All language subtitles for Lady.With.Red.Hair.1940.DSR.x264-Regret.En

Well, are you on the door
of the courthouse

or the door of Barnum's circus?

Well, these
high-toned
people here

are making a circus
out of this trial,
all right.

The end
of the corridor.
Turn to your left.

She could have had a settlement,

but she would insist
upon the custody
of the child.

I don't know that I blame her.

My dear Eloise,

if one is
foolish enough
to be indiscreet,

one must expect to pay the penalty.

Could you tell me where the...

the end of the corridor

and turn to the left.

Thank you.

You know,
it looks like
all Chicago society

has turned out to get a look

at the Carter dirty linen.

I guess maybe a divorce trial

is more educational than the opera.

End of the corridor,

turn to the left.

Woman:
Too late, hilda.

There isn't a seat left.

They can't keep us out, darling.

Sorry, ladies, no more seats.

But we've been called as witnesses.

All right.

Well, of all things!

Quite a joyride.

Man:
You were employed
as a nurse

for Mrs. Carter's
son Dudley,
were you not?

Woman: Yes, sir,
I was.

Wasn't there a time last year

when little Dudley
was seriously ill?

Yes, sir, last January.

He had pneumonia.

Was Mrs. Carter
always at home

during her son's illness?

Almost always.

But not always,

even though
her only child
was desperately ill.

Then Mrs. Carter
left the care
of her child

in professional hands

most of the time?

Yes, sir, but I was there,

and we had day and night nurses.

And therefore,
because she
had the money

with which to
provide professional
attention,

she didn't feel it was necessary

to stay by the side
of her sick child.

Man: Your honor,
I object.

Your honor, I have a purpose

in this line of questioning.

This woman
has asked for
custody of her son.

I intend to prove
her indifference
to her son when...

Woman: Yes.
I didn't know
what to say.

[Whispering]
oh, I suppose,

naturally,
I sympathize
with Caroline,

but you know,
she's brought this
all on herself

with her silly, modern ideas,

and I can't be expected to say

that I didn't see her and...

this is not a sideshow, ladies.

We are not here to amuse you,

and we don't care
if you don't like it and go.

Oh, but I've been
called as a witness.

Then you'll have
plenty of opportunity to talk

when you're on the witness stand.

I will expect silence from now on.

Proceed, Mr. Winter.

Hens.

Politician.

Your honor,

I offered an objection

to Mr. Winter's
last question.

Did you? Why?

It's a leading question,

phrased to prejudice the jury.

You'll repeat the question,
Mr. Winter.

I object to
a repetition
of the question,

your honor.

I can't rule on your objection

if I don't know
what your question is,

Mr. Graham.

The jury probably remembers it.

That's for me to decide.

Why do you let him
repeat that question?

He doesn't care
whether it's
thrown out or not,

as long as the jury remembers it.

[Judge bangs gavel]

Mr. Graham,

have you no way of
restraining your client?

These constant outbreaks
are not helping her case any.

I'm sorry, your honor.

But it's so unfair.

Please.

Objection sustained.

Strike the question
from the record.

Go on, Mr. Winter,

and confine yourself
to the proper questions.

We've been 4 weeks on this case,

and at the rate we're going,

Gabriel will beat us
to the judgment day.

Hello? Hello!

Give me the city desk.

Frank? Eddie speaking.

Mrs. Carter just threw
another one of her scenes.

Yep. Judge had to
reprimand her again.

She's gonna talk herself
out of the kid

if she isn't careful.

Mrs. Brooks is on the stand now,

you're quite sure
she was alone with
the correspondent?

Oh, yes.

What was Mrs. Carter
doing?

I really don't know.

Mrs. Brooks,
you're here
under oath

to tell the whole truth.

Your honor, must I answer?

Judge: Yes.

Well, if I must.

She was smoking a cigarette.

Is that all she was doing?

For the moment, yes.

A little while later,
she rouged her lips
right out in public.

This is absurd.

Please be quiet,
Mrs. Carter.

They make
smoking a cigarette
sound as if...

please, please,
Mrs. Carter,

you must control yourself.

Was Mrs. Carter's
husband there?

Oh, no.

Anywhere near?

No. No,
he was in Chicago.

Then she was at this resort

without her husband?

Oh, yes.

Why don't you tell them

that I'd already left my husband

and that you knew all about it

and you didn't see anything wrong,

not until I was dragged
into a courtroom,

not until every detail of my life

became public property!

[People murmuring]

There will be 15 minutes recess.

Why must they make
some harmless weekend

seem like a vulgar,
obscene escapade?

What kind of minds
have these women got?

Oh, whatever I've done,
I've done to myself,

not to them!

[Chiming]

12 hours... and 12 men.

12 masculine minds
are still trying to decide

whether or not
I should have custody
of my child.

An hour a man.

It won't help any
to fret so much
about it.

Try to be optimistic for a change.

Let's believe
the jury will give you

the custody of the child.

What will you do then?

Ohh.

We'll get him tonight
just as soon as we know.

Oh, mother, I'm so tired.

I just want to be quiet,
alone with you and Dudley.

[Doorbell rings]

The lawyers.

Now, Caroline, please,

don't make a scene now,

no matter what happens.

Good evening,
Mrs. Carter.

Mrs. Carter,
the jury was out
exactly 12 hours.

A long time
when you're counting
every minute.

It was a very conscientious jury.

They put themselves
in my husband's place

and judged me accordingly,
didn't they?

You've evidently
guessed the verdict.

The verdict was
written in your eyes.

"You, Mrs. Leslie Carter,"
they said,

"have been declared
an unfaithful wife,

unfit to come in contact
with your own child."

The court was generous.

Your boy is to remain in school,

where you can
visit him once
every two weeks.

You call that generous?
You dare tell me...

Caroline.

You have
no one to blame
but yourself,

Mrs. Carter.

The jury based its decision

as much on
your violent
exhibitions in court

as upon the evidence.

You alienated whatever sympathy

there might have been for you

by your theatrical outbursts.

I promise I won't interfere again.

It's too late.
The trial is over.

But you don't expect me
to accept that verdict,

do you?

Why, we're going to appeal

or whatever it is one does.

I'm going to fight
until Dudley's mine.

All that scandal
and notoriety again.

To say nothing of the expense.

It will cost you
a fortune, Mrs. Carter.

You haven't enough money

to fight the Carter millions.

We have money, haven't we?

Enough to live on

if we go back
to our old home
in Dayton.

But I won't leave Chicago
without Dudley.

You can't leave with him.

The court has decreed that.

I know.
I know. I'll...

I'll have to figure out
some way of raising
more money.

The most important thing right now

is to be able to see Dudley.

Even once every two weeks

is something to live on, isn't it?

Yes, of course it is is, dear.

["Twinkle, twinkle,
little star" playing]

[Girls giggling]

Dudley will be brought in

in just a moment,
Mrs. Carter.

Thank you.

Where's the music coming from?

Oh, we're giving
a party this afternoon

for the parents of children.

Didn't you receive your invitation?

Perhaps Mrs. Humbert
forgot to send me one.

Oh.

Excuse me.

Girl: Mrs. Carter.

[Girls giggle]

Mommy!

Dudley.

Ohh! Dudley.

I suggest you don't
keep him very long.

He's having such a good time
at the party.

I am not, and I don't
want to go back
to that old party.

Why, Dudley.

Excuse me.

Why aren't you
having a nice time
at the party?

Because Annie
and Bobby and Peter
and Simone

won't play with me.

Why not?

Their mommies said to be mad at me.

Oh. Did, uh...

[Sniff]

Did they tell you that?

