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00:00:21,604 --> 00:00:22,897
[BIG BAND MUSIC PLAYING]
2
00:00:22,981 --> 00:00:24,357
♪ YOU'LL ADORE ♪
3
00:00:24,441 --> 00:00:26,443
♪ THE STEP THAT EVERYONE'S
BEEN WAITING FOR ♪
4
00:00:26,526 --> 00:00:27,444
♪ YOU'LL FIND THE CROWD ♪
5
00:00:27,527 --> 00:00:29,237
♪ ON EVERY DANCING FLOOR ♪
6
00:00:29,320 --> 00:00:30,280
♪ BECAUSE OF SOMETHING CALLED ♪
7
00:00:30,363 --> 00:00:31,281
♪ THE SWING TROT ♪
8
00:00:31,364 --> 00:00:32,490
♪ REMEMBER, SWING TROT ♪
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00:00:32,574 --> 00:00:34,075
♪ IT'S A DEAL ♪
10
00:00:34,159 --> 00:00:35,118
♪ IT'S VERY SIMPLE ♪
11
00:00:35,201 --> 00:00:36,494
♪ WITH TERRIF APPEAL ♪
12
00:00:36,578 --> 00:00:37,454
♪ YOU GRAB A PARTNER ♪
13
00:00:37,537 --> 00:00:38,621
♪ WHEN YOU HEAR A BAND ♪
14
00:00:38,705 --> 00:00:39,956
♪ AND YOU'RE THE GREATEST ♪
15
00:00:40,039 --> 00:00:41,833
♪ DANCER IN THE LAND ♪
16
00:00:41,916 --> 00:00:44,919
♪ IT'S REAL AND GOOEY,
TEA FOR TWO-EY ♪
17
00:00:45,003 --> 00:00:47,172
♪ JUST WATCH YOUR PARTNER'S
EYES GROW DEWY ♪
18
00:00:47,255 --> 00:00:50,216
♪ ENTRE NOUS-EY,
YOU'RE SLIGHTLY SCREWY, BUT ♪
19
00:00:51,009 --> 00:00:52,135
♪ IRRESISTIBLE ♪
20
00:00:52,218 --> 00:00:53,470
♪ ON AND ON ♪
21
00:00:53,553 --> 00:00:56,055
♪ OH, WHAT AN ANSWER
WELL, THEY'VE HIT UPON ♪
22
00:00:56,139 --> 00:00:58,224
♪ IT GETS YOU GOING
TILL YOU'RE REALLY GONE ♪
23
00:00:58,308 --> 00:01:00,727
♪ AND YOU WILL NEVER RUE
THE DAY ♪
24
00:01:00,810 --> 00:01:06,232
♪ THE DAY YOU REALIZE
THE SWING TROT IS HERE TO STAY ♪
25
00:01:52,445 --> 00:01:54,072
[APPLAUSE AND CHEERING]
26
00:02:30,358 --> 00:02:32,861
THANK YOU AGAIN,
LADIES AND GENTLEMEN.
27
00:02:32,944 --> 00:02:35,488
WE'RE OVERJOYED AT
THIS WONDERFUL RECEPTION
28
00:02:35,572 --> 00:02:37,240
OF OUR THIRD SHOW
TOGETHER,
29
00:02:37,323 --> 00:02:40,660
AND I THINK I SPEAK FOR
MY 2 LIFELONG PARTNERS--
30
00:02:40,743 --> 00:02:41,911
MY CHARMING WIFE
31
00:02:41,995 --> 00:02:43,413
AND EZRA MILLAR,
THE COMPOSER--
32
00:02:43,496 --> 00:02:46,749
WHEN I SAY THAT NONE OF US
COULD HAVE DONE IT
33
00:02:46,833 --> 00:02:48,251
WITHOUT THE OTHER TWO.
34
00:02:48,334 --> 00:02:50,503
[APPLAUSE]
35
00:02:50,587 --> 00:02:51,588
I DON'T KNOW.
36
00:02:51,671 --> 00:02:53,673
I'VE DONE IT BEFORE
WITHOUT YOU TWO.
37
00:02:53,756 --> 00:02:55,258
4 SHOWS, 4 FLOPS.
38
00:02:55,341 --> 00:02:56,759
[LAUGHTER]
39
00:02:56,843 --> 00:02:59,262
BUT, EZ, THE SCORE TO
THIS IS JUST WONDERFUL.
40
00:02:59,345 --> 00:03:01,264
I FEEL YOU SHOULD
GET ALL THE CREDIT.
41
00:03:01,347 --> 00:03:02,515
I DO, TOO.
42
00:03:02,599 --> 00:03:04,017
[APPLAUSE]
43
00:03:04,100 --> 00:03:05,226
INCIDENTALLY,
44
00:03:05,310 --> 00:03:07,020
WHILE WE'RE PATTING
EACH OTHER ON THE BACK,
45
00:03:07,103 --> 00:03:09,272
WHAT ABOUT
YOUR LITTLE WOMAN?
46
00:03:09,355 --> 00:03:11,107
SHE CONTRIBUTED SOMETHING
TO THE OCCASION.
47
00:03:11,190 --> 00:03:12,567
[APPLAUSE]
48
00:03:12,650 --> 00:03:14,986
THANK YOU. THANK YOU,
LADIES AND GENTLEMEN,
49
00:03:15,069 --> 00:03:17,614
BUT WHAT WOULD
MY PERFORMANCE BE
50
00:03:17,697 --> 00:03:19,616
WITHOUT MY HUSBAND
JOSH BARKLEY'S
51
00:03:19,699 --> 00:03:22,118
CLEVER LYRICS
AND BRILLIANT DIRECTION?
52
00:03:22,201 --> 00:03:23,786
[APPLAUSE]
53
00:03:23,870 --> 00:03:25,163
WELL, LADIES
AND GENTLEMEN,
54
00:03:25,246 --> 00:03:27,123
I'M SURE THAT
MY LYRICS AND DIRECTION
55
00:03:27,206 --> 00:03:28,958
WOULD MEAN
ABSOLUTELY NOTHING
56
00:03:29,042 --> 00:03:30,835
WITHOUT MY CLEVER
AND BRILLIANT WIFE
57
00:03:30,919 --> 00:03:32,545
TO PERFORM THEM.
58
00:03:32,629 --> 00:03:34,130
[APPLAUSE]
59
00:03:34,213 --> 00:03:36,591
LADIES AND GENTLEMEN,
I MERELY PERFORMED THE MATERIAL
60
00:03:36,674 --> 00:03:39,177
THE WAY MY HUSBAND
TAUGHT AND DIRECTED ME.
61
00:03:39,260 --> 00:03:41,429
BUT, LADIES
AND GENTLEMEN,
62
00:03:41,512 --> 00:03:42,805
IN THE HANDS
OF A TALENT
63
00:03:42,889 --> 00:03:45,141
SUCH AS MY LOVELY
WIFE DINAH'S,
64
00:03:45,224 --> 00:03:47,560
ANY MATERIAL WOULD LOOK
PRETTY DARN WONDERFUL.
65
00:03:47,644 --> 00:03:49,020
[LAUGHTER]
66
00:03:49,103 --> 00:03:50,229
BUT, LADIES
AND GENTLEMEN--
67
00:03:50,313 --> 00:03:51,814
LADIES AND GENTLEMEN,
THIS MEETING
68
00:03:51,898 --> 00:03:53,900
OF THE MUTUAL ADMIRATION SOCIETY
IS NOW ADJOURNED.
69
00:03:53,983 --> 00:03:55,735
THANK YOU
AND GOOD NIGHT.
70
00:04:21,094 --> 00:04:24,555
[SIGH]
71
00:04:24,639 --> 00:04:25,765
ALLOW ME, MADAM.
72
00:04:25,848 --> 00:04:27,600
OH, THANK YOU, SIR.
73
00:04:27,684 --> 00:04:29,185
MM-HMM.
74
00:04:29,269 --> 00:04:31,688
MMM...
75
00:04:31,771 --> 00:04:34,774
MUST WE GO TO
OLD LADY BELNEY'S PARTY?
76
00:04:34,857 --> 00:04:35,942
IT'S SO NICE HERE.
77
00:04:36,025 --> 00:04:37,360
OH, BUT WE HAVE TO.
78
00:04:37,443 --> 00:04:39,654
OPENING NIGHT PARTY AT
MRS. LIVINGSTON BELNEY'S--
79
00:04:39,737 --> 00:04:42,198
MY DEAR,
IT'S A STATE LAW.
80
00:04:42,281 --> 00:04:43,700
OPENING NIGHT.
81
00:04:43,783 --> 00:04:46,160
IT WAS WONDERFUL,
THOUGH, WASN'T IT?
82
00:04:46,244 --> 00:04:48,079
EVERYTHING WENT
SO SMOOTHLY.
83
00:04:48,162 --> 00:04:50,039
JUST GOES TO SHOW ALL
THOSE LITTLE TROUBLES
84
00:04:50,123 --> 00:04:52,709
ALONG THE WAY
JUST DON'T MATTER NOW--
85
00:04:52,792 --> 00:04:54,460
LIKE THOSE SILLY
LITTLE ROWS
86
00:04:54,544 --> 00:04:57,130
WE HAD IN REHEARSAL
AND ON THE ROAD.
87
00:04:58,339 --> 00:04:59,716
DARLING,
DID YOU REALLY MEAN
88
00:04:59,799 --> 00:05:02,385
ALL THOSE THINGS
YOU SAID ABOUT ME
89
00:05:02,468 --> 00:05:03,720
IN YOUR
CURTAIN SPEECH?
90
00:05:03,803 --> 00:05:06,305
WELL, HONEY,
OF COURSE I DID.
91
00:05:06,389 --> 00:05:08,891
IT WAS YOUR SHOW TONIGHT.
I COULD FEEL IT.
92
00:05:08,975 --> 00:05:12,353
THEN YOU MEAN IT WAS
REALLY ALL RIGHT?
93
00:05:12,437 --> 00:05:14,772
ALL RIGHT? WHY,
YOU WERE TERRIFIC.
94
00:05:14,856 --> 00:05:16,733
YOU GOT
ALL YOUR LAUGHS.
95
00:05:16,816 --> 00:05:19,402
YOUR TIMING,
EVERY GESTURE--PERFECT.
96
00:05:19,485 --> 00:05:22,155
OH, THANK YOU,
DARLING.
97
00:05:23,489 --> 00:05:25,742
OF COURSE,
IF I WANTED TO BE--
98
00:05:25,825 --> 00:05:28,036
WELL, IT DIDN'T AMOUNT
TO ANYTHING.
99
00:05:28,119 --> 00:05:30,747
THERE WAS ONE PLACE
IN THE SUBWAY SCENE THAT--
100
00:05:30,830 --> 00:05:31,956
OH, MAYBE
YOU COULD HAVE GOTTEN
101
00:05:32,040 --> 00:05:35,877
A LITTLE MORE OUT OF,
BUT--WELL...
102
00:05:37,086 --> 00:05:38,880
REALLY?
103
00:05:40,173 --> 00:05:43,092
OH, IT WAS NOTHING.
IT WAS JUST--
104
00:05:43,176 --> 00:05:46,137
NO. WHAT WAS WRONG?
I WANT TO KNOW.
105
00:05:46,220 --> 00:05:48,097
OH, IT WAS
JUST A DETAIL.
106
00:05:48,181 --> 00:05:49,515
PROBABLY
OPENING NIGHT NERVES.
107
00:05:49,599 --> 00:05:51,059
WE'LL TALK
ABOUT IT LATER.
108
00:05:51,142 --> 00:05:52,643
I WANT TO TALK
ABOUT IT NOW.
109
00:05:52,727 --> 00:05:54,562
I WON'T SLEEP A WINK TONIGHT
WORRYING ABOUT IT.
110
00:05:54,645 --> 00:05:56,022
THERE'S NOTHING TO WORRY
ABOUT. LET'S DROP IT.
111
00:05:56,105 --> 00:05:57,607
WHAT DO YOU MEAN, DROP IT?
YOU BROUGHT IT UP!
112
00:05:57,690 --> 00:05:59,108
IF YOU THINK YOU CAN
SIT HERE AND CRITICIZE ME--
113
00:05:59,192 --> 00:06:01,611
I DON'T WANT TO GO INTO IT
NOW. IT'S JUST A DETAIL.
114
00:06:01,694 --> 00:06:03,446
IT'S ALWAYS
JUST A DETAIL!
115
00:06:03,529 --> 00:06:04,906
A DETAIL HERE,
A DETAIL THERE,
116
00:06:04,989 --> 00:06:06,741
AND THEN IT STARTS
TO GROW.
117
00:06:06,824 --> 00:06:11,412
PICK, PICK, PICK
ON EVERYTHING I DO.
118
00:06:11,496 --> 00:06:12,538
WHAT WAS IT?
119
00:06:13,831 --> 00:06:15,333
WELL,
IF YOU MUST KNOW,
120
00:06:15,416 --> 00:06:17,001
I JUST THOUGHT
YOU COULD HAVE PUT
121
00:06:17,085 --> 00:06:20,129
A LITTLE MORE DRAMA IN THERE--
A LITTLE MORE EMOTION.
122
00:06:20,213 --> 00:06:21,672
THE AUDIENCE
WANTS TO CRY THERE.
123
00:06:21,756 --> 00:06:22,757
YOU DIDN'T LET THEM.
YOU OWE IT TO THEM!
124
00:06:22,840 --> 00:06:23,758
Man: GOOD EVENING.
125
00:06:23,841 --> 00:06:24,842
Josh and Dinah:
GOOD EVENING!
126
00:06:24,926 --> 00:06:26,219
DID IT EVER OCCUR
TO YOU THAT--
127
00:06:26,302 --> 00:06:28,805
[QUIETLY]
SHH. DOORMAN. DOORMAN.
128
00:06:28,888 --> 00:06:30,139
WELL!
129
00:06:30,223 --> 00:06:33,684
Woman: THERE THEY ARE!
WELCOME, MY DARLINGS!
130
00:06:37,355 --> 00:06:38,481
Ezra: JOSH, DINAH,
131
00:06:38,564 --> 00:06:40,942
I'VE GOT SOMETHING
IMPORTANT TO TELL YOU.
132
00:06:41,025 --> 00:06:43,778
[ALL TALKING AT ONCE]
133
00:06:43,861 --> 00:06:44,862
HURRY UP.
IT'S TOP-SECRET.
134
00:06:44,946 --> 00:06:47,323
WELL, WHAT--
TOP-SECRET? WHAT?
135
00:06:47,406 --> 00:06:48,449
WHAT? WHAT?
136
00:06:48,533 --> 00:06:49,492
NOTHING. I JUST THOUGHT
I'D RESCUE YOU
137
00:06:49,575 --> 00:06:50,368
FROM THAT JUNGLE
OF SQUARES.
138
00:06:50,451 --> 00:06:51,744
WELL, THANKS, PAL.
139
00:06:51,828 --> 00:06:53,830
"IN THE NICK OF TIME EZRA"--
THAT'S WHAT THEY CALL ME.
140
00:06:53,913 --> 00:06:54,956
SOME COFFEE?
141
00:06:55,039 --> 00:06:55,998
NO, THANKS.
142
00:06:56,082 --> 00:06:57,667
LIKE DURING
THOSE CURTAIN SPEECHES.
143
00:06:57,750 --> 00:06:58,835
IF I HADN'T STOPPED YOU,
144
00:06:58,918 --> 00:06:59,961
YOU'D HAVE BEEN
AT EACH OTHER'S THROAT
145
00:07:00,044 --> 00:07:01,045
IN ANOTHER SECOND.
146
00:07:01,129 --> 00:07:02,672
WHAT DO YOU MEAN--
147
00:07:02,755 --> 00:07:03,756
SHH.
148
00:07:03,840 --> 00:07:05,174
WE MEANT EVERY WORD
WE SAID. DIDN'T WE?
149
00:07:05,258 --> 00:07:07,802
OF COURSE.
EZRA, YOU EXAGGERATE
150
00:07:07,885 --> 00:07:09,595
THIS THING ABOUT OUR FIGHTING
MUCH TOO MUCH.
151
00:07:09,679 --> 00:07:12,431
AFTER ALL, WE HAVEN'T HAD
A FIGHT IN WEEKS.
152
00:07:12,515 --> 00:07:13,391
IN WEEKS?
153
00:07:13,474 --> 00:07:14,934
OF COURSE NOT.
154
00:07:16,686 --> 00:07:18,020
UM, I APOLOGIZE
155
00:07:18,104 --> 00:07:20,314
FOR WHAT HAPPENED
IN THE CAR, DINAH.
156
00:07:23,109 --> 00:07:24,610
I'M SORRY.
157
00:07:24,694 --> 00:07:27,071
I APOLOGIZE TO YOU.
158
00:07:27,155 --> 00:07:28,406
AND I APOLOGIZE
TO BOTH OF YOU
159
00:07:28,489 --> 00:07:30,700
FOR HAVING LET YOU OUT
OF MY SIGHT FOR A SECOND.
160
00:07:30,783 --> 00:07:31,909
IT'S MY FAULT.
161
00:07:31,993 --> 00:07:34,328
HEY, CLEO,
WHERE HAVE YOU BEEN?
162
00:07:34,412 --> 00:07:35,329
CLEO!
163
00:07:35,413 --> 00:07:36,914
I BEG YOUR PARDON,
MR. MILLAR,
164
00:07:36,998 --> 00:07:38,457
BUT THIS LADY HAPPENS
TO BE MY WIFE.
165
00:07:38,541 --> 00:07:39,834
OH, CONGRATULATIONS.
166
00:07:39,917 --> 00:07:42,920
ARE YOU HAPPY
IN YOUR WORK?
167
00:07:43,004 --> 00:07:43,796
CLEO?
168
00:07:43,880 --> 00:07:45,006
LOOKING FOR ME,
BABY?
169
00:07:45,089 --> 00:07:46,757
WHY DON'T YOU WEAR
AN "X" ON YOUR FOREHEAD?
170
00:07:46,841 --> 00:07:48,259
COME ON, FOLLOW ME.
171
00:07:52,972 --> 00:07:54,473
OOH! THERE'S
MRS. BELNEY.
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00:07:54,557 --> 00:07:56,726
SHE'S GOING TO ASK US
TO PERFORM.
173
00:07:56,809 --> 00:07:57,977
LOOK SHARP.
IT'S MRS. BELNEY.
174
00:07:58,060 --> 00:08:00,897
Josh: THANK YOU
VERY MUCH.
175
00:08:00,980 --> 00:08:01,856
I KNOW
WHAT LET'S DO.
176
00:08:01,939 --> 00:08:03,065
WE'LL FILL UP
THESE PLATES,
177
00:08:03,149 --> 00:08:05,067
SMUGGLE THEM UNDER
OUR COATS, AND GO HOME.
178
00:08:05,151 --> 00:08:07,069
DARLING, WE CAN'T. THIS
WHOLE THING IS FOR US.
179
00:08:07,153 --> 00:08:08,779
THERE MUST BE SOMEPLACE
WE CAN BE ALONE.
180
00:08:08,863 --> 00:08:09,864
I KNOW, BUT--
181
00:08:09,947 --> 00:08:11,616
HEY, LET'S GO OUT
ON THE TERRACE.
182
00:08:11,699 --> 00:08:12,909
HONEY, THERE'S SNOW
OUT THERE.
183
00:08:12,992 --> 00:08:14,911
WELL, I'LL GET YOUR WRAP.
WE'LL HAVE A PICNIC.
184
00:08:14,994 --> 00:08:16,078
HOW WONDERFUL.
185
00:08:16,162 --> 00:08:18,331
YOU PILE UP YOUR PLATE
AND FOLLOW ME OUT.
186
00:08:18,414 --> 00:08:19,582
BRING
A KNIFE AND FORK.
187
00:08:19,665 --> 00:08:21,042
ALL RIGHT, DEAR.
188
00:08:21,125 --> 00:08:23,252
I'M GOING TO FREEZE
TO DEATH, BUT ALL RIGHT.
189
00:08:23,336 --> 00:08:24,503
MAY I BE
OF SOME ASSISTANCE,
190
00:08:24,587 --> 00:08:25,796
MRS. BARKLEY?
191
00:08:25,880 --> 00:08:28,257
OH, THANK YOU, YES.
WOULD YOU MIND HOLDING THAT?
192
00:08:28,341 --> 00:08:29,383
NOT AT ALL.
193
00:08:29,467 --> 00:08:31,594
WE HAVEN'T MET.
I'M JACQUES BARREDOUT.
194
00:08:31,677 --> 00:08:33,387
OH, HOW DO YOU DO?
195
00:08:33,471 --> 00:08:34,597
OF COURSE.
196
00:08:34,680 --> 00:08:36,474
I SHOULD HAVE RECOGNIZED YOU
FROM YOUR PICTURES.
197
00:08:36,557 --> 00:08:38,142
I'M GLAD YOU DIDN'T.
THEY'RE FRIGHTFUL.
198
00:08:38,226 --> 00:08:39,352
THE ONLY GOOD ONE I HAVE
199
00:08:39,435 --> 00:08:40,770
IS RATHER INDECENT,
I'M AFRAID--
200
00:08:40,853 --> 00:08:44,273
TAKEN ON A BEARSKIN RUG
AT THE AGE OF 3 MONTHS.
201
00:08:44,357 --> 00:08:46,025
OH, I HAVE
ONE OF THOSE, TOO.
202
00:08:46,108 --> 00:08:46,984
YOU DO?
203
00:08:47,068 --> 00:08:48,486
HA HA! YES.
204
00:08:52,615 --> 00:08:55,284
QUITE AN ADMIRER
OF YOUR PLAYS.
205
00:08:55,368 --> 00:08:56,661
I UNDERSTAND YOU'RE JUST
FINISHING A NEW ONE.
206
00:08:56,744 --> 00:08:58,037
NO, IT'S JUST ABOUT
FINISHING ME.
207
00:08:58,120 --> 00:09:00,414
MY MOST SERIOUS EFFORT--
I PLAN TO DIRECT IT, TOO.
