Robert Maine is torn between returning to the glamour of Hollywood or working with a small theatre company in England.
Clive Brook ... Robert Maine
Anna Lee ... Carol Sands
May Whitty ... Mrs. Truscott (as Dame May Whitty)
Hartley Power ... Regan
Milton Rosmer ... Sambourne
David Tree ... Peter Thropp
Olga Lindo ... Grace Sambourne
Garry Marsh ... Charlie Miller
Arthur Margetson ... Osbert
Elliott Mason ... Mrs. Priskin. Clarence
O.B. Clarence ... Mr. Truscott
David Horne ... Morrison
Frank Pettingell ... Prendergast
Wally Patch ... Night Watchman
Alf Goddard ... Attendant
John Turnbull ... Station-master
Eliot Makeham ... Fred Grover
Mary Jerrold ... Old Lady
H.F. Maltby ... Inspector
Ludwig Stössel ... Capt. Angst
Molly Rankin ... Christine (as Mollie Rankin)
Patric Curwen ... The Guard
Cyril Chamberlain ... 'Devonshire Post' Reporter
Toni Edgar-Bruce ... Passenger on Train
Peter Glenville
Bruce Seton ... Journalist
Directed by Robert Stevenson
Clive Brook ... Robert Maine
Anna Lee ... Carol Sands
May Whitty ... Mrs. Truscott (as Dame May Whitty)
Hartley Power ... Regan
Milton Rosmer ... Sambourne
David Tree ... Peter Thropp
Olga Lindo ... Grace Sambourne
Garry Marsh ... Charlie Miller
Arthur Margetson ... Osbert
Elliott Mason ... Mrs. Priskin. Clarence
O.B. Clarence ... Mr. Truscott
David Horne ... Morrison
Frank Pettingell ... Prendergast
Wally Patch ... Night Watchman
Alf Goddard ... Attendant
John Turnbull ... Station-master
Eliot Makeham ... Fred Grover
Mary Jerrold ... Old Lady
H.F. Maltby ... Inspector
Ludwig Stössel ... Capt. Angst
Molly Rankin ... Christine (as Mollie Rankin)
Patric Curwen ... The Guard
Cyril Chamberlain ... 'Devonshire Post' Reporter
Toni Edgar-Bruce ... Passenger on Train
Peter Glenville
Bruce Seton ... Journalist
Directed by Robert Stevenson
Category
🎥
Short filmTranscript
00:00:00Thank you so much for having me.
00:01:53Mind you've got nothing better to do than to stand watching me.
00:01:55This is the great moment of my life.
00:01:56Throp? Throp? Ain't much of a name for a playwright, eh?
00:02:01Throp.
00:02:03Sounds more like drawing a corpse.
00:02:05Well, any name sounds idiotic if you say it often enough. What's yours?
00:02:08Friend or guest.
00:02:09All right, you win.
00:02:11Peter, they've started rehearsing.
00:02:13Come down here a minute.
00:02:14All right.
00:02:16Is that one of the actresses? Looks quite respectable to me.
00:02:19I'll let you into a secret. She's so respectable, I've asked her to marry me.
00:02:23I wouldn't marry an actress if you was to pay me 30 bob.
00:02:27Oh, right. I'll tell the others it's no good.
00:02:29Carol, look at this.
00:02:31Oh, Peter, how wonderful.
00:02:33This is Mr. Pendergast. I've been telling him about the play.
00:02:36I only hope it's better than most of them.
00:02:38Do you come and see us often?
00:02:39Me? No, I haven't risked going inside.
00:02:41But a friend of mine seen you at a show last week.
00:02:44He said it was chronic.
00:02:46Cruel.
00:02:47Well, good day, both.
00:02:49I must proceed about my epitrome poster.
00:02:51Now, that is a show.
00:02:52Lady fell off the trapeze last week.
00:02:54Laugh?
00:02:55Oh!
00:02:56Fear busts me shelf.
00:03:02There's my public.
00:03:03What's the use of trying to write plays for a lot of Prendergasts?
00:03:05Oh, I expect Shakespeare felt like that sometimes.
00:03:08Yes, he didn't have to write for Torricum Pier.
00:03:11Have you seen the bookings for Monday?
00:03:13I know, but people here have gone out of the habit of going to the theatre.
00:03:15They need something like Yellow Oak to wake them up.
00:03:17Ah, it's good to be in love with an optimist.
00:03:19Oh, Peter, your play is good.
00:03:20I know it is.
00:03:21And I'm going to give a terrific performance.
00:03:23And what do we do when we put the drama on its feet in Torricum?
00:03:25What about a smashing success in London?
00:03:27With me modestly responding to cries of,
00:03:29Arthur! Arthur!
00:03:30And me, swathed in orchids and white semite.
00:03:33Pardon him, Hermione.
00:03:34I owe it all to him.
00:03:38When you're done acting like turtledoves,
00:03:39take a look what they're doing to your play.
00:03:42Mr. Bennion, for the third and final time,
00:03:44I will not have you kibosh my wife's best scene by eating an apple.
00:03:47It's in the script, Governor. Eat apples.
00:03:49Never mind the script.
00:03:50As dear old Irving used to say to me,
00:03:51what's in the script and what goes into the play
00:03:53is a very different piece of chalk.
00:03:54Quite right, Sam.
00:03:55Munch, munch, munch. It's disgusting.
00:03:57Perhaps you'd like to have it stewed for me.
00:03:59You forget we're supposed to be playing a lady and gentleman.
00:04:02Oh, a lady, yes. I didn't know it was a character part.
00:04:05Go on, Peter. Knock their silly heads together.
00:04:07We don't want any funny answers or bad ennage.
00:04:09Now, make the entrance. Try the scene again.
00:04:11And what am I supposed to do in place of the apple business?
00:04:14Listen to her. Listen with pity and admiration.
00:04:16I can manage the pity all right.
00:04:19I've never been spoken to like this in my life before.
00:04:21A man in my position, I won't stand for it. Thank you.
00:04:24You can't take the apple out.
00:04:26I'm producing this play.
00:04:27Then you ought to read it sometime. The apple is part of the plot.
00:04:29Lord Fiddlesticks, as dear old Beaubourn Tree said to me,
00:04:31not once but a hundred times, plot, Fiddlesticks.
00:04:33Is that you, Charles? Come in.
00:04:37Oh, for heaven's sake, how many more times am I to say come in?
00:04:40I am in.
00:04:42Ah, my darling Elise.
00:04:43Look what I have picked from the tree of knowledge.
00:04:45I was going to eat it, but on second thoughts,
00:04:47I have decided to stand like a stuffed owl with my back to the audience.
00:04:50Yes, cut all that and get on, please.
00:04:52Well, well, well.
00:04:54How are you looking as pretty as ever?
00:04:56Well, I hope you're going to give more point to the line than that.
00:04:58What for? To get a laugh?
00:05:00Go on, please.
00:05:01I saw Harry last night.
00:05:03Never.
00:05:05That's not the line. Prompt.
00:05:07Don't mean to tell me you saw Harry.
00:05:09Never is shorter.
00:05:10No lady ever says never.
00:05:12Well, anything less like a gentleman than your performance, I have yet to see.
00:05:14Then it's quite clear you never read what the Bradford advertiser said about my lord fathering.
00:05:19Never mind what they said.
00:05:21Mrs. Hamill is quite right. You don't suggest reading for one single moment.
00:05:23Now, I'll show you how that inference should be made with panache, Mr. Bennion.
00:05:27Panache!
00:05:29Give me the cue, dear.
00:05:31It's terrible.
00:05:32Nothing but bicker, bicker all day long.
00:05:34Tell that old woman to shut up.
00:05:36Is that you, Charles? Come in.
00:05:38Darling, it lays.
00:05:40Pause.
00:05:41Well, well, well.
00:05:43Give me a grace and stop in amazement.
00:05:45That ought to be easy.
00:05:47Sam, throw him out. I will not appear on the same stage with him.
00:05:50Sound right, you won't.
00:05:51Have you no respect for your leading lady?
00:05:53No, nor for you, nor for anything about you.
00:05:55Oh!
00:05:56I have faithfully served my provincial and western public for a number of years.
00:05:59I don't want to hear.
00:06:00And like many other leading actors, I have had my ups and downs.
00:06:02I will not...
00:06:03But for the sake of the drama, I have borne them with a smile.
00:06:05I will not...
00:06:06But when it comes to being taught how to act like a gentleman by a bounder who doesn't even know the meaning of the word...
00:06:10Well!
00:06:11Then what I say is...
00:06:13No!
00:06:15Then you're fired!
00:06:16Don't be such a fool. We open on Monday.
00:06:18Without me, old boy.
00:06:19Run after him, father. Persuade him to come back.
00:06:21Stop!
00:06:22I forbid anyone to address another word to him.
00:06:24This is idiotic. How can we open without a leading man?
00:06:27Please, as dear old Charlie Windham used to say to me,
00:06:29there is no need for coarseness and excitement.
00:06:31I am your manager and you leading man shall be provided.
00:06:33When?
00:06:34Immediately. I'll phone every agent in London.
00:06:36No expense shall be spared.
00:06:37Come, Grace.
00:06:38Oh, she's forgotten her hat.
00:06:40Good!
00:06:42But you can't telephone. It's been cut off.
00:06:44I never meant to.
00:06:45Then why did you tell them you would?
00:06:47Diplomacy, my dear.
00:06:48I've been looking for a way to shut down without putting up a fortnight's notice
00:06:51and it's been handed to me on a plate.
00:06:53Poor old Peter.
00:06:55I expect when they write our lives they'll call this part youthful struggles.
00:06:59I'm fed up with being young. I get no kick out of it at all.
00:07:03Pity we can't skip our youthful struggles and start here.
00:07:06Popular Idol concludes triumphant tour.
00:07:09Hollywood's favorite British film star leaving today.
00:07:12Paddington Station prepares for siege.
00:07:16Ha, ha, ha.
00:07:17Mr. Maine is not expected for some minutes.
00:07:20Will those people waiting for Mr. Maine kindly avoid obstructing regular passengers, please?
00:07:27Stand away, sir.
00:07:32How many more trains are going to start late today?
00:07:34All of them. Can't get the passengers through the crowd.
00:07:36Then clear the crowd.
00:07:37Police have been trying for half an hour.
00:07:39Hello. Get me the Savoy Hotel.
00:07:41Mr. Maine.
00:07:42Send my assistant along.
00:07:43Oh, he's lined up with the other fans, hoping to get an autograph.