Yes. And Annie
says you're bad

because her mother says so.

I hit her good on the head, too.

Come to mommy.

You mustn't do that.

Just don't listen
to things that aren't nice.

You shut your ears.

That's so you won't hear
any more bad things.

I don't want to stay
at this old school
anymore, mommy.

I want to go home

and have fun
with you
like we used to.

Not now, darling,

and I think you'd better
run back to the party.

I have to see
Mrs. Humbert.

Now, big hug.

What'll I do
if Annie says
you're bad again?

Well, it wouldn't
be nice to hit her
on the head,

unless you can't
think of anything else.

All right, mommy.

Annie! Annie!

Annie!

Woman:
Well, I, for one,

shall withdraw
my daughter
from the school

unless that woman is prohibited

from stepping into the building.

The court ordered
that the child remain
in this school.

If she can't come here,

how is she going to see her child?

Different woman:
Well, we certainly don't
want our children

to come in contact
with that notorious
woman.

If she had the slightest
sense of decency,

she'd leave Chicago at once.

I haven't yet learned

how to run away
from unpleasant problems.

Would you kindly
ask Mrs. Carter

to wait outside
until we've finished
our business with you?

You've said enough already.

Oh.
Then we'll go.

Not until you've heard
what I have to say.

You've done
a very good job
of ostracizing me.

That's your right,

and I don't intend
to quarrel with you
about that.

Let's agree that
however I'm being punished,
I deserve it.

But when you attack me
through my son,

tell your children
not to play with him

because he has a bad mother,

you're punishing him, too.

Somehow it never occurred to me

that even you
could be that vicious.

I won't stand...

only one question,
Mrs. Brooks.

If I agree not to
see my son anymore,

will he be allowed
to live like any other
normal child?

There'll be no reason
why he shouldn't be.

You win,

but only for the time being,

because I'm going to
fight you and your kind

until I make you crawl at my feet,

and then I'll take my son back,

and neither you nor anybody else

will be able to stop me.

You may go now.

A very impressive
scene, Mrs. Carter.

You really should be an actress.

Come, ladies.

I'll fetch Dudley for you.

No.

You're sure you
don't want to see him?

No, I'd better not now.

You see, I'm going away,
away from Chicago.

I don't know where,

but wherever I can find a new life.

You'll take good care of him.

Make a little gentleman of him.

Perhaps if they'll let you,

you'll see that
he doesn't forget me

before I can come back for him.

We'll have to hurry, mother,

if we're going to
get these trunks
to the depot on time.

Won't you tell me
what the rush is about,

why we're going to New York at all?

We certainly can't afford
to throw money away

on unnecessary trips.

Exactly. We can't
afford anything.

Nobody's going to
give me the money
to reopen my case.

I'll have to earn it,
and quickly, too.

That's why we're going to New York.

What are you thinking of?

Mother, sit down, please.

Listen.

I'm listening.

I'm going to be an actress.

Oh! Now you
start that again.

You don't know what
you're talking about.

It takes years of training

to become a successful actress.

I can walk
and talk and shout
as well as any of them.

But you've never been on a stage.

What theatrical person
would be foolish enough

to even give you a chance?

Now, mother,
I thought of everything.

The moment we reach New York,

I'm going to see
Mr. Fairchild,
father's old friend.

He has lots of money
invested in theaters.

I'm going to ask him
to finance a play for me.

I don't believe
he'll be able to
teach you to act.

No! But his money
will make others anxious

to teach me the necessary tricks.

It's all so beautifully simple.

Of course, and in a few years,

I'll be rich and famous,
and then...

oh, just let them
try to keep Dudley
away from me.

Where's Annie Ellis now?

Got a letter for her.

Doing stock in Toledo.

Toledo.

Played it in '76
with my third husband,

Leo snitz.

"Faces
queer, quaint,
and quizzical."

Harrigan and hart
was on the bill
with us. Hmm.

That was show business then.

Nothing like it anymore.

The theater is dead.

Well, guess no manager's dying

to engage any of you.

There's no mail for you.

And, Mr. Chapman,

you needn't go about
rehearsing that part
you ain't got out loud.

You're not fooling me none.

Ain't nobody in show business

smart enough to fool ma Frazier.

Oh, I was just
getting ready, that's all.

I... I've been promised
the part in the fall.

Sure, that's show business.

Promises, debts,
and then more promises.

No use waiting, honey.

There's nobody here
going to applaud your entrance.

I'm sorry.

Just a minute.

I said there was no mail for you.

[Chuckle]

I hear this is
the best theatrical
boarding house

in New York.

That's right.

Unwrinkle your nose, grandma.

It's only cauliflower you smell.

Please, mother.

Could you rent me
two rooms with
an adjoining bath?

Why?

Because I can pay for them.

That's a very good answer,

particularly in the summer season,

only I ain't got two...

yep.

Follow me.

Off the stage, dearie.

Caroline, really.

It's pretty quiet
about the place now.

Most everybody that's any good

is out doing summer stock.

And if you expect
to find an engagement
around New York

this time of the year,

you're gonna wear out
a lot of shoe leather
for nothing.

I suppose you are
in show business...

otherwise, you wouldn't
have come here...

but why anyone wants to be in it

is beyond me.

That's exactly what I say.

And believe me, I know.

I seen plenty of them come and go.

Oh, Caroline, please
give up this mad idea.

Why, even this woman...

what a nice room.

[Groan]

Best room in the house.

Lots of fine actors
and actresses
have slept here.

Don't misunderstand me.

I run a very respectable house.

I don't stand
for any monkey business,

and don't forget it.

How dare you
speak like that
to my daughter?

Hang on to your hat, grandma.

House rules is house rules.

This is the bathroom...
joins on to the other room.

Man:
Who's there?

Are you decent,
Mr. Payne?

Come ahead!

Lovely morning,
Mrs. Frazier.

It's strange how good
it makes me feel

to have you surprise me like this.

Not by appointment
do we meet delight
and joy.

They heed not our expectancy,

but round some...

of course,
this room's
a mess now, but...

I thought
you said this was a
respectable house.

And who dares to say it ain't?

That young man in there!

Mr. Payne may not
be a good actor,

and he may owe me 4 months' rent,

and he may never
get a better part
than a walk-on,

but he's a very nice young man,

and I'll not allow any...

mother was referring
to his undressed condition.

I'm sure she didn't
mean anything personal.

But, Caroline, no
decent young man...

oh, mother, please.

Anyone would think
you'd never been backstage.

Haven't you anything else?

Only two rooms
with adjoining bath
in the house.

This one's occupied.

Can you pay
a month's rent
in advance?

Why, yes, of course.

Mr. Payne!

Coming,
Mrs. Frazier.

But I wouldn't think
of taking his room
away from him.

I've been
thinking of it
for the past month.

Your room is rented,
Mr. Payne.

Please get
your stuff out
right away.

Would you throw me out
into the streets alone...

homeless, a dying man?

Your performance
ain't even adequate,
Mr. Payne.

Anyhow, I'm not driving you out.

You can have
the little room
off the kitchen.

Better actors than you have used it

when they were, uh,
between engagements.

Well, Mrs. Frazier,

you know I can't stand
the smell of food cooking.

It's good enough to eat,

it's good enough to smell.

Don't keep us waiting too long.

Come ahead, girls.

I'm terribly sorry,
Mr. Payne.

I had no intention
of taking your room
away from you.

Don't worry about that.

One day up here,
next day down there.

That's show business.

Is it?

Oh, don't tell me
you've never had a flop.

Flop?

Flop. Failure.

Oh, not in show business.

Say, how long
have you been
in the profession?

I'm just starting.