208
00:09:00,498 --> 00:09:01,707
HOW NICE.
209
00:09:01,791 --> 00:09:02,917
I CAN ONLY HOPE IT WILL BE
HALF AS SUCCESSFUL
210
00:09:03,000 --> 00:09:04,585
AS YOUR LITTLE
MUSICAL EXTRAVAGANZA.
211
00:09:04,669 --> 00:09:07,296
I WAS THERE TONIGHT.
212
00:09:08,548 --> 00:09:10,925
WELL, THE AUDIENCE
SEEMED TO LIKE IT.
213
00:09:11,008 --> 00:09:12,718
UNFORTUNATELY,
I DID NOT.
214
00:09:14,887 --> 00:09:16,430
WELL, AT LEAST
YOU'RE HONEST.
215
00:09:16,514 --> 00:09:17,974
NOW, DON'T BE
ANGRY, PLEASE.
216
00:09:18,057 --> 00:09:20,017
I DON'T CARE FOR
MUSICAL COMEDY IN GENERAL.
217
00:09:20,101 --> 00:09:21,394
OH.
218
00:09:21,477 --> 00:09:23,437
BUT THIS ONE
FOR A SPECIAL REASON.
219
00:09:23,521 --> 00:09:24,981
HMM?
AND WHAT WAS THAT?
220
00:09:25,064 --> 00:09:26,524
YOU.
221
00:09:26,607 --> 00:09:28,025
HMM?
222
00:09:28,109 --> 00:09:29,402
YOU'RE WASTED
IN MUSICAL COMEDY.
223
00:09:29,485 --> 00:09:32,029
YOU COULD BE A GREAT
TRAGIC ACTRESS.
224
00:09:32,113 --> 00:09:34,073
HA HA! OH,
MONSIEUR BARREDOUT,
225
00:09:34,156 --> 00:09:35,533
YOU REALLY
DON'T MEAN THAT.
226
00:09:35,616 --> 00:09:37,034
I DO.
227
00:09:37,118 --> 00:09:38,995
THERE WAS ONE MOMENT
IN PARTICULAR
228
00:09:39,078 --> 00:09:41,497
I WAS MOVED TO TEARS--
THE SUBWAY SCENE.
229
00:09:41,580 --> 00:09:42,957
SHALL WE?
230
00:09:43,040 --> 00:09:45,126
SUB...
231
00:09:45,209 --> 00:09:47,837
THE SUBWAY SCENE?
232
00:09:58,014 --> 00:09:59,181
AND WHO KNOWS?
233
00:09:59,265 --> 00:10:01,600
SARAH BERNHARDT,
ELEONORA DUSE
234
00:10:01,684 --> 00:10:03,644
IN THIS CRASS, MODERN,
COMMERCIAL THEATRE
235
00:10:03,728 --> 00:10:06,063
MIGHT HAVE ENDED UP
IN MUSICAL COMEDY
236
00:10:06,147 --> 00:10:09,984
JUST AS YOU HAVE DONE.
DON'T YOU SEE?
237
00:10:10,067 --> 00:10:11,402
OH, BUT IT--
238
00:10:11,485 --> 00:10:13,446
OH, IT'S SO UTTERLY
SILLY OF YOU
239
00:10:13,529 --> 00:10:17,491
TO COMPARE ME WITH THOSE
INSPIRED IMMORTALS.
240
00:10:17,575 --> 00:10:20,536
AFTER ALL--
HA HA HA!
241
00:10:20,620 --> 00:10:22,705
BUT YOU REALLY DID THINK
242
00:10:22,788 --> 00:10:25,124
IN THE SUBWAY SCENE
I HAD SOME OF THEIR--
243
00:10:25,207 --> 00:10:27,376
THEIR QUALITIES.
MAIS OUI.
244
00:10:27,460 --> 00:10:30,629
HMM. HOW
EXTRAORDINARY.
245
00:10:30,713 --> 00:10:34,008
ONLY A FEW MINUTES AGO,
I WAS TALKING TO...
246
00:10:34,091 --> 00:10:36,177
SOMEONE WHO...
247
00:10:36,260 --> 00:10:39,555
WHO DIDN'T THINK I HAD
THE EMOTIONAL GIFT AT ALL.
248
00:10:39,639 --> 00:10:41,974
OH, HE MUST BE
A COMPLETE IDIOT.
249
00:10:42,058 --> 00:10:43,184
[MAN SNEEZES]
250
00:10:43,267 --> 00:10:44,435
WELL, IT'S INTERESTING
TO GET BOTH--
251
00:10:44,518 --> 00:10:46,479
OH! DARLING,
WHERE HAVE YOU BEEN?
252
00:10:46,562 --> 00:10:47,480
SIBERIA.
253
00:10:47,563 --> 00:10:48,230
[AH-CHOO]
254
00:10:48,314 --> 00:10:50,649
OH, BLESS YOU. OH!
255
00:10:50,733 --> 00:10:53,027
I--I GOT IN THE MOST
INTERESTING CONVERSATION
256
00:10:53,110 --> 00:10:54,612
WITH MR.--
UH, MONSIEUR BARREDOUT.
257
00:10:54,695 --> 00:10:57,156
ALLOW ME TO PRESENT
MONSIEUR BARREDOUT, MR. HUSBAND.
258
00:10:57,239 --> 00:10:58,240
BARKLEY'S
THE NAME.
259
00:10:58,324 --> 00:10:58,824
HOW DO YOU DO?
260
00:10:58,908 --> 00:10:59,742
HOW DO YOU DO?
261
00:10:59,825 --> 00:11:01,035
I WAS JUST TELLING
YOUR WIFE
262
00:11:01,118 --> 00:11:02,578
I'D SEEN YOUR SHOW TONIGHT,
AND I THINK IT--
263
00:11:02,661 --> 00:11:04,663
OH, DON'T TELL HIM.
264
00:11:04,747 --> 00:11:05,706
CHARMING.
265
00:11:05,790 --> 00:11:07,249
THANKS.
266
00:11:07,333 --> 00:11:08,918
NOW, MRS. BARKLEY,
I HOPE WE MEET AGAIN
267
00:11:09,001 --> 00:11:11,587
NOW THAT WE HAVE
A BEARSKIN RUG IN COMMON.
268
00:11:11,670 --> 00:11:13,005
HA HA HA!
269
00:11:13,089 --> 00:11:14,256
WILL YOU EXCUSE ME?
270
00:11:14,340 --> 00:11:15,341
CERTAINLY.
271
00:11:15,424 --> 00:11:16,509
AU REVOIR.
272
00:11:16,592 --> 00:11:17,927
AU REVOIR.
273
00:11:20,679 --> 00:11:22,681
UH, UH...
274
00:11:22,765 --> 00:11:25,017
I'LL, UH--DON'T YOU
THINK WE OUGHT TO--
275
00:11:25,101 --> 00:11:26,894
WHERE ARE THEY?
OH, THERE YOU ARE!
276
00:11:26,977 --> 00:11:29,522
YOU'RE NOT GOING?
OH, DARLINGS, I WANT YOU TO DO
277
00:11:29,605 --> 00:11:31,107
THE LITTLE NUMBER
YOU DO IN THE SHOW.
278
00:11:31,190 --> 00:11:32,274
I'M SORRY, MILLIE.
I CAN'T SING A NOTE.
279
00:11:32,358 --> 00:11:33,609
I'VE GOT
A TERRIBLE COLD.
280
00:11:33,692 --> 00:11:35,653
I MAY NOT BE ABLE TO DO
THE SHOW TOMORROW NIGHT.
281
00:11:35,736 --> 00:11:36,612
BUT, MILLIE,
282
00:11:36,695 --> 00:11:37,780
I'M IN BEAUTIFUL
VOICE TONIGHT.
283
00:11:37,863 --> 00:11:39,698
OH! DON'T YOU THINK
YOU BETTER PLAY?
284
00:11:39,782 --> 00:11:41,617
LISTEN, LISTEN,
EVERYONE,
285
00:11:41,700 --> 00:11:42,952
EZRA'S GOING TO PLAY.
286
00:11:43,035 --> 00:11:44,078
Man: GOOD.
287
00:11:44,161 --> 00:11:45,621
Woman: OH,
THAT'S WONDERFUL.
288
00:11:45,704 --> 00:11:47,957
HA HA! YOU KNOW
MY FAVORITE, DARLING--
289
00:11:48,040 --> 00:11:49,583
PALE FINGERS.
HA HA!
290
00:11:49,667 --> 00:11:51,460
[APPLAUSE]
291
00:11:52,711 --> 00:11:54,880
[PLAYING
CLASSICAL MUSIC]
292
00:12:00,928 --> 00:12:02,847
DID ANYBODY HERE ASK
FOR THE SABRE DANCE?
293
00:12:02,930 --> 00:12:04,473
Woman: I'D LIKE
TO HEAR CAMPANELLA.
294
00:12:04,557 --> 00:12:06,767
Man:
RHAPSODY IN BLUE.
295
00:12:15,943 --> 00:12:17,695
SABRE DANCE,
ANYBODY?
296
00:12:17,778 --> 00:12:19,655
[PEOPLE GROANING]
297
00:12:19,738 --> 00:12:21,407
[AH-CHOO]
298
00:12:22,825 --> 00:12:24,410
[PIANO PLAYING SOFTLY]
299
00:12:26,078 --> 00:12:27,913
WELL, IF YOU INSIST.
300
00:12:28,998 --> 00:12:31,417
[PLAYING KHACHATURIAN'S
SABRE DANCE]
301
00:14:27,324 --> 00:14:28,951
[APPLAUSE]
302
00:14:32,496 --> 00:14:34,790
OPENING NIGHT. HUH!
303
00:14:41,964 --> 00:14:44,008
SOME OPENING NIGHT!
304
00:14:46,468 --> 00:14:49,430
ALL RIGHT, WHAT
ABOUT OPENING NIGHT?
305
00:14:49,513 --> 00:14:52,433
BIG SENTIMENTAL
OCCASION...
306
00:14:52,516 --> 00:14:54,310
OUR MOMENT OF TRIUMPH...
307
00:14:54,393 --> 00:14:55,978
AND WHAT DO I
FIND YOU DOING?
308
00:14:56,061 --> 00:14:59,815
FLIRTING WITH
A STUFFED DINNER JACKET.
309
00:14:59,898 --> 00:15:00,649
FLIRTING?
310
00:15:00,733 --> 00:15:03,110
FLIRTING! YEAH.
311
00:15:03,193 --> 00:15:04,403
OH, DARLING,
HOW PERFECTLY RIDICULOUS!
312
00:15:04,486 --> 00:15:06,447
I WAS JUST SITTING THERE
TALKING TO THE MAN.
313
00:15:06,530 --> 00:15:07,489
OH, SURE,
SO NATURAL.
314
00:15:07,573 --> 00:15:08,699
I COULDN'T GET AWAY.
THAT'S ALL.
315
00:15:08,782 --> 00:15:10,159
YOU COULDN'T GET AWAY,
AND I'M OUT THERE
316
00:15:10,242 --> 00:15:13,203
ON THAT TERRACE CATCHING
MY DEATH OF COLD!
317
00:15:13,287 --> 00:15:14,830
A LOT YOU CARE
IF I HAVE TO DO THE SHOW
318
00:15:14,913 --> 00:15:16,457
FROM AN OXYGEN TENT.
319
00:15:16,540 --> 00:15:18,584
AN OXYGEN TENT?
OH, REALLY!
320
00:15:18,667 --> 00:15:21,629
I'VE BEEN SNEEZING AND
COUGHING LIKE A MODEL T.
321
00:15:21,712 --> 00:15:24,298
OH, YOU HAVEN'T HAD
A HINT OF A SNEEZE
322
00:15:24,381 --> 00:15:25,507
FOR OVER AN HOUR.
323
00:15:25,591 --> 00:15:27,134
I BET YOU'RE SORRY
I'M NOT SNEEZING!
324
00:15:27,217 --> 00:15:28,469
GO FIND A NICE DRAFT
325
00:15:28,552 --> 00:15:30,179
AND SNEEZE
YOUR HEAD OFF!
326
00:15:30,262 --> 00:15:31,430
I WILL NOT!
327
00:15:31,513 --> 00:15:32,973
OH, DARLING,
DON'T BE SO CHILDISH.
328
00:15:33,057 --> 00:15:35,225
[MUTTERING] A LOT OF SYMPATHY
A FELLA GETS AROUND HERE.
329
00:15:35,309 --> 00:15:36,518
YOU'RE JUST TIRED,
AND SO AM I.
330
00:15:36,602 --> 00:15:37,519
I THINK
I COULD STAY...
331
00:15:37,603 --> 00:15:39,188
IN BED FOR A WEEK
AND A WEEK.
332
00:15:39,271 --> 00:15:42,524
COULDN'T GIVE A HANG.
WHAT'S THE MATTER WITH--
333
00:15:42,608 --> 00:15:44,151
YOU SAYING
SOMETHING?
334
00:15:44,234 --> 00:15:45,611
FOR ALL YOU CARE,
335
00:15:45,694 --> 00:15:47,946
I'D STILL BE OUT ON
THAT TERRACE FROZEN BLUE,
336
00:15:48,030 --> 00:15:49,907
AND YOU'D STILL
BE INSIDE
337
00:15:49,990 --> 00:15:51,533
SIMPERING
AT THAT HALF-STUFFED--
338
00:15:51,617 --> 00:15:53,077
29, 30--OH, JOSH!
339
00:15:53,160 --> 00:15:54,536
"OH, JOSH!"
340
00:15:54,620 --> 00:15:56,080
[MUTTERING]
341
00:15:56,163 --> 00:15:57,873
I REALLY DON'T KNOW
WHAT TO THINK
342
00:15:57,956 --> 00:15:59,083
OF MR. BARREDOUT.
343
00:15:59,166 --> 00:16:01,043
HE SAID SOME
OF THE SILLIEST,
344
00:16:01,126 --> 00:16:02,586
MOST STUPID THINGS.
HA HA!
345
00:16:02,670 --> 00:16:05,047
WELL, LET'S HEAR SOME OF
THOSE SILLY, STUPID THINGS
346
00:16:05,130 --> 00:16:07,216
YOU WERE SO AFRAID
HE'D REPEAT TO ME.
347
00:16:07,299 --> 00:16:09,551
WELL, IF YOU REALLY
MUST KNOW,
348
00:16:09,635 --> 00:16:11,595
HE JUST HATED THE SHOW.
349
00:16:11,679 --> 00:16:14,264
OH, DID HE?
I'M GLAD.
350
00:16:14,348 --> 00:16:15,891
NOW I KNOW IT'S GOOD!
351
00:16:15,974 --> 00:16:16,934
[MUTTERING]
HE HATED--
352
00:16:17,017 --> 00:16:18,435
AND THE FUNNIEST
THING OF ALL
353
00:16:18,519 --> 00:16:20,396
IS THAT HE THOUGHT
THAT I WAS AT MY BEST
354
00:16:20,479 --> 00:16:22,815
IN THE SUBWAY SCENE.
355
00:16:22,898 --> 00:16:26,068
OH, NO. OH, NO,
NO, NO. OH, NO.
356
00:16:26,151 --> 00:16:29,530
HE SAYS I'M A GREAT
TRAGIC ACTRESS...
357
00:16:29,613 --> 00:16:31,865
WASTED
IN MUSICAL COMEDY.
358
00:16:31,949 --> 00:16:34,493
YOU--A TRAGIC ACTRESS?
I'M GLAD YOU TOLD ME.
359
00:16:34,576 --> 00:16:36,954
NOW I KNOW HE'S
A COMPLETE IMBECILE.
360
00:16:37,037 --> 00:16:38,414
OH!
361
00:16:38,497 --> 00:16:41,750
HE'S NOT SUCH
AN IMBECILE AS ALL THAT.
362
00:16:41,834 --> 00:16:45,212
AFTER ALL, BEFORE I REALLY
WENT INTO THE THEATRE--
363
00:16:45,295 --> 00:16:47,256
IN HIGH SCHOOL--
364
00:16:47,339 --> 00:16:48,924
I PLAYED JULIET.
365
00:16:55,139 --> 00:16:57,099
ROMEO...
366
00:16:57,182 --> 00:16:59,184
ROMEO...
367
00:16:59,268 --> 00:17:02,104
WHEREFORE ART THOU
ROMEO?
368
00:17:02,187 --> 00:17:04,148
WHO PLAYED ROMEO?
369
00:17:04,231 --> 00:17:06,942
MILDRED HIGGINS.
SHE WAS QUITE...
370
00:17:08,235 --> 00:17:09,778
IT'S POSSIBLE,
YOU KNOW,
371
00:17:09,862 --> 00:17:10,988
THAT MONSIEUR BARREDOUT
COULD SEE THINGS IN ME
372
00:17:11,071 --> 00:17:13,198
THAT YOU DON'T APPRECIATE.
373
00:17:13,282 --> 00:17:15,117
LISTEN, KID, DON'T GET ANY
SILLY NOTIONS IN YOUR HEAD.
374
00:17:15,200 --> 00:17:17,453
YOU'RE
A SONG-AND-DANCE GIRL.
375
00:17:17,536 --> 00:17:18,537
[MUFFLED]
376
00:17:18,620 --> 00:17:19,705
WHAT?
377
00:17:19,788 --> 00:17:21,290
I SAID THAT'S ALL
YOU EVER ALLOWED ME TO DO.
378
00:17:21,373 --> 00:17:22,624
ALLOWED YOU TO DO?
379
00:17:22,708 --> 00:17:24,710
WHY, YOU COULDN'T WALK
ACROSS THE STAGE WITHOUT ME.
380
00:17:24,793 --> 00:17:26,128
HMM?!
381
00:17:26,211 --> 00:17:28,464
THERE ISN'T A GESTURE YOU DO
THAT I DIDN'T TEACH YOU.
382
00:17:28,547 --> 00:17:30,048
THAT'S A LIE!
383
00:17:30,132 --> 00:17:32,468
IT TOOK A LOT OF PATIENCE
TO PUT YOU WHERE YOU ARE.
384
00:17:32,551 --> 00:17:35,304
I WORKED! I PULLED THINGS
OUT OF YOU! I MOLDED YOU!
385
00:17:35,387 --> 00:17:37,639
OH, SURE!
386
00:17:37,723 --> 00:17:38,807
LIKE SVENGALI DID
TRILBY!
387
00:17:38,891 --> 00:17:39,975
SVENGALI?!
388
00:17:40,058 --> 00:17:42,478
YEAH, THE GUY WITH
THE BEARD--THAT'S ME!
389
00:17:42,561 --> 00:17:44,480
WHY, YOU CHEAP--
390
00:17:44,563 --> 00:17:46,190
GO AHEAD! THROW IT!
391
00:17:50,903 --> 00:17:52,196
THANK YOU
AND GOOD NIGHT.
392
00:17:57,534 --> 00:17:58,827
Josh: BLOOD!
393
00:17:58,911 --> 00:18:00,621
BLOOD?! BLOOD?
394
00:18:00,704 --> 00:18:01,872
DARLING, WHAT
HAVE I DONE?
395
00:18:01,955 --> 00:18:03,499
NOTHING, IT'S JUST
A CONCUSSION. THAT'S ALL.
396
00:18:03,582 --> 00:18:05,209
OH, DARLING, NO.
OH, WHAT HAVE I DONE?
397
00:18:05,292 --> 00:18:06,460
I DON'T KNOW.
398
00:18:06,543 --> 00:18:07,419
PLEASE COME
AND LET ME FIX IT,
399
00:18:07,503 --> 00:18:08,462
PUT SOME WATER ON IT.
400
00:18:08,545 --> 00:18:09,505
LOOKS LIKE
A FRACTURED SKULL TO ME.
401
00:18:09,588 --> 00:18:10,714
DO YOU HAVE A HANKY?
402
00:18:10,798 --> 00:18:12,716
WHAT WITH WALKING PNEUMONIA
AND CONCUSSION,
403
00:18:12,800 --> 00:18:15,177
A FINE PERFORMANCE
I'LL GIVE TOMORROW NIGHT.
404
00:18:15,260 --> 00:18:19,306
I'M SO SORRY.
I'M SO--
405
00:18:19,389 --> 00:18:21,892
OH. OH, IT STOPPED
BLEEDING.
406
00:18:21,975 --> 00:18:23,393
IT HAS?
407
00:18:23,477 --> 00:18:25,896
YES. YOU'RE GOING
TO BE ALL RIGHT.
408
00:18:25,979 --> 00:18:27,439
I AM?
409
00:18:27,523 --> 00:18:29,358
OH, DEAREST,
I'M HORRIBLE.
410
00:18:29,441 --> 00:18:31,443
I'M JUST HORRIBLE.
411
00:18:31,527 --> 00:18:33,320
I KNOW
WHAT LET'S DO.
412
00:18:33,403 --> 00:18:35,531
COME ON.
413
00:18:35,614 --> 00:18:37,199
NOW, HIT ME.
414
00:18:39,618 --> 00:18:40,828
IN COLD BLOOD?
415
00:18:40,911 --> 00:18:43,622
WELL, COME ON.
I DESERVE IT.
416
00:18:47,918 --> 00:18:49,211
AW, YOU LOOK
SO BRAVE,
417
00:18:49,294 --> 00:18:50,921
AND YOU DIDN'T EVEN ASK
TO BE BLINDFOLDED.
418
00:18:51,004 --> 00:18:52,047
I JUST CAN'T.
419
00:18:52,130 --> 00:18:54,216
I INSIST UPON
BEING PUNISHED.
420
00:18:54,299 --> 00:18:57,594
ALL RIGHT. ALL RIGHT,
YOU ASKED FOR IT.
421
00:18:57,678 --> 00:19:00,097
MMM...
422
00:19:01,181 --> 00:19:03,016
OH, THANK YOU,
DARLING.
423
00:19:03,100 --> 00:19:05,144
THANK YOU.
424
00:19:05,227 --> 00:19:07,104
OH, I LOVE YOU.
425
00:19:07,187 --> 00:19:09,731
I LOVE YOU, TOO,
BABY.