00:07:46Hello. Is that Mr. Maine?
00:07:48This is his manager.
00:07:49Mr. Maine only speaks on the telephone by appointment.
00:07:51Well, you can tell him from me that he succeeded in disorganizing the entire traffic of this station.
00:07:55Say, do you know who Mr. Maine is?
00:07:56Yes, I know. He's...
00:08:00Don't tell me. I can guess.
00:08:02This guy has the crust to tell me that you're no more important than a mother taking her kids to talk Eve.
00:08:06I entirely agree with him.
00:08:07Oh, pipe down.
00:08:09There's no use in coming along. He couldn't get through the crowd and I'm not holding this train for anyone.
00:08:12Don't give me that stuff. Have you got any police in this city?
00:08:15Of course, it is possible they have other duties.
00:08:17Say, listen. If you think the company has built up this big send-off to be told he can't get out of London because of it, you're crazy.
00:08:23We'll be right down in ten minutes.
00:08:27It's an open question whether announcing the time of my leaving was your brightest idea.
00:08:31How was I to know your fans would get out of control?
00:08:33Come on, we've got to button up and face it.
00:08:34Then suppose you go ahead with the luggage and I'll follow.
00:08:36Alone? Why, you'll be torn to bits.
00:08:39Care to bet on that?
00:08:42Mr. Maine will not be here for some while.
00:08:46Will people please not...
00:08:48I wonder if you'll help me.
00:08:49My little granddaughter has a bilious attack and I promised to get Mr. Maine's order.
00:08:53Sorry, ma'am. It's quite impossible.
00:08:55Please take their seats.
00:08:57Mr. Maine is not expected for some minutes.
00:09:01All spectators, please move back from the platform.
00:09:04Oh, I wonder if you could help me.
00:09:06My little granddaughter has a bilious attack and I promised to get Mr. Maine's order.
00:09:10I'll see what I can do, ma'am.
00:09:11Oh, thank you so much.
00:09:13Don't mention it, ma'am.
00:09:14Will those passengers travelling by the Plymouth Coast train...
00:09:18...royally take their seats.
00:09:29That's the old lady over there.
00:09:31Right, sir.
00:09:35Kindly avoid obstructing regular passengers, please.
00:09:39There you are, madam.
00:09:40Oh, thank you so much, Mr. Maine.
00:09:42I knew it was you from the first.
00:09:45Come along now, please. Take your seats.
00:09:48Stand away now.
00:10:01Oh, Mr. Maine.
00:10:04I was sure you wouldn't mind, but my little Yvonne is so anxious to go on the screen.
00:10:10Really?
00:10:11My mother gave me a petticoat all trimmed with gold.
00:10:15A penny for my pocket and a bag for me to hold.
00:10:18I wouldn't marry a coalman because his hands are black with coal.
00:10:21And I wouldn't marry a butcher because his hands are red with blood.
00:10:25But I'd like to marry a gentleman on a big white horse.
00:10:28Giddy-up, giddy-up, giddy-up.
00:10:31There, Mr. Maine.
00:10:32Isn't she every bit as good as Shirley Temple?
00:10:35No difference at all.
00:10:37Excuse me, sir, but them Pekingese of yours is getting rather restive like.
00:10:41Pekingese?
00:10:42Yes, sir.
00:10:43Oh, yes, yes, of course. I'll come at once.
00:10:45Before someone gets bitten.
00:10:46Excuse me.
00:10:51I'm sure he was impressed, darling.
00:10:53If I do click, you and Dad won't smell any of the money.
00:10:56Oh!
00:10:58Oh!
00:11:07Cornish pasty.
00:11:09My wife makes it.
00:11:10You're a lucky man.
00:11:11I'm not complaining, sir.
00:11:12I should think not.
00:11:13You have a job you enjoy, good money, five kids,
00:11:16and a wife who makes Cornish pasty.
00:11:18I envy you.
00:11:19That's a good one, sir.
00:11:20I mean it. Why shouldn't I?
00:11:22What, a gentleman like yourself with everything in the art of my desire?
00:11:25Envying me don't make sense of you.
00:11:26No, it doesn't, huh?
00:11:27No, sir, it don't.
00:11:28Well, I still envy you.
00:11:30Well, I still envy you.
00:11:31Well, I still envy you.
00:11:32Well, I still envy you.
00:11:33Well, I still envy you.
00:11:35Well, I still envy you.
00:11:36You see that pier?
00:11:37You see that pier?
00:11:38That's a theatre at the end, sir.
00:11:40As if I didn't know, I was playing there in 1922,
00:11:42and I've been in the world.
00:11:43Different play every week, worked like niggers.
00:11:45Gosh, I was happier than I am now.
00:11:47Oh, come now, Mr. Maine.
00:11:48You see those little houses?
00:11:50I was in digs in one of them.
00:11:51Good Lord, how it all comes back.
00:11:53Those suppers.
00:11:54Guinness and dabs.
00:11:56Dabs have been flapping about in a barrow a couple of hours before.
00:11:59You could afford Guinness and dabs nowadays if you wanted to, sir.
00:12:02They don't taste the same.
00:12:03Look, Tuesday Island.
00:12:05We used to sail over there on Sundays for picnics,
00:12:07throw the sandwiches to the gulls.
00:12:08Gosh, I used to know how to be happy.
00:12:11And now I've forgotten the secret.
00:12:14I suppose you think I was screw loose.
00:12:16Well, not entirely, sir.
00:12:17But I was wondering what you was going to do about it.
00:12:19Nothing, just go on being bored and bloody.
00:12:21Oh, that seems to me kind of foolish, sir.
00:12:23I know, but what's the alternative?
00:12:25Well, I figured it out this way, sir.
00:12:27When you was in Torracum, you had something, hadn't you?
00:12:30I had.
00:12:31And now you haven't.
00:12:32No, I haven't.
00:12:33Well, if I was you, sir,
00:12:34I'd go back to Torracum and see what it was you had.
00:12:41Wait a minute.
00:12:42You're onto something.
00:12:43I used to know how to be happy,
00:12:44so I go back and try to remember how I did it.
00:12:46That's the idea, sir.
00:12:47That sounds logical.
00:12:48Oh, his favourite care thing is I can't beat it.
00:12:50How far are we from Torracum?
00:12:51Oh, must have been a matter of three miles now, sir.
00:12:53That's not too far to walk.
00:12:54Hey, you can't do that, sir.
00:12:55Why not?
00:12:56Strictly against regulations, except in case of emergency.
00:12:58Well, this is a case of emergency. You've convinced me.
00:13:00Philosophy, sir. The railway don't take no account of.
00:13:02What would happen if I did?
00:13:04This your first offence, sir?
00:13:06Absolutely.
00:13:07Cost you five pounds, sir.
00:13:08It's a sound investment.
00:13:09Hey, you can't say...
00:13:31Mr. Thorpe, I don't know who it was who spilt the ink,
00:13:33but putting the fern over it deceives no one.
00:13:35If you're suggesting that Peter did it, say so.
00:13:37Don't be coy about it.
00:13:38If I was behind hand with my rent,
00:13:40I'd be loath to resort to vulgar abuse.
00:13:42Quit a-talking, Miss Priskin.
00:13:43We're in no mood for a lecture.
00:13:50Buy a bunch of flowers, lady?
00:13:51Certainly not.
00:13:52Go on. Have them for nothing, ducky.
00:13:53Do you want me to call the constable?
00:13:54Rub your eyes, woman.
00:13:55Do I mean as little to you as that?
00:13:56Less.
00:13:57Priskin, you...
00:13:58There is something familiar.
00:13:59Commercial, theatrical.
00:14:00Watson Kirby Company.
00:14:01Second juvenile.
00:14:02Sing and dance if required.
00:14:03My, if it isn't young Bobby Maine.
00:14:06I knew you'd be glad to see me, Priskin.
00:14:08I certainly am.
00:14:09What about that three and six for the vase you broke
00:14:11and hid behind the washstand?
00:14:13Do I get my old room?
00:14:14Oh, it's been promised to an acrobat.
00:14:16Tell him to take a couple of backflips down the steps.
00:14:20Here you are.
00:14:22Gosh, do you think how happy I managed to be
00:14:24in this funny little room.
00:14:25I don't know what more you could have expected
00:14:27at the money.
00:14:28Nothing.
00:14:29Nothing.
00:14:30This was my garden of Eden, Priskin,
00:14:32and I never knew it till I was thrown out.
00:14:34See that mirror?
00:14:35I've stood before it for hours,
00:14:37practicing facial expressions of the most lamentable kind.
00:14:40Grief, terror, ecstasy.
00:14:44I've seen it all.
00:14:45I've seen it all.
00:14:46I've seen it all.
00:14:47I've seen it all.
00:14:48I've seen it all.
00:14:49I've seen it all.
00:14:50Ecstasy.
00:14:52And the old trottle bed.
00:14:55Just as hard and wintry as ever.
00:14:57Think of the hours I've lain here
00:14:59filled with the most glorious dreams
00:15:01of what the future held in store.
00:15:03It's not possible.
00:15:05The old chair with a cast on.
00:15:07The talent scout who carried me off to Hollywood sat there.
00:15:10Gosh, I wouldn't believe any place on earth
00:15:12could be scrawled over with so many happy memories.
00:15:15Happy indeed.
00:15:16You were one of the most discontented
00:15:17young gentlemen I ever did for.
00:15:19Rubbish. I walked on air.
00:15:20And I challenge you to deny it.
00:15:22Fit up the suitcase, Briskin.
00:15:23The prodigal is returned.
00:15:27Do you know, I...
00:15:29Young Bobby Maine and the Watson Kirby Company.
00:15:32Watson Kirby...
00:15:33Nonsense.
00:15:34It's my six from the repertory.
00:15:36Repertory? Splendid.
00:15:37Let's go down and join them.
00:15:38Are they a jolly lot?
00:15:39Oh, as jolly as a gruesome funeral.
00:15:41Worry, worry, worry from daylight till dark.
00:15:43The poor fools.
00:15:44Happiest time of their lives and they don't know it.
00:15:47That's no reason for a cinema star to go hobnobbing
00:15:49with a lot of actors who never paid their rent.
00:15:51But today I'm not being a star.
00:15:53I'm playing Mr. Manning on holiday from Tunbridge Wells
00:15:56and don't you forget it.
00:15:57Changing your name will make no difference.
00:15:58You might as well call London Bridge Battersea Park.
00:16:00I bet you're sobering I get away with it.