Ohh.

Well, it's none of my business,

but go back to the farm

before you
break your heart
and your bank account.

There's hundreds
like you go to New York
every year,

and all they end up with
is fallen arches

and a ticket back home,
if they're lucky.

I don't think
I'll have that trouble.

Pretty sure of yourself, huh?

What makes you think you can act?

Lots of people lately
have accused me of
being theatrical.

Why, even my worst enemy suggested

that I go on the stage.

He was your worst enemy, all right.

It may be years
before you get a break.

No, I have to make
lots of money quickly.

So I'm going to start at the top.

Good-bye.

[Hoof beats]

Where can I find
Mr. Belasco?

He's right up those stairs.

Thank you.

You'd better give up this mad idea

before you make
a ridiculous
spectacle

of yourself.

It's perfectly disgraceful.

I've been disgraced
as much as I can
already.

Then why not try living it down

instead of getting
in the public eye
again?

I don't care what I do

as long as I get Dudley back.

Well, I simply
will not go up there
with you.

Well, I'm sorry.

Then you'll have to
wait here, darling.

I'd like to see
Mr. Belasco, please.

He ain't seeing anyone.

But I have a letter
of introduction to him.

Come back next Wednesday.

This is a letter
from Mr. Fairchild.

Well, what am I
supposed to do, swoon?

Young man, you are
altogether too fresh.

Take this letter
to Mr. Belasco
immediately.

I beg your pardon.
I'm Mr. Harper.

You say
you have a letter
from Mr. Fairchild?

Yes.

May I have it, please?

Thank you.

Man: I beg, I plead,
I tear my heart out,

and no one understands,
no one understands.

Now, please,
when I ask for realism,

it is because I believe the stage

is a reflection of all life.

But,
Mr. Belasco...

now look at these foolish things.

No one ever sat on a bench

that was painted on canvas.

Or two books from a bookshelf

that was nothing more
than a trick of perspective.

These things are an insult

to the intelligence of a child.

But we've always done it this way.

Oh, well, I do things differently.

Now, please.
I want real
oak-paneled walls,

real books, a real fireplace.

I want the room to look as if

people could actually live in it.

Now please get at it

and let me have it
as soon as possible.

David.

Oh, later, frank, later.

Act one, act two, act 3, act 4.

Henry, this scene
in the last act, i...

I've got it.

No, David. You...
you can't do that.

That scene belongs in the last act,

not the first.

It belongs where it's most useful.

It may not be
according to the rules,

but it's more exciting.

Suspense, Henry...
that's what gets them.

I'm sorry to interrupt, David,

but please do me a favor

and read this letter
from Mr. Fairchild.

Fairchild?
What's Fairchild to me?

He owns this theater.

And I owe him 9 months' back rent.

Listen to this.
"Dear Belasco,

"this will introduce
Mrs. Leslie Carter,

"the daughter of one of
my closest and oldest friends.

She has decided
to go on the stage."

I haven't time to eat,

and he asks me
to see society's
stage hopefuls.

I don't care
if Fairchild
owns this theater.

I don't care
if you owe him
9 years' rent.

Nothing in the world
would make me
see this woman.

David, please.
For me?

Oh, all right.

Uh, which of you
is Mrs. Leslie Carter?

I am.

Oh. How do you do,
Mrs. Carter?

Many young beginners
come to me for advice.

I tell them all the same thing.

Get into harness.
Work, work, work.

See good plays
and well-trained
actors,

especially mine.

And keep your health.
Keep your figure.

Hang on to your money,
and while you have it,

don't lend it to actors.

That, uh, covers all, I think.

This has been
a pleasure,
Mrs. O'Connor.

But, Mr. Belasco...

I'm afraid you read
Mr. Fairchild's letter
too hastily, David.

Is there something else?

May I tell you?

Quickly, please.

I came to have you
put a play to me,
Mr. Belasco;

and of course, me to the play.

I should be best in comedy,

but that remains with you.

You see, Mr. Fairchild's
sufficiently interested

to finance the whole arrangement.

Has he seen you act?

Oh, I never have,

but I have the one great essential.

Genius.

Determination.

With that and your coaching,

I can acquire the rest.

Occasionally,
actresses start
at the bottom.

But I'd rather start at the top.

How soon would you require a play?

Would 3 weeks give you time?

Nothing simpler.

And then we can begin the coaching

whenever you're ready.

The prospect
is unquestionably
alluring,

Mrs. O'Connor.

Carter, Mr. Belasco.
Carter.

Good day,
Mrs. Carter.

But when do we begin?

Oh, give Mr. Harper
your address.

I'll contact you
as soon as I
have the time.

Do you think he will soon?

I've seldom seen him
more impressed.

I do hope he's capable
of writing a good play.

I don't intend to do
anything mediocre.

Good day.

Where's Mr. Chapman?

Mr. Chapman
has a call.

Did you enjoy
your season
in buffalo,

Mr. Williams?

Oh, very much.

Good audiences, nice theater.

I always found
the buffalo people
most hospitable

to the members
of our stock company.

The women did make
rather a fuss
over me,

but, then, it helps business.

I must say the men
rather made a fuss
over me, too,

when I used to go
to the sticks
for summer stock.

Did you have
much trouble
with the Indians

in those days?

Frazier:
How did you like
Toledo, miss Ellis?

Woman:
Rather nice, but one
really can't live

outside of New York.

Is your family
still residing
in Brooklyn, Annie?

I hear there are
very bright prospects
for a good season.

I understand froman
is doing Hamlet again.

I'm set for Polonius.

Oh.

Reluctantly,
I identify Mr. Foster

as the finest Polonius
I've ever seen.

It's an absolutely new sensation

to hear you
praise anyone,
Mr. Clifton.

There are very few people

who are worthy of my praise, madam.

Williams:
Sutton's looking
for a juvenile,

but he'll only pay 22...

3 months, and you
haven't gotten
used to us yet?

Well, I've never known
anyone like you before.

You like us?

Yes.
Me?

Oh.

Clifton:
By the way, Annie,

did you know
that Mr. Belasco

is writing a play
for Mrs. Carter?

Oh, really?

When do you expect
to go into production,
Mrs. Carter?

I don't know.

Oh, plays aren't written overnight.

It's been 3 months already.

Well, I'd certainly
try and find out
what's holding him up.

Considering the amount of liquor

you drink every day,
Mr. Clifton,

I'd like to find out
what's holding you up.

I'm a gentleman,
Mr. Payne.

Of the old school.

My dear miss dawn.

Chapman: And now,
my proud beauty,

it is for you to decide

whether your lover lives or dies!

Ha ha ha!

Wow! Ha ha ha!

Ring out the bells,

and all my friends
be of good cheer.

I bring good news
and wine with which
to celebrate.

Ah, my lovely lady.
Ha ha ha!

Let me kiss thee.

Oh, you're drunk,
Mr. Chapman.

With joy, kind lady, with joy.

You got the part?

40 weeks of repertory ha ha ha!

40 solid weeks.

Right here in New York.

[Cheering and applause]

Williams:
Splendid!

Come on, children, drink up.

The party's on me.

It's two years since I worked.

I'll take a drink myself.

It makes for a happy house

when everyone's got an engagement.

You're forgetting me,
Mrs. Frazier.

I have no engagement yet.

Don't be so sensitive, Clifton.

Mrs. Frazier
forgot me, too.

I haven't set
that stock lead
in Scranton yet.

You will, my boy.
I know you will.

Since you're being
prophetic, Mr. Foster,

what about me?

Go on, Mr. Foster,
say it.

"Clifton's a great actor,
but he's unreliable."