426
00:19:09,815 --> 00:19:10,941
I KNOW WHAT LET'S DO.
427
00:19:11,024 --> 00:19:12,025
LET'S GO DOWNSTAIRS
428
00:19:12,109 --> 00:19:13,777
AND FIX SOME
SCRAMBLED EGGS AND--
429
00:19:13,861 --> 00:19:15,153
OH, I'M NOT HUNGRY.
430
00:19:15,237 --> 00:19:16,738
BUT WE DIDN'T GET ANYTHING
TO EAT AT THE PARTY.
431
00:19:16,822 --> 00:19:17,865
WELL, SURE.
YOU WERE SO BUSY.
432
00:19:17,948 --> 00:19:18,615
NOW, NOW...
433
00:19:18,699 --> 00:19:19,950
I'M SORRY.
I'M SORRY.
434
00:19:20,033 --> 00:19:23,036
I'LL GO GET YOUR ROBE.
YOU MUST KEEP NICE AND WARM.
435
00:19:23,120 --> 00:19:24,329
WE'LL TURN ON
THE HEAT DOWNSTAIRS.
436
00:19:24,413 --> 00:19:26,832
HEY, LET'S LIGHT
THE FIRE.
437
00:19:31,336 --> 00:19:33,589
HERE YOU ARE,
DARLING.
438
00:19:33,672 --> 00:19:34,756
OH, YOU SHOULDN'T
SMOKE.
439
00:19:34,840 --> 00:19:36,425
IT ISN'T GOOD
FOR YOUR COLD.
440
00:19:36,508 --> 00:19:38,802
I HAVE A CONFESSION
TO MAKE.
441
00:19:38,886 --> 00:19:40,679
I HAVEN'T GOT A COLD.
442
00:19:40,762 --> 00:19:42,222
I KNOW IT.
443
00:19:53,609 --> 00:19:56,820
♪ ALL THAT I KNOW ♪
444
00:19:56,904 --> 00:20:02,826
♪ IS YOU'D BE HARD
TO REPLACE ♪
445
00:20:02,910 --> 00:20:06,580
♪ WHERE ELSE
IN ALL THE WORLD ♪
446
00:20:06,663 --> 00:20:12,502
♪ SUCH LOVELINESS
AND SUCH GRACE? ♪
447
00:20:12,586 --> 00:20:17,090
♪ THE POET
OFTEN CHANTED ♪
448
00:20:17,174 --> 00:20:22,095
♪ THE LOVE
HE FOUND DIVINE ♪
449
00:20:22,179 --> 00:20:26,683
♪ BUT NEVER
WAS HE GRANTED ♪
450
00:20:26,767 --> 00:20:32,314
♪ A LADYLOVE
LIKE MINE ♪
451
00:20:32,397 --> 00:20:36,693
♪ DEEP DOWN,
DEEP DOWN INSIDE ♪
452
00:20:36,777 --> 00:20:41,907
♪ MY SECRET HEART
KNOWS ♪
453
00:20:41,990 --> 00:20:45,452
♪ THE MORE
THAT I'M WITH YOU ♪
454
00:20:45,535 --> 00:20:51,500
♪ THE MORE AND MORE
MY RAPTURE GROWS ♪
455
00:20:51,583 --> 00:20:56,713
♪ WITHOUT YOU
AT MY SIDE, I FEAR ♪
456
00:20:56,797 --> 00:21:03,303
♪ NO FUTURE
COULD I FACE ♪
457
00:21:03,387 --> 00:21:14,314
♪ FOR YOU'D BE
OH, SO HARD TO REPLACE ♪
458
00:21:44,094 --> 00:21:45,012
HELLO, EZRA.
459
00:21:45,095 --> 00:21:46,263
FOR THE PRODUCER
OF A HIT SHOW,
460
00:21:46,346 --> 00:21:48,724
YOU LOOK AWFUL SAD.
WHAT'S UP, BERT?
461
00:21:48,807 --> 00:21:50,308
I'M WORRIED, EZRA.
SIT DOWN.
462
00:21:50,392 --> 00:21:53,353
WHAT ABOUT--THE SHOW
CLOSING IN 1953?
463
00:21:53,437 --> 00:21:54,855
I'M WORRIED ABOUT
JOSH AND DINAH.
464
00:21:54,938 --> 00:21:56,106
WHY, THEY HAVEN'T
HAD A FIGHT
465
00:21:56,189 --> 00:21:57,232
SINCE THE NIGHT
THE SHOW OPENED.
466
00:21:57,315 --> 00:21:58,108
THEY'VE GOT
A PEACE PACT.
467
00:21:58,191 --> 00:21:59,234
THAT'S JUST IT.
468
00:21:59,317 --> 00:22:01,069
THIS TENSION'S GETTING
TOO MUCH FOR ME.
469
00:22:01,153 --> 00:22:03,155
ALL THIS CALM,
ALL THIS LOVEY-DOVEY--
470
00:22:03,238 --> 00:22:05,991
I DON'T QUITE TRUST IT.
471
00:22:06,074 --> 00:22:08,452
EZRA, WE'VE GOT TO GET
AN UNDERSTUDY FOR DINAH.
472
00:22:08,535 --> 00:22:10,328
DON'T LOOK AT ME.
I'M KNOCK-KNEED.
473
00:22:10,412 --> 00:22:11,830
COME ON UP
ON THE STAGE.
474
00:22:11,913 --> 00:22:13,248
THERE'S A CUTE KID
FROM THE CHORUS
475
00:22:13,331 --> 00:22:14,791
I'VE HAD MY EYE ON
FOR SOME TIME NOW.
476
00:22:14,875 --> 00:22:15,876
I WANT YOU TO LISTEN
TO HER SING.
477
00:22:15,959 --> 00:22:16,918
DINAH'S NEVER
HAD AN UNDERSTUDY.
478
00:22:17,002 --> 00:22:18,420
SHE'S NOT GOING
TO LIKE IT.
479
00:22:18,503 --> 00:22:20,630
WELL, SOMEONE WILL HAVE
TO BREAK IT TO HER GENTLY.
480
00:22:20,714 --> 00:22:22,174
I'LL BET
I'M ELECTED.
481
00:22:22,257 --> 00:22:23,592
SHIRLENE!
482
00:22:23,675 --> 00:22:26,261
OH, EZRA,
THIS IS SHIRLENE MAY.
483
00:22:26,344 --> 00:22:27,721
OH, HELLO, MR. MILLAR.
484
00:22:27,804 --> 00:22:30,307
I'M JUST SCARED TO DEATH
TO SING
485
00:22:30,390 --> 00:22:32,350
FOR SUCH A TALENTED COMPOSER
AS YOU ARE.
486
00:22:32,434 --> 00:22:34,186
I'LL LET YOU KNOW
ABOUT THAT LATER.
487
00:22:34,269 --> 00:22:35,979
WHAT ARE YOU
GOING TO SING?
488
00:22:36,063 --> 00:22:38,273
MRS. BARKLEY'S BLUES SONG
FROM THE SHOW.
489
00:22:38,356 --> 00:22:39,775
GOOD.
490
00:22:39,858 --> 00:22:42,277
WELL, IF Y'ALL
ARE READY...
491
00:22:42,360 --> 00:22:43,445
I AM.
492
00:22:44,321 --> 00:22:45,447
♪ I'M GOING TO SING-- ♪
493
00:22:45,530 --> 00:22:47,365
Dinah:
HELLO, EVERYBODY.
494
00:22:47,449 --> 00:22:48,825
Bert: WELL,
LOOK WHO DROPPED IN.
495
00:22:48,909 --> 00:22:50,911
Josh: WE'D LIKE TO REHEARSE
IF YOU DON'T MIND.
496
00:22:50,994 --> 00:22:52,370
EZRA! IT'S THE MIDDLE
OF THE NIGHT FOR YOU.
497
00:22:52,454 --> 00:22:53,789
Bert: I BETTER GET
BACK TO BOX OFFICE.
498
00:22:53,872 --> 00:22:55,165
Ezra: WAIT. WE'RE CAUGHT
WITH OUR UNDERSTUDY SHOWING.
499
00:22:55,248 --> 00:22:56,583
UNDERSTUDY?
500
00:22:56,666 --> 00:23:02,297
Bert: JOSH, DINAH, COME HERE
A MINUTE. EZRA. EZRA!
501
00:23:02,380 --> 00:23:04,925
IT'S LIKE THIS. IN CASE
ANYTHING EVER HAPPENED--
502
00:23:05,008 --> 00:23:07,344
I MEAN, IN CASE THE TWO
OF YOU JUST SOMETIME--
503
00:23:07,427 --> 00:23:09,054
WHAT HE MEANS IS IN CASE
YOU TWO EVER QUARREL
504
00:23:09,137 --> 00:23:11,598
AND YOU DECIDE NOT TO GO ON
SOME NIGHT, DINAH,
505
00:23:11,681 --> 00:23:12,933
WELL, BERT FELT HE OUGHT
TO HAVE AN UNDERSTUDY.
506
00:23:13,016 --> 00:23:14,101
NOTHING WRONG WITH THAT.
507
00:23:14,184 --> 00:23:15,894
I THINK IT'S A PERFECTLY
WONDERFUL IDEA.
508
00:23:15,977 --> 00:23:17,062
WE DON'T OBJECT TO IT,
DARLING.
509
00:23:17,145 --> 00:23:18,438
OF COURSE NOT.
YOU WON'T NEED ONE.
510
00:23:18,522 --> 00:23:19,981
WONDERFUL!
511
00:23:20,065 --> 00:23:21,566
MR. MILLAR, EXCUSE ME.
CAN I SING NOW?
512
00:23:21,650 --> 00:23:23,819
OF COURSE.
GO RIGHT AHEAD.
513
00:23:23,902 --> 00:23:25,403
UH, HONEY, DINAH,
THIS IS MISS--
514
00:23:25,487 --> 00:23:26,446
SHIRLENE.
515
00:23:26,530 --> 00:23:27,447
SHIRLENE.
516
00:23:27,531 --> 00:23:29,991
HELLO, MRS. BARKLEY.
OH, HELLO.
517
00:23:30,075 --> 00:23:32,160
HELLO.
518
00:23:32,244 --> 00:23:33,203
CUTE, HUH?
519
00:23:33,286 --> 00:23:35,330
SHE'S GOING TO SING
YOUR BLUES NUMBER.
520
00:23:35,413 --> 00:23:36,748
I HOPE I REMEMBER IT.
521
00:23:36,832 --> 00:23:39,209
I'M SO FRIGHTENED IN FRONT
OF ALL OF MY BOSSES.
522
00:23:39,292 --> 00:23:41,670
I GUESS I SHOULDN'T
HAVE SAID THAT.
523
00:23:41,753 --> 00:23:43,547
DON'T BE SILLY.
WE'RE ALL YOUR FRIENDS.
524
00:23:43,630 --> 00:23:45,132
GO ON, SHIRLEY.
525
00:23:45,215 --> 00:23:46,508
IT'S SHIRLENE,
MR. BARKLEY.
526
00:23:46,591 --> 00:23:48,009
SHIRLENE.
I'M SORRY.
527
00:23:48,093 --> 00:23:49,010
THANK YOU.
528
00:23:49,094 --> 00:23:50,178
CUTE.
529
00:23:50,262 --> 00:23:51,346
IS THIS
ALL RIGHT?
530
00:23:51,429 --> 00:23:52,556
YEAH, FINE, FINE.
GO AHEAD.
531
00:23:52,639 --> 00:23:53,306
JOE, PLEASE.
532
00:23:53,390 --> 00:23:54,224
[PIANO PLAYING]
533
00:23:54,307 --> 00:23:55,517
♪ I'M GONNA
SING-- ♪
534
00:23:55,600 --> 00:23:56,601
I DON'T THINK IT'S NECESSARY
TO MAKE SHIRLEY--
535
00:23:56,685 --> 00:23:57,853
SHIRLENE.
536
00:23:57,936 --> 00:23:59,896
YES, I KNOW, DEAR.
SHE'LL BE PERFECT FOR THE PART.
537
00:23:59,980 --> 00:24:01,898
LET'S START OUR REHEARSAL,
OR WE'LL NEVER GET IT DONE.
538
00:24:01,982 --> 00:24:04,442
Josh: BREAK IT UP.
539
00:24:04,526 --> 00:24:05,819
ALL RIGHT, SHIRLENE,
YOU'RE IT.
540
00:24:05,902 --> 00:24:07,863
COME ON, WE'LL GO
UP TO THE OFFICE.
541
00:24:07,946 --> 00:24:10,657
GEE, THANKS.
THANKS AWFULLY.
542
00:24:11,908 --> 00:24:13,785
YOU'VE ALL BEEN
SO WONDERFUL TO ME,
543
00:24:13,869 --> 00:24:15,787
AND I WANT
TO THANK YOU.
544
00:24:15,871 --> 00:24:16,872
AND, MRS. BARKLEY,
545
00:24:16,955 --> 00:24:19,457
I'M GOING TO LEARN
YOUR PART REAL GOOD.
546
00:24:19,541 --> 00:24:22,043
I'LL PROBABLY NEVER
GET TO DO IT,
547
00:24:22,127 --> 00:24:24,838
BUT YOU NEVER CAN TELL,
CAN YOU? HA HA!
548
00:24:24,921 --> 00:24:28,008
WELL, I GUESS
THAT'S SHOW BUSINESS.
549
00:24:28,091 --> 00:24:29,676
BYE.
550
00:24:34,973 --> 00:24:36,516
JOSH, UH,
WHAT ABOUT LUNCH?
551
00:24:36,600 --> 00:24:37,559
CAN'T DO IT, EZRA.
552
00:24:37,642 --> 00:24:38,727
WE'VE GOT TO REHEARSE
THIS NUMBER.
553
00:24:38,810 --> 00:24:40,020
IT GOES IN THE SHOW
TONIGHT.
554
00:24:40,103 --> 00:24:41,313
LATER ON WE HAVE TO
GO TO THAT ART GALLERY,
555
00:24:41,396 --> 00:24:42,564
WHERE THAT FELLA'S--
WE GOT THAT PORTRAIT--
556
00:24:42,647 --> 00:24:43,523
PUBLICITY OR SOMETHING--
HE DID OF US.
557
00:24:43,607 --> 00:24:45,066
I DON'T KNOW
WHAT IT IS.
558
00:24:45,150 --> 00:24:49,905
THE ART GALLERY, HUH? HMM.
WELL, THAT'S SHOW BUSINESS.
559
00:24:51,114 --> 00:24:53,366
I DIDN'T THINK SHE WAS
AS CUTE AS ALL THAT.
560
00:24:53,450 --> 00:24:55,535
[IMITATING SHIRLENE]
NOT QUITE AS CUTE AS ALL THAT,
561
00:24:55,619 --> 00:24:57,662
MR. BARKLEY.
562
00:24:59,623 --> 00:25:00,707
YOUR WORRIES ARE OVER.
563
00:25:00,790 --> 00:25:02,000
WITH THAT HUNK OF FLUFF
IN THE WINGS,
564
00:25:02,083 --> 00:25:04,419
DINAH WOULDN'T GO HOME
WITH 2 BROKEN LEGS.
565
00:25:04,502 --> 00:25:06,421
ALL RIGHT. GO.
566
00:25:06,504 --> 00:25:08,089
[BAND PLAYING]
567
00:25:44,125 --> 00:25:45,752
HEY!
568
00:25:54,135 --> 00:25:55,762
HA HA!
569
00:26:00,558 --> 00:26:02,143
MM-HMM.
570
00:26:28,586 --> 00:26:30,797
HA HA!
571
00:26:39,180 --> 00:26:41,599
HA HA HA!
572
00:26:58,616 --> 00:27:00,410
HA HA!
573
00:27:19,179 --> 00:27:23,058
...PRINCIPLE BETWEEN
ART FORMS AND FORMED ART.
574
00:27:23,141 --> 00:27:24,184
HEY, LADI,
THE BARKLEYS ARE HERE.
575
00:27:24,267 --> 00:27:25,185
HEY, JOE,
ARE YOU READY?
576
00:27:25,268 --> 00:27:26,186
Joe: READY.
577
00:27:26,269 --> 00:27:27,896
MR. LADISLAUS LADI,
THE BARKLEYS.
578
00:27:27,979 --> 00:27:31,483
MR. BARKLEY, MRS. BARKLEY,
THIS IS A GREAT PLEASURE.
579
00:27:31,566 --> 00:27:35,278
I'VE NEVER MET YOU,
BUT NOW THAT I SEE YOU,
580
00:27:35,362 --> 00:27:38,281
I REALIZE HOW PERFECTLY
I'VE CAPTURED YOU.
581
00:27:38,365 --> 00:27:41,534
I HOPE YOU WILL ADMIRE
MY CRUDE EFFORT.
582
00:27:45,121 --> 00:27:47,374
I'M SORRY
TO BE SO STUPID,
583
00:27:47,457 --> 00:27:51,086
BUT, UH...WHY AM I
A PANCAKE?
584
00:27:51,169 --> 00:27:55,006
AS I SEE YOU,
YOU ARE CREATIVE UNION.
585
00:27:55,090 --> 00:27:57,967
YOU CREATIVE FRYING PAN
586
00:27:58,051 --> 00:28:01,221
IN WHICH THE SHAPELESS,
RAW BATTER--YOU--
587
00:28:01,304 --> 00:28:05,016
ARE TRANSFORMED
BY CREATIVE MIRACLE
588
00:28:05,100 --> 00:28:07,435
INTO IRRESISTIBLE PANCAKE.
589
00:28:07,519 --> 00:28:11,606
IT IS PYGMALION
BREATHING LIFE ON GALATEA.
590
00:28:11,689 --> 00:28:14,234
OR LIKE, WHO'S
THAT FELLOW...
591
00:28:14,317 --> 00:28:15,276
WITH THE BEARD?
592
00:28:15,360 --> 00:28:16,277
YEAH.
593
00:28:16,361 --> 00:28:17,779
SVENGALI?
594
00:28:17,862 --> 00:28:19,823
YEAH! ONLY IMPRESSION,
OF COURSE.
595
00:28:19,906 --> 00:28:22,325
OH, NATURALLY.
IT'S ONLY AN IMPRESSION.
596
00:28:22,409 --> 00:28:25,203
I AM VERY GRATEFUL
FOR THE EXPLANATION,
597
00:28:25,286 --> 00:28:28,123
AND IF YOU'LL FORGIVE ME,
I'LL GO NOW.
598
00:28:28,206 --> 00:28:31,334
GOOD-BYE.
599
00:28:31,418 --> 00:28:32,460
WHAT'S THE MATTER,
HONEY?
600
00:28:32,544 --> 00:28:34,421
DID YOU HEAR
WHAT HE SAID? SVENGALI.
601
00:28:34,504 --> 00:28:35,547
SVEN--OH.
602
00:28:35,630 --> 00:28:37,173
EXCUSE ME. IF THAT'S
WHAT EVERYBODY THINKS,
603
00:28:37,257 --> 00:28:38,925
THERE MUST BE
SOMETHING TO IT.
604
00:28:39,008 --> 00:28:40,051
LOOK, DEAR--
605
00:28:40,135 --> 00:28:42,554
DARLINGS!
HOW DIVINE.
606
00:28:42,637 --> 00:28:44,097
WE'VE COME ALL THE WAY
IN FROM THE COUNTRY
607
00:28:44,180 --> 00:28:45,223
TO SEE YOUR PORTRAIT.
608
00:28:45,306 --> 00:28:46,224
IT'S RIGHT UP--
609
00:28:46,307 --> 00:28:47,308
YOU REMEMBER
MONSIEUR BARREDOUT?
610
00:28:47,392 --> 00:28:48,226
OH, HELLO.
611
00:28:48,309 --> 00:28:49,602
MRS. BARKLEY.
MR. BARKLEY.
612
00:28:49,686 --> 00:28:50,895
HOW ARE YOU?
WE WERE JUST LEAVING.
613
00:28:50,979 --> 00:28:52,272
OH, WAIT A MOMENT!
614
00:28:52,355 --> 00:28:53,982
I'M PERISHING FOR THE SIGHT
OF YOUR PORTRAIT.
615
00:28:54,065 --> 00:28:55,191
I HEAR IT'S BRILLIANT.
616
00:28:55,275 --> 00:28:56,818
IT'S RIGHT UP THERE,
MILLIE.
617
00:28:56,901 --> 00:28:57,902
COME ALONG.
618
00:28:57,986 --> 00:28:59,863
I'M SURE IT'S
PERFECTLY DREADFUL.
619
00:28:59,946 --> 00:29:02,824
LADI'S NOTHING BETTER THAN
A TENTH-RATE SURREALIST.
620
00:29:02,907 --> 00:29:06,077
I AM SO GLAD
TO HEAR YOU SAY THAT.
621
00:29:06,161 --> 00:29:07,495
YOU KNOW,
FOR A MINUTE,
622
00:29:07,579 --> 00:29:08,496
I WAS JUST
A LITTLE AFRAID
623
00:29:08,580 --> 00:29:09,914
HE MIGHT MAKE SENSE.
624
00:29:09,998 --> 00:29:11,207
I VERY MUCH DOUBT
625
00:29:11,291 --> 00:29:13,835
THAT HE COULD POSSIBLY
CAPTURE YOU.
626
00:29:13,918 --> 00:29:15,628
I GUESS
WE'D BETTER HURRY.
627
00:29:15,712 --> 00:29:17,213
GOT TO PUT ON
THE OLD FEED BAG.
628
00:29:17,297 --> 00:29:19,215
WAIT, WAIT!
YOU IMPULSIVE CHILDREN.
629
00:29:19,299 --> 00:29:20,675
ALWAYS SCURRYING,
SCURRYING.
630
00:29:20,758 --> 00:29:22,844
I CAN NEVER
PIN YOU DOWN.
631
00:29:22,927 --> 00:29:24,804
I WANT YOU FOR NEXT SUNDAY
IN THE COUNTRY.
632
00:29:24,888 --> 00:29:27,849
IT'S FOR JACQUES.
HE'S FINISHED HIS PLAY!