00:16:02You didn't recognize me like this and nobody else will.
00:16:05Besides, Robert Maine's supposed to be on the high seas.
00:16:07It's not the duel, Briskin,
00:16:09but the setting that people recognize.
00:16:11I'm perfectly certain he saw Garbo
00:16:12standing behind a ribbon counter.
00:16:14The most you say would be,
00:16:15how un-Garbo that girl is.
00:16:16That's all.
00:16:20This is my new top back, Mr. Manning.
00:16:22How do you do?
00:16:23How do you do?
00:16:25Help yourself to anything you want.
00:16:26That's very kind of you.
00:16:27Last time he was here,
00:16:28she fairly flung herself into his arms.
00:16:30I beg your pardon.
00:16:31Oh, not you.
00:16:32We are rehearsing.
00:16:34Why this universal attempt to shower my past with ignominy?
00:16:37With what?
00:16:38Ignominy.
00:16:39Ignominy.
00:16:40I'm sorry.
00:16:41I'm very bad for this.
00:16:43Not at all.
00:16:44You're being most helpful, isn't he?
00:16:46First rate.
00:16:47It's a marvelous German accent.
00:16:48It isn't meant to be.
00:16:50He's only reading it for us
00:16:51until we get a new leading man.
00:16:53Oh, I see.
00:16:54Captain Angst is appearing at the Hippodrome
00:16:56with his performing seals.
00:16:57They're quite human.
00:16:59I have to think seriously
00:17:00of announcing my arrival with a discreet cough.
00:17:03With what?
00:17:04A discreet cough.
00:17:05Discreet cough, old man.
00:17:07And if you could make it just a little more cheerful?
00:17:09This I cannot do.
00:17:10I have today a very heavy heart.
00:17:12One of my seals is sick.
00:17:14Already I must go and give him the heliput oil.
00:17:19Poor Captain Angst.
00:17:20His seals are so delicate.
00:17:22That's too bad.
00:17:23He keeps one of them in the bath.
00:17:24It stinks the place out.
00:17:25Well, I suppose we may as well chuck the whole thing up.
00:17:27Oh, there's no need to do that.
00:17:29Perhaps Mr. Manning would read the part.
00:17:33If it would be of any help.
00:17:35Oh, it is kind.
00:17:36You're Sir Charles.
00:17:37The characters' names appear before each speech.
00:17:39If you see what I mean.
00:17:40Yes, indeed.
00:17:41Perfectly.
00:17:42Let him have the cue.
00:17:44Last time he was here,
00:17:45she fairly flung herself into his arms.
00:17:47Why this universal attempt to shower my past with ignominy?
00:17:50I shall have to think seriously of announcing my arrival
00:17:53with a discreet cough.
00:17:54You don't read at all badly.
00:17:56But don't be afraid to give it plenty of expression.
00:17:59I was keeping my passion in reserve
00:18:00in the event of there being a love scene.
00:18:02Later.
00:18:05Bobby Shafter's gone to sea.
00:18:07Mrs. Priskin's on his knee.
00:18:09She'll come back and marry me.
00:18:11Pretty Mrs. Priskin.
00:18:12Mr. Miller, barroom ditties are neither expected
00:18:14nor desired in this establishment.
00:18:16And by the way, did you spill the ink?
00:18:18No, but I'll do it at once.
00:18:19Raking in the ashes of a dead love affair
00:18:21seldom pays a dividend.
00:18:22The wise guy lives in the present
00:18:23and regards the past as a banking account
00:18:25from which he draws experience.
00:18:27Nice work.
00:18:28And I was laying six to four against Sammy,
00:18:30finding anyone for the part.
00:18:31Don't be an idiot, old man.
00:18:32Mr. Manning's just helping us out.
00:18:33He's not an actor.
00:18:34I don't know so much.
00:18:35He's not bad at all.
00:18:36Were you ever on the stage?
00:18:38I was a long time ago.
00:18:40You know, I believe we could do worse
00:18:41than try him for the part.
00:18:42Nonsense.
00:18:43Come on, let's get back to the theatre.
00:18:44Seriously, Peter, why don't we send him down
00:18:45to see Sam Bourne?
00:18:46Darling, he's not the type.
00:18:47We want a man of the world.
00:18:48Oh, I think he'd get by with the makeup
00:18:50and the right sort of clothes.
00:18:52He's got that sort of traveled look
00:18:53like Ronald Coleman or Robert Maine.
00:18:55He's only about two foot shorter
00:18:56and ten years older, that's all.
00:18:58Yes, but even if he isn't right,
00:18:59he is on the spot, and that's something
00:19:00if we're going to open on Monday.
00:19:01What do you think, Charlie?
00:19:02Oh, any thought in a storm?
00:19:03Exactly, and we haven't got the time
00:19:04to pick and choose.
00:19:05Now, look here, Mr. Manning,
00:19:06as far as we're concerned, you're in.
00:19:07We'll fix an appointment with Sam Bourne.
00:19:09Now, mind you stand up to him,
00:19:10he won't bite you.
00:19:13But, Carol dear,
00:19:14hadn't you better ask Mr. Manning
00:19:15whether he wants to play?
00:19:16Of course he wants to play.
00:19:17It's a jolly good chance.
00:19:18He'd have said so if he didn't.
00:19:20Don't sit there like a broody hen.
00:19:22Go after them and tell them
00:19:23you're not going to do it.
00:19:24But I am, Priskeen, I am.
00:19:25I walk back into my past
00:19:26and my past has welcomed me with open arms.
00:19:28Tiddly, Mr. Maine, tiddly.
00:19:30I suspected it from the first,
00:19:31and now I'm sure.
00:19:36But I must know.
00:19:37I must.
00:19:38Don't you realize what it means to me?
00:19:40You're overwrought, child.
00:19:42If only there was something I could do.
00:19:44The moment those men came,
00:19:45I knew they were after him.
00:19:47They were wicked, evil.
00:19:49He's in danger, I tell you.
00:19:51I may never see him again.
00:19:53Your Grace,
00:19:54the Foreign Office,
00:19:55Schlesinger has left this letter.
00:20:06My dear, can you stand the shock?
00:20:09If I must.
00:20:17So this is the end of the House of Illingsworth.
00:20:30Do you mind if I sit down?
00:20:31If you're tired.
00:20:36What was the name again?
00:20:37Manning.
00:20:38Never heard of it.
00:20:39Where have you been working?
00:20:40America.
00:20:41That's a very safe answer.
00:20:42What's your line?
00:20:43Leading men.
00:20:44You don't resemble any leading men in my acquaintance.
00:20:45I'm sorry,
00:20:46but the company thought I was rather like Robert Maine.
00:20:48Ha! Ha!
00:20:50No resemblance whatever.
00:20:52Bobby Maine is a very intimate friend of mine.
00:20:54Dear old Bobby.
00:20:56I gave him his first chance.
00:20:58You ought to be very grateful.
00:20:59Grateful?
00:21:00He has every cause to be.
00:21:01Have you read the play?
00:21:02Yes, I think it's remarkably good.
00:21:04I'm not interested in your opinion.
00:21:05What made you think you'd be of any use for the part?
00:21:07Well, the suggestion was not mine.
00:21:08No, not mine either.
00:21:10It's my opinion.
00:21:11You'd look better behind the counter than in front of the footlights.
00:21:15As a matter of interest, Mr. I-forget-your-name-for-the-moment,
00:21:18is this the way you usually cast plays?
00:21:19It is.
00:21:20How can you possibly form your judgment of an actor without seeing him do anything?
00:21:23Flair, my dear boy, flair.
00:21:25As dear old Gerald Gemori used to say,
00:21:27no one in the West End can cast a play like Fred Sanborn.
00:21:30He was probably right.
00:21:32Nevertheless, I will never be accused of not giving an actor a chance.
00:21:35Go on, say something.
00:21:36Oh, what's the use?
00:21:37It's clearly evident you don't intend to give me the part.
00:21:39I said say something.
00:21:41Very well, I will.
00:21:49You're an inflated ass and it gives me the greatest possible pleasure
00:21:52to push your face in those potatoes.
00:22:03Well?
00:22:05I've come to the conclusion that jumping off that train
00:22:07wasn't a very clever thing to do, Priskin.
00:22:09What made you realize that?
00:22:10That little rat Sanborn.
00:22:12He's made everything seem small and cheap.
00:22:14You haven't altered.
00:22:15Up one minute and down the next.
00:22:17How I ever stuck this paltry existence.
00:22:19Oh, there were good times as well as bad.
00:22:21I doubt it.
00:22:22Then what was the sense of coming back?
00:22:23I don't know, chasing a rainbow?
00:22:25Trying to return to yesterday?
00:22:27Mourning and groaning never put back the clock.
00:22:29Oh, shut up, you old...
00:22:30Oh, there's no need to lose your temper.
00:22:31I haven't. I've found it.
00:22:32It's the only thing I have found in this whole ridiculous business.
00:22:44Ladies and gentlemen,
00:22:46owing to the unavoidable loss of my leading man
00:22:49and the impossibility of replacing him at such short notice,
00:22:52I have no choice but to reluctantly cancel my next production.
00:22:55Should it be possible to reopen this theater at some future date,
00:22:58announcements will be made in due course.
00:23:00Thanking you one and all.
00:23:02Say, Sammy, are you trying to break the news we haven't finished?
00:23:04I'm afraid so. There's no one to play the part.
00:23:05We've found someone.
00:23:06We've been phoning agents all afternoon.
00:23:07What was wrong with Manning?
00:23:08Not the type.
00:23:09Of course he's the type.
00:23:10I refuse to discuss this matter further.
00:23:11Oh, yes, you will.
00:23:12I don't believe you tried to find anyone.
00:23:13I don't believe you rang up a single agent.
00:23:15I don't believe you wanted the show to go on.
00:23:17And why should I behave in such an extraordinary manner?
00:23:19So that you could back out without paying us our salaries.
00:23:21Sam, did you hear that?
00:23:22Oh, the disloyalty.
00:23:23You hold your tongue.
00:23:24But you can't do it.
00:23:25We're in touch with your fortnight's salary.
00:23:27What do you propose to get it?
00:23:28I shall show you the utmost vigor of the law.
00:23:30You can assume it till you're black in the face.
00:23:31This is a limited company and you won't get a penny.
00:23:33Not one of it.
00:23:34You're a rogue, sir.
00:23:35Nothing short of a rogue.
00:23:36Come, Grace.
00:23:37I will not stay here to listen to a lot of drunkard abuse.