Oh, I'm sure
you'll find something,
Mr. Clifton.

You're too good
an actor to be
without work.

How do you know?
Ever seen me?

No, but i...

ever seen anything
but a punch-and-Judy show?

Shut up, Clifton.

I didn't mean
to offend you,
Mr. Clifton.

I was just about to say

that I'll ask Mr. Belasco
to consider you

for one of the parts
in the play he's
writing for me.

Mmm. Marvelous.

When the great Belasco
writes her a play,

if he ever does,

she'll condescend
to let George Clifton

earn his bread and butter.

Clifton, it's about time

you had that toupee of yours

shoved down your throat.

Frazier: Gentlemen,
this ain't no barroom.

Mr. Clifton, I'll ask you
to leave this room.

The queen has but to speak,
and I obey.

Your humble servant, madam.

Heh.

May I ask that
you allow me to
run up my room rent

until Mr. Belasco
writes that play
for Mrs. Carter?

Ha ha!

Good riddance.

Come on, everybody.
Drink up.

This is a celebration.

Evidently,
Mr. Clifton

doesn't believe
in Mr. Belasco's
promise to me.

He's drunk.
He's always drunk.

That's why he can't get a job.

Do you believe
Mr. Belasco's
writing a play for me?

Well, I certainly
haven't much faith
in Belasco's promises,

but I think...

what do you think,
Mr. Foster?

Reluctantly, very reluctantly,

and only because
I've become very
fond of you,

I must say I believe
you are living
on a promise

Mr. Belasco
has no intention
of fulfilling.

But why? Why should he
have made that promise?

Mr. Belasco
is a very great
and busy man, Caroline.

He hasn't the time to waste.

Waste?

Frazier:
You might as well
face it, dearie.

Mr. Harper asked
Mr. Belasco to see you
as a favor to him.

So Belasco saw you,
heard what you
had to say, and...

Promptly forgot all about it.

Hmm.

There goes my party.

Caroline.

You must understand.

There aren't
any short cuts
in show business,

darling.

You'll have to start
like the rest of us.

Walk a lot of miles
a day, every day.

Call at all the offices.

And if you're lucky, in time you...

oh, but I haven't any time.

I've got to hurry.

You're right, all of you,

but I can't help it.

I've got to get what I want,

and Mr. Belasco's
going to give it to me.

I'll find him.
I'll make him
write a play for me.

Oh, Lou, dear,
I'm not some
stage-struck child

with delusions of grandeur.

I'm a woman
fighting for something
far more important

than your theater!

[Rings doorbell]

Well?

I'm Mrs. Leslie Carter.

I've come to see David Belasco.

Mr. Belasco
is not here.

I just saw him through the window.

You have no business
to be looking through
our windows.

Won't you please
take my name in to him?

Won't do any good at all.

Well, then tell him I'm waiting,

and when he finishes his work,

no matter how late it is,

he'll find me still waiting here.

And so and so and so and so.

And she stops at the garden gate.

You see?
That's all I need...

a stage cross.

Oh, David,
it's 3:00.

Just 5 lines, Henry.
Write anything!

Oh, all right.

But get her across the stage

in a blithesome,
confident manner...

any words, but give me the spirit.

Well, here.
Use these lines.

Mm-hmm.

"Merrily swaying on Briar and Reed,

close to the nest
of his little dame..."

Say, what is this, Henry?

It's poetry,

but it's blithe and confident.

Oh, all right.
Well, it'll
give me the time.

You can write
the proper lines
later.

"Robert o'Lincoln
is calling his name,

bobbling, bobbling,
spink, spank, spink."

[Sigh]

Good night.

Oh, good night.

[Door closes]

Mrs. Peabody!

[Sigh]

Well?

I'm timing a stage cross.

I want you to read
some lines for me.

I will not.
I'm a cook.

How do you know
you're not an actress?

I've seen some of yours,

then cook me some coffee.

I'm going out for a walk.

Belasco:
Bobbily, bobbily...

[Door closes]

Mr. Belasco!

I'm Mrs. Carter.

Yes, Mrs. Carter.

The one you were
going to write
a play for.

Was I?

I came to you
with a letter
from Mr. Fairchild.

Did you?
Oh, yes, I remember.

Yes. You're
the young society woman.

Why, I thought by now,
you'd have discovered

how utterly fantastic
your demands were.

I should have been blunter.

Now, if you'll excuse me,
I'm in a hurry.

Are you?
Well, so am I.

How do you know I can't act?

It's obvious.

You think so

because I walked
into your exalted
presence once

and made a fool of myself.

But since then, I've learned

how presumptuous I was

and how far
the great god Belasco
sat beyond my reach.

So I've come to apologize

and to tell you to your face

that you will
wake up someday
to find out

you've missed
the greatest bet
of your life.

That's
Mrs. Leslie Carter.

Don't forget the name.

Young woman,
your talent is mostly
brazen assurance.

You'll find out
I have more talent
in my little finger

than all
the anemic actresses
you've ever trained.

And as for a play,

now that I know your shallow mind,

I'll write my own.

Here. Come in here.

Let's see if you
have got something.

Come on, come on, come on.

We'd bet... oh.

Now... you're
a young housewife.

You're crossing
the stage to
the garden gate

to greet your husband.

You're thinking aloud
of your happy home life.

There's blithe,
wholesome confidence
in what you say.

Now let's see you do it.

The table is the gate.
Come on.

The table is the gate, then?

"Merrily swinging
on Briar and Reed,

close to the nest."

What is this?

It doesn't matter.
Read it. Come on.

"Merrily swinging
on Briar and Reed,

"close to the nest
of his little dame,

"Robert o'Lincoln
is calling his name.

"Bobbling..."
oh, this is crazy!

Can't you show blitheness?

Not with this stuff.

The words don't matter.
Give me the gay spirit.

Now, come on.
Again. Again.

"Merrily swinging
on Briar and Reed,

"close to the nest
of his little dame..."

Wake up!

"Robert o'Lincoln
is calling his name!

Bobbling! Bobbling!"

Stop it! Stop it!

You're just
a clumsy clotheshorse
with a million elbows.

What's wrong with my elbows?

Everything.
You act with them,

think with them, talk with them.

Pretty soon,
you'll be
sticking them

in the eyes of the audience.

Belasco: Now
you're at the window.

Now walk down stage center.

No!

Can't you keep them in,
into your sides?

Why can't you relax?

Well, how can anyone
relax with you?

You could relax in an earthquake

if you'd only do what I tell you.

Take your hair down.

What?

Oh, please.
I want to help you.

Charles, give me
this platform
in the center.

Thanks.

Don't be frightened.
Drop everything.

Your part, your arms,
your legs, your brain,

whatever you got.

Now, may I?

Relax.

That's it. That's it.

Now, just remember,

you're suspended by a rope

from the center
of your head
to the ceiling.

You're walking on air.

You're not
self-conscious.

You're not awkward, now, are you?

You can be frightened to death,

but you can make an entrance

and hold any audience.

They can hiss you, jeer at you,

throw dead cats at you,

but they can't destroy your poise

if you just remember
you're suspended
from the ceiling

by the red hair of your head.

So...

Thank you, Mr. Belasco.

I'll never forget what
you've just told me.

[People murmuring]

There it is.
"With Mrs.
Leslie Carter."

A star who has never before acted.

The wizard must be expecting

to perform a miracle
for us tonight.

It's a miracle already.

I wish I knew how she did it.

I, for one,
am going to pray for her.

Nice of her to give us tickets.

Let's go in.

The last I saw him,

he was biting
his fingernails off
one by one.

You'd think it was
his opening night.

Find a pin, pick it up...