633
00:29:27,932 --> 00:29:30,018
OH, HOW NICE.
CONGRATULATIONS.
634
00:29:30,101 --> 00:29:31,102
THANK YOU.
635
00:29:31,186 --> 00:29:33,271
WE'D LIKE--
I THINK IT'S--
636
00:29:33,354 --> 00:29:35,398
I DON'T--
JOSH? JOSH?
637
00:29:35,482 --> 00:29:38,234
JOSH, WHERE ARE YOU?
OH, YOU MUST COME.
638
00:29:38,318 --> 00:29:40,361
WE'LL ALL SIT AROUND
AN OPEN FIRE
639
00:29:40,445 --> 00:29:42,363
AND ROAST A FEW
OLD CHESTNUTS.
640
00:29:42,447 --> 00:29:44,574
AND THEN POSSIBLY LATER,
WE CAN ROAST MY PLAY.
641
00:29:44,657 --> 00:29:45,575
OH!
642
00:29:45,658 --> 00:29:47,785
PLEASE TRY TO COME.
643
00:29:47,869 --> 00:29:49,162
WELL...
644
00:29:49,245 --> 00:29:51,247
WE'LL--
WE'LL SEE.
645
00:29:51,331 --> 00:29:53,541
OH, NO! I DON'T
BELIEVE WE COULD
646
00:29:53,625 --> 00:29:55,043
BECAUSE YOU SEE,
647
00:29:55,126 --> 00:29:56,127
WE HAVE TICKETS
FOR THE SYMPHONY.
648
00:29:56,211 --> 00:29:57,545
YES. I'M TERRIBLY
SORRY, MILLIE,
649
00:29:57,629 --> 00:29:59,130
BUT, JOSH,
WE REALLY MUST GO.
650
00:29:59,214 --> 00:30:00,381
IT'S NICE TO
HAVE SEEN YOU.
651
00:30:00,465 --> 00:30:01,841
NO SYMPHONY.
652
00:30:01,925 --> 00:30:03,092
WHY DIDN'T YOU
HELP ME OUT?
653
00:30:03,176 --> 00:30:04,219
I DIDN'T THINK
YOU WANTED ME TO.
654
00:30:04,302 --> 00:30:05,762
YOU DIDN'T
WANT TO GO.
655
00:30:05,845 --> 00:30:06,846
DO YOU?
656
00:30:05,845 --> 00:30:06,846
NO.
657
00:30:05,845 --> 00:30:06,846
DO YOU?
658
00:30:05,845 --> 00:30:06,846
NO.
659
00:30:06,930 --> 00:30:08,223
THEN WHY
ALL THE HESITATION?
660
00:30:08,306 --> 00:30:09,390
ALL YOU HAVE TO SAY IS,
661
00:30:09,474 --> 00:30:10,558
"I'M SORRY, CAN'T MAKE IT"
OR SOMETHING.
662
00:30:10,642 --> 00:30:11,893
YOU ACTED AS FLUSTERED
663
00:30:11,976 --> 00:30:13,186
AS A SCHOOLGIRL
AT HER FIRST PROM!
664
00:30:13,269 --> 00:30:14,479
YOU FLUSTERED ME.
665
00:30:14,562 --> 00:30:15,897
Dinah: WHAT KIND
OF TALK IS THAT?
666
00:30:15,980 --> 00:30:17,440
"GOT TO GO PUT ON
THE OLD FEED BAG."
667
00:30:17,524 --> 00:30:19,275
THAT FELLOW BRINGS OUT
THE GANGSTER IN ME.
668
00:30:19,359 --> 00:30:20,443
STICK TO THE SUBJECT,
WILL YOU?
669
00:30:20,527 --> 00:30:21,694
IF YOU WANT TO GO
TO THE COUNTRY, GO.
670
00:30:21,778 --> 00:30:23,154
I DON'T WANT TO GO!
671
00:30:23,238 --> 00:30:24,239
BUT IF YOU WANT TO GO,
672
00:30:24,322 --> 00:30:26,074
I'M NOT GOING TO TRY
TO HOLD YOU BACK.
673
00:30:26,157 --> 00:30:28,076
OH, I WISH WE'D NEVER GONE
TO THAT EXHIBITION.
674
00:30:28,159 --> 00:30:30,078
THEN THE SUBJECT
WOULDN'T HAVE COME UP.
675
00:30:30,161 --> 00:30:32,163
DINAH, EVERY TIME
YOU'VE COME IN CONTACT
676
00:30:32,247 --> 00:30:33,623
WITH THAT FELLOW
BARREDOUT,
677
00:30:33,706 --> 00:30:35,667
YOU'VE BEEN AFFECTED IN
A VERY PECULIAR MANNER.
678
00:30:35,750 --> 00:30:38,461
EVERY TIME? I'VE ONLY
MET THE MAN TWICE.
679
00:30:38,545 --> 00:30:41,422
HE'S GOT SOME KIND OF
STRANGE HOLD ON YOU.
680
00:30:41,506 --> 00:30:44,050
LOOK, LET'S GET THE CAST
OF CHARACTERS STRAIGHT.
681
00:30:44,133 --> 00:30:46,010
YOU'RE SVENGALI,
YOU REMEMBER?
682
00:30:46,094 --> 00:30:48,680
HOW MANY DO I NEED?
683
00:30:48,763 --> 00:30:51,140
OH, EXCUSE ME.
I SHOULD HAVE KNOCKED.
684
00:30:51,224 --> 00:30:52,600
Dinah: YES,
YOU SHOULD HAVE.
685
00:30:52,684 --> 00:30:56,104
NOW THAT I'M INSIDE,
APOLOGIES AND ALL THAT.
686
00:30:56,187 --> 00:30:59,148
I WANTED TO ASK YOU
ABOUT THAT MAKEUP BASE--
687
00:30:59,232 --> 00:31:00,483
PLEASE, DEAR.
I'M FIXING MY EYE.
688
00:31:00,567 --> 00:31:02,777
OH. I'M SORRY.
IN CASE I EVER DO GO ON,
689
00:31:02,860 --> 00:31:04,028
I'D LIKE TO LOOK LIKE--
690
00:31:04,112 --> 00:31:05,655
IT'S NUMBER 4.
691
00:31:05,738 --> 00:31:07,282
OH, IS IT REALLY?
692
00:31:07,365 --> 00:31:09,909
WELL, IT LOOKS
WONDERFUL ON YOU.
693
00:31:09,993 --> 00:31:11,202
GEE, THAT'S FUNNY.
694
00:31:11,286 --> 00:31:13,121
I TRIED IT ONCE,
YOU KNOW?
695
00:31:13,204 --> 00:31:14,914
AND IT JUST
LOOKED AWFUL ON ME.
696
00:31:14,998 --> 00:31:16,916
I THOUGHT MAYBE I WAS
ALLERGIC OR SOMETHING.
697
00:31:17,000 --> 00:31:18,251
I TOOK IT BACK
TO THE STORE,
698
00:31:18,334 --> 00:31:19,544
AND THE GIRL THERE SAID,
699
00:31:19,627 --> 00:31:20,545
"IT'S ALL RIGHT
700
00:31:20,628 --> 00:31:22,255
FOR A DIFFERENT
TYPE OF SKIN."
701
00:31:22,338 --> 00:31:23,756
MINE'S
MUCH TOO DELICATE.
702
00:31:23,840 --> 00:31:25,300
NOW, ISN'T THAT
RIDICULOUS?
703
00:31:25,383 --> 00:31:26,676
YES. AS A KID,
704
00:31:26,759 --> 00:31:29,387
THEY USED TO CALL ME
"OLD ELEPHANT HIDE."
705
00:31:29,470 --> 00:31:30,888
OH. WELL,
I DIDN'T MEAN--
706
00:31:30,972 --> 00:31:31,806
SHIRLEY.
707
00:31:31,889 --> 00:31:32,849
IT'S SHIRLENE,
DEAR.
708
00:31:32,932 --> 00:31:34,767
DO YOU MIND?
WE HAVEN'T MUCH TIME.
709
00:31:34,851 --> 00:31:36,561
OF COURSE NOT.
PARDON THE INTRUSION.
710
00:31:36,644 --> 00:31:38,438
IT'S JUST THAT I'M
SO WILLING TO LEARN,
711
00:31:38,521 --> 00:31:40,273
MR. BARKLEY.
712
00:31:40,356 --> 00:31:43,776
OH. WELL...I'LL BE
WATCHING YOU. BYE.
713
00:31:46,195 --> 00:31:47,655
[DOOR CLOSES]
714
00:31:47,739 --> 00:31:50,783
[SCOTTISH MUSIC PLAYING]
715
00:32:12,722 --> 00:32:14,349
[SCOTTISH BROGUE]
THOUGH WE ARE CALLED
716
00:32:14,432 --> 00:32:16,184
A PEOPLE OF SERIOUS MIND,
717
00:32:16,267 --> 00:32:19,187
'TIS OFTEN WE DANCE
AND 'TIS OFTEN WE SING.
718
00:32:19,270 --> 00:32:22,190
AND BEING AS HUMAN
AS ALL HUMANKIND,
719
00:32:22,273 --> 00:32:25,610
WE AREN'T SUPERIOR
TO HAVING A FLING.
720
00:32:25,693 --> 00:32:28,946
♪ I'M TAKING THE FLING
OF A LIFETIME ♪
721
00:32:29,030 --> 00:32:34,452
♪ THE FLING OF
A HUSBAND AND WIFE TIME ♪
722
00:32:34,535 --> 00:32:39,040
♪ OH, WHEN
I WENT ROMANCIN' ♪
723
00:32:39,123 --> 00:32:43,336
♪ I GAVE NO THOUGHT
TO ANY WEDDING RING ♪
724
00:32:43,419 --> 00:32:46,547
♪ EVERY BONNY LASSIE ♪
725
00:32:46,631 --> 00:32:51,469
♪ WAS MY HIGHLAND FLING ♪
726
00:32:51,552 --> 00:32:56,057
♪ NO CHANCE
WAS I CHANCIN' ♪
727
00:32:56,140 --> 00:33:00,603
♪ I'M NOT THE MAN
YOU DANGLE ON A STRING ♪
728
00:33:00,687 --> 00:33:03,481
♪ I WAS
A CARNEY WAITIN' ♪
729
00:33:03,564 --> 00:33:08,027
♪ FOR THE REAL,
REAL THING ♪
730
00:33:08,111 --> 00:33:12,573
♪ THOUGH I DANCED EACH GIRL
IN A TWIST AND A TWIRL ♪
731
00:33:12,657 --> 00:33:16,911
♪ NAE ONE WOULD DO ♪
732
00:33:16,994 --> 00:33:21,082
♪ AND I WENT MY WAY
TILL THE FATAL DAY ♪
733
00:33:21,165 --> 00:33:25,795
♪ IN THE FLING
I WAS FLUNG WITH YOU ♪
734
00:33:25,878 --> 00:33:27,463
♪ OH ♪
735
00:33:27,547 --> 00:33:29,173
♪ NOW ♪
736
00:33:29,257 --> 00:33:31,676
♪ MY HEART IS PRANCIN' ♪
737
00:33:31,759 --> 00:33:36,097
♪ GAY AS A LARK
AND HAPPY AS A KING ♪
738
00:33:36,180 --> 00:33:39,600
♪ THE YEARS
I'LL WEATHER ♪
739
00:33:39,684 --> 00:33:42,687
♪ IN THE HAME
OR ON THE HEATHER ♪
740
00:33:42,770 --> 00:33:46,899
♪ WITH MY ONE AND ONLY
HIGHLAND FLING ♪
741
00:33:54,490 --> 00:33:57,326
I THOUGHT YOU WERE FALLIN'
FOR ANDY MacPHEARSON.
742
00:33:57,410 --> 00:33:59,662
NAE. HE BECAME
AN IMPOSSIBLE PERSON.
743
00:33:59,746 --> 00:34:02,832
BUT WHAT ABOUT YOU AND
THAT CONNIE MacKENZIE?
744
00:34:02,915 --> 00:34:05,626
SHE TALKED WHEN I PUTTED
AND DROVE ME TO FRENZY.
745
00:34:05,710 --> 00:34:08,296
BUT WHAT OF THE LAD
KNOWN AS BOBBY MacDOUGALL?
746
00:34:08,379 --> 00:34:11,674
IT PAYS TO BE THRIFTY,
BUT HE WAS TOO FRUGAL.
747
00:34:11,758 --> 00:34:14,635
AND WEREN'T YOU DAFT
ABOUT MEGAN McDERMITT?
748
00:34:14,719 --> 00:34:17,680
I TESTED HER COOKING.
'TWOULD MAKE ME A HERMIT.
749
00:34:17,764 --> 00:34:20,475
HOW JEALOUS I WAS
OF MACDONALD McCUTCHEON.
750
00:34:20,558 --> 00:34:23,436
HIS NECK HAD A HEAD ON,
BUT THERE WASN'T MUCH'N.
751
00:34:23,519 --> 00:34:24,771
AND WHAT ABOUT SANDY?
752
00:34:24,854 --> 00:34:25,980
HIS HANDS WERE
TOO HANDY.
753
00:34:26,063 --> 00:34:27,231
AND WASN'T THERE
A JENNY?
754
00:34:27,315 --> 00:34:28,775
I'M NOT WANTIN' ANY.
755
00:34:28,858 --> 00:34:33,946
♪ I'M NOT WANTIN' ANY
BUT YOU ♪
756
00:34:35,406 --> 00:34:39,869
♪ WHEN I WENT
A-DANCIN' ♪
757
00:34:39,952 --> 00:34:43,998
♪ NO SPECIAL LAD
I WAS ENCOURAGIN' ♪
758
00:34:44,081 --> 00:34:47,502
♪ EVERY LIKELY LADDIE ♪
759
00:34:47,585 --> 00:34:52,590
♪ WAS MY HIGHLAND
FLING ♪
760
00:34:52,673 --> 00:34:56,719
♪ NO GLANCE
I WAS GLANCIN' ♪
761
00:34:56,803 --> 00:35:01,015
♪ WELL, NOTHING REALLY
WORTH A-MENTIONIN' ♪
762
00:35:01,098 --> 00:35:04,435
♪ HOPIN', A-WATCHIN',
A-WAITIN' ♪
763
00:35:04,519 --> 00:35:09,065
♪ FOR THE REAL,
REAL THING ♪
764
00:35:09,148 --> 00:35:13,277
♪ THOUGH THEY SPOKE ME SOFT
IN THE MOONLIT OFT ♪
765
00:35:13,361 --> 00:35:17,281
♪ NAE ONE WOULD DO ♪
766
00:35:17,365 --> 00:35:19,492
♪ TILL IT CAME TO PASS ♪
767
00:35:19,575 --> 00:35:21,577
♪ TO THIS LUCKY LASS ♪
768
00:35:21,661 --> 00:35:25,581
♪ IN THE FLING
I WAS FLUNG WITH YOU ♪
769
00:35:25,665 --> 00:35:26,916
♪ OH ♪
770
00:35:26,999 --> 00:35:28,668
♪ NOW ♪
771
00:35:28,751 --> 00:35:31,212
♪ MY HEART IS PRANCIN' ♪
772
00:35:31,295 --> 00:35:35,758
♪ NOTHIN' ABOUT YOU
I'D BE ALTERIN' ♪
773
00:35:35,842 --> 00:35:38,719
♪ THE YEARS
I'LL WEATHER ♪
774
00:35:38,803 --> 00:35:42,807
♪ IN THE HAME
OR ON THE HEATHER ♪
775
00:35:42,890 --> 00:35:47,436
♪ WITH ME ONE AND ONLY
HIGHLAND FLING ♪
776
00:37:34,543 --> 00:37:36,337
[APPLAUSE]
777
00:37:42,343 --> 00:37:45,179
ARE YOU ALL RIGHT,
MRS. BARKLEY?
778
00:37:45,262 --> 00:37:46,263
YES, I'M ALL RIGHT.
779
00:37:46,347 --> 00:37:48,516
OH.
780
00:37:48,599 --> 00:37:50,977
THIS MAY SOUND LIKE
AWFUL PRIMA DONNA STUFF,
781
00:37:51,060 --> 00:37:52,520
BUT I CAN'T STAND
THAT GIRL.
782
00:37:52,603 --> 00:37:54,522
Josh: OH, IT ISN'T
AS BAD AS ALL THAT.
783
00:37:54,605 --> 00:37:56,148
YES, IT IS. SHE GIVES ME
THE HEEBIE-JEEBIES.
784
00:37:56,232 --> 00:37:57,149
EVERY TIME I TURN AROUND,
785
00:37:57,233 --> 00:37:59,527
THERE SHE IS,
STARING AT ME.
786
00:37:59,610 --> 00:38:01,445
DON'T GET JUMPY
ABOUT HER, HONEY.
787
00:38:01,529 --> 00:38:02,697
I'LL REHEARSE HER
IN THE AFTERNOONS
788
00:38:02,780 --> 00:38:05,199
AND KEEP HER OUT
OF THE WINGS, ALL RIGHT?
789
00:38:05,282 --> 00:38:07,368
IF YOU DON'T GET JUMPY
790
00:38:07,451 --> 00:38:09,704
WHENEVER I SEE THAT
SILLY BARREDOUT MAN.
791
00:38:09,787 --> 00:38:11,914
NO, I WON'T.
THE NEXT TIME I SEE HIM,
792
00:38:11,998 --> 00:38:13,708
I'LL GO OUT OF MY WAY
TO BE NICE TO HIM.
793
00:38:13,791 --> 00:38:14,667
THAT'S BETTER.
794
00:38:14,750 --> 00:38:15,710
YOU KNOW SOMETHING?
795
00:38:15,793 --> 00:38:17,044
WHAT?
796
00:38:17,128 --> 00:38:18,838
I THINK YOU AND I COULD
USE A LITTLE RELAXATION,
797
00:38:18,921 --> 00:38:21,549
SORT OF A SUNDAY IN
THE COUNTRY OR SOMETHING?
798
00:38:21,632 --> 00:38:23,217
WE'LL GO TO MILLIE'S,
AND I PROMISE YOU,
799
00:38:23,300 --> 00:38:24,510
WHEN I SEE BARREDOUT,
800
00:38:24,593 --> 00:38:26,429
I'LL TREAT HIM LIKE
A LONG-LOST COUSIN.
801
00:38:26,512 --> 00:38:29,390
HA HA! AH,
THAT'S MY BABY.
802
00:38:36,355 --> 00:38:38,357
EZRA, GET A WHIFF
OF THAT FRESH AIR.
803
00:38:38,441 --> 00:38:39,275
CAN I
GO HOME NOW?
804
00:38:39,358 --> 00:38:40,568
HA HA! HELLO THERE.
805
00:38:40,651 --> 00:38:41,861
HELLO. LET ME TAKE
THOSE BAGS, SIR.
806
00:38:41,944 --> 00:38:42,862
YEAH.
807
00:38:42,945 --> 00:38:45,072
OH, HOW FAR IS
THE HOUSE FROM HERE?
808
00:38:45,156 --> 00:38:46,532
ABOUT 1/2 MILE,
MADAM.
809
00:38:46,615 --> 00:38:47,533
LET'S WALK.
810
00:38:47,616 --> 00:38:48,617
NO!
811
00:38:47,616 --> 00:38:48,617
OH, COME ON.
812
00:38:48,701 --> 00:38:50,161
YEAH, THAT'S
A GREAT IDEA.
813
00:38:50,244 --> 00:38:51,704
IT'LL PUT THE COLOR
BACK IN THOSE CHEEKS.
814
00:38:51,787 --> 00:38:53,080
THEY'RE MY FAVORITE
COLOR NOW--
815
00:38:53,164 --> 00:38:55,541
A NICE, HEALTHY
GREEN.
816
00:38:55,624 --> 00:38:56,584
GO AHEAD, DRIVER.
817
00:38:56,667 --> 00:38:58,085
YES, SIR.
818
00:38:59,295 --> 00:39:01,213
WE TURN RIGHT
AT THE FORK, DON'T WE?
819
00:39:01,297 --> 00:39:03,257
YES, SIR. THEN LEFT
AT PINETOP ROAD.
820
00:39:03,340 --> 00:39:05,217
FINE. I REMEMBER.
THANK YOU.