00:23:44I stood up to him, didn't I?
00:23:45Yes, dear.
00:23:46I was proud of you.
00:23:47It was all I could do not to hit him in the eye.
00:23:49This is a nice thing.
00:23:50We owe Priskin heaven knows what.
00:23:52When are we going to get a job in the middle of the season?
00:23:54I wonder if it will be any use writing to Hull.
00:23:56Not the slightest.
00:23:57We're in the cart.
00:23:58It happened before and it'll happen again.
00:24:00It's always confoundedly depressing.
00:24:02Come on.
00:24:03I'll buy you a drink.
00:24:04I happened to come across these photos that were taken
00:24:06the last day of the Watson Kirby Company.
00:24:08I don't want to see them.
00:24:09But you don't look half bad in your little Panama.
00:24:11I don't want to see them.
00:24:12I thought you would be interested.
00:24:13Not a bit.
00:24:14What have I to do with young Bobby Maine?
00:24:17Cocksure youth with his idiotic hat.
00:24:20If I met him in the street, I shouldn't know him.
00:24:22I no longer understand him.
00:24:25I should probably dislike him.
00:24:26He's no more part of me than you are.
00:24:28Now don't bring me into this.
00:24:29Priskin, I've learned something I never knew.
00:24:31We are what we are at this minute.
00:24:33And to imagine your old self survives
00:24:35is the greatest folly in the world.
00:24:37Young Bobby Maine slept here like a log.
00:24:39You think I should?
00:24:40Not a wink.
00:24:42In this cracked mirror,
00:24:45young Bobby Maine made faces in it.
00:24:48Why should I?
00:24:49Oh, I've been a fool, Priskin,
00:24:51believing I could open the doors of the past.
00:24:53It can't be done.
00:24:54All I found was a few formless ghosts.
00:24:58The emotion that gave them reality gone.
00:25:00There's no use carrying on like this
00:25:02as if I'd ever said otherwise.
00:25:03Not the slightest use.
00:25:04The experiments failed.
00:25:06Oh, get me a cab, Priskin.
00:25:08I'm leaving tonight.
00:25:10Peter!
00:25:11Peter!
00:25:13Peter!
00:25:14We've had a wonderful idea.
00:25:15We're going to put on a play ourselves.
00:25:17We'll get the theater on tick,
00:25:18give Manning the other part,
00:25:19make a terrific success,
00:25:20and give old Sammy a rousing kick in the pants.
00:25:22Whose idea was this?
00:25:23Mine!
00:25:24Well, it's rotten.
00:25:25Peter!
00:25:26Well, you get the cash.
00:25:27We're pouring our things.
00:25:28You have to get them out first.
00:25:29I see you're just throwing cold water.
00:25:30No, I'm not.
00:25:31I'm just being sensible for a change.
00:25:32It won't work.
00:25:33All right, then what's the alternative?
00:25:34This.
00:25:35Wanted junior assistant master,
00:25:37good disciplinarian preferred.
00:25:38Does that sound like me?
00:25:40School for delicate and backward boys.
00:25:42Ah, that's more my line.
00:25:43Peter, you're not thinking of giving up the stage.
00:25:45I said I was being sensible for a change.
00:25:47Sensible?
00:25:48After all we were going to do,
00:25:49after all our plans?
00:25:50I hope Sam Bourne's cured me of all that.
00:25:52I thought you wanted to be a great writer.
00:25:53Yes, and you wanted to be a great actress.
00:25:55When I was young, I wanted to be a great engine driver.
00:25:57I still want to be a great actress.
00:25:58You can laugh at me as much as you like.
00:26:00I'm not laughing at you.
00:26:01I'm just asking you to grow up and face facts.
00:26:03I am grown up.
00:26:04Yes, but you don't face facts.
00:26:05We may be jolly good,
00:26:06but what hope have we got of a break?
00:26:07Not one in a million, and you know it.
00:26:09We might just as well get out while we can see straight.
00:26:11Are you suggesting that I should give up the stage too?
00:26:13Yes, I am.
00:26:14I don't want to be a schoolmaster,
00:26:15but at least we could count on three square meals a day
00:26:17and something to pay our bills with at the end of the week,
00:26:19and then we could settle down and get married.
00:26:21I don't want to settle down.
00:26:22I'm not certain I want to get married.
00:26:24I'm not licked yet, even if you are.
00:26:26It's not a question of being licked,
00:26:27but a question of being grown up.
00:26:28Oh, grown up my foot.
00:26:29Now look here, Peter.
00:26:30We're going to put on this play,
00:26:31and if you won't come in with us,
00:26:32we'll put it on without you.
00:26:33I want to be an actress, and I'm going to be an actress,
00:26:35and not you nor anyone else is going to stop me.
00:26:38So you can go off to your backward and delicate boys,
00:26:40and I hope they put tadpoles in your tea.
00:26:44Old Fred Samwell lies a-murdering in the grave.
00:26:47Old Fred Samwell lies a-murdering in the grave.
00:26:49Old Fred Samwell lies a-murdering in the grave,
00:26:52and the rep goes marching on.
00:26:54I'm glad to see you so happy.
00:26:55We've just been given the sack.
00:26:56Yeah, we got the push.
00:26:57That's a funny reason to sing for.
00:26:59We're taking over the theatre ourselves.
00:27:00And the rep goes marching on.
00:27:02Friskin, your legs are younger than mine.
00:27:03Pull upstairs and get Mr. Manning.
00:27:04Why?
00:27:05We're giving him a job.
00:27:06That you are not.
00:27:07That we are.
00:27:09If you think you're going to engage Mr. Manning,
00:27:11you can disabuse yourself.
00:27:12Now stop muttering, woman,
00:27:13and drink to the Mutual Self-Help Repertory Company.
00:27:15Hooray!
00:27:16I've got to get Mr. Manning a cab.
00:27:18He's leaving in the midnight.
00:27:19No, that's all off.
00:27:20Oh, it isn't.
00:27:21You see, some things and persons are otherwise
00:27:23than they appear to be.
00:27:24You see, just the smell of it and she's whoops-a-daisy.
00:27:26On the contrary,
00:27:27other people don't see what's under their very noses.
00:27:29Now charge your glasses
00:27:30and drink to the Mutual Self-Help Repertory Company.
00:27:32Hooray!
00:27:33Hey, wait a minute.
00:27:34Manning must have some of this.
00:27:35If you knew what I know.
00:27:36What do you know?
00:27:37Come on, out with it.
00:27:38Mr. Manning is Robert Main.
00:27:41Huh?
00:27:43The Robert Main?
00:27:44There's only one Robert Main.
00:27:46And we offered him two pounds a week.
00:27:49So now have I got permission to call him a cab?
00:27:52No, you have not.
00:27:53If he's Robert Main, we want him all the more.
00:27:55Use your nut, darling.
00:27:56Use your nut.
00:27:57You can't expect one of the biggest film stars in the world
00:27:59to chip in with a potty little rep company.
00:28:01We're not potty.
00:28:02We're good enough for any audience.
00:28:03All we need is a little publicity,
00:28:04and this is just the sort of thing to put us on the map.
00:28:06She's quite right, my dear.
00:28:07If he only paid for one night,
00:28:08we'd be packed for the rest of the season.
00:28:10You can put it out of your head
00:28:11that he's going to save this or any other theater.
00:28:13Did he say so?
00:28:14Not in so many words,
00:28:15but he left no doubt in my mind
00:28:16that he deeply regretted being mixed up
00:28:18in either your affairs or mine.
00:28:20Oh, ho.
00:28:21So he thinks he's too good for us, does he?
00:28:23Give me a drink.
00:28:24What are you going to do?
00:28:25Give that Hollywood cheese a piece of my mind.
00:28:30I'm sorry if I do not understand.
00:28:32Do we continue to sing, or are we sad again?
00:28:36I'm afraid we are sad again, Captain Angst.
00:28:38Then I can be sad with you.
00:28:41My seal is no pepper.
00:28:43So you're not Mr. Manning, but the great Robert Maine,
00:28:46and you've just been having some fun at our expense.
00:28:48Oh, a terribly funny joke,
00:28:49and it'll be funnier still when we're out of a job
00:28:51because you let us down.
00:28:52And even if you are the great Robert Maine,
00:28:54it wouldn't have hurt you to have played with ordinary actors,
00:28:56and the publicity would have meant everything in the world to us.
00:28:59That's all, Mr. Maine,
00:29:00but you weren't going back to Hollywood
00:29:01without knowing that at least one person in the world
00:29:03thinks you're a piece of cheese.
00:29:04Here, wait a minute.
00:29:06There isn't anymore.
00:29:07There isn't anymore?
00:29:08I never said I wouldn't play.
00:29:10Oh, yes, you did.
00:29:12Didn't you?
00:29:13Sam Bourne wouldn't have me.
00:29:14Sam Bourne's out. He fired us.
00:29:16We're taking over the theater ourselves.
00:29:17That's a jolly good idea. Why not?
00:29:19Oh, don't be such an idiot.
00:29:20Because you won't play.
00:29:21I wish you wouldn't get excited.
00:29:22I never said I wouldn't.
00:29:23But you can't because you're the great Robert Maine.
00:29:25Who signed a contract with a film company
00:29:27which would be broken if he appeared
00:29:28in any other form of entertainment.
00:29:31Oh, I see.
00:29:34I seem to have made a fool of myself.
00:29:36Shockingly.
00:29:38I, um...
00:29:39I had a drink before I came up.
00:29:41I'm ashamed of you.
00:29:42Why did you want to take over the theater?
00:29:43Because it was such a wonderful play.
00:29:45Peter wrote it for us
00:29:46and we'd have been jolly good in it.
00:29:48Don't you see, it was our chance
00:29:49to show what we could do to get somewhere.
00:29:51All right, you can sneer,
00:29:53but I know if only we had the chance we'd get somewhere.
00:29:55That's just the way I talk in this room.
00:29:58Then don't laugh at me.
00:30:00Laugh? I envy you.
00:30:01Courage and enthusiasm,
00:30:03burning to conquer the world
00:30:04and fearing neither God nor man.
00:30:06That's what I had.
00:30:07I thought I'd lost it forever.
00:30:09If you wanted to do a certain thing,
00:30:10would you stop for a minute to consider the risk?
00:30:12Of course I wouldn't.
00:30:13Then neither will I.
00:30:14Frisk in, pay off that cab and send it home.
00:30:16Now, pop downstairs and get the script and coffee.
00:30:18Lashings of it.
00:30:19What about the contract?