All day, good luck.

Got a piece of paper?

Why, yes.
Thanks.

Pencil?

Yes.

Please have this
sent up to
Mrs. Leslie Carter

right away.

Oh, I don't know.

It's just about curtain time.

Oh, please.
It's very urgent.

She won't be upset.

Oh, all right.
I'll take it.

Thanks.

Man: Mrs. Carter.

Excuse me,

but a gentleman outside...

yes, thank you.
I'll take it.

Yes, madam.

Mother, I'm so frightened.

There's nothing
to be frightened about.

I'll wait here.

Good luck.

Is it over yet?

Yes, sir.
Thank you.

[Indistinct chatter]

Frazier: Lou!

Where were you?

Why didn't you use your ticket?

I lost my nerve.

How was she?

Come along, Lou.

The miracle didn't come off.

Not even the great Belasco

could make an actress
of Mrs. Carter.

[Hoof beats]

I let you down, David.

I'm sorry.

I can make an actress of you.

I know I can.

David Belasco can make
an actress out of
a telegraph pole,

and don't worry.

They'll be laughing at me, not you.

Good night.

Get to sleep, darling.

You must be terribly tired.

Yes, mother.

You won't be able
to sleep, Caroline.

You'll cry your eyes out,

and it won't do any good.

Let's talk for a while.

May we, please?

Yes.
Good night, dear.

It takes a stout heart
to be in show business,
Caroline.

You've got to know
how to stay fat
on failures

and happy on hopes.

I gambled everything, Lou.

You haven't lost yet.

I flopped.

Because you weren't ready.

Not even Belasco

could make a great
actress out of you
overnight.

Caroline, I finally
set that stock job
at Scranton,

and I'm pretty sure
I can get you
into the company, too.

We'll learn together,
slowly, surely.

I'll see to it
that you get
the experience you need.

You'd do that for me?

I love you, Caroline.

I'd do anything for you.

We need each other.

We can be a success together...

And happy, too.

Happy?

Am I entitled to any happiness

until I get my son back?

We'll get him back together.

Lou, I'm so tired.

I've been fighting
alone for so long.

We'll get married, Caroline.

Please.

Wait.

[Bell ringing]

Belasco: Open the door.
Let me in!

Who do you think you are?

I am David Belasco.
Excuse me, please.

Mrs. Carter,
Mrs. Leslie Carter...

where do I find her?

She's upstairs.
Which room?

End of the hall.
Thank you.

Why do these places always smell

either of cabbage or cauliflower?

Dawn: Who's there?
It's David.

I've wonderful new...

Mr. Belasco,
how nice.

I beg your pardon.

I'm looking
for Mrs. Leslie Carter.

That room there.

Thank you.

Who's there?

Belasco: It's David.
I've wonderful news!

Mr. Belasco, really!

Sorry, mother.
Good news grows
stale with waiting.

I've found
a new play
for you, Caroline,

a great play.

My daughter isn't interested.

Not interested?
Since when?

But of course she's interested.

Sit down.
Let me tell you.

It's perfect for you.

You're a poor,
little French
peasant

but beautiful, oh, so beautiful,

and you're in love
with a young student...

romance, beautiful,
exquisite romance.

Act ii, Paris,
wonderful evenings
on montparnasse,

watching the stars
flicker over the spires
of sacre coeur.

Ecstasy, sheer ecstasy!

Oh, and then the lights
of Paris dazzle you.

You want to become a part of them,

you do a foolish,
tragic thing. You...

I'm telling you
the story
of your next play.

You can't walk out
on me right
in the middle.

But I did.

As her mother,
I thoroughly
approve.

Caroline is leaving New York.

Why? Where
are you going?

To get married
and then to Scranton
with my husband.

Married? Husband?
Scranton? Scranton?

I might have
expected this.
Good-bye.

I'm sorry, David.
I don't mean to
seem ungrateful.

You came to me
one night determined
to be a great actress.

Are you still of that mind?

Yes, but I tried
to start at the top
and failed.

Now I'll try another way.

Then get this into your head.

There's nothing so selfish as art,

and to succeed,
you have to sacrifice
everything to it,

every interest
in friends, home life,
domesticity, love.

You've got
to be selfish,
self-centered, hard.

Can you do it?

If you feel you
can't, give up
the theater,

give up your
ambition,
give up your son,

go back to the sticks

and grow old
mourning the success
you might have had

if you'd listened
to me... David Belasco.

I'll go now.

David. Wait.

You have a play for me?

A perfect play.

Why are you willing
to risk it on me?

To prove my judgment is right.

What else do you think?

When you you start rehearsals?

Caroline, you mustn't.

10:00 tomorrow
morning.

I'll be there.

Thank you, Caroline.

The scene is finished.

Either applaud
or get out of the way.

You're in my way, young man.

And you're in mine.

Lou.

Caroline: Lou.

Lou.

You're quite right, Caroline.

There's nothing else you could do.

Let's make it quick, dear.

Good-bye.

Good-bye.

Caroline.

May a drunkard
and a very
embittered man

say something to you?

Please.

There are very few people

get more than one
chance at real love.

Mrs. Frazier.

I... I've been
very happy here,
but I'm sorry.

I won't be able
to live here any longer.

Caroline: Why do you
turn from me?

Am I less beautiful than I was

two years ago?

Have I been deformed by a single...

[plays piano]

Why do you turn from me?

Am I less beautiful than I was

two years ago?

[Plays piano]

Why do you turn from me?

Am I less beautiful than I was

two years ago?

Have I been deformed
by a single mistake?

By all the furies,
this is impossible!

Live, breathe, act
like a human being.

That's what you are,
you know, a human being.

Now, you did this
perfectly yesterday.

You did it the day before.

Where, where did you
learn this new trick?

What am I doing now?

Did you imagine, my dear child,

that you were pleading
with your lover?

I was trying to.

I beg to contradict you,
Mrs. Carter.

You were trying to render
"she is only a bird
in a gilded cage,"

and you were doing
that atrociously!

Well, I don't know
what I'm doing now!

Well, so long as we're
honest about it,
there's hope,

but please keep
the speech in key. Key!

Here's your tone.

No, no, no. Here.

Now, please try it again
and suffer,

suffer even more
than I am suffering now.

Charles.

Proceed please,
Mrs. Carter.

Why do you turn from me?

Am I less beautiful than I was

two years ago?

Have I been deformed
by a single mistake?

Have the tears I've shed

burned ugly scars across my face?

No, no, no, no, no.

Please, may I show you?

Go and sit down over there.

Turn around.

Watch me.

Why do you turn from me?

Am I less beautiful than I was

two years ago?

Have I been deformed
by a single
so-and-so?

Have the tears I've shed

burnt ugly
so-and-sos
across my so-and-so?

Look at me!
You loved me once!

There you are.

And you let us go on
dreaming our silly dreams
of possession.

Louder, please?

Silly dreams of pos...

you don't have to shout.

Knowing that the time must come...

Because you can't
escape its memories.

Ha ha ha!

Ha ha ha!
That's wonderful!

Never mind the stage.
Try the laugh again.

Ha ha ha!
Louder, louder, louder!

Brighter, brighter!
More airy.

Ha ha ha!
Ha ha ha!

Ha ha ha! Ha ha ha!

Belasco: Enunciate.

Enunciate distinctly.

You're hungry, hungry for love.

Caroline: And I'll see
all the things I've
ever dreamed of.

No, no, no.

Please believe I love you, Paul.

Please believe I love you...

please believe i...

please believe...

please...

Caroline: Why do you
turn from me?

Am I less beautiful than I was

two years ago?