821
00:39:06,886 --> 00:39:08,971
♪ WITH GOLF AND TENNIS
ROUND YOU ♪
822
00:39:09,055 --> 00:39:10,765
♪ AND NO CARES
TO HOUND YOU ♪
823
00:39:10,848 --> 00:39:14,268
♪ WHEN MOTHER NATURE BECKONS,
WHO CAN DECLINE? ♪
824
00:39:14,351 --> 00:39:18,272
♪ TILL MOTHER NATURE VETOES
THE BEES AND MOSQUITOES ♪
825
00:39:18,355 --> 00:39:21,609
♪ MOTHER NATURE
IS NO MOTHER OF MINE ♪
826
00:39:21,692 --> 00:39:24,070
♪ FROM SATURDAY NIGHT
TO MONDAY MORN ♪
827
00:39:24,153 --> 00:39:25,446
♪ THERE'S ALWAYS
JOY AHEAD ♪
828
00:39:25,529 --> 00:39:27,364
♪ FROM SATURDAY NIGHT
TO MONDAY MORN ♪
829
00:39:27,448 --> 00:39:29,825
♪ I WISH THAT I WERE DEAD ♪
830
00:39:33,621 --> 00:39:37,041
♪ A WEEKEND IN THE COUNTRY
NEVER WILL LET YOU DOWN ♪
831
00:39:37,124 --> 00:39:38,876
♪ YOU'LL PARDON
MY EFFRONTERY ♪
832
00:39:38,959 --> 00:39:40,669
♪ I'D RATHER SPEND IT
IN TOWN ♪
833
00:39:40,753 --> 00:39:44,215
♪ A WEEKEND IN THE COUNTRY,
HEALTHY AND FULL OF SPORT ♪
834
00:39:44,298 --> 00:39:46,217
♪ AND THEN IT ISN'T
SMALL POTATOES ♪
835
00:39:46,300 --> 00:39:48,552
♪ WHEN YOU GET THOSE
FRESH TOMATOES ♪
836
00:39:48,636 --> 00:39:51,806
♪ I'VE A LIST OF FRESH TOMATOES
SUING ME NOW IN COURT ♪
837
00:39:51,889 --> 00:39:55,434
♪ OH, GIVE ME THE MILK
FROM THE MOO-COW ♪
838
00:39:55,518 --> 00:39:59,313
♪ OF CORN RIGHT FROM
THE FIELD I'M FOND ♪
839
00:39:59,396 --> 00:40:03,317
♪ IN TOWN, I'D BE SPLURGIN'
ON VENISON AND STURGEON ♪
840
00:40:03,400 --> 00:40:06,862
♪ BESIDE A BEAUTIFUL BLOND ♪
841
00:40:06,946 --> 00:40:08,948
♪ A WEEKEND
GETS YOU SUNBURNED ♪
842
00:40:09,031 --> 00:40:10,825
♪ VITAMIN "A" YOU WIN ♪
843
00:40:10,908 --> 00:40:14,578
♪ I'D RATHER GET BACK UNBURNT
WITH MY ORIGINAL SKIN ♪
844
00:40:14,662 --> 00:40:18,082
♪ A WEEKEND IN THE COUNTRY,
GLORIOUS, THERE'S NO DOUBT ♪
845
00:40:18,165 --> 00:40:20,084
♪ A WEEKEND
IN THE COUNTRY ♪
846
00:40:20,167 --> 00:40:22,461
♪ WHAT'S THE NEXT
TRAIN OUT? ♪
847
00:40:25,589 --> 00:40:27,842
♪ A WEEKEND IN THE COUNTRY ♪
848
00:40:27,925 --> 00:40:29,301
♪ TREES IN
THE ORCHARD CALL ♪
849
00:40:29,385 --> 00:40:31,095
♪ WHEN YOU'VE
EXAMINED ONE TREE ♪
850
00:40:31,178 --> 00:40:33,305
♪ THEN YOU'VE
EXAMINED THEM ALL ♪
851
00:40:33,389 --> 00:40:36,851
♪ A WEEKEND IN THE COUNTRY
HAPPILY WE ENDORSE ♪
852
00:40:36,934 --> 00:40:38,894
♪ COME GET YOUR SHARE
OF NATURE'S BOUNTY ♪
853
00:40:38,978 --> 00:40:40,938
♪ RIDE THE TRAIL
AROUND THE COUNTY ♪
854
00:40:41,021 --> 00:40:42,815
♪ I AM NO
CANADIAN MOUNTIE ♪
855
00:40:42,898 --> 00:40:44,275
♪ WHY DO I NEED A HORSE? ♪
856
00:40:44,358 --> 00:40:48,279
♪ HARK! HARK TO THE SONG
OF THE BULLFROG ♪
857
00:40:48,362 --> 00:40:51,949
♪ AT DAWN, YOU RISE UP
WITH THE LARK ♪
858
00:40:52,032 --> 00:40:56,162
♪ WHEN ROOSTERS RUN RIOT,
I'D MUCH PREFER THE QUIET ♪
859
00:40:56,245 --> 00:40:59,874
♪ OF 42nd AND PARK ♪
860
00:40:59,957 --> 00:41:03,836
♪ GET PEPPY AND ALIVEY,
DON'T BE A CITY POKE ♪
861
00:41:03,919 --> 00:41:05,546
♪ I ONCE GOT POISON IVY ♪
862
00:41:05,629 --> 00:41:07,548
♪ WILL YOU TRY
FOR POISON OAK? ♪
863
00:41:07,631 --> 00:41:09,341
♪ A WEEKEND
IN THE COUNTRY ♪
864
00:41:09,425 --> 00:41:11,427
♪ DICKEY BIRDS
OVERHEAD ♪
865
00:41:11,510 --> 00:41:15,514
♪ A WEEKEND IN THE COUNTRY,
I SHOULD HAVE STOOD IN BED ♪
866
00:41:24,064 --> 00:41:26,567
GOOD MORNING, JACQUES,
DEAR GENIUS BOY.
867
00:41:26,650 --> 00:41:27,860
GOOD MORNING.
868
00:41:27,943 --> 00:41:30,154
I MUST SAY GOOD MORNING
TO ALL MY OTHER GUESTS.
869
00:41:30,237 --> 00:41:31,614
GOOD MORNING.
GOOD MORNING.
870
00:41:31,697 --> 00:41:33,073
GOOD MORNING.
871
00:41:33,157 --> 00:41:36,410
HA HA! DARLING,
THAT WAS A WONDERFUL SHOT.
872
00:41:36,493 --> 00:41:37,536
I LIKED IT, TOO.
873
00:41:37,620 --> 00:41:39,246
WHY, IT'S
DINAH BARKLEY!
874
00:41:39,330 --> 00:41:40,915
AND JOSH BARKLEY.
875
00:41:40,998 --> 00:41:42,249
OH, YES.
AND JOSH.
876
00:41:42,333 --> 00:41:44,084
HELLO THERE, MILLAR.
I DIDN'T SEE YOU.
877
00:41:44,168 --> 00:41:46,212
IT IS A BIT FOGGY,
ISN'T IT?
878
00:41:46,295 --> 00:41:51,342
HIYA, JACKSON!
DIG YOU LATER, BOY.
879
00:41:51,425 --> 00:41:55,054
QU'EST-CE QUE C'EST
"DIG YOU LATER"?
880
00:41:55,137 --> 00:41:57,223
HONEY, DON'T YOU THINK
881
00:41:57,306 --> 00:41:59,225
THAT'S OVERDOING IT
A WEE BIT?
882
00:41:59,308 --> 00:42:00,893
I HEAR YOU JUST FINISHED
883
00:42:00,976 --> 00:42:03,062
TEARING OFF
YOUR LATEST MASTERPIECE.
884
00:42:03,145 --> 00:42:03,854
WHO'S STARRING IN IT?
885
00:42:03,938 --> 00:42:05,439
PAMELA DRISCOLL.
886
00:42:05,522 --> 00:42:08,108
OH, YES. PAMELA DRISCOLL.
I CAN JUST SEE THE PLAY.
887
00:42:08,192 --> 00:42:09,527
A WELL-DRESSED,
BRITTLE AFFAIR, HUH?
888
00:42:09,610 --> 00:42:11,612
NOT AT ALL. MY PLAY
IS A CHARACTER STUDY
889
00:42:11,695 --> 00:42:13,781
OF A GREAT ACTRESS,
SARAH BERNHARDT.
890
00:42:13,864 --> 00:42:15,199
IT DEALS WITH
HER EARLY YEARS,
891
00:42:15,282 --> 00:42:17,493
SO I CALL IT
THE YOUNG SARAH.
892
00:42:17,576 --> 00:42:19,370
IT TAKES A GREAT ACTRESS
TO PLAY A GREAT ACTRESS.
893
00:42:19,453 --> 00:42:21,038
YOU'RE ABSOLUTELY
RIGHT, MILLAR.
894
00:42:21,121 --> 00:42:23,123
OH, PARDON ME. GLORIA,
THIS IS MR. BARREDOUT.
895
00:42:23,207 --> 00:42:24,083
HOW HOW DO YOU DO?
DO YOU DO?
896
00:42:24,166 --> 00:42:25,125
JACQUES, DARLING!
897
00:42:25,209 --> 00:42:26,210
HELLO, PAMELA.
898
00:42:26,293 --> 00:42:27,878
HELLO, EZRA.
HELLO, GLORIA.
899
00:42:27,962 --> 00:42:29,088
OH, CAN YOU IMAGINE?
900
00:42:29,171 --> 00:42:30,881
ME PLAYING
SARAH BERNHARDT.
901
00:42:30,965 --> 00:42:32,258
I'M WORKING ON IT.
902
00:42:32,341 --> 00:42:33,425
HUH?
903
00:42:32,341 --> 00:42:33,425
NOTHING.
904
00:42:33,509 --> 00:42:34,969
OH. JACQUES,
905
00:42:35,052 --> 00:42:36,136
I'VE MEMORIZED
THE FIRST SCENE.
906
00:42:36,220 --> 00:42:37,304
I'D LIKE
TO DO IT FOR YOU.
907
00:42:37,388 --> 00:42:40,266
OH, I'VE GOT SUCH IDEAS
ABOUT THE PART!
908
00:42:40,349 --> 00:42:41,642
FOR MY ENTRANCE,
909
00:42:41,725 --> 00:42:44,186
I'M GOING TO WEAR
A SUMPTUOUS BLACK VELVET SUIT.
910
00:42:44,270 --> 00:42:45,646
PERIOD, OF COURSE,
YOU UNDERSTAND.
911
00:42:45,729 --> 00:42:47,147
NOW, PAMELA,
PLEASE REMEMBER,
912
00:42:47,231 --> 00:42:49,066
IT'S NOT CLOTHES THAT
WILL MAKE THIS PART.
913
00:42:49,149 --> 00:42:51,277
I KNOW, DARLING.
I KNOW.
914
00:42:51,360 --> 00:42:54,655
YOUNG SARAH MUST HAVE
SINCERITY AND SENSITIVITY.
915
00:42:54,738 --> 00:42:56,031
AND SHE WILL.
916
00:42:56,115 --> 00:42:59,076
NOW COME ON IN THE LIBRARY
AND LET ME READ FOR YOU.
917
00:42:59,159 --> 00:43:00,244
I'LL JOIN YOU
IN A MINUTE.
918
00:43:00,327 --> 00:43:02,079
GOOD. I'LL GET
THE SCRIPT.
919
00:43:03,247 --> 00:43:05,749
YOU KNOW WHAT I LIKE
ABOUT YOU, GLORIA?
920
00:43:05,833 --> 00:43:07,251
WHAT?
921
00:43:07,334 --> 00:43:10,170
YOU'RE FREE OF THE SLAVERY
OF TALENT. YOUR PLAY.
922
00:43:10,254 --> 00:43:12,423
WHAT ARE YOU TALKING ABOUT?
923
00:43:12,506 --> 00:43:13,716
HELLO.
924
00:43:13,799 --> 00:43:14,925
HELLO, JACQUES!
925
00:43:15,009 --> 00:43:16,176
HOW ARE YOU, BOY?
GLAD TO SEE YOU.
926
00:43:16,260 --> 00:43:17,553
I HOPE YOU TWO
HAVE HAD ENOUGH
927
00:43:17,636 --> 00:43:18,596
OF THIS
GOOD CLEAN FUN.
928
00:43:18,679 --> 00:43:19,638
WHY DON'T WE ALL
GO INSIDE
929
00:43:19,722 --> 00:43:20,723
AND TAKE
A SLEEPING PILL?
930
00:43:20,806 --> 00:43:22,266
EZ...OH!
931
00:43:22,349 --> 00:43:23,183
BEG YOUR PARDON.
932
00:43:23,267 --> 00:43:24,476
I BEG YOUR PARDON.
933
00:43:24,560 --> 00:43:26,395
MY FAULT.
934
00:43:24,560 --> 00:43:26,395
NOT AT ALL.
935
00:43:24,560 --> 00:43:26,395
MY FAULT.
936
00:43:24,560 --> 00:43:26,395
NOT AT ALL.
937
00:43:26,478 --> 00:43:28,105
EZ, YOU PROMISED TO PLAY
A LITTLE GOLF WITH ME.
938
00:43:28,188 --> 00:43:29,148
I FEEL POSITIVELY DIRE.
939
00:43:29,231 --> 00:43:30,190
I WAS HOPING
YOU'D FORGET IT.
940
00:43:30,274 --> 00:43:31,191
HONEY, DO YOU MIND?
941
00:43:31,275 --> 00:43:32,234
WHAT'S THAT?
942
00:43:32,318 --> 00:43:33,610
WE'RE GOING
TO PLAY A LITTLE GOLF.
943
00:43:33,694 --> 00:43:35,195
NOT AT ALL. I'LL GO
AND SHOWER AND CHANGE
944
00:43:35,279 --> 00:43:36,447
AND MEET YOU DOWN
ON THE NINTH GREEN
945
00:43:36,530 --> 00:43:37,531
IN ABOUT AN HOUR.
HOW'S THAT?
946
00:43:37,614 --> 00:43:38,490
FINE.
947
00:43:37,614 --> 00:43:38,490
OK.
948
00:43:37,614 --> 00:43:38,490
FINE.
949
00:43:37,614 --> 00:43:38,490
OK.
950
00:43:38,574 --> 00:43:40,034
I'LL BE WAITING.
COME ON.
951
00:43:40,117 --> 00:43:41,410
YOU CAN
COME ALONG, GLORIA.
952
00:43:41,493 --> 00:43:43,120
OH, YOU'RE GOING TO
TEACH ME TO PLAY GOLF?
953
00:43:43,203 --> 00:43:44,204
YEAH, AND IF YOU'RE GOOD,
954
00:43:44,288 --> 00:43:45,247
YOU CAN WEAR
A SUMPTUOUS BLACK GOWN
955
00:43:45,331 --> 00:43:47,291
AND PLAY
THE BEST PART--CADDIE.
956
00:43:47,374 --> 00:43:49,293
OH, CADDIE.
THAT'S CUTE.
957
00:44:16,445 --> 00:44:18,739
OH, HERE IT IS.
I WAS LOOKING FOR IT.
958
00:44:18,822 --> 00:44:20,741
OH, YES. I FOUND IT
RIGHT HERE
959
00:44:20,824 --> 00:44:22,076
IN THE MIDDLE
OF THE FLOOR.
960
00:44:22,159 --> 00:44:25,120
PAMELA MUST HAVE LEFT IT.
SHE WAS A TRIFLE UPSET.
961
00:44:25,204 --> 00:44:27,331
YES, I NOTICED
SOMETHING WAS WRONG.
962
00:44:27,414 --> 00:44:29,375
IS SHE GOING
TO BE IN IT?
963
00:44:29,458 --> 00:44:30,292
MM-HMM.
964
00:44:30,376 --> 00:44:32,836
WHAT PART IS SHE
GOING TO PLAY?
965
00:44:32,920 --> 00:44:34,004
SARAH.
966
00:44:34,088 --> 00:44:35,255
SARAH?
YOU MEAN--
967
00:44:35,339 --> 00:44:37,466
I KNOW JUST WHAT
YOU'RE GOING TO TELL ME.
968
00:44:37,549 --> 00:44:39,510
SHE'S A DREADFUL CHOICE
FOR THE PART.
969
00:44:39,593 --> 00:44:40,594
IT'S UNANIMOUS.
970
00:44:40,677 --> 00:44:42,513
I JUST FINISHED
TELLING HER MYSELF.
971
00:44:42,596 --> 00:44:45,015
THEN WHY IS SHE
GOING TO BE IN IT?
972
00:44:45,099 --> 00:44:47,851
I PROMISED IT TO HER,
UNFORTUNATELY.
973
00:44:47,935 --> 00:44:50,771
I CAN'T UNDERSTAND
AN AUTHOR LIKE YOU
974
00:44:50,854 --> 00:44:52,272
DOING SUCH A THING.
975
00:44:52,356 --> 00:44:54,900
HERE YOU TAKE WHAT MIGHT BE
A GREAT PIECE OF THEATRE
976
00:44:54,983 --> 00:44:57,486
AND DELIBERATELY RUIN IT
BY GIVING IT TO SOMEONE
977
00:44:57,569 --> 00:45:00,739
YOU KNOW ISN'T RIGHT
FOR THE PART AT ALL.
978
00:45:00,823 --> 00:45:02,741
OH, I KNOW IT'S
NONE OF MY BUSINESS.
979
00:45:02,825 --> 00:45:06,537
OH, NO, PLEASE. I'M
VERY UPSET ABOUT ALL THIS.
980
00:45:06,620 --> 00:45:09,706
I'D LIKE TO DISCUSS IT
MORE WITH YOU.
981
00:45:09,790 --> 00:45:13,085
I'D LOVE TO! AND...
MAYBE I COULD SOMETIME,
982
00:45:13,168 --> 00:45:14,962
BUT I'VE GOT TO GO
MEET MY HUSBAND.
983
00:45:15,045 --> 00:45:16,255
BUT THEY WON'T BE
AT THE NINTH GREEN
984
00:45:16,338 --> 00:45:17,381
FOR AT LEAST
A HALF-HOUR.
985
00:45:17,464 --> 00:45:18,757
PLEASE COME
AND SIT DOWN.
986
00:45:26,014 --> 00:45:27,641
GO AHEAD, EZ.
987
00:45:27,724 --> 00:45:28,642
I DON'T KNOW WHY
988
00:45:28,725 --> 00:45:30,185
PLAYING CADDIE
IS THE BEST PART.
989
00:45:30,269 --> 00:45:32,146
I NEVER GET
TO HIT THE BALL.
990
00:45:32,229 --> 00:45:34,189
STOP COMPLAINING.
NEITHER DO I.
991
00:45:36,275 --> 00:45:38,402
NICE TRY. ALL RIGHT.
THAT'S GOOD.
992
00:45:38,485 --> 00:45:40,863
I'M SORRY.
PUTT IT OUT.
993
00:45:40,946 --> 00:45:42,322
PUTT IT OUT?
994
00:45:42,406 --> 00:45:43,824
WHY NOT? IT'S THE PHILOSOPHY
OF THE GAME, ISN'T IT?
995
00:45:43,907 --> 00:45:44,950
THAT'S A KICKAWAY.
996
00:45:45,033 --> 00:45:45,909
YOU'RE NOT GOING
TO MAKE ME PUTT THAT?
997
00:45:45,993 --> 00:45:47,119
IT'S INSIDE
THE LEATHER.
998
00:45:47,202 --> 00:45:48,579
WHAT'S THE MATTER?
JANGLED NERVES?
999
00:45:48,662 --> 00:45:50,664
LET'S SEE YOU DO IT.
IT'S SIMPLE.
1000
00:45:50,747 --> 00:45:52,124
HOW DO YOU LIKE THAT?
1001
00:45:52,207 --> 00:45:53,542
I'M GIVING THIS FELLOW
3 STROKES A HOLE HANDICAP,
1002
00:45:53,625 --> 00:45:55,335
AND HE'S MAKING ME PUTT
ONE-INCH PUTTS.
1003
00:45:55,419 --> 00:45:57,463
LOOK. LOOK OUT, WILL YOU?
STEP BACK.
1004
00:45:57,546 --> 00:46:01,091
HA HA! OH, WELL.
1005
00:46:01,175 --> 00:46:03,510
NICE TRY. YOU'D BETTER
STICK TO YOUR DANCING.
1006
00:46:03,594 --> 00:46:04,636
PUTT IT OUT. PUTT IT OUT.
1007
00:46:04,720 --> 00:46:05,679
OH, NOW, LOOK.
1008
00:46:04,720 --> 00:46:05,679
COME ON!
1009
00:46:05,762 --> 00:46:07,181
ALL RIGHT. ALL RIGHT.
ALL RIGHT.
1010
00:46:07,264 --> 00:46:08,223
LET'S GO BACK
TO THE HOUSE.
1011
00:46:08,307 --> 00:46:09,433
NO. DINAH'S
GOING TO MEET US.
1012
00:46:09,516 --> 00:46:10,809
SHE'LL BE HERE
ANY MINUTE.
1013
00:46:12,186 --> 00:46:15,189
THAT IS THE END
OF ACT TWO.
1014
00:46:15,272 --> 00:46:17,941
OH, IT'S THRILLING.
1015
00:46:18,025 --> 00:46:19,526
PERFECTLY THRILLING.
1016
00:46:19,610 --> 00:46:22,362
I'M CONVINCED NOW
THAT YOU MUST WAIT
1017
00:46:22,446 --> 00:46:24,907
UNTIL YOU HAVE THE RIGHT
ACTRESS FOR THE PART.
1018
00:46:24,990 --> 00:46:27,784
YES. BUT WHO?
1019
00:46:27,868 --> 00:46:31,038
WELL, I DON'T KNOW,
OFFHAND.
1020
00:46:31,121 --> 00:46:33,957
CERTAINLY YOU MUST HAVE
SOMEONE IN MIND.
1021
00:46:34,041 --> 00:46:36,043
YES.
1022
00:46:36,126 --> 00:46:37,961
WHO?
1023
00:46:38,045 --> 00:46:39,963
YOU.
1024
00:46:40,047 --> 00:46:41,840
[THUNDER]
1025
00:46:45,511 --> 00:46:47,429
THAT'S THE MOST
WONDERFUL THING
1026
00:46:47,513 --> 00:46:50,557
THAT ANYONE HAS
EVER SAID TO ME.
1027
00:46:50,641 --> 00:46:52,643
TO THINK...
1028
00:47:07,991 --> 00:47:11,578
LOOK AT THE RAIN
ON THE FIELDS.
1029
00:47:11,662 --> 00:47:15,415
EVERY LIVING THING IS LIFTING
ITS THIRSTY FACE.
1030
00:47:15,499 --> 00:47:18,043
SHE SAID SHE'D
MEET ME HERE.
1031
00:47:18,126 --> 00:47:21,463
BE REASONABLE, JOSH.
LOVE WILL FIND A WAY.
1032
00:47:21,547 --> 00:47:24,341
OH, I'M SOAKING WET.
IT'S RAINING.
1033
00:47:24,424 --> 00:47:25,759
NONSENSE.
1034
00:47:25,842 --> 00:47:28,095
JUST A FEW MILLION SCATTERED
DROPS THAT GOT TOGETHER.
1035
00:47:28,178 --> 00:47:31,139
WAIT TILL I GET
MY HANDS ON HER.
1036
00:47:31,223 --> 00:47:32,599
WHY WAIT?
LET'S GO NOW.
1037
00:47:32,683 --> 00:47:34,142
OH, LET'S GO.
1038
00:47:34,226 --> 00:47:35,894
WELL, IT'S
ABOUT TIME!
1039
00:47:35,978 --> 00:47:39,398
OK. LAST ONE IN
IS A ROTTEN EGG!