00:30:20Only an idiot will remind me of that now.
00:30:22Get along, do what I say.
00:30:23Ha!
00:30:25This is a nice time of night to start learning lines.
00:30:32Mr. Morrison to see you.
00:30:33Tell him he can't find me.
00:30:34But it's Mr. Morrison, the play producer.
00:30:36All to the provinces, I say.
00:30:37Oh, hello, Morrison.
00:30:38No, just a couple of days holiday, looks okay.
00:30:39And after three months of Robert Maine, I guess I've earned it.
00:30:41Yeah, never mind that.
00:30:42What about his play?
00:30:43What play?
00:30:44Can't you guys afford a newspaper?
00:30:46He left England yesterday.
00:30:47Well, it's quite a coincidence
00:30:48that he got me out of bed last night to answer the phone.
00:30:50Do you have any other dreams?
00:30:51Only he thought I ought to see it.
00:30:52And if the darn fool won't say why till Monday.
00:30:54Ah, somebody's been ribbing you.
00:30:56Did you personally see him leave the country?
00:30:58No, but I...
00:30:59No? Well, don't tell me I don't know his voice when I hear it.
00:31:01Hey, wait a minute.
00:31:04Get me the Atlantic Steamship Line.
00:31:05What, on Sunday?
00:31:11Atlantic Steamship Line, we're closed.
00:31:13Here, did Mr. Robert Maine sail on the Nomadic?
00:31:16Ring again Monday.
00:31:17Here, don't give me that stuff.
00:31:18I want an answer and I want it now.
00:31:20Who checks the outgoing passenger list?
00:31:22Well, sir, there's a Mr. Fred Grover mostly does that.
00:31:27The number's Penge, 4075.
00:31:30Penge, 4075.
00:31:31Penge, 40... Penge, 4075.
00:31:36Fred, quick, it's ringing.
00:31:41Must be about my lodge.
00:31:44Hello, is that Brother Evans?
00:31:48I beg your pardon, sir.
00:31:49Listen, did Robert Maine sail on the Nomadic?
00:31:51Well, now you come to mention it, he didn't.
00:31:54No, sir.
00:31:55Apparently, he never reached the ship.
00:31:58I'm sure I'm very sorry, sir,
00:31:59but it never occurred to me to inform anybody.
00:32:01Why, you dumb cluck,
00:32:02the most important figure in the world's screen
00:32:04fails to occupy a suite and you do nothing about it?
00:32:06Well, sir, I'm sorry, sir.
00:32:08Don't talk back to me, you're fired.
00:32:10What a country.
00:32:12My dear, what is the matter?
00:32:15I've been fired.
00:32:16But that wasn't your boss.
00:32:19Nor it was.
00:32:21I never thought of that.
00:32:22When does he kill himself he's going to play?
00:32:24He won't tell me till Monday.
00:32:25Rendell.
00:32:26Yes, sir.
00:32:27Take a telegram to Robert Maine.
00:32:28Absolutely out of the question, you're appearing in play.
00:32:30Regan.
00:32:31Where shall I address it?
00:32:32To every provincial theater in the British Isles.
00:32:40The theater's fixed.
00:32:41I stood the mayor a drop of water
00:32:42and he ate out of my hand.
00:32:43Now here are the slips with the bills
00:32:44and I'll have this one on you.
00:32:46Oh, Mr. Miller, I'm from the Devonshire Post.
00:32:48We heard that the actors were taking over the theater.
00:32:49Correct, Elson.
00:32:50If you come round at nine in the morning,
00:32:51I'll surprise you.
00:32:52You wouldn't like to surprise me now.
00:32:54Sorry, boy, my lips are sealed.
00:32:56All right.
00:32:57How's the rehearsal going?
00:32:58Have they got to my bit yet?
00:32:59Just about.
00:33:00What's the idea of sending him off?
00:33:01Don't you want publicity?
00:33:02We'll get all we want, but if he gets out too soon,
00:33:03they may stop him playing.
00:33:04That'd be terrible.
00:33:05A disaster.
00:33:07How's it going?
00:33:08Beautifully.
00:33:09He's put new life into everyone.
00:33:10We're lucky to be in a profession
00:33:11where people do such splendid things.
00:33:13That's our cue, dear.
00:33:14Of course.
00:33:15We were just coming through the introductions, weren't we?
00:33:19Granny, this is Charles.
00:33:21I've often wondered what bluebeard looked like.
00:33:23Oh, darling, that's not fair.
00:33:24Nobody wants to marry an amateur.
00:33:25More, a man who's already had three wives
00:33:27and hasn't buried one of them.
00:33:29But isn't that all in my favour?
00:33:30In every other something-something of activity,
00:33:33experience is a recommendation.
00:33:35Then why not in marriage?
00:33:36I assure you, my dear lady...
00:33:39Blah, blah, blah, blah, blah.
00:33:40I never get this speech,
00:33:41but it'll be all right in the night.
00:33:42Blah, blah, blah, blah, blah.
00:33:43One of the most...
00:33:44One of the most pathetic spectacles in the world
00:33:45is an amateur on his way to the altar.
00:33:47So you've made up your mind to get married?
00:33:49Over your dead body.
00:33:50If you're relying on inheriting anything from me,
00:33:52you can put it out of your mind.
00:33:53Believe me, dear lady,
00:33:54nothing could be further from my thoughts.
00:33:58Nothing is further from my thoughts
00:33:59with the possible exception of this very brilliant speech,
00:34:01which I've entirely forgotten.
00:34:02Blah, blah, blah, blah, blah.
00:34:03Embrace, curtain, and deafening applause.
00:34:05Bravo!
00:34:07You made it up with her yet?
00:34:08No, I usually wait three days.
00:34:11Isn't this time?
00:34:14Why not carry her off after rehearsal?
00:34:17Astonishing as it may seem,
00:34:18I've already decided to.
00:34:20I say, Peter, is that more or less how you see it?
00:34:22Yes, rather.
00:34:23Go ahead, do whatever you like.
00:34:24No, but I want an honest opinion.
00:34:25After all, I'm a very new member of the company.
00:34:27Don't talk rot.
00:34:28You're grand.
00:34:29Oh, fine.
00:34:30Let's have a smack for last.
00:34:31Yes, we like that.
00:34:32Miss Greenleaf,
00:34:33may I present Mr. John Fotheringham.
00:34:35I'm sure he told you a lot.
00:34:43Wish I could think
00:34:44where I'd seen that fellow's face.
00:34:46He may have been part of your romantic past.
00:34:48If he was, I'm sure I'd remember him.
00:34:51Perhaps it was a dark night.
00:34:53Are you Robert Maine?
00:34:54No, I'm not.
00:34:55I don't want any of your lip.
00:34:56Well, I've got a telegram for him.
00:34:57You see.
00:34:59Hmm.
00:35:00No one of that name here.
00:35:02Who did he say it was for?
00:35:03Robert Maine.
00:35:04Same name as the film star.
00:35:05Fred!
00:35:06What's the matter?
00:35:07That's who he is.
00:35:08That's why he put your face in the potatoes.
00:35:13Grace,
00:35:14I've made the first mistake of my life.
00:35:16And while we're on the subject,
00:35:17what about the truth of your affair with the Lees?
00:35:19My dear Kenneth,
00:35:20raking in the ashes of a dead love affair
00:35:21seldom pays a dividend.
00:35:22The wise guy lives in the present
00:35:23and regards the past as a banking account
00:35:25from which he draws experience.
00:35:28I must say,
00:35:29you're very easy to work with.
00:35:30Me?
00:35:31Yeah, much easier when I've had a couple.
00:35:34Aren't you the Charles Miller
00:35:35who used to play Juveniles for du Maurier?
00:35:38No connection whatever.
00:35:40When I was walking on,
00:35:41I waited three quarters of an hour
00:35:42outside Wyndham's for his order.
00:35:43I'm sure you know him.
00:35:44I waited three quarters of an hour
00:35:45outside Wyndham's for his autograph.
00:35:48I'm still very proud of it.
00:35:55Peter, do you mind if we call it a day?
00:35:57I'll try and get up some of these lines.
00:35:58Sure.
00:35:59Rehearsal tomorrow at nine?
00:36:00Suits me.
00:36:01Mother, do you think we could spare half a crown?
00:36:03Of course, dear.
00:36:04Whatever for?
00:36:05It struck me as the oldest member of the company
00:36:07it'd be rather nice to offer him a drink.
00:36:09I think it's a very good idea.
00:36:12Carol, are you tired?
00:36:13Not a bit.
00:36:14How about taking a motorboat to Tuesday Island?
00:36:15Lovely.
00:36:16Oh, but they're awfully expensive.
00:36:17I'm in a reckless mood.
00:36:18That is, if there are still gulls on Tuesday Island.
00:36:20Thousands of them.
00:36:21I've an insatiable desire to throw them sandwiches.
00:36:23Mr. Maine, would you do me the honor of accepting a drink?
00:36:25Oh, what a pity.
00:36:26We're just off to Tuesday Island.
00:36:27Oh.
00:36:29I'm so sorry.
00:36:30May I when we come back?
00:36:31I should be delighted.
00:36:32So shall I.
00:36:33He was very pleased, wasn't he?
00:36:37Hello, what have you got there?
00:36:39Three rock cakes, four ham sandwiches,
00:36:40two minerals and a melon.
00:36:41You actors do go the place.
00:36:43Yes, our life's one long round of pleasure.
00:36:45Going to take your best girl on the bino?
00:36:47If she'll come, I'm just going to ask her.
00:36:48Here.
00:36:49How about a pass for Monday night?
00:36:50What, you've been converted to the theater?
00:36:52No, my brother wants to see you.
00:36:54He's just come home to the asylum.
00:37:00My dear old boy, I was just coming along to see you.
00:37:03Oh, what for?
00:37:04As dear old Irving used to say,
00:37:05never be afraid to admit your mistakes.
00:37:07In other words, I'm prepared to wash out
00:37:08all that happened last night and to begin afresh.
00:37:10In other words, you've found out who's paying for us.
00:37:12I don't propose to discuss my motives.
00:37:14I've made you an offer.
00:37:15And I've turned it down.
00:37:16What scenery do you propose to use?
00:37:18The best oak chamber?
00:37:19Which happens to belong to me.
00:37:20Well, we'll hire it.
00:37:21My price is a hundred pounds a week.
00:37:22That's ridiculous.
00:37:23The whole thing isn't worth a damn.
00:37:24I say my price is a hundred pounds a week,
00:37:26payable here and now.