Have I been deformed
by a single mistake?

Have the tears
I've shed burned
ugly scars

across my face?

Look at me.

You loved me once.

Try to see me as you saw me then.

It's to late, nanette.

No.
Two years too late.

No. No, Paul!
Paul!

[Sobbing]

[Cheering and applause]

[Cheering "bravo"]

How do you think it is, Charles?

I think it got over.

Not just first night applause?

No, no.
Seems healthy.

Well, try to get 10.

Oh. I'm going out
in the alley, Charles.

I need air.

He suffers more
than the actors
on opening night.

I know you.
I'm Lou Payne.

Lou Payne?
Oh, yes, I remember.

What are you doing here?

Enjoying Caroline's
success the only
way I can.

Don't be too sure
of that success, young man.

That applause you hear
is from excitement.

They're calling for you.

I know.
Why don't you go on?

Why don't I go on?

Because I'm terrified, young man.

I'm always terrified
at every opening.

Would you mind walking with me?

Caroline was great, wasn't she?

What did you think?

Well, I wasn't inside.

You see, I'm playing
stock in Scranton,

and I couldn't get away in time

to get a ticket.

14. Oh, yes,
she was great.

She'll always be great
so long as she
listens to me.

15. They'll
applaud tonight

and pan the show tomorrow.

Sometimes, I wish I'd never gone

into this business.

No, they won't.
I know applause
when I hear it.

She's got them.

17. It's dying.
We're sunk.

Will you
give Caroline
this flower for me?

20. What?
Oh, yes, sure.

Oh. How very touching,
single flower
that means more

than all the towering bouquets.

21. We've done it
I think.

[Cheering and applause continues]

How many?

22, governor.
You better go on.

They're getting tired.

David, David!

We've done it,
Caroline,
we've done it!

You were superb, divine.

Strike it, boys.
Strike it.

[All talking at once]

Honey, you were wonderful.

Now, now, my child,
to the dressing room

before the mob gets round

to worship its new idol.

Mother, look.
Tons of owers!

Oh. Here's
a real offering

from a chap on the street

who didn't even see the show.

Who?
poor man playing
stock in Scranton.

Caroline, you've
conquered New York.

That means you've
conquered the world.

You can have anything you want.

David, how soon
can we play Chicago?

In time, my child.
In time.

We have a hit, a real hit.

We're good for at least a year.

Where's that leading man?

Woman: The nerve of her

coming back here,

and in a perfectly lurid play.

You certainly wouldn't
expect anything decent

from the notorious
divorcee, would you?

Mrs. Brooks said she's
going to get the police
to stop the performance.

[Orchestra playing]

[People murmuring]

Did you see this?

Biggest house we ever had.

Yes. All her
enemies waiting
to crucify her.

I still say you
should warn her, governor.

Oh, no.
She might
go to pieces.

Let them catch her unprepared.

She'll fight them somehow.

It's time.
Shall I flash them?

Yes.

Clear, boys.

After all, we've
only been away
two years,

and yet I simply
couldn't recognize
the city.

It's simply wonderful

how quickly things change.

Oh, just think, mother.

I'm coming back as I said I would.

They won't dare
fight me
after tonight.

[Knock on door]

Yes?

First act curtain.
Places, please.

Thank you.

Mother, I'm so happy.

At last, I'll see
Dudley in the morning.

I do hope everything
goes all right
tonight.

Well, of course it will.

Why are you so nervous?
There's nothing to be
frightened of.

Oh, we've played
the thing hundreds
of times.

Good luck, darling.

[Laughter]

How do you feel?

Oh, David, this is going to be

an extra-special
performance tonight.

You're going to be proud of me.

I hope so.

Woman: He wants
money and position,
as well as beauty.

[Laughter]

Oh, gossiping again, are you?

No applause.

Be sure you leave nothing out.

We were just telling cecile

something she hadn't heard before.

Oh.
I've been away,
you know.

I see you've lost none
of your curiosity.

[Booing and hissing]

[Hiss]

I don't suppose
you'd be able
to guess

who we were
gossiping about,
would you?

Well, surely not
about Henri and me.

You talked about us
so much already,

I should think you'd
be running out
of words by now.

We started at the beginning again

when you first met him.

It was romantic.

[Booing and hissing continues]

It was romantic, wasn't it?

Oh, I've wondered...

fight them!

[Booing stops]

Every human creature who works

has a right to reap
the reward from that work.

I have labored and sacrificed

with one reward in view,
to come back here

great enough and worthy enough

in the estimation of you all

to be given possession of my son.

Those among you tonight
who think it's possible
to destroy that purpose

don't know very much
about the Patience
and the strength

of mother love.

Let me tell you
an old French legend

that may tell you what it means.

On the top of a hill lived a woman,

whose soul was the red
of the garments she wore

and whose life was the same.

At her feet knelt
the boy who loved her,

his eyes like those
of the hunters
in the glade.

"Thou shalt have
what you pleadest for

when thou bringest me
the heart of thy mother
for my doles."

Feverishly, he cut
away the heart from
out of his mother,

and swiftly he ran up
the long, steep hill.

As he ran, he stumbled,

and as he stumbled, he fell,

and as he fell,

the heart that he was holding
rolled to the ground.

As it was rolling,
he heard it say
faintly, tenderly,

"hast thou hurt
thyself, my child?"

She's gonna have a chance
if I've got any lungs.

What do you say, Mike?
Come on everybody... bravo!

[Cheering "bravo"]

Master Dudley
will be down
immediately, madam.

Thank you.

Dudley!

Oh, darling.

How do you do, mother?

I've waited so long to hear that.

Won't you say it again?

Mother.

You used to call me mommy.

Don't you remember?

I think I do.

I guess I was pretty young then.

It was only two years ago.

A boy grows a lot in two years.

I go to military school now.

I know.

Dudley...

Aren't you glad to see me?

Of course.

But you haven't even kissed me.

Tell me, Dudley,

are you happy here?

Oh, yes!
Father and I have
lots of fun together.

Father's taking me to Europe

soon as school's out.

I'm learning French already!

Would you come away with me

if I asked you to?

Oh, no, mother.
You're an actress,
aren't you?

Well, what has that
got to do with it?

I don't know.

Only, all father's friends
try not talk about it

in front of him.

Is that why you
wouldn't go
away with me?

Well, mostly on account
of I wouldn't leave
father anyhow.

He didn't leave me
alone like you did

when I was at miss Humbert's.

He came to see me all the time.

I don't mean to be
disrespectful, ma'am,

but you promised you'd come back,

and you never did till now.

What if sometimes
you can't keep
your promise?

Father says,
"if you make a promise,

you must keep it
no matter what."

I've lost you, Dudley.

What?

I've lost you.

You've grown away from me,

and there's nothing
I can do about it,
nothing.

Please, mother, I've got to go now.

Some boys are waiting
for me to start
a ball game.

It's terribly important.
Please, may I go now?

Of course.

Thank you.
Good-bye.

Good-bye.

[Train whistle blowing]

[Applause]

[Train whistle blows]

[Applause]

[Applause]

[Laughter]

Man: Well, as I said before,
it's a great honor indeed

to have as guests
two such famous people.

Of course our worlds
are somewhat different.

Although I once
played the part
of a miser

in the hasty
pudding club show
at the university,

so I probably
shouldn't have any
difficulty at all

in, um, treading the boards...

is that what
you call it,
Mr. Belasco?

Yes. Treading
the boards.

One finds it so difficult
to get you out in public,
Mr. Belasco.

I can't resist this chance
to deluge you with questions.

Do you mind?

The theater is an illusion, madam.

It's best for those outside it

not to know too much about it.