1040
00:47:39,481 --> 00:47:41,358
DINAH, I AM NOT
GOING TO DO THE PLAY
1041
00:47:41,441 --> 00:47:42,776
WITH ANYONE ELSE
BUT YOU.
1042
00:47:42,859 --> 00:47:44,236
YOU'RE MAD.
1043
00:47:44,319 --> 00:47:47,739
BUT HAVEN'T YOU EVER FELT
THE NEED TO PROVE YOURSELF?
1044
00:47:47,823 --> 00:47:49,283
TO LIFT YOURSELF
TO HEIGHTS
1045
00:47:49,366 --> 00:47:51,702
NO ONE EVER DREAMED
YOU WERE CAPABLE OF?
1046
00:47:51,785 --> 00:47:54,371
OH, IT'S OUT OF
THE QUESTION.
1047
00:47:54,454 --> 00:47:56,832
I'M PERFECTLY CONTENTED,
1048
00:47:56,915 --> 00:47:59,876
AND BESIDES, I LOVE MY HUSBAND
AND I LOVE WORKING WITH HIM,
1049
00:47:59,960 --> 00:48:01,670
AND A STEP LIKE THIS
1050
00:48:01,753 --> 00:48:04,464
WOULD MEAN THE BREAKING UP
OF OUR CAREER TOGETHER.
1051
00:48:04,548 --> 00:48:07,342
OF COURSE. THE WHOLE
IDEA WAS STUPID.
1052
00:48:07,426 --> 00:48:10,554
WE WON'T SPEAK
OF IT AGAIN, EVER.
1053
00:48:17,936 --> 00:48:21,648
DO YOU THINK I REALLY COULD
PLAY SARAH BERNHARDT?
1054
00:48:21,732 --> 00:48:24,818
I KNEW IT! I KNEW IT.
YOU DO WANT TO DO THIS.
1055
00:48:24,901 --> 00:48:25,902
OH, NO, NO.
1056
00:48:25,986 --> 00:48:27,112
DINAH, I'LL WAIT A YEAR.
1057
00:48:27,195 --> 00:48:27,988
I'LL WAIT UNTIL
YOUR SHOW CLOSES.
1058
00:48:28,071 --> 00:48:29,489
JUST SAY YOU'LL DO IT.
1059
00:48:29,573 --> 00:48:30,532
NO!
1060
00:48:30,616 --> 00:48:32,534
I'M FINE FOR
MUSICAL COMEDY.
1061
00:48:32,618 --> 00:48:34,995
THAT--THAT'S WHAT
I'M SUITED FOR,
1062
00:48:35,078 --> 00:48:37,456
BUT...NO ONE
WOULD BELIEVE ME
1063
00:48:37,539 --> 00:48:39,249
IN A SERIOUS PART.
1064
00:48:39,333 --> 00:48:41,835
OF COURSE THEY WOULD.
1065
00:48:41,918 --> 00:48:45,505
I THINK YOU'RE GOING TO HAVE
A QUICK CHANCE TO PROVE IT.
1066
00:48:45,589 --> 00:48:46,798
LOOK.
1067
00:48:53,263 --> 00:48:54,765
THAT'S MY HUSBAND.
1068
00:48:54,848 --> 00:48:56,683
AND IT'S RAINING.
WHAT WILL I DO?
1069
00:48:56,767 --> 00:48:57,643
ACT.
1070
00:48:57,726 --> 00:48:59,269
ACT? NO. I'LL HIDE.
1071
00:48:59,353 --> 00:49:00,604
HOW'S THIS?
1072
00:49:00,687 --> 00:49:02,022
THIS IS MUCH
TOO OBVIOUS.
1073
00:49:02,105 --> 00:49:03,482
WHAT WILL I DO?
1074
00:49:03,565 --> 00:49:04,608
IMPROVISE.
1075
00:49:04,691 --> 00:49:06,068
IMPROVISE.
OH, I'M FAINT.
1076
00:49:06,151 --> 00:49:09,863
I'M TERRIBLY FAINT. I FEEL
SICK. I FEEL TERRIBLY SICK.
1077
00:49:09,946 --> 00:49:11,031
YOU LOOK
TERRIBLY HEALTHY.
1078
00:49:11,114 --> 00:49:12,032
I DO? THAT'S NO GOOD.
1079
00:49:12,115 --> 00:49:13,158
I KNOW. I'LL TAKE
MY MAKEUP OFF.
1080
00:49:13,241 --> 00:49:14,534
YOU BETTER HURRY,
WHATEVER YOU DO.
1081
00:49:14,618 --> 00:49:15,535
THEY'RE COMING.
1082
00:49:15,619 --> 00:49:18,538
OH, NO! YOU'VE
GOT TO HIDE. OH, NO!
1083
00:49:18,622 --> 00:49:20,165
GOOD LUCK,
CAMILLE.
1084
00:49:20,248 --> 00:49:22,417
Josh: DINAH. DINAH!
1085
00:49:22,501 --> 00:49:24,169
DINAH!
1086
00:49:24,252 --> 00:49:26,088
SHE'S WAVING AT ME.
1087
00:49:26,171 --> 00:49:29,216
WHAT'S THE IDEA STANDING ME UP
IN A HURRICANE?
1088
00:49:29,299 --> 00:49:31,510
[DINAH MOANS]
1089
00:49:31,593 --> 00:49:33,470
Dinah, softly:
OH, IT'S JOSH.
1090
00:49:33,553 --> 00:49:35,555
I THOUGHT YOU'D
NEVER GET HERE.
1091
00:49:35,639 --> 00:49:37,182
NEVER GET HERE?!
1092
00:49:37,265 --> 00:49:38,475
Ezra: TAKE IT EASY.
1093
00:49:38,558 --> 00:49:40,477
I THINK SHE MIGHT
REALLY BE SICK.
1094
00:49:40,560 --> 00:49:42,562
SICK? WHAT'S
THE MATTER, DARLING?
1095
00:49:42,646 --> 00:49:43,647
IT'S NOTHING.
1096
00:49:43,730 --> 00:49:46,108
IT'S JUST THAT I'VE BEEN
TERRIBLY FAINT.
1097
00:49:46,191 --> 00:49:47,401
EZRA,
GET SOMETHING. WHAT?
1098
00:49:47,484 --> 00:49:49,152
GET SOMETHING. BRANDY.
1099
00:49:49,236 --> 00:49:50,612
DARLING,
WHAT HAPPENED?
1100
00:49:50,696 --> 00:49:52,698
OH, I DON'T KNOW.
1101
00:49:52,781 --> 00:49:56,076
I WAS...I WAS COMING
DOWN TO MEET YOU,
1102
00:49:56,159 --> 00:50:00,622
AND...AND SUDDENLY
I FELT VERY STRANGE.
1103
00:50:00,706 --> 00:50:04,793
EVERYTHING STARTED TO GO
ROUND AND ROUND, AND...
1104
00:50:04,876 --> 00:50:07,587
I CAME IN HERE TO REST
FOR A MINUTE, AND...
1105
00:50:07,671 --> 00:50:09,297
I MUST HAVE FAINTED.
1106
00:50:09,381 --> 00:50:12,217
I'LL NEVER FORGIVE MYSELF
FOR THINKING WHAT I DID.
1107
00:50:12,300 --> 00:50:14,177
YOU SOUND SO FAR AWAY.
1108
00:50:14,261 --> 00:50:15,595
I'M RIGHT HERE,
DARLING.
1109
00:50:15,679 --> 00:50:17,139
I FELT SO COLD
1110
00:50:17,222 --> 00:50:21,768
AND SUDDENLY SO HOT
AND NOW DIZZY.
1111
00:50:21,852 --> 00:50:23,103
I'VE NEVER FELT LIKE
THIS EVER BEFORE.
1112
00:50:23,186 --> 00:50:25,522
YOU'VE NEVER FELT
LIKE THIS BEFORE?
1113
00:50:25,605 --> 00:50:27,441
SWEETHEART, HONEY,
BABY, YOU MEAN--
1114
00:50:27,524 --> 00:50:28,692
OH, IT'S WONDERFUL!
1115
00:50:28,775 --> 00:50:32,446
WHAT? NO, IT'S NOT THAT.
DEFINITELY. OH, NO.
1116
00:50:32,529 --> 00:50:33,739
IT'S JUST THAT I'VE HAD
TOO MUCH TENNIS
1117
00:50:33,822 --> 00:50:36,575
OR TOO MUCH SUN OR--
I WANT TO GO HOME.
1118
00:50:36,658 --> 00:50:38,577
WE WILL GO HOME.
NOW JUST--
1119
00:50:38,660 --> 00:50:40,579
HERE, TAKE A SIP
OF THIS.
1120
00:50:40,662 --> 00:50:42,289
IT'S COGNAC.
IT'S BRANDY.
1121
00:50:42,372 --> 00:50:43,540
I'M TOO WEAK.
1122
00:50:43,623 --> 00:50:45,125
MAYBE WE BETTER
GET SHIRLENE READY
1123
00:50:45,208 --> 00:50:46,668
FOR TOMORROW NIGHT.
1124
00:50:46,752 --> 00:50:49,254
HUH? OH, NO.
NO, I'LL BE ALL RIGHT.
1125
00:50:49,337 --> 00:50:51,715
YOU'RE ALL RIGHT.
1126
00:50:51,798 --> 00:50:53,133
WE'LL GO HOME, AND
EVERYTHING WILL BE FINE.
1127
00:50:53,216 --> 00:50:56,386
ALL YOU HAVE TO DO
IS JUST LEAVE IT TO ME.
1128
00:50:58,638 --> 00:51:00,140
"SARAH, FLUSTERED,
STEALS A LAST LOOK
1129
00:51:00,223 --> 00:51:01,391
"AT HER BOOK AND GETS UP.
1130
00:51:01,475 --> 00:51:04,352
"JUDGE: WHAT WILL YOU
RECITE, MADEMOISELLE?
1131
00:51:04,436 --> 00:51:07,647
"SARAH, NERVOUSLY: THE POTION
SCENE FROM ROMEO AND JULIET.
1132
00:51:07,731 --> 00:51:09,191
"SHE PAUSES.
1133
00:51:09,274 --> 00:51:11,276
JUDGE: VERY WELL. BEGIN.
SARAH'S"--
1134
00:51:11,359 --> 00:51:12,652
Josh: HELLO,
HONEY.
1135
00:51:12,736 --> 00:51:15,906
HELLO, DARLING.
1136
00:51:15,989 --> 00:51:16,656
MISS ME?
1137
00:51:16,740 --> 00:51:17,824
BUT OF COURSE.
1138
00:51:17,908 --> 00:51:19,826
YOU'VE ALMOST BEEN GONE
A HALF AN HOUR.
1139
00:51:19,910 --> 00:51:20,744
WHAT HAPPENED? NO
REHEARSAL WITH SHIRLENE?
1140
00:51:20,827 --> 00:51:22,287
CALLED IT OFF.
1141
00:51:22,370 --> 00:51:24,706
WE'RE HAVING THOSE PICTURES
TAKEN FOR LOOK MAGAZINE.
1142
00:51:24,790 --> 00:51:27,375
YES. MY DEAR, I FORGOT
ALL ABOUT IT. I MUST CHANGE.
1143
00:51:27,459 --> 00:51:28,585
NO. YOU LOOK BEAUTIFUL.
1144
00:51:28,668 --> 00:51:29,795
THAT'S JUST THE WAY
THEY WANT TO SEE YOU--
1145
00:51:29,878 --> 00:51:31,546
THE BEAUTIFUL
MRS. BARKLEY AT HOME.
1146
00:51:31,630 --> 00:51:33,298
COME ON. A LITTLE
SERVICE, PLEASE. HMM?
1147
00:51:33,381 --> 00:51:34,382
YOU'RE SLIPPING.
1148
00:51:34,466 --> 00:51:35,759
DARLING,
I'M TERRIBLY SORRY.
1149
00:51:35,842 --> 00:51:38,178
I HAVE THE LIGHTER
HERE IN MY POCKET, BUT--
1150
00:51:38,261 --> 00:51:40,639
ALL YOU HAVE TO DO
IS TAKE THE PILLOW OFF.
1151
00:51:42,349 --> 00:51:43,892
NOW, NOW, JOSH.
NOW--
1152
00:51:43,975 --> 00:51:46,353
Larry: HOLD IT! DON'T MOVE.
THAT'S PERFECT.
1153
00:51:46,436 --> 00:51:47,687
WHAT DID I
TELL YOU, FELLAS?
1154
00:51:47,771 --> 00:51:48,396
IS THIS GOING TO BE
A PICTURE STORY,
1155
00:51:48,480 --> 00:51:49,689
OR ISN'T IT?
1156
00:51:49,773 --> 00:51:50,607
HELLO, LARRY.
1157
00:51:50,690 --> 00:51:51,983
THIS IS MR. PERKINS,
MR. CLARK,
1158
00:51:52,067 --> 00:51:54,277
MR. LEGGETT, MR. TERRELL
OF LOOK MAGAZINE.
1159
00:51:54,361 --> 00:51:55,195
DARLING, AFTER ALL,
1160
00:51:55,278 --> 00:51:56,488
HE JUST WANTED
MY OPINION.
1161
00:51:56,571 --> 00:51:58,198
Larry: PERKINS,
IT'S YOUR SHOW. TAKE OVER.
1162
00:51:58,281 --> 00:52:00,116
WE'D SORT OF LIKE
TO GET THE WHOLE DAY.
1163
00:52:00,200 --> 00:52:01,326
STARTING FROM
BREAKFAST, PERHAPS.
1164
00:52:01,409 --> 00:52:02,202
WE HAVE BREAKFAST
ALL SET UP
1165
00:52:02,285 --> 00:52:03,537
OUT ON THE TERRACE HERE.
1166
00:52:03,620 --> 00:52:06,706
JUST COME ALONG. FOLLOW ME.
DARLING, COME ON.
1167
00:52:06,790 --> 00:52:07,874
I'VE GOT ORANGE JUICE.
1168
00:52:07,958 --> 00:52:10,377
GOOD LIGHT, TOO, I THINK.
DON'T YOU?
1169
00:52:10,460 --> 00:52:12,712
[DINAH CONTINUES TALKING]
1170
00:52:12,796 --> 00:52:14,756
Josh: "YOUR DYING
SCENE IN THE COUNTRY
1171
00:52:14,840 --> 00:52:16,633
"EQUALED BERNHARDT
IN CAMILLE.
1172
00:52:16,716 --> 00:52:18,802
READ ACT THREE.
I'LL BE WAITING."
1173
00:52:18,885 --> 00:52:20,679
DARLING, WILL YOU
PLEASE COME--
1174
00:52:20,762 --> 00:52:22,764
DYING SCENE
IN THE COUNTRY?
1175
00:52:22,848 --> 00:52:24,224
OH, I SEE.
1176
00:52:24,307 --> 00:52:27,269
Dinah: WE HAVE EVERYTHING
PICKED FOR THE PICTURES.
1177
00:52:27,352 --> 00:52:30,313
Josh: MY POOR,
SICK LITTLE BRIDE,
1178
00:52:30,397 --> 00:52:31,731
LET ME HELP YOU.
1179
00:52:31,815 --> 00:52:32,899
Perkins: LOOKS LIKE ONE
OF THE BEST SETUPS WE'VE HAD.
1180
00:52:32,983 --> 00:52:35,318
WELL, THAT WAS
A PERFORMANCE.
1181
00:52:35,402 --> 00:52:37,237
HAD ME FOOLED
COMPLETELY.
1182
00:52:37,320 --> 00:52:40,657
SHH, JOSH. NOT NOW.
SIT DOWN, DARLING.
1183
00:52:40,740 --> 00:52:42,492
WHAT'S BEEN GOING ON
BETWEEN YOU TWO?
1184
00:52:42,576 --> 00:52:44,077
PLEASE HOLD ON,
BEFORE WE SAY SOMETHING
1185
00:52:44,160 --> 00:52:45,745
WE'LL BOTH BE
SORRY FOR LATER.
1186
00:52:45,829 --> 00:52:46,997
ALL READY
FOR THE PICTURE?
1187
00:52:47,080 --> 00:52:48,081
THE LOVELY COUPLE
BILLING AND COOING
1188
00:52:48,164 --> 00:52:49,624
OVER THE BREAKFAST
TABLE, HUH?
1189
00:52:49,708 --> 00:52:51,835
SHUT UP. HE'S BEEN
AFTER YOU, HASN'T HE?
1190
00:52:51,918 --> 00:52:53,044
I WOULDN'T BE SURPRISED
1191
00:52:53,128 --> 00:52:54,296
IF HE'D ASKED YOU
TO PLAY SARAH BERNHARDT.
1192
00:52:54,379 --> 00:52:56,423
COULD WE GET
THE PICTURE, PLEASE?
1193
00:52:56,506 --> 00:52:57,716
BY ALL MEANS, YES.
1194
00:52:57,799 --> 00:52:59,718
PICK UP
THE COFFEE CUP,
1195
00:52:59,801 --> 00:53:01,344
LIKE YOU'RE HAVING
BREAKFAST.
1196
00:53:01,428 --> 00:53:02,679
YES. OH!
I'M TERRIBLY...
1197
00:53:02,762 --> 00:53:04,514
ALL RIGHT, SMILE,
KIDDIES, SMILE.
1198
00:53:04,598 --> 00:53:06,099
THAT'S IT.
1199
00:53:06,182 --> 00:53:07,517
Josh: HE'S A PRETTY
SMOOTH ARTICLE,
1200
00:53:07,601 --> 00:53:08,560
KNEW JUST HOW
TO WORK ON YOU.
1201
00:53:08,643 --> 00:53:09,895
WHAT ARE YOU
TALKING ABOUT?
1202
00:53:09,978 --> 00:53:11,313
YOU DON'T THINK
FOR A MINUTE
1203
00:53:11,396 --> 00:53:12,689
HE'D REALLY EVER LET YOU
PLAY SARAH BERNHARDT, DO YOU?
1204
00:53:12,772 --> 00:53:14,441
EVEN YOU COULDN'T BE
THAT DUMB.
1205
00:53:14,524 --> 00:53:15,650
WELL, NOW--
1206
00:53:15,734 --> 00:53:17,736
Perkins: WOULD YOU
FEED HIM A STRAWBERRY?
1207
00:53:17,819 --> 00:53:19,112
OH, A STRAWBERRY.
CERTAINLY.
1208
00:53:19,195 --> 00:53:20,780
HE SAYS HE WON'T
EVEN DO THE SHOW
1209
00:53:20,864 --> 00:53:21,823
UNLESS I PLAY THE PART--
1210
00:53:21,907 --> 00:53:22,991
HA!
1211
00:53:23,074 --> 00:53:24,576
Larry: HOLD IT!
1212
00:53:24,659 --> 00:53:26,786
BECAUSE I'M
A GREAT ACTRESS.
1213
00:53:26,870 --> 00:53:28,038
DON'T MAKE ME LAUGH.
1214
00:53:28,121 --> 00:53:29,122
Perkins:
THAT'S FINE.
1215
00:53:29,205 --> 00:53:30,999
NOW CAN WE GO
IN THE LIVING ROOM?
1216
00:53:31,082 --> 00:53:32,292
YES, PLEASE. GO AHEAD
AND HELP YOURSELF,
1217
00:53:32,375 --> 00:53:35,837
AND WE'LL BE RIGHT IN
IN JUST A MOMENT.
1218
00:53:35,921 --> 00:53:37,339
HE BELIEVES IN ME.
1219
00:53:37,422 --> 00:53:39,132
HE GIVES ME
CONFIDENCE IN MYSELF.
1220
00:53:39,215 --> 00:53:41,593
ALL YOU'VE EVER DONE
IS TEAR ME DOWN,
1221
00:53:41,676 --> 00:53:42,886
MAKE ME FEEL
LIKE A NOBODY
1222
00:53:42,969 --> 00:53:44,095
OR A LITTLE SIDEKICK.
1223
00:53:44,179 --> 00:53:46,306
CAN'T EVEN WALK ACROSS
THE STAGE WITHOUT YOU.
1224
00:53:46,389 --> 00:53:47,390
RIGHT.
1225
00:53:47,474 --> 00:53:48,850
CAN'T EVEN MAKE
A GESTURE.
1226
00:53:48,934 --> 00:53:49,809
CORRECT.
1227
00:53:49,893 --> 00:53:51,311
BIG, FAT SVENGALI!
1228
00:53:51,394 --> 00:53:52,812
YOU'RE DARN TOOTIN'!
1229
00:53:52,896 --> 00:53:54,314
I'VE HAD ENOUGH!
1230
00:53:54,397 --> 00:53:55,857
Josh: THAT GOES DOUBLE.
1231
00:53:55,941 --> 00:53:57,525
I'M SICK AND TIRED
1232
00:53:57,609 --> 00:53:59,152
OF YOUR LIES, YOUR
DECEITS, YOUR TRICKS.
1233
00:53:59,235 --> 00:54:00,362
YOU'RE NOTHING BUT...
1234
00:54:00,445 --> 00:54:01,488
AN INCONSIDERATE,
SELFISH LITTLE--
1235
00:54:01,571 --> 00:54:02,405
GREETINGS.
1236
00:54:02,489 --> 00:54:04,032
WHAT ARE YOU
DOING HERE?
1237
00:54:04,115 --> 00:54:06,076
WE WERE WAITING
AT THE THEATRE TO REHEARSE.
1238
00:54:06,159 --> 00:54:07,994
SHIRLENE! THERE'S
A GIRL WITH TALENT!
1239
00:54:08,078 --> 00:54:10,372
SHE KNOWS YOUR PART BETTER
THAN YOU DO RIGHT NOW!
1240
00:54:10,455 --> 00:54:11,539
I COULD PUT HER
ON TONIGHT,
1241
00:54:11,623 --> 00:54:12,624
AND SHE'D BE
A SENSATION!
1242
00:54:12,707 --> 00:54:13,708
GEE, THANKS, MR.--
1243
00:54:13,792 --> 00:54:14,626
SHUT UP!
1244
00:54:14,709 --> 00:54:18,213
SIMMER DOWN.
TAKE IT EASY.