00:37:27Otherwise, you'll play in bare walls.
00:37:29Unless, of course,
00:37:30you want me to take over on the old terms.
00:37:33Anything rather than that.
00:37:35You'll find this exactly right.
00:37:37Dirty crook.
00:37:38No, no, business is business.
00:37:39Sensible to know when you're beaten.
00:37:41I so agree.
00:37:43Oh, Mr. Sanborn.
00:37:44It's only fair to tell you
00:37:45that I intend to inform Equity
00:37:46that you repeatedly cut your company's salaries,
00:37:48dismissed them without proper notice,
00:37:50and finally levied blackmail
00:37:51for a lot of rubbishy scenery.
00:37:52I said...
00:37:53You realize, of course, you'll be blacklisted.
00:37:55My price is a hundred pounds payable here and now.
00:38:00As dear...
00:38:04Exit Sanborn through gap in hedge.
00:38:06Muttering, muttering.
00:38:07Hello.
00:38:08Hello.
00:38:09The boat's ready.
00:38:10Splendid.
00:38:11I'm going to take your leading lady
00:38:12for a breath of sea air.
00:38:13Don't mind her.
00:38:14No, I don't mind.
00:38:31If you think I'm jealous,
00:38:32you're a hundred percent right.
00:38:34He's a darned attractive man.
00:38:35He would come in
00:38:36just as we were in the middle of a quarrel.
00:38:38She's only flattered by him.
00:38:39It isn't anything.
00:38:40Now, just tear off a yard of that silver lining
00:38:42and gag yourself, would you?
00:38:49That stew is the island.
00:38:50I know.
00:38:51It's charged with romantic memories.
00:38:53Better let me take it ashore.
00:38:54It's full of rocks.
00:38:55Don't talk to the man at the helm.
00:38:56He knows this channel
00:38:57like the back of his hand.
00:39:06Whoa, what is it?
00:39:09Ooh, look what's happened.
00:39:12Come on, we're sinking.
00:39:13Hooray!
00:39:14Everyone for himself
00:39:15and we'll come back for the picnic basket.
00:39:24I played this scene in a Hawaiian honeymoon.
00:39:2617 takes and a sharp attack of lumbago.
00:39:28Oh, you have been in a boat before.
00:39:30I'll crack like that and you'll walk home.
00:39:38To think these are the descendants
00:39:39of the gulls I used to feed.
00:39:40Is that very important?
00:39:41Tremendously.
00:39:42What else did you do besides feeding gulls?
00:39:44Write verses and hide them in the rocks.
00:39:46Whatever for?
00:39:47Posterity.
00:39:49Now, wait a moment.
00:39:51It's somewhere here.
00:39:54Now, where on earth...
00:39:58Oh, my gosh.
00:40:01What is it?
00:40:02Little Bobby's toffee tea.
00:40:05Look, it's still here.
00:40:14Phyllis Page and Robert Maine
00:40:15came here and will come again.
00:40:17Tea they had and ships enough.
00:40:19Sail back to play in a little bit of flight.
00:40:21Doesn't scare.
00:40:22When you're young, it doesn't have to.
00:40:24Was she pretty?
00:40:25Well, she had a banjolele
00:40:27and used to sing Dardanelle.
00:40:30Were you in love with her?
00:40:31I suppose so.
00:40:33Did you make love to her here?
00:40:37I suppose so.
00:40:39I wish you hadn't told me.
00:40:43So do I.
00:40:46What are you laughing at?
00:40:47One of my lines in the play tomorrow.
00:40:50Raking in the ashes of a dead love affair
00:40:52seldom pays a dividend.
00:40:55Gosh, how dead that is.
00:41:02Exit Phyllis Page.
00:41:08I'm terribly sorry.
00:41:10Let's write a verse about ourselves, shall we?
00:41:12Not if you're coming back to throw it into the sea.
00:41:13No, I swear I won't.
00:41:15All right.
00:41:16Now, Robert Maine and Carol Sands
00:41:18came here once...
00:41:21are holding hands.
00:41:23The boat was wrecked.
00:41:24The boat was wrecked.
00:41:26They had a soaker and played next night in Yellow Oak.
00:41:28It was jolly good.
00:41:29That's outstanding.
00:41:30Except, of course, we are not holding hands.
00:41:33No, I suppose we're not.
00:41:35Would you like to?
00:41:37Ah, you're a nice kid.
00:41:39I'm 19.
00:41:40That's depressingly young.
00:41:41I wish I were 28.
00:41:42Why 28?
00:41:43It's my ideal age.
00:41:45I shan't look very old and I shall have got somewhere.
00:41:47You'll be seeing my name in lights when I'm 28.
00:41:49I wonder what you'll be like.
00:41:51Well, of course, I shall be a lot more
00:41:52sort of experienced and sophisticated.
00:41:54Naturally.
00:41:55I shall wear black practically always.
00:41:57I would now, only cheap black isn't quite the same.
00:41:59I hope you won't be temperamental
00:42:01and make scenes at rehearsals.
00:42:02No, of course I won't.
00:42:04And I shan't cut in on other people's lines
00:42:06and steal laughs.
00:42:07I'm always going to remember that it's the play that counts
00:42:10and not my own part.
00:42:12And I shall always be very kind to understudies
00:42:14and small party actors
00:42:16and people who haven't been lucky.
00:42:19You wouldn't laugh at me if I were 28.
00:42:21If you were 28, I might treat you very differently.
00:42:24With more respect.
00:42:26Or less.
00:42:32A sail! We're saved!
00:42:34Aye!
00:42:35We were wrong!
00:42:36We've got no boat!
00:42:37Send the boat back!
00:42:38Aye!
00:42:41Well, at our last chance, we'll be stuck here all night.
00:42:43Couldn't we patch up the boat?
00:42:45No, patches have a way of coming out in mid-ocean.
00:42:47Of course, we could swim back.
00:42:49It would take us till next Friday.
00:42:51Gosh, we've got to be back in time for the show!
00:42:53Now, don't you panic.
00:42:54I thought of something.
00:42:56You see those corks?
00:42:57What, lobster pots?
00:42:58In the old days, a fellow used to collect them
00:43:00first thing in the morning.
00:43:01He still does! Old Tom Jewell!
00:43:03I bet you he still talks to the sea serpent he saw off the friendly isle.
00:43:05He does all the time!
00:43:06Old Tom Jewell and his sea serpent!
00:43:09That's a jolly prospect, after a night on the seaweed.
00:43:18Oh, Carol, there you are!
00:43:20My dear, are you all right?
00:43:22You have had a night.
00:43:23Tom Jewell told me all about it.
00:43:25What an embarrassing experience...
00:43:27for both of you.
00:43:29What are you talking about?
00:43:30Why, have I said something I shouldn't?
00:43:33No.
00:43:34If it's of any interest, we were marooned on Tuesday Island.
00:43:36Marooned?
00:43:37Yes.
00:43:38Marooned?
00:43:39Yes.
00:43:40Marooned?
00:43:41Yes.
00:43:42Marooned?
00:43:43Yes.
00:43:44Marooned?
00:43:45Yes.
00:43:46Marooned?
00:43:47Did you hear that?
00:43:48Yes, and what I'm afraid of is
00:43:50that with Mr. Maine's romantic reputation
00:43:53people may not believe it was an accident.
00:43:56I'll let you into a secret.
00:43:57It wasn't!
00:43:58Really?
00:44:00I deliberately lured her onto those desert shores.
00:44:02I scuttled the schooner Hesperus
00:44:04and I stifled her outcry with laminaria.
00:44:07Laminaria?
00:44:08Seaweed.
00:44:09In Scotland they make an excellent soup with it.
00:44:11Only the Winkles witnessed what followed.
00:44:14I think you're trying to be amusing at my expense.
00:44:17And you're being offensive at hers.
00:44:19Well, really, Mr. Maine, and we haven't even been introduced.
00:44:21I can say good morning without further ceremony.
00:44:23Shh.
00:44:26A yellow ochre to you.
00:44:31Well, I think it's time we were getting off to rehearsal.
00:44:34Yes, come along.
00:44:38What a nasty bit of work Grace is.
00:44:40Yes, but for once I agree with her.
00:44:44My dear Alise, I realize it's always harder for you to forget the man you haven't married than the man you have.
00:44:49That's not what you said yesterday.
00:44:51That's part of his charm. Never the same two days run.
00:44:54Nevertheless, I do think you should give your husband a passing thought.
00:44:59What did you mean by that quack about Grace?
00:45:01What I said.
00:45:02You can't expect me to shout with joy because you and Maine spent a night on an island.
00:45:05Oh, don't keep talking as if it was an orgy.
00:45:07I don't care what it was. I'm not interested.
00:45:09Then stop making a fuss.
00:45:12Are you in love with him?
00:45:13I thought you said you weren't interested.
00:45:15Are you in love with him?
00:45:17Yes, I am.
00:45:20Well, don't kid yourself he's in love with you, that's all.
00:45:22Of course he's not in love with me.
00:45:24I don't care if he isn't.
00:45:25I don't care if he's forgotten all about me in a week's time.
00:45:27In fact, you made a fool of yourself.
00:45:28All right, I have.
00:45:29Just because he's a film star.
00:45:30Oh, that's a stinky place.
00:45:31Just because he's older than I am.
00:45:32A man of the world and makes pretty speeches.
00:45:34It's nothing whatever to do with you and I don't want to hear another word about it, so shut up.
00:45:38Oh, Peter.
00:45:39We've never been like this before.
00:45:41Well, we can't expect to go on being bosom pals, can we?
00:45:44Can't we?
00:45:45No, we can't.
00:45:47We're waiting, Carol.
00:45:50Oh, Peter, I'm sorry, I...
00:45:58Hello, son, what's biting you?
00:46:00Why is it so much easier to lose your temper with someone you're in love with
00:46:03than with someone you're not?
00:46:06Why is it so much easier to lose your temper with someone you're in love with
00:46:08than with someone you're not?
00:46:09It's just to make love more difficult.
00:46:11My dear, you surely don't contemplate going out with Charles in those appalling trousers.
00:46:15When you're walking on air, nobody notices what you've got on.
00:46:17When I was a boy of six, I wore a sailor suit.
00:46:19It had a permanent effect on my character.
00:46:26What was all that row between you and Peter?
00:46:27Oh, just a lot of rock. We were sort of engaged once.
00:46:29You were?
00:46:30Yes, it's all off now.
00:46:31Nothing to do with me?
00:46:32No, of course not.