But it's so fascinating.

For instance,
where do you get
your wonderful ideas?

They usually emerge like mermaids

out of a sea of perspiration.

[Laughter]

What do you think of the theater

as a business proposition?

The theater isn't
a business proposition, sir.

It's, uh, something
you marry for better
or for worse.

What do you think,
Mrs. Carter?

What?

I said, what do you think?

Well, I think champagne goes flat

almost as quickly as
most conversations.

Man: Brilliant!
Positively brilliant!

[Laughter]

You're so quick,
Mrs. Carter.

Do you write most
of your own dialogue?

Oh, dear me, no.

I'm hardly clever enough

to make anyone laugh or cry

with the things I say.

May I have a cigarette, please?

I beg your pardon.

Caroline: Oh, don't worry.
I'm not going to waste it.
I'm going to smoke it.

Does anyone object?

Not if Mrs. Leslie Carter
does it.

One doesn't expect
a great actress to be
like other people.

That's right.
Actors aren't
supposed to be

human beings, are they?

They're strange animals,

always on exhibition.

Caroline.

Why, people love to admire them

as they would
a good bit
of horse flesh

or a brilliant
peacock spreading
its feathers.

Oh, dear!
How stupid!

Will you excuse me, please?

Mrs. Carter
will be right back.

Caroline, what's
the matter with you?

Oh, theater, theater.

Is there nothing
in the world
but theater?

Not for us.
It's the most important
thing in our lives.

Not in mine.

Have you ever stopped to think

what I've given up for it?

Every interest
in friends,
home life, love...

your own words, David.

Now here I am.

You don't know what you want.

Perhaps I don't,

but I'm going out and look for it.

Why don't you try
to understand, Lou?
This is business.

Oh, business my eye.
You've got me skating
in a rink

so the stage-struck
girls can make
my acquaintance,

sitting in the park
so the nursemaids
can stare at me,

posing around cigar stores
so as to be popular
with the boys,

but I draw the line.

I will not meet
strange women
after the show.

But that's what makes
stock stars, Lou.
You've got to mix.

I'm paid to act.

Rats! You're paid
because you have
a matinee face

that makes the women feel reckless,

but if they can
only look at you
over the footlights

without being introduced,
they get that

"well, he ain't for me" feeling,

and they stay away
from the theater.

You've got to hold
your female clientele
by a slight acquaintance,

not too much, just enough.

See what I mean?

The French call it...

[Speaks French]

I'm going to my hotel.

Oh, but, Lou, please be reasonable.

She'll be sitting in the park

near the bandstand in the dark.

Ashamed to show her face
and afraid to tell her name.

No, no, no.
You don't
understand.

She's timid,
romantic,
don't you see?

When I said, "name, please,"

she said,
"just say Caroline."

But, Lou, she
looks expensive,
influential.

Now, I'm doing
my best to build up
your reputation,

and if you're not
willing to help
me out

in these
little things,
you're through!

You'll get your notice.

All right then!
You're fired!

I'm putting out the light, ma'am.

Couples are not
supposed to loiter
in the dark.

I'm not a couple.

No. Not yet.

Well, provided
you ain't
when I come back,

I'll put this lamp out last.

Hello, pat.
Have you seen
a lady?

Yes, Mr. Payne.

Heh.

It's really you.

What are you doing here?

I wanted to see you.

I hardly understand.

Simple enough.

I treated you shamefully, Lou.

That was years ago,
but I still hope
you'll forgive me...

it wasn't your fault.
You had a goal
and reached it.

You haven't changed a bit.

Tell me about yourself.

Oh. I just plugged along.

Now I'm a ham leading man
in a cheap stock company.

You haven't done so badly.

You know,
I didn't get
what I went after.

No?

In one way I did,
but the things
I wanted

didn't turn out
to be what I
thought they'd be.

I'm sorry.

Lou, just to be
sitting here
alone with you

on a park bench
means so much more
than anything else.

Caroline...

ahem. Say, Payne,
you know this
ain't allowed.

We won't be here long, pat.

Well, you'll be in the dark.

Man: I guess Mrs. Carter...
Mrs. Payne, I should say...

has never before appeared
in a small-town
stock company,

but here she is tonight,
playing, I hope,
her happiest role,

that of the bride
of the man she loves.

To the greatest actress
in the world

and to the greatest
fellow in the world,
Mr. and Mrs. Lou Payne!

Great happiness and success!

[All talking at once]

The bride is wanted
on the telephone.
It's Mr. Belasco.

Mr. Belasco?
Gee!

Calling from New York.

Now you're in for it.

I was afraid of this.

You should have told him.

Oh. It won't be
any worse now, will it?

Come along.
Excuse me.

Hello? Yes. Speaking.

He'll get over it.

Oh, hello, David.

Hello? Hello?

Caroline, is this press report

that you were just married correct?

Oh, is it in the papers already?

Yes, and you told me
nothing of this.

I wasn't worthy of your confidence!

Well, I didn't think
the reporters would
tell you first.

I wanted to tell you myself, David.

Lou and I were coming down

the first thing in the morning.

Oh, David, I'm so happy.

Caroline, can you hear me?

Yes, David.

I'm very glad
because it's the last time

you shall ever hear my voice.

He hung up.
He was furious.

Oh, Caroline, what...

oh, don't worry, Lou.

Don't you think
I know him
inside out.

He's raving now,
but he'll be
sending me roses

in the morning.

Oh, darling, let's be happy.

We've got to go back to them, Lou.

Wait for me at home, darling.

I will. Good luck.

Oh, good morning, miss luce.

Will you tell him I'm here?

Yes, Mrs. Carter.

Belasco: Bring her in
up stage left.

Charles: Up left.

Then he'll be right.
Down right.

Down right.
Van wick down right.

Mr. Belasco,
Mrs. Carter's here.

I'm not in.

Governor, I think
you should see her.

Charles, I didn't
ask for your advice.

The incident of
Mrs. Leslie Carter
is closed.

Now, you go out and tell her so.

Hello, Charles.

Congratulations, Caroline.

Thank you, Charles.

Is the governor
ready to cut
my head off?

Oh, I'm sorry, my dear.
He left New York
this morning.

That's a lie.
He just won't
see me.

Well, I'll do something about that.

I wouldn't
if I were you.
You're both too upset.

Oh, let me by.

So I have to force
my way into
the royal presence,

and how long is this
high indignation
to last?

So as long as the efforts
of so many years are
meaningless to you.

Yes, they are meaningless.

That's why I wouldn't go on

with my hollow existence,

being married
to nothing
but a theater.

You seem to forget
the grotesque
young creature

who once coolly asked
to be catapulted
into fame overnight.

It's quite a climb from that

to the present
Mrs. Carter.

Don't you think
others would have
discovered my genius?

When I found you on my doorstep

like a drowned puppy in the rain,

what landed you there, genius,

or was it cheap emotionalism,

unbridled temper,
and the assurance
of a foolish, young woman?

I took these very qualities

that had made your life a failure.

I gave them discipline,
balance, purpose

and turned them into an art

until the whole world
could see the genius

that I had built up in you.

Now you're flaunting it in my face.

So I was just part
of your puppet show,
was I?

And you pulled the strings?

Yes, I pulled the strings.

Well, I'm tired of it!

I'm tired of it, I tell you,

and if the public
thinks I can't act
without you,

it's high time
I showed them,
and I'll do it.

Good luck then.

Don't think I'll ever humble myself

to come to you again.

When you need
Leslie Carter,
you'll come to her.

I have my pride, too.

I'll never come
until you send for me.

All right.

Lou? Lou?

Hello, darling.