1245
00:54:18,296 --> 00:54:20,757
ALL CALMED DOWN, HUH, DINAH?
WHY DON'T WE GET--
1246
00:54:20,840 --> 00:54:22,801
WHY DON'T YOU TAKE
A PICTURE OF ME
1247
00:54:22,884 --> 00:54:24,094
WALKING OUT OF THE HOUSE
FOR GOOD?
1248
00:54:24,177 --> 00:54:25,178
DINAH!
1249
00:54:25,261 --> 00:54:26,846
JOSH, DO SOMETHING.
STOP HER.
1250
00:54:26,930 --> 00:54:28,348
SHE'S WALKED OUT BEFORE,
1251
00:54:28,431 --> 00:54:29,307
BUT THIS TIME
I THINK SHE MEANS IT.
1252
00:54:29,391 --> 00:54:30,225
SO DO I.
1253
00:54:30,308 --> 00:54:31,559
AND AS FOR SHIRLENE,
1254
00:54:31,643 --> 00:54:33,520
YOU HAVE MY PERMISSION
TO PUT HER ON TONIGHT
1255
00:54:33,603 --> 00:54:35,814
BECAUSE I WON'T BE THERE.
1256
00:54:35,897 --> 00:54:37,065
Larry: WHAT AM I
GOING TO DO?
1257
00:54:37,148 --> 00:54:38,525
WE'VE GOT THIS PICTURE
SPREAD ALL SET UP
1258
00:54:38,608 --> 00:54:39,776
FOR LOOK MAGAZINE.
1259
00:54:39,859 --> 00:54:41,403
WHAT AM I GOING
TO TELL THEM?
1260
00:54:41,486 --> 00:54:43,363
TELL THEM YOU CAN
FILL IN WITH 8 PAGES
1261
00:54:43,446 --> 00:54:45,824
OF AN APPENDIX OPERATION
IN COLOR.
1262
00:55:17,647 --> 00:55:20,233
[MUSIC PLAYING]
1263
00:58:11,487 --> 00:58:14,824
♪ WHEN I'VE GOT SHOES
WITH WINGS ON ♪
1264
00:58:14,908 --> 00:58:17,994
♪ THE WINTER'S GONE,
THE SPRING'S ON ♪
1265
00:58:18,077 --> 00:58:21,122
♪ WHEN I'VE GOT SHOES
WITH WINGS ON ♪
1266
00:58:21,206 --> 00:58:24,542
♪ THE TOWN'S FULL OF RHYTHM,
AND THE WORLD'S IN RHYME ♪
1267
00:58:24,626 --> 00:58:27,670
♪ THE NEON CITY GLOWS UP ♪
1268
00:58:27,754 --> 00:58:30,840
♪ MY PRETTY PRETTY
SHOWS UP ♪
1269
00:58:30,924 --> 00:58:34,260
♪ WE'LL DANCE
UNTIL THEY CLOSE UP ♪
1270
00:58:34,344 --> 00:58:36,888
♪ I'VE GOT MY GUARDIAN ANGEL
WORKING OVERTIME ♪
1271
00:58:36,971 --> 00:58:38,932
♪ I GIVE ALADDIN
THE LAMP ♪
1272
00:58:39,015 --> 00:58:40,850
♪ MIDAS THE GOLD ♪
1273
00:58:40,934 --> 00:58:42,936
♪ WHO NEEDS A WIZARD
OR MAGICIAN ♪
1274
00:58:43,019 --> 00:58:44,562
♪ IN THE OLD TRADITION? ♪
1275
00:58:44,646 --> 00:58:46,439
♪ THAT'S NOT COMPETITION ♪
1276
00:58:46,522 --> 00:58:49,442
♪ I'VE GOT 'EM BEAT
A THOUSAND FOLD ♪
1277
00:58:49,525 --> 00:58:53,446
♪ WHY? 'CAUSE I'VE GOT SHOES
WITH WINGS ON ♪
1278
00:58:53,529 --> 00:58:56,699
♪ AND LIVING HAS
NO STRINGS ON ♪
1279
00:58:56,783 --> 00:59:00,078
♪ I PUT THOSE MAGIC
THINGS ON ♪
1280
00:59:00,161 --> 00:59:01,663
♪ AND I GO FLYING
WITH 'EM ♪
1281
00:59:01,746 --> 00:59:03,206
♪ AND THE TOWN
IS FULL OF RHYTHM ♪
1282
00:59:03,289 --> 00:59:06,668
♪ AND THE WORLD'S
IN RHYME ♪
1283
01:02:24,407 --> 01:02:27,076
[APPLAUSE]
1284
01:02:38,129 --> 01:02:39,297
WE'LL DO THE ENTIRE
SCENE AGAIN.
1285
01:02:39,380 --> 01:02:41,340
BETTER TAKE IT FROM
YOUR ENTRANCE, DINAH.
1286
01:02:41,424 --> 01:02:44,051
Dinah:
MY ENTRANCE.
1287
01:02:44,135 --> 01:02:45,553
DINAH, DARLING.
1288
01:02:45,636 --> 01:02:46,846
YES?
1289
01:02:46,929 --> 01:02:48,848
I SHOULD THINK
THAT AFTER 2 WEEKS,
1290
01:02:48,931 --> 01:02:51,184
YOU WOULD TRY TO DO THIS
WITHOUT A SCRIPT.
1291
01:02:51,267 --> 01:02:53,519
I KNOW IT. IT'S JUST THAT
I LIKE TO HOLD ON TO IT.
1292
01:02:53,603 --> 01:02:54,854
YOU MUSTN'T GET
TO RELY ON IT.
1293
01:02:54,937 --> 01:02:57,440
YOU WON'T HAVE IT WITH YOU
OPENING NIGHT.
1294
01:02:57,523 --> 01:02:59,317
ALL RIGHT,
HERE WE GO.
1295
01:02:59,400 --> 01:03:02,195
EXCUSE ME
A MINUTE, JACQUES.
1296
01:03:02,278 --> 01:03:04,030
WHAT DO YOU MEAN BY
SNOOPING AROUND HERE?
1297
01:03:04,113 --> 01:03:04,739
HIYA, DINAH.
1298
01:03:04,822 --> 01:03:05,948
IF YOU'RE HERE
1299
01:03:06,032 --> 01:03:07,200
TO FERRET OUT NEWS
OF THE ENEMY CAMP,
1300
01:03:07,283 --> 01:03:09,160
I'D LIKE TO TELL YOU
THAT I'M VERY HAPPY.
1301
01:03:09,243 --> 01:03:11,037
I LOVE THE PLAY,
AND I THINK THAT--
1302
01:03:11,120 --> 01:03:13,122
YOU MAY TELL JOSH
IN PARTICULAR--
1303
01:03:13,206 --> 01:03:14,457
I THINK JACQUES
IS THE BEST DIRECTOR
1304
01:03:14,540 --> 01:03:16,292
I HAVE EVER WORKED WITH.
1305
01:03:16,375 --> 01:03:17,877
THAT'S
A BEAUTIFUL SUIT.
1306
01:03:17,960 --> 01:03:19,795
AND IF YOU'RE HERE
TO PLAY CUPID AGAIN,
1307
01:03:19,879 --> 01:03:20,880
YOU CAN JUST PUT AWAY
YOUR ARROWS.
1308
01:03:20,963 --> 01:03:22,048
IT WON'T DO YOU
ANY GOOD.
1309
01:03:22,131 --> 01:03:23,883
YOU AND I NEVER HAD
A FIGHT. REMEMBER?
1310
01:03:23,966 --> 01:03:25,343
I'M SORRY,
BUT YOU CAN'T BARGE IN
1311
01:03:25,426 --> 01:03:26,886
IN THE MIDDLE
OF A REHEARSAL
1312
01:03:26,969 --> 01:03:28,346
WHEN I'M TRYING
TO CONCENTRATE, AND--
1313
01:03:28,429 --> 01:03:29,347
ALL RIGHT, WHAT IS IT?
1314
01:03:29,430 --> 01:03:30,932
I JUST CAME TO ASK YOU
1315
01:03:31,015 --> 01:03:32,391
ABOUT DOING THAT BIG
BENEFIT AT SYMPHONY HALL--
1316
01:03:32,475 --> 01:03:35,394
YOU KNOW, THE ONE WE DO
EVERY YEAR FOR THE HOSPITAL.
1317
01:03:35,478 --> 01:03:37,063
NO, NOT THIS YEAR.
1318
01:03:37,146 --> 01:03:38,898
IF YOU THINK YOU CAN
GET JOSH AND ME
1319
01:03:38,981 --> 01:03:41,442
ON THE STAGE TOGETHER,
YOU'RE CRAZY.
1320
01:03:41,526 --> 01:03:42,527
Jacques: DINAH!
1321
01:03:42,610 --> 01:03:43,903
I'LL BE RIGHT THERE
IN A SECOND.
1322
01:03:43,986 --> 01:03:45,363
I'D LIKE TO SEE ONE
OF THE BARKLEYS REPRESENTED.
1323
01:03:45,446 --> 01:03:46,405
JOSH WON'T BE THERE.
1324
01:03:46,489 --> 01:03:47,448
HUH?
1325
01:03:47,532 --> 01:03:50,701
HE TURNED IT DOWN.
HE SAID HE'S TOO BUSY.
1326
01:03:50,785 --> 01:03:53,079
HE HAS A BIG PARTY
THAT NIGHT.
1327
01:03:53,162 --> 01:03:54,747
ISN'T THAT
JUST LIKE HIM?
1328
01:03:54,830 --> 01:03:57,083
TOO BUSY TO DO A BENEFIT.
HAS TO GO TO A PARTY.
1329
01:03:57,166 --> 01:03:58,960
YOU CAN COUNT ON ME.
I'LL BE THERE.
1330
01:03:59,043 --> 01:04:00,211
Jacques: DINAH!
1331
01:04:00,294 --> 01:04:01,963
BYE, DARLING.
YES, JUST A MINUTE.
1332
01:04:02,046 --> 01:04:02,964
YOU'RE NOT SUPERSTITIOUS
1333
01:04:03,047 --> 01:04:05,216
ABOUT ONE
ON A MATCH, ARE YOU?
1334
01:04:05,299 --> 01:04:07,218
IF YOU THINK YOU CAN
GET DINAH AND ME
1335
01:04:07,301 --> 01:04:08,386
TO APPEAR AT THAT BENEFIT
TOGETHER,
1336
01:04:08,469 --> 01:04:09,595
YOU'RE JUST CRAZY,
THAT'S ALL.
1337
01:04:09,679 --> 01:04:11,222
I'D LIKE TO SEE ONE
OF THE BARKLEYS THERE.
1338
01:04:11,305 --> 01:04:12,265
DINAH CAN'T MAKE IT.
1339
01:04:12,348 --> 01:04:13,432
WHY NOT?
1340
01:04:13,516 --> 01:04:14,850
I SAW HER. SHE SAID
SHE'S TOO BUSY.
1341
01:04:14,934 --> 01:04:16,394
SHE'S GOT A REHEARSAL
THAT NIGHT.
1342
01:04:16,477 --> 01:04:17,603
ISN'T THAT JUST LIKE HER?
1343
01:04:17,687 --> 01:04:19,438
ALL WRAPPED UP IN THAT
BIG DRAMATIC CAREER.
1344
01:04:19,522 --> 01:04:20,856
COULDN'T TAKE
A HALF-HOUR OFF
1345
01:04:20,940 --> 01:04:22,858
TO DO ONE LITTLE NUMBER
FOR A WORTHY CAUSE.
1346
01:04:22,942 --> 01:04:24,902
YOU CAN COUNT ON ME.
I'LL BE THERE.
1347
01:04:24,986 --> 01:04:26,946
GOOD. I'LL SEE YOU
AT DINNER.
1348
01:04:27,029 --> 01:04:28,281
WAIT A MINUTE.
1349
01:04:28,364 --> 01:04:30,283
YEAH?
WHAT'S THE MATTER?
1350
01:04:30,366 --> 01:04:32,326
YOU SAW HER TODAY, HUH?
1351
01:04:32,410 --> 01:04:33,786
YEP, I SAW HER.
1352
01:04:33,869 --> 01:04:35,329
WHERE?
1353
01:04:35,413 --> 01:04:36,789
AT HER REHEARSAL.
1354
01:04:36,872 --> 01:04:38,958
HOW IS THE GREAT TRAGIC
ACTRESS GETTING ALONG?
1355
01:04:39,041 --> 01:04:41,752
OK, I GUESS. SHE APPEARED
A LITTLE NERVOUS.
1356
01:04:41,836 --> 01:04:43,754
SEEMED TO BE FLOUNDERING
AROUND, UNSURE OF HERSELF.
1357
01:04:43,838 --> 01:04:45,214
YOU KNOW SOMETHING?
1358
01:04:45,298 --> 01:04:47,466
SHE'S GOING TO TAKE A HEADER
RIGHT ON HER FACE.
1359
01:04:47,550 --> 01:04:49,385
AND YOU KNOW
SOMETHING ELSE?
1360
01:04:49,468 --> 01:04:50,636
I'M GOING TO LET HER
LIE THERE.
1361
01:04:50,720 --> 01:04:51,721
THAT'S THE SPIRIT.
1362
01:04:51,804 --> 01:04:54,056
WHO SAYS THE AGE
OF CHIVALRY IS DEAD?
1363
01:04:54,140 --> 01:04:56,142
Shirlene:
YOO-HOO. JOSHY.
1364
01:04:56,225 --> 01:04:57,685
I'M ALL READY,
HONEY.
1365
01:04:57,768 --> 01:04:59,520
SHIRLENE,
YOU BETTER RUN ALONG.
1366
01:04:59,604 --> 01:05:00,563
I'VE GOT SOME
IMPORTANT BUSINESS
1367
01:05:00,646 --> 01:05:01,897
TO DO BEFORE
THE SHOW TONIGHT.
1368
01:05:01,981 --> 01:05:04,817
I'M SORRY. I'LL SEE YOU
BACK HERE, THEN, HUH?
1369
01:05:04,900 --> 01:05:06,319
YEAH, YEAH. FINE.
1370
01:05:06,402 --> 01:05:08,029
I'LL BE
AWFUL LONELY.
1371
01:05:08,112 --> 01:05:10,364
YOU'LL GET OVER IT.
1372
01:05:10,448 --> 01:05:11,824
YOU KNOW...
1373
01:05:11,907 --> 01:05:14,493
I FIND THAT GIRL
COMPLETELY RESISTIBLE.
1374
01:05:39,310 --> 01:05:41,312
WE'LL TAKE IT AGAIN
FROM THE SAME SPOT.
1375
01:05:41,395 --> 01:05:42,897
PLACES, PLEASE.
1376
01:05:45,358 --> 01:05:47,360
ALL RIGHT, GO.
1377
01:05:47,443 --> 01:05:48,861
Dinah: OH.
MOTHER--
1378
01:05:48,944 --> 01:05:50,696
NO, DINAH. I'M AFRAID
YOU'RE FORGETTING
1379
01:05:50,780 --> 01:05:52,907
ALL THE ACTION
WE SET TO THIS.
1380
01:05:52,990 --> 01:05:55,409
YOU COME IN, PAUSE
FOR 3 COUNTS IN THE DOORWAY,
1381
01:05:55,493 --> 01:05:57,787
LOOK AT YOUR MOTHER,
LOOK AT THE DUKE DE MONTE,
1382
01:05:57,870 --> 01:05:59,789
LOOK AT YOUR AUNT,
1383
01:05:59,872 --> 01:06:01,374
THEN WALK TO THE WINDOW, SAY
THE FIRST HALF OF YOUR LINE,
1384
01:06:01,457 --> 01:06:03,167
TURN, AND FINISH IT.
1385
01:06:03,250 --> 01:06:04,710
I'VE GOT ALL THIS WRITTEN DOWN.
YOU MUST REMEMBER IT.
1386
01:06:04,794 --> 01:06:06,045
Dinah:
I DO REMEMBER IT.
1387
01:06:06,128 --> 01:06:07,963
IT'S THE SCENE
I WORKED ON LAST NIGHT.
1388
01:06:08,047 --> 01:06:09,423
MOTHER,
I'VE MADE UP MY--
1389
01:06:09,507 --> 01:06:11,926
Jacques: NO, DARLING.
YOU JUST LOOK AT YOUR MOTHER.
1390
01:06:12,009 --> 01:06:13,427
THAT'S RIGHT.
I'M SORRY.
1391
01:06:13,511 --> 01:06:15,304
UH...
1392
01:06:17,640 --> 01:06:19,433
MOTHER,
I'VE MADE UP MY MIND.
1393
01:06:19,517 --> 01:06:22,853
NO, NO. WELL, ALL RIGHT.
1394
01:06:22,937 --> 01:06:24,105
JUST SAY YOUR FIRST LINE,
1395
01:06:24,188 --> 01:06:26,065
AND WE'LL WORK ON IT
IN MORE DETAIL TOMORROW.
1396
01:06:26,148 --> 01:06:27,400
UH, FROM HERE?
1397
01:06:27,483 --> 01:06:29,068
Jacques: FROM THERE.
1398
01:06:29,151 --> 01:06:31,487
MOTHER, I'VE MADE UP MY MIND.
I'M NOT GOING TO GO TO THE--
1399
01:06:31,570 --> 01:06:33,656
DARLING, YOUR MOTHER
IS RIGHT HERE,
1400
01:06:33,739 --> 01:06:35,574
SO SHE'S NOT
IN THE SECOND BALCONY.
1401
01:06:35,658 --> 01:06:38,744
SPEAK TO HER
IN A MORE NATURAL TONE.
1402
01:06:38,828 --> 01:06:39,954
THIS IS NOT
A MUSICAL COMEDY.
1403
01:06:40,037 --> 01:06:41,163
IT'S A LEGITIMATE PLAY.
1404
01:06:45,334 --> 01:06:47,795
MOTHER, I'VE MADE UP MY MIND.
I'M NOT GOING TO GO--
1405
01:06:47,878 --> 01:06:48,754
I CAN'T HEAR YOU
AT ALL NOW,
1406
01:06:48,838 --> 01:06:51,048
SO SPEAK LOUDER,
PLEASE.
1407
01:06:51,132 --> 01:06:54,051
[LOUDLY] MOTHER, I'VE MADE UP
MY MIND. I'M NOT...
1408
01:06:54,135 --> 01:06:56,637
THAT'S TOO LOUD,
ISN'T IT?
1409
01:06:57,847 --> 01:06:59,974
I'M SORRY. I...
1410
01:07:00,057 --> 01:07:02,226
I DON'T KNOW
WHAT'S THE MATTER WITH ME.
1411
01:07:02,309 --> 01:07:04,103
I'M BEHAVING AS IF I'D
NEVER BEEN IN THE THEATRE
1412
01:07:04,186 --> 01:07:05,062
BEFORE IN MY LIFE.
1413
01:07:05,146 --> 01:07:06,772
YOU MUSTN'T BE
PANICKY, DEAR.
1414
01:07:06,856 --> 01:07:08,482
IT'S A NEW FIELD.
YOU'LL GET OVER IT.
1415
01:07:08,566 --> 01:07:10,484
OF COURSE,
I'LL GET IT.
1416
01:07:10,568 --> 01:07:13,070
Jacques: THAT'S ALL FOR TODAY,
ANYWAY. THANK YOU.
1417
01:07:13,154 --> 01:07:15,698
Man: WAIT FOR YOUR CALLS,
EVERYONE.
1418
01:07:15,781 --> 01:07:17,324
10:00 TOMORROW: MR. ELSTON,
1419
01:07:17,408 --> 01:07:20,161
MISS CAGE, MISS WILDER,
AND MR. HENDERSON.
1420
01:07:22,496 --> 01:07:23,330
HIYA.
1421
01:07:23,414 --> 01:07:24,957
YOU'RE LATE.
THIS IS GENEVIEVE.
1422
01:07:25,040 --> 01:07:26,041
HOW DO YOU DO?
1423
01:07:26,125 --> 01:07:27,293
HELLO.
1424
01:07:27,376 --> 01:07:29,170
I JUST LOOKED IN ON
THE NOBLE EXPERIMENT.
1425
01:07:29,253 --> 01:07:30,671
HOW'S IT COMING?
1426
01:07:30,755 --> 01:07:33,758
NOT SO GOOD. LOOKS AS IF
SHE'S GOING TO MAKE
1427
01:07:33,841 --> 01:07:35,301
A COMPLETE FOOL
OF HERSELF.
1428
01:07:35,384 --> 01:07:37,136
THAT'S WHAT
YOU WANTED, ISN'T IT?
1429
01:07:37,219 --> 01:07:38,637
SURE.
SHE DESERVES IT.
1430
01:07:38,721 --> 01:07:42,433
SHE CERTAINLY DOES.
SHE'S NO DRAMATIC ACTRESS.
1431
01:07:42,516 --> 01:07:45,352
NO? LISTEN, SHE CAN DO
ANYTHING--THAT GIRL.
1432
01:07:45,436 --> 01:07:46,645
YEAH?
1433
01:07:46,729 --> 01:07:48,272
SHE COULD BE GREAT
IN THAT PART.
1434
01:07:48,355 --> 01:07:49,190
REALLY?
1435
01:07:49,273 --> 01:07:50,149
THAT FELLA BARREDOUT
1436
01:07:50,232 --> 01:07:51,192
DOESN'T KNOW HOW
TO DIRECT HER.
1437
01:07:51,275 --> 01:07:52,526
SHH. HE'S SITTING
IN THE BAR.
1438
01:07:52,610 --> 01:07:56,155
WHAT DO I CARE?
1439
01:07:56,238 --> 01:07:58,032
HE DOESN'T
UNDERSTAND HER AT ALL.
1440
01:07:58,115 --> 01:07:59,366
HE KEEPS TEARING HER
DOWN, CONFUSING HER.
1441
01:07:59,450 --> 01:08:00,951
I KNOW THAT GIRL.
WHEN SHE THINKS
1442
01:08:01,035 --> 01:08:02,870
SHE'S NOT GETTING SOMETHING
RIGHT, SHE'S NO GOOD.