00:46:33What was he angry about?
00:46:34Oh, nothing.
00:46:36What's wrong with it?
00:46:38Well, he would insist that last night was an orgy.
00:46:41An unhappy plight seems to become a smoke-room story.
00:46:45Did he make you very miserable?
00:46:50Did he ask if you were in love with me?
00:46:53Yes.
00:46:55Are you?
00:46:58Yes.
00:46:59Oh, I told him you weren't in love with me or anything silly like that.
00:47:02That's a monstrous lie.
00:47:04You know that, don't you?
00:47:06No.
00:47:13It's a funny thing, but I feel rather sick.
00:47:17That's a dismal reaction to a declaration of love.
00:47:20It was rather a surprise.
00:47:21It was to me, too.
00:47:23I don't make a habit of falling in love.
00:47:25I do wish you knew how much I love you.
00:47:28Mr. Bain! Mr. Bain!
00:47:29It's eleven o'clock!
00:47:30Zero hour!
00:47:31Put up the posters!
00:47:32Announce the news!
00:47:33Shout it from the housetop!
00:47:34Wonderful!
00:47:39There, and what do you say to that, Mr. Friendly-Garst?
00:47:42You can fool some of the people some of the time,
00:47:44and my brother from the asylum all of the time,
00:47:47but you can't fool me none of the time.
00:47:50And Mr. Bain was so convinced it was a play of the century
00:47:52that he took up the part at a moment's notice.
00:47:54Do you mind if I telephone the London paper?
00:47:56Splash it, old boy, and make the Welkin ring.
00:47:58That's fine.
00:47:59My dear, they're simply fighting for seats.
00:48:01I haven't been so excited since you went on for Fred Terry in The Pimpernel.
00:48:04I was far from good as Sir Percy Blakeney.
00:48:06Nonsense, dear, you acted them all off the stage.
00:48:09And of course, you always had the highest opinion
00:48:10of Mr. Bain's ability as an actor.
00:48:11No, I didn't.
00:48:12I didn't?
00:48:13No, I didn't.
00:48:14No, I didn't.
00:48:15No, I didn't.
00:48:16No, I didn't.
00:48:17No, I didn't.
00:48:19Nothing of the kind,
00:48:20and I don't want a lot of foolish sayings put into my mouth.
00:48:23If I ask for a drink before the performance, don't give it me.
00:48:25You are taking this play serious.
00:48:27If I beg for it, if I plead for it,
00:48:28with tears in my eyes, don't give it me.
00:48:30What kind of a part are you playing?
00:48:31A drunk.
00:48:33Rosie, I want the finest flowers money can buy.
00:48:35How much money?
00:48:36One and ten for ten.
00:48:37Oh, well, how about some nice miserties?
00:48:39That means I love you.
00:48:40She knows, dear.
00:48:41Give me something that means
00:48:42I've made a complete fool of myself,
00:48:44and I ought to be shot, but I still think you're terrific.
00:48:47Listen, old things, we're absolutely sold out.
00:48:49Oh, isn't that wonderful?
00:48:50There's a huge crowd for you at the stage door.
00:48:52I must insist on your accepting that drink.
00:48:54Of course, what publicity.
00:48:55This will put us on our feet and keep us there.
00:48:57A telegram for you, Mr. Manley.
00:48:59Aha, this will be from Morrison, the theater man.
00:49:01I wired in this morning.
00:49:07Oh.
00:49:08What's the matter?
00:49:09Absolutely out of the question, you're appearing in play.
00:49:12Regan Majestic Films.
00:49:14Well, that's that.
00:49:16I'll try getting so excited about everything.
00:49:18Nothing ever has gone right with this company.
00:49:20I'll be fine.
00:49:21How do you do when we give them their money back?
00:49:23Well, we're not going to.
00:49:24Jim, if an angry man with an American accent asks me tonight,
00:49:27push him in the sea.
00:49:28You're going to play?
00:49:29It'll take a brigade of guards to stop me.
00:49:31Ha, ha, ha!
00:49:46All tickets, please.
00:49:47And the manager.
00:49:48You, what's your name?
00:49:49Lumberjew.
00:49:50Come on outside.
00:49:54First you lose me the part,
00:49:55and now I can't even see the show.
00:49:57I always knew I should never have married beneath me.
00:49:59In my opinion, you'd have to crawl down a drain to do that.
00:50:04What are you doing here?
00:50:05I'm looking after my brother.
00:50:07Oh.
00:50:08Tickets, please.
00:50:09Straight down.
00:50:11I've got to see Mr. Maine at once.
00:50:12Are you American?
00:50:13No, Chinese.
00:50:14Mr. Maine was expecting an American.
00:50:16Listen, brother, I am an American.
00:50:17Then he don't want to see you.
00:50:25What a...
00:50:32Just to wish you luck, Emily.
00:50:34Why, why, Heather.
00:50:35You'll never forget me.
00:50:38Good luck.
00:50:43I'm a lonely old woman.
00:50:45I sit here day after day.
00:50:47Nobody ever comes to see me.
00:50:50Nobody ever comes to see me.
00:50:52Nobody ever...
00:50:55Excuse me, lady, but I'm in a hurry.
00:50:56You're not Mr. Regan by any chance?
00:50:58I'll say I am.
00:50:59Then you haven't a moment to lose.
00:51:01Mr. Maine's expecting you.
00:51:02I'm not Mr. Regan by any chance.
00:51:04Then you haven't a moment to lose.
00:51:07Regan's arrived.
00:51:08Regan?
00:51:09Gosh, I'm for it.
00:51:10But I'll play if it's at the point of a gun.
00:51:12Yes, that's tough.
00:51:13Got a dinner about tomorrow night?
00:51:14Oh, tomorrow can take care of itself.
00:51:15I'll look after the losses till we get a new man.
00:51:17After publicity like this, there won't be any losses.
00:51:19You know, I haven't had a thrill like this as well
00:51:21since I went up the spout in London.
00:51:23Now, you look to your laurels, Garbo,
00:51:24or I'm going to whack you off the stage.
00:51:26If you hear anything funny, don't take any notice.
00:51:28I never do.
00:51:30That's the last time I'll trust a stage mother.
00:51:32Now, before you say anything, I am going on tonight.
00:51:34I'll say you're going on.
00:51:35I'm not going to be torn to pieces by your fans.
00:51:37Well, what's all the fuss about?
00:51:38Fuss?
00:51:39The coast has been on the wire.
00:51:40Your new picture starts in eight days.
00:51:42You've got to be on board the Queen Mary tomorrow.
00:51:44Queen Mary tomorrow?
00:51:45I suppose I'm not.
00:51:46Oh, you'll be there.
00:51:47The whole cast is lined up.
00:51:49And you're not the sort of a guy to duck from under.
00:51:51I'm not the sort of a guy to duck from under.
00:51:53I'm not the sort of a guy to duck from under.
00:51:55I'm not the sort of a guy to duck from under.
00:51:57I'm not the sort of a guy to duck from under.
00:52:00Wait here a minute.
00:52:02Carol, I haven't been behaving too well just lately.
00:52:05I couldn't let you go on without getting it off my chest.
00:52:08Here's some flowers for you.
00:52:09They're not orchids, but they mean well.
00:52:11Oh, Peter.
00:52:13I've just been handing out apologies.
00:52:15I owe you one, too.
00:52:16My dear fellow.
00:52:17Regan's here.
00:52:18I've got to go back to Hollywood tonight.
00:52:19But you can't.
00:52:20I know, but it's not as easy as all that.
00:52:21I've never let him down before.
00:52:22It'll mean people out of work there.
00:52:24People as decent as Christine, Charlie, the Truscats.
00:52:26Darling.
00:52:28I can't go without you.
00:52:31Would it make it any easier if I came, too?
00:52:36You needn't ask that.
00:52:39But there's a difficulty.
00:52:41One of the ghosts we raised last night.
00:52:44Phyllis Page.
00:52:46I married her.
00:52:48It was not an outstanding success.
00:52:50It was my fault, I dare say, but she won't give me a divorce.
00:52:53She never will.
00:52:55I could never marry you.
00:52:57I wouldn't care.
00:52:59You mean that?
00:53:00Yes.
00:53:27I knew God be mean when he was a proper ham.
00:53:30Ladies and gentlemen.
00:53:32We thank you from the bottom of our hearts
00:53:34for the reception you have given to the play
00:53:36and ourselves.
00:53:38Tonight I have rediscovered the thrill of living contact
00:53:40with living audiences
00:53:42and for that I shall ever remain in your memory.
00:53:59Goodbye.
00:54:00Goodbye.
00:54:07Goodbye.
00:54:12See?
00:54:19Thank you very much.
00:54:21All right.
00:54:23Mister Davis.
00:54:24Mr. Morrison to see you, sir.
00:54:25Morrison?
00:54:25By the pasture.
00:54:26If he's going to take the play to down, don't forget the girls and boys.
00:54:29I bet I won't.
00:54:29Stand up, boy.
00:54:31It's all right?
00:54:32You really think so?
00:54:33It's funny, but it lacks pace.
00:54:34Do you think we've got a chance?
00:54:35I never prophesy.
00:54:36How are you fixed down here?
00:54:37Well, we've got the theatre for a week, but no leading man.
00:54:39Right.
00:54:40Open at the Haymarket, Friday at Fortnight, with Pearl in Maine's part.
00:54:43You mean you're going to do it?
00:54:445% up to 1,000, 7.5% up to 1,250, turnover.
00:54:47Half the film rights, and I want the girls.
00:54:49What about the rest of them?
00:54:51I said nothing.
00:54:52But, you see, I sort of wrote the play with those people in mind.
00:54:55Don't you ever change your mind?
00:54:57I'd be sorry to over this.
00:55:00Charlie Miller can stop if he stays sober.
00:55:02But Christine and the Truscats, they work like slaves.
00:55:04I never run a theatre on sentiment.
00:55:08Come in.
00:55:11Mr. Maine, I know you're in a hurry.
00:55:13Never too much of a hurry for you, darling.
00:55:15But you don't know what I'm going to say.
00:55:16I'm breaking the rule of a lifetime, never to interfere.
00:55:21That's an awfully good rule.
00:55:23Are you and Carol very much in love?
00:55:25Desperately.
00:55:26Then it's very hard you can't marry her.
00:55:28How do you know I can't?
00:55:29Years ago, we acted with your wife.
00:55:31She was so rude to my dear husband.
00:55:33Carol knows.
00:55:35She doesn't mind.