Notify all the agents
that Leslie Carter's

reading plays
for immediate production.

What happened?

What happened?
Simply this...

Belasco and I are finished.

That's all.

But, Caroline, what
do you intend to do?

I'm going to produce
my own plays
from now on.

You better think it over, darling.

It takes a lot of money
to produce a play.

Money? I've got
plenty of money,

more money
than I know what
to do with,

6 bank books full of money.

I'll show him
which one of us
needs the other.

I'll use every cent
of it if I have to!

Goddess play a flop.

She needs Belasco.

Goddess play a flop.

She's dead without Belasco.

Man: Goddess play
a flop.

Goddess play a flop.

Goddess play a flop.

Woman:
She needs Belasco.

She needs Belasco.

4 flops in a row, 4 flops in a row.

She's terrible.

Step in, Bella.

Oh. Hello, Bella.

You want to star
in "the invisible chorus"?

At 125.
Take it or leave it.

Wait outside.
I'll think it over.

I get it. Competition

I'll wait 5 minutes, Martin.

How are you,
Mrs. Carter?

I'm glad to see you.

You want to star
in "the invisible chorus"

with your husband
as the leading man?

May I take this chair?

Oh, sure, sure.

What do you say, huh?

What?
Hmm?

I'm sorry.
I didn't hear
what you said,

I was so fascinated by your hat.

I get you.

Playing in them society dramas

makes you gals
that way, I guess,
don't it, huh?

Well, what do you say, Carter?

It's a swell part.

I know. I saw
savin play it
at the lyceum.

Well, that's fine.
They ain't seen the play
down south yet.

All you got to do
is give an imitation
of savin.

Imitate savin?

Sure. She was good
enough

in New York, wasn't she,

and that's the way
I want the part played.

I've played
a few seasons
in New York myself.

Listen. The plays
you done in New York

since your Belasco days
are... well, you're here
now, ain't you?

Yes, I'm here.

The part pays 100 a week
with sleepers.

Do we sign?

You're joking.

Listen. Every actress
has her day.

Then it's over.

That's right.

Caroline, I've been to every office

in town to look for you.

I just signed her.

That's what you think.

Come along, darling.
I've got a deal

with Charles Bryant.

But, Lou...

Charles, come in here.

Hello, Caroline.

I've convinced him
that "the case
of Mrs. hartley"

is just the play to bring you back.

But you're not a producer.

Starting this morning,
Charles Bryant presents.

New York doesn't want me.

Just you wait and see.

They will in this play.

We convinced a backer
that you'd get over.

That should be enough.

He said, "get
Mrs. Carter's signature

on that contract,
and I'll back the show!"

It's like old times.
Everybody wants me to sign.

Then you will, Caroline?

Oh, Charles!

Good. You're back
on Broadway.

Come on.
Let's celebrate.

Good-bye, Martin.
Good-bye, Martin.

Oh. Thanks for the use
of the office.

Charles: Closer.
Go ahead.

Caroline: Protect
myself by engaging
an attorney.

Your wife was a great actress

under Mr. Belasco,
Mr. Payne, but I feel...

Mr. krantz,
a rehearsal isn't
a performance.

I suppose a mere meatpacker
can't be an authority,

but something seems to be lacking.

I rather like posing
as an understanding patron
of the theater,

but I'm afraid they'll say,

"why didn't the old fool

put his money into
an orphan asylum?"

Charles:
Nothing the matter
with the lines...

there. That's
something like it.

Now she's acting.
That's real.

That's how it sounds at home.

That's not in the play.
She's arguing
with the director.

Oh.

Charles: Caroline,
come back here.

I won't go on with this torture.

I tell you,
I'm rotten,
the play's rotten.

I can see it in all their faces.

Oh. I don't know
what to do.

Nobody seems to.

He have more system
in the packing
business.

She declares
she can't act
without Belasco.

I believe her.

Payne: Darling,
what are you doing?

Let me out of here.
I'm through.

Caroline, try to take
ahold of yourself.

We're opening tomorrow night.

I'm not going to open.
Call off the show!

What?
Call it off!

I won't make a fool of myself.

I won't go out there and do it,

not for anybody.

That doesn't sound
like you, darling.

I know, but I can't help it.

Yes, you can.
You can't walk out
of a production.

Think of all
their money
invested in you

and those actors' jobs.

Even if you can't be a hit,

at least you can be a trooper.

Oh, Lou, must I go on?

What would you say
if some other star
walked out?

Come on, Caroline.
You're just tired
and nervous.

You've been working too hard.

You're not gonna
let me down now,
are you?

I'm sorry, Charles.
I'll try again.

That's the girl.

[Murmuring]

Ladies and gentlemen, I apologize.

I'll do my best.

Charles: We'll take
the same scene over again.

Who's there?

I'm Lou Payne.

How'd you get in here?

There was no one outside, so i...

there will be in the future.

What do you want?

I've come to beg you
to help Caroline.

There's nothing I can do for her.

You made her great once.

You can do it again.

She had greatness in her.

I only showed her how to use it.

Then show her again.

It doesn't matter
that she lose
every cent she had

if the show flops,

but does matter
is she loses her self,

loses her grip on life,

even her desire to live.

You've got to help her.

I'm sorry,
Mr. Payne.

The Carter incident is closed.

Now if you'll excuse me,

I have a 10:00
rehearsal tomorrow morning.

You created a perfect thing once.

I can't imagine you
letting anyone
destroy it,

even yourself.

When Mrs. Carter
thinks she needs me,

she can send for me.

So I've got to say
that, too, have I?

I've got to tell you
how she humbled
herself,

begged me to say
that she needs you,
needs your help,

beg me to say...

don't say it.

I didn't know what I was asking.

I'll come.

There was one woman
who could have
filled my heart

to overflowing.

You should have framed her
and hung her up

with the rest of your etchings.

Belasco:
Oh, no, no, no, no, no.

No, no, no, Caroline,
have you forgotten
everything?

Can't you keep them in?

You remember, into your sides.

David.

Caroline, I'm glad Lou came for me.

It was very foolish of him...

Lou went to you?

Is that why you're here.

Oh, Lou, how dare
you go begging to him?

You know I'd rather die
than ask him to help me.

Now, everybody, I know this play.

There's nothing to fear.
It should be a success

if the right woman plays it

and if she has
enough humility
to be shown how.

Now, we'll pick it up
from the hearth line.

No, we do not pick it up
from the hearth line.

Of course, if you're
not yet ready
to be shown.

If I'm not ready
for one of your
famous lessons

in humiliation, you mean.

Caroline, darling.
Be quiet!

He's right, Caroline.
How dare you.

I give up!
Payne: That's
no way to talk.

Well, if the governor
can't handle her, who can?

I came her to help.

You came here
to satisfy your vanity.

Caroline, you know you need me.

That's right. Gloat.
I'm down, I need you,
so gloat.

Haven't you any sense
of responsibility?

Yes! And see what
it's brought me to.

You're acting like a spoiled child!

You can't talk to her like that!

If you had any backbone, you would!

I only came to prevent
needless failure.

Failure? That's
what you'd like!

[All shouting at once]

Because time makes one wise,

I know now that you loved me then.

Time does lots of things, John.

It makes you old,
slows down
your reflexes,

and it gives you sudden aches

in unexpected places,

but somehow,
it doesn't seem
to stop the tears

you shed on lonely nights

for the love that might have been.

So we live our years.

We laugh, and we cry,

and there's one moment's happiness

in an hour of sorrow,

and then we grow old,

and there's only
one joy left for us,

the joy of reunion.

[Cheering and applause]

Bravo!

Thank you, David.