't stand that.

-No.

Nor could you.

Only if you were great.

That might make me great.

-Are you going to Sardi's?

-I don't know.

Where are you going?

I don't know.

I could just stand here all night.

That's all right with me.

Can I have a run-of-the-play contract?

Yes.

And my name in lights?

Yes.

That was a thank you kiss.

Yes, of course.

Thank you.

I wish I could...change that stupid beginning of ours.

It could have been such a happy ending. For me, that is.

I wish I'd taken better care of you.

Not let you get lost.

-Will they really applaud if I go into Sardi's?

-Yes.

I guess I'd better hurry then.

Good night.

Eva.

That's from me to you.

Personal, private.

Before I get lost in the crowd.