00:55:36But taking her away is a very big step.
00:55:39I might have been penalized all my life because I married the wrong girl.
00:55:42At 19, before I knew my own mind.
00:55:44How old is Carol?
00:55:45Perhaps she doesn't know her own mind.
00:55:47She has a right to decide.
00:55:48You haven't given her time to think.
00:55:51I haven't had time myself.
00:55:52That's why I want you to hesitate a little.
00:55:56I'm prepared to take a chance.
00:55:58Of making her unhappy?
00:56:00You may make her unhappy, you know.
00:56:02You're a great deal older than she is.
00:56:04That's nothing to do with it.
00:56:05And you're at different ends of the same job.
00:56:07Carol's only just beginning.
00:56:09She's what you were 20 years ago.
00:56:11But I can make her a success.
00:56:13Would that make her happy?
00:56:14A success because she was Robert Maine's girlfriend?
00:56:17Mrs. Truscott, when two people are in love,
00:56:20they prefer to solve their own problems.
00:56:21But Carol's still in love with Peter.
00:56:23She is, you know.
00:56:25Even if you swept her off her feet for a moment.
00:56:27She quarreled with Peter before I came.
00:56:29At her age, you always quarrel when you're in love.
00:56:32They'd have made it up long ago if it hadn't been for you.
00:56:35Mr. Maine, they're both at the same end of the ladder.
00:56:38They'll grow up together and share experiences.
00:56:42She will grow up, you know.
00:56:44And if you take her away,
00:56:45you're making yourself responsible for what she'll become.
00:56:49And if there's something hard and bitter,
00:56:51something spoiled that needn't have been spoiled...
00:56:54Aren't you ignoring my point of view?
00:56:56It's your point of view I'm thinking of.
00:57:01If I didn't know you loved her,
00:57:03it'd be no good my talking to you.
00:57:06You do love her.
00:57:08As I've loved no one in the world before.
00:57:12This is my chance of happiness.
00:57:15Carol, it's fixed.
00:57:16We open at the Haymarket on Friday 4th.
00:57:19Oh, Peter.
00:57:20It's come, Carol. This is our chance.
00:57:22Your chance, Peter.
00:57:25I'm going to Hollywood with Maine.
00:57:27We're leaving tonight.
00:57:30Congratulations, Peter. I hear Morrison's taking the play.
00:57:32Oh, thanks very much.
00:57:33I want to wish you luck, too.
00:57:35Carol's just told me your news.
00:57:38You're a good fellow.
00:57:39I wonder who we'll have in my part.
00:57:41Oh, Sylvia Lane. I think she's usually in his shows.
00:57:44Oh, but Peter, she's terrible.
00:57:46Don't you remember when we saw her in Finders Keepers?
00:57:49We tried to get into the Aldershot pantomime.
00:57:50And you gave me a huge meal because we thought we'd landed the job.
00:57:52And then we found we hadn't.
00:57:53I cried about it for weeks.
00:57:55Of course, we were very young at the time. It was two years ago.
00:57:57You needn't have worried. You'd have been terrible as Miss Muffet.
00:57:59You'd have been a riot as the Demon King.
00:58:02Have you two known each other long?
00:58:04Yes, ages.
00:58:05All our lives.
00:58:07Makes me feel rotten taking her away from you.
00:58:09That's all right.
00:58:11Of course, we shall miss her terribly.
00:58:13There'll be nobody to look after poor Peter now.
00:58:15He's awful about things like going to the dentist.
00:58:19I always tell him he'll have false teeth by the time he's 40.
00:58:21Oh, I say.
00:58:23You haven't got false teeth by any chance, have you?
00:58:25As a matter of fact, I haven't.
00:58:29We don't know very much about each other yet, do we?
00:58:31But we'll learn, won't we?
00:58:35You've got to get going if you want to pack.
00:58:37Come on, come on. You've got fans a mile deep outside.
00:58:39I'll care up here and follow you.
00:58:41Snap out of it, will you?
00:58:45You will look after yourself, Peter, dear, won't you?
00:58:48Of course I will.
00:58:50Oh, dear, I do wish everything hadn't happened at once.
00:58:52If I wasn't so happy, I'd be awfully miserable.
00:58:58As an example of love's young dream, you're very silent.
00:59:02What's eating your conscience?
00:59:04What's it got to do with you?
00:59:06Oh, nothing, nothing.
00:59:08When a kid's as young as that and pretty
00:59:10and got the whole world before her...
00:59:12What?
00:59:14Say, that was a swell picture you were in.
00:59:17Shut up!
00:59:35Permit me, I'm very glad of your success.
00:59:37Thank you. How's the seal?
00:59:39He's asleep. I'm very troubled.
00:59:41But do not make yourself unhappy for him.
00:59:47I've packed your bag.
00:59:49But don't send me any of your wedding cake.
00:59:51Not that there'll be one.
00:59:53Listen, lady, if anybody's gonna call down Robert Maine, I'll do it, see?
00:59:55I don't know who you are, so keep your opinions to them that do.
00:59:57Listen, sweetheart... Get out!
00:59:59...both of you.
01:00:17Some very nasty physic for my seal.
01:00:19He will hate it.
01:00:21But it may do him good.
01:00:23One must be cruel only to be kind.
01:00:27There's a devil of a lot of truth in that.
01:00:30Hello. I'm nearly ready.
01:00:32Fine.
01:00:34I'm afraid I haven't got many clothes, but I can get some lovely ones in Hollywood, can't I?
01:00:36Yes.
01:00:38Carol, do you think we're wise in rushing things like this?
01:00:40No, I don't think so.
01:00:42I'm afraid I'm not.
01:00:44I'm afraid I'm not.
01:00:46I'm afraid I'm not.
01:00:48I'm afraid I'm not.
01:00:50I'm afraid I'm not.
01:00:52I'm afraid I'm not.
01:00:54I'm afraid I'm not.
01:00:56I'm afraid I'm not.
01:00:59What's the matter?
01:01:01Oh, I don't know.
01:01:03Anti-climax, I suppose.
01:01:05You get all worked up for the first night,
01:01:07and afterwards everything goes flat.
01:01:09It isn't every day you get a chance of playing in the West End.
01:01:11I think you should take it.
01:01:13You mean come out and join you afterwards?
01:01:15Hmm? Yes.
01:01:17I'd rather come with you.
01:01:19I don't mind about the play, really, I don't.
01:01:21Now we mustn't be silly, darling.
01:01:23We got carried away tonight and got carried away tonight and quite right too,
01:01:25but now we've got to be practical.
01:01:27You're in a funny mood.
01:01:28No, I'm not. I'm being dismally sane.
01:01:30We've been making love continuously for two days.
01:01:32Oh, I don't regret that. It was for the good of the play.
01:01:36Was it?
01:01:37Of course.
01:01:38Can't make love on the stage unless you get a little...
01:01:40well, a little worked up about your leading lady.
01:01:43Do you frequently get worked up about your leading ladies?
01:01:47Invariably.
01:01:49Now you mustn't be petulant, darling.
01:01:51It's a very sound policy.
01:01:52Look how good we were tonight.
01:01:55What you said to me in the dressing room,
01:01:58did you mean it?
01:01:59Yes, of course I did, in a sort of way.
01:02:01You know, just before the great night, audience crowding in,
01:02:03orchestra tuning up, call boys shouting beginners.
01:02:06I was carried away and I meant it.
01:02:08Every word of it.
01:02:10In the same way as you meant every word you said to me.
01:02:14I really meant it.
01:02:19Darling, that's the trouble.
01:02:21You meant it.
01:02:23You meant it.
01:02:24In Hollywood, the girls I worked with, well,
01:02:26they weren't 19.
01:02:28We had some grand times though,
01:02:30whispering words of love and honey,
01:02:32swearing eternal passions.
01:02:35And all the time, both of us knowing darn well we didn't mean a word we said.
01:02:40I'm sorry. I didn't know.
01:02:42Darling, that's not your fault.
01:02:43You can't help being young.
01:02:45You take the part and join me the moment you finish it.
01:02:49I don't think I want to come anymore.
01:02:51No?
01:02:53Well, darling, perhaps it's for the best.
01:02:56Please go away now.
01:02:58All right.
01:02:59We had a grand time.
01:03:00Let's not have a hangover.
01:03:11Try not to be too unhappy about it, Carol.
01:03:14It's experience.
01:03:16You can't be a good actress without experience.
01:03:19Well, goodbye, darling.
01:03:21And don't you forget me.
01:03:31Miss Carol! Miss Carol!
01:03:33Miss Carol, come quick.
01:03:35My seal is better.
01:03:37Oh, but you are crying.
01:03:39No, I'm not.
01:03:40Please, excuse me.
01:03:42I was happy because of my seal.
01:03:44You will come and see him.
01:03:46You will come and see him.
01:03:48He's splashing about in the bath like a baby.
01:03:51He must be quite recovered or he will not eat the sponge.
01:03:54Carol, I met Mayne on the stairs.
01:03:56He told me you wanted me.
01:03:57Oh, Peter, the seal's all right again now.
01:03:59Isn't that wonderful?
01:04:00Yes, wonderful.
01:04:01Look, he's so happy.
01:04:03How lovely.
01:04:07Peter?
01:04:08Yes?
01:04:09I'm not going to Hollywood after all.
01:04:11Oh, Peter, I made such an awful fool of myself.
01:04:14That's the whole point of being young.
01:04:16If you make a fool of yourself, it doesn't matter.
01:04:19Doesn't it?
01:04:20No, of course it doesn't.
01:04:27Oh, there you are.
01:04:30Hello.
01:04:31I didn't like to think you'd know one to see you off.
01:04:33That is good of you.
01:04:34You'll be a great comfort to her.
01:04:36I'm glad you did it the David Garrick way.
01:04:38It was easier for her.
01:04:40And I don't suppose she's ever seen the play.
01:04:42I'm so proud of you.
01:04:45Then I haven't lived in vain.
01:04:47You're not going to mope, are you?
01:04:49That would be very silly.
01:04:50Of course it would.
01:04:51It isn't easy to be gay on a milk train, but it's not beyond me.
01:04:55And whenever I stumble by the wayside,
01:04:57I shall always ask myself,
01:04:59what would Mrs. Truscott do?
01:05:03Well, bless you, darling.
01:05:06Goodbye, Dr. Carol.
01:05:08When...
01:05:09When she's not listening.
01:05:12Oh, dear.
01:05:14I cut him such nice sandwiches.
01:05:17Look, I forgot to give them to him.
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