1443
01:08:02,953 --> 01:08:04,538
YOU'VE GOT
TO APPROACH HER
1444
01:08:04,622 --> 01:08:07,875
IN A DIFFERENT WAY, AND
I KNOW HOW TO HELP HER.
1445
01:08:07,958 --> 01:08:10,002
BUT YOU WANT HER
TO FLOP.
1446
01:08:10,085 --> 01:08:11,378
SURE. BESIDES,
1447
01:08:11,462 --> 01:08:15,257
SHE WOULDN'T TAKE
ANY SUGGESTIONS FROM ME.
1448
01:08:15,341 --> 01:08:16,175
GOOD EVENING,
MR. BARKLEY.
1449
01:08:16,258 --> 01:08:17,510
HELLO, DARLING.
1450
01:08:17,593 --> 01:08:20,012
FUNNY. I THOUGHT BARREDOUT
WAS SUPPOSED TO BE GOOD.
1451
01:08:20,095 --> 01:08:24,016
GOOD. DID YOU EVER
SEE HIM WORK?
1452
01:08:24,099 --> 01:08:25,810
"DINAH, THIS IS
MUCH DIFFERENT
1453
01:08:25,893 --> 01:08:26,852
"FROM MUSICAL COMEDY.
1454
01:08:26,936 --> 01:08:29,522
"IT IS A PLAY,
MAIS OUI?
1455
01:08:29,605 --> 01:08:32,316
A LEGITIMATE PLAY."
1456
01:08:32,399 --> 01:08:33,901
THAT'S A GREAT IMITATION
YOU DO OF HIM.
1457
01:08:33,984 --> 01:08:34,860
IT IS?
1458
01:08:34,944 --> 01:08:36,570
PRETTY GOOD.
1459
01:08:37,988 --> 01:08:39,365
IT IS?
1460
01:08:39,448 --> 01:08:41,492
MMM. IS THAT
YOURS OR MINE?
1461
01:08:41,575 --> 01:08:42,451
MINE.
1462
01:08:42,535 --> 01:08:44,829
WANT TO SPLIT IT?
1463
01:08:44,912 --> 01:08:47,248
UH...EXCUSE ME,
WILL YOU?
1464
01:08:47,331 --> 01:08:48,374
YEAH.
1465
01:09:06,684 --> 01:09:08,602
[RING]
1466
01:09:09,812 --> 01:09:12,523
[RING]
1467
01:09:12,606 --> 01:09:14,233
HELLO.
1468
01:09:14,316 --> 01:09:16,443
HELLO, DINAH.
THIS IS JACQUES.
1469
01:09:16,527 --> 01:09:19,071
HELLO, JACQUES.
I'M SO GLAD IT'S YOU.
1470
01:09:19,154 --> 01:09:21,157
I WAS VERY ANXIOUS
1471
01:09:21,240 --> 01:09:24,076
TO KNOW HOW YOU FEEL
AFTER TODAY'S REHEARSALS.
1472
01:09:26,203 --> 01:09:27,413
WELL, IT'S...
1473
01:09:27,496 --> 01:09:30,124
NOT GOING ALONG
MUCH BETTER, IS IT?
1474
01:09:30,207 --> 01:09:31,584
I DON'T KNOW.
1475
01:09:31,667 --> 01:09:34,461
I GET OUT THERE, AND
I FEEL...ABSOLUTELY LOST.
1476
01:09:34,545 --> 01:09:36,505
THAT IS
ALL MY FAULT.
1477
01:09:36,589 --> 01:09:39,550
DON'T BE SILLY.
1478
01:09:39,633 --> 01:09:42,636
YES, IT IS. MY DIRECTION
IS COMPLETELY TO BLAME.
1479
01:09:44,722 --> 01:09:48,017
JACQUES, YOUR VOICE
SOUNDS SO ODD.
1480
01:09:48,100 --> 01:09:50,102
HAVE YOU BEEN DRINKING?
1481
01:09:50,185 --> 01:09:53,147
OH, NO. MUST BE
A BAD CONNECTION.
1482
01:09:53,230 --> 01:09:55,316
LISTEN, DINAH,
1483
01:09:55,399 --> 01:09:57,693
I WANT YOU TO KNOW
THAT I WAS WRONG
1484
01:09:57,776 --> 01:09:58,861
IN TELLING YOU
1485
01:09:58,944 --> 01:10:01,697
HOW DIFFERENT THIS IS
FROM MUSICAL COMEDY.
1486
01:10:01,780 --> 01:10:03,616
IT IS NOT DIFFERENT.
1487
01:10:03,699 --> 01:10:06,785
OH, IT'S WONDERFUL
TO HEAR YOU SAY THAT.
1488
01:10:06,869 --> 01:10:08,454
YOU'RE STILL
A GREAT PERFORMER
1489
01:10:08,537 --> 01:10:09,955
AND A WONDERFUL ACTRESS.
1490
01:10:10,039 --> 01:10:12,374
IN THAT SCENE
WITH YOUR FAMILY,
1491
01:10:12,458 --> 01:10:14,251
WHERE YOU MAKE
YOUR ENTRANCE,
1492
01:10:14,335 --> 01:10:16,045
YOU MUST WALK IN
SLOWLY.
1493
01:10:16,128 --> 01:10:18,213
YOU SEE,
YOU MUST REMEMBER
1494
01:10:18,297 --> 01:10:20,966
THAT THE KEYNOTE
TO YOUR ATTITUDE
1495
01:10:21,050 --> 01:10:22,718
IS DEFIANCE
TOWARD YOUR MOTHER.
1496
01:10:22,801 --> 01:10:24,762
WALKING SLOWLY...
1497
01:10:24,845 --> 01:10:26,764
DEFIANT.
1498
01:10:26,847 --> 01:10:28,182
I RESENT HER.
1499
01:10:28,265 --> 01:10:31,393
WHY, OF COURSE, JACQUES.
OH, THAT FEELS RIGHT.
1500
01:10:31,477 --> 01:10:34,688
AND WHEN THE DUKE
COMES TOWARD YOU
1501
01:10:34,772 --> 01:10:36,815
AND OFFERS YOU HIS HAND,
1502
01:10:36,899 --> 01:10:38,651
YOU MUST PULL AWAY
QUICKLY.
1503
01:10:38,734 --> 01:10:40,694
YOU'RE VERY FRIGHTENED.
1504
01:10:40,778 --> 01:10:43,113
OH, YES, JACQUES.
I SEE.
1505
01:10:43,197 --> 01:10:45,115
I'M AFRAID OF HIM.
1506
01:10:45,199 --> 01:10:46,659
YES, YES. I UNDERSTAND.
1507
01:10:46,742 --> 01:10:48,452
IT'S A MATTER
OF RELATIONSHIPS.
1508
01:10:48,535 --> 01:10:51,872
IT'S NOT JUST
A MECHANICAL MOVEMENT.
1509
01:10:51,956 --> 01:10:54,083
OH, JACQUES, LET'S START
FROM THE BEGINNING
1510
01:10:54,166 --> 01:10:56,001
AND GO THROUGH
THE WHOLE SCENE.
1511
01:10:56,085 --> 01:11:00,172
NOW, WHEN YOUR MOTHER
SAYS, "SARAH"...
1512
01:11:00,255 --> 01:11:03,008
Mother: THE DUKE DE MONTE HAS
SECURED AN AUDITION FOR YOU.
1513
01:11:03,092 --> 01:11:05,511
Dinah: I DON'T WANT
TO BE AN ACTRESS.
1514
01:11:05,594 --> 01:11:07,763
YOU'RE TO READ
FOR THEM NEXT WEEK.
1515
01:11:07,846 --> 01:11:09,223
WELL, SARAH--
1516
01:11:09,306 --> 01:11:10,808
WHY DON'T YOU LEAVE
THE POOR GIRL ALONE?
1517
01:11:10,891 --> 01:11:14,770
I'LL WAGER SARAH HAS
NEVER EVEN SEEN AN ACTRESS.
1518
01:11:14,853 --> 01:11:17,064
OH, YES, I HAVE.
1519
01:11:17,147 --> 01:11:19,358
IT WAS AT THE CONVENT
LAST YEAR.
1520
01:11:19,441 --> 01:11:20,776
A SICK LADY
CAME THERE,
1521
01:11:20,859 --> 01:11:23,696
AND THE SISTERS SAID
SHE USED TO BE BEAUTIFUL,
1522
01:11:23,779 --> 01:11:26,156
THAT SHE WAS GOING
TO DIE ALONE AND UNLOVED
1523
01:11:26,240 --> 01:11:28,534
BECAUSE SHE LED
A BAD LIFE.
1524
01:11:28,617 --> 01:11:30,202
SHE WAS PALE
AND COUGHING,
1525
01:11:30,286 --> 01:11:33,330
AND HER EYES WERE BIG,
DARK HOLES IN HER FACE.
1526
01:11:33,414 --> 01:11:34,957
AND YOU KNOW
WHO SHE WAS?
1527
01:11:35,040 --> 01:11:37,418
SHE WAS THE STAR OF
THE COMEDIE FRANCAISE.
1528
01:11:37,501 --> 01:11:41,046
I WON'T BE LIKE THAT,
AND YOU CAN'T MAKE ME!
1529
01:11:41,130 --> 01:11:43,340
DINAH, THAT'S
WONDERFUL. WONDERFUL.
1530
01:11:43,424 --> 01:11:45,884
IT WAS? DARLING,
I'M SO GLAD.
1531
01:11:45,968 --> 01:11:47,386
OH, THANK YOU.
1532
01:11:47,469 --> 01:11:49,722
YES, YES. YOUR TIMING,
YOUR INFLECTION--
1533
01:11:49,805 --> 01:11:51,724
I BELIEVED
EVERY WORD OF IT.
1534
01:11:51,807 --> 01:11:53,058
THANK YOU.
1535
01:11:53,142 --> 01:11:55,436
THE SCENE HAS COME TO LIFE
FOR THE FIRST TIME.
1536
01:11:55,519 --> 01:11:57,062
HAVE YOU SEEN ANY OF
THE REHEARSALS LATELY?
1537
01:11:57,146 --> 01:11:58,105
DINAH'S? MMM.
1538
01:11:58,188 --> 01:11:59,231
NO.
1539
01:11:59,314 --> 01:12:01,066
I WONDER HOW
IT'S COMING ALONG.
1540
01:12:01,150 --> 01:12:02,526
I DON'T KNOW.
1541
01:12:02,609 --> 01:12:07,781
COULDN'T BE MUCH WORSE
THAN IT WAS WHEN I SAW IT.
1542
01:12:07,865 --> 01:12:09,074
I FORGOT. I GOT TO MAKE
A TELEPHONE CALL.
1543
01:12:09,158 --> 01:12:09,950
WANT ANOTHER DRINK?
1544
01:12:10,034 --> 01:12:11,076
NO, THANKS.
1545
01:12:11,160 --> 01:12:14,121
I'LL HAVE ONE. WOULD YOU
LIKE A DRINK?
1546
01:12:14,204 --> 01:12:17,166
[RING RING]
1547
01:12:17,249 --> 01:12:18,876
HELLO.
1548
01:12:18,959 --> 01:12:20,878
HELLO, DINAH.
I JUST CALLED YOU
1549
01:12:20,961 --> 01:12:21,879
TO TELL YOU AGAIN
1550
01:12:21,962 --> 01:12:23,464
HOW WONDERFUL
YOU WERE TODAY.
1551
01:12:23,547 --> 01:12:26,467
OH, I CAN'T BELIEVE IT.
IT'S A MIRACLE.
1552
01:12:26,550 --> 01:12:28,052
YES.
1553
01:12:28,135 --> 01:12:30,095
IN SCENE 2.
1554
01:12:30,179 --> 01:12:34,141
OH, BUT I CAN'T SIT THERE
THROUGH THE WHOLE SPEECH.
1555
01:12:36,018 --> 01:12:38,812
YES, JACQUES.
WELL, YOU'RE A GENIUS.
1556
01:12:38,896 --> 01:12:40,481
THANK YOU, MY DEAR.
1557
01:12:40,564 --> 01:12:43,442
WELL, THAT IS
ABOUT ALL FOR NOW.
1558
01:12:43,525 --> 01:12:45,319
INCIDENTALLY, WHILE
WE'RE IN REHEARSAL,
1559
01:12:45,402 --> 01:12:49,448
I WISH YOU WOULDN'T
BE SO DEMONSTRATIVE.
1560
01:12:49,531 --> 01:12:50,491
SO WHAT?
1561
01:12:50,574 --> 01:12:52,034
DEMONSTRATIVE.
1562
01:12:52,117 --> 01:12:54,995
WHAT DO YOU MEAN?
1563
01:12:55,079 --> 01:12:57,247
THROWING YOUR ARMS
AROUND MY NECK
1564
01:12:57,331 --> 01:12:58,624
AND KISSING ME
IN FRONT OF THE COMPANY
1565
01:12:58,707 --> 01:13:00,417
IS MOST EMBARRASSING.
1566
01:13:00,501 --> 01:13:01,835
WE'LL HAVE
NONE OF THAT.
1567
01:13:01,919 --> 01:13:02,920
WHY, JACQUES--
1568
01:13:03,003 --> 01:13:05,672
MMM...DISCIPLINE,
YOU KNOW.
1569
01:13:05,756 --> 01:13:07,424
OH.
1570
01:13:07,508 --> 01:13:08,926
WELL, I--I'M SORRY.
1571
01:13:09,009 --> 01:13:12,471
I HOPE IT WON'T BE
TOO COMPROMISING
1572
01:13:12,554 --> 01:13:15,057
IF YOU TAKE ME TO THE BENEFIT
ON SUNDAY NIGHT.
1573
01:13:16,266 --> 01:13:18,185
BENEFIT?
WHAT BENEFIT?
1574
01:13:18,268 --> 01:13:21,021
THE HOSPITAL--
WELL, I TOLD YOU.
1575
01:13:21,105 --> 01:13:22,648
OH, YES.
1576
01:13:22,731 --> 01:13:24,525
YES, I'LL TAKE YOU.
1577
01:13:24,608 --> 01:13:26,151
GOOD-BYE.
1578
01:13:31,406 --> 01:13:32,783
WHAT'S THE IDEA
TELLING ME
1579
01:13:32,866 --> 01:13:34,493
DINAH'S NOT COMING
TO THE BENEFIT?
1580
01:13:34,576 --> 01:13:35,786
IS SHE?
1581
01:13:35,869 --> 01:13:38,163
YOU KNOW DARN WELL
SHE IS, BUT I'M NOT.
1582
01:13:38,247 --> 01:13:40,999
YOU COOKED UP THIS
LITTLE PLOT. NOW EAT IT.
1583
01:13:49,925 --> 01:13:53,095
WHAT HAPPENED? ARE THEY
BOTH GOING TO BE HERE?
1584
01:13:53,178 --> 01:13:54,429
DINAH'S HERE. I JUST SAW HER,
BUT THAT PIGHEADED MULE--
1585
01:13:54,513 --> 01:13:55,681
I DON'T KNOW
WHETHER HE'LL COME.
1586
01:13:55,764 --> 01:13:57,474
Announcer: NOW PRESENTING
EZRA MILLAR,
1587
01:13:57,558 --> 01:14:01,520
PLAYING TCHAIKOVSKY'S PIANO
CONCERTO NO. 1 IN B-FLAT MINOR.
1588
01:14:01,603 --> 01:14:02,729
[APPLAUSE]
1589
01:14:02,813 --> 01:14:04,815
GOOD-BYE.
1590
01:14:06,191 --> 01:14:07,818
GOOD-BYE.
1591
01:17:32,314 --> 01:17:34,566
WHAT ARE YOU
DOING HERE?
1592
01:17:34,649 --> 01:17:37,319
WHAT ARE YOU
DOING HERE?
1593
01:17:37,402 --> 01:17:38,737
EZRA.
1594
01:17:38,820 --> 01:17:39,738
HE...
1595
01:17:39,821 --> 01:17:43,408
WHY, THE...
DOUBLE-CROSSER.
1596
01:17:46,286 --> 01:17:48,246
DON'T YOU THINK
THE GALLANT THING
1597
01:17:48,330 --> 01:17:50,248
WOULD BE FOR YOU
TO LEAVE?
1598
01:17:50,332 --> 01:17:52,376
I'M NOT GOING TO LEAVE.
1599
01:17:52,459 --> 01:17:53,919
THIS IS A BENEFIT.
1600
01:17:54,002 --> 01:17:56,922
THEY'RE EXPECTING
A NUMBER FROM ME OUT THERE.
1601
01:17:57,005 --> 01:17:58,340
WHY DON'T YOU LEAVE?
1602
01:17:58,423 --> 01:18:00,759
THIS IS BENEATH YOU
NOW, ANYWAY.
1603
01:18:00,842 --> 01:18:04,471
I HAVE NEVER WALKED OUT
ON A BENEFIT IN MY LIFE,
1604
01:18:04,554 --> 01:18:06,848
AND I'LL NOT WALK OUT ON
ALL THESE HOSPITAL PEOPLE.
1605
01:18:06,932 --> 01:18:07,891
IT'S FOR THEIR BENEFIT,
1606
01:18:07,974 --> 01:18:09,017
AND IT MAKES
NO DIFFERENCE TO ME
1607
01:18:09,101 --> 01:18:10,894
WHETHER YOU'RE HERE
OR NOT.
1608
01:18:10,977 --> 01:18:13,438
I'LL PERFORM ANYWAY.
1609
01:20:50,595 --> 01:20:52,222
[APPLAUSE]
1610
01:21:09,990 --> 01:21:10,907
THANK YOU.
1611
01:21:10,991 --> 01:21:12,742
I'M TOUCHED,
THE PIANO IS TOUCHED,
1612
01:21:12,826 --> 01:21:15,161
AND TCHAIKOVSKY
IS TOUCHED.
1613
01:21:15,245 --> 01:21:16,454
AND NOW I HAVE A SURPRISE
1614
01:21:16,538 --> 01:21:18,498
WHICH I'M SURE
WILL TOUCH YOU.
1615
01:21:18,582 --> 01:21:19,833
IN THIS CORNER,
1616
01:21:19,916 --> 01:21:21,793
ONE OF THE GREAT STARS
OF SHOW BUSINESS...
1617
01:21:21,876 --> 01:21:23,336
[APPLAUSE]
1618
01:21:23,420 --> 01:21:24,754
AND IN THE SAME CORNER,
1619
01:21:24,838 --> 01:21:26,423
ANOTHER GREAT STAR
OF SHOW BUSINESS...
1620
01:21:26,506 --> 01:21:28,466
[APPLAUSE]
1621
01:21:28,550 --> 01:21:30,010
WHO WILL BRILLIANTLY
OPPOSE EACH OTHER
1622
01:21:30,093 --> 01:21:32,470
IN ONE OF THEIR
GREATEST NUMBERS--
1623
01:21:32,554 --> 01:21:33,930
JOSH AND DINAH BARKLEY.
1624
01:21:34,014 --> 01:21:35,640
[APPLAUSE]
1625
01:21:40,979 --> 01:21:42,647
[ORCHESTRA PLAYING]
1626
01:21:51,156 --> 01:21:57,495
Josh: ♪ THE WAY YOU WEAR
YOUR HAT ♪
1627
01:21:57,579 --> 01:22:02,751
♪ THE WAY YOU SIP
YOUR TEA ♪
1628
01:22:02,834 --> 01:22:08,006
♪ THE MEMORY OF ALL THAT ♪
1629
01:22:08,089 --> 01:22:13,261
♪ NO, NO, THEY CAN'T
TAKE THAT AWAY FROM ME ♪
1630
01:22:13,345 --> 01:22:18,308
♪ THE WAY YOUR SMILE
JUST BEAMS ♪
1631
01:22:18,391 --> 01:22:23,688
♪ THE WAY YOU SING
OFF-KEY ♪
1632
01:22:23,772 --> 01:22:28,818
♪ THE WAY YOU HAUNT
MY DREAMS ♪
1633
01:22:28,902 --> 01:22:35,700
♪ NO, NO, THEY CAN'T
TAKE THAT AWAY FROM ME ♪
1634
01:22:35,784 --> 01:22:40,914
♪ WE MAY NEVER, NEVER
MEET AGAIN ♪
1635
01:22:40,997 --> 01:22:46,169
♪ ON THE BUMPY ROAD
TO LOVE ♪
1636
01:22:46,252 --> 01:22:55,011
♪ STILL, I'LL ALWAYS,
ALWAYS KEEP THE MEMORY OF ♪
1637
01:22:55,095 --> 01:23:00,141
♪ THE WAY YOU HOLD
YOUR KNIFE ♪
1638
01:23:00,225 --> 01:23:05,730
♪ THE WAY WE DANCE
TILL 3:00 ♪
1639
01:23:05,814 --> 01:23:10,652
♪ THE WAY YOU'VE CHANGED
MY LIFE ♪
1640
01:23:10,735 --> 01:23:15,573
♪ NO, NO, THEY CAN'T
TAKE THAT AWAY FROM ME ♪
1641
01:23:15,657 --> 01:23:26,543
♪ NO, THEY CAN'T
TAKE THAT AWAY FROM ME ♪
1642
01:26:08,830 --> 01:26:11,791
[APPLAUSE AND CHEERING]
1643
01:26:11,875 --> 01:26:14,335
ENCORE!
1644
01:26:11,875 --> 01:26:14,335
BRAVO!
1645
01:26:11,875 --> 01:26:14,335
ENCORE!
1646
01:26:11,875 --> 01:26:14,335
BRAVO!
1647
01:26:26,222 --> 01:26:27,765
THANK YOU
VERY MUCH.
1648
01:26:27,849 --> 01:26:29,350
YOU WERE REALLY GREAT.
1649
01:26:29,434 --> 01:26:31,769
IT'S WONDERFUL SEEING YOU
TOGETHER AGAIN.
1650
01:26:31,853 --> 01:26:33,313
THANK YOU VERY MUCH.
1651
01:26:38,693 --> 01:26:40,778
THANK YOU.
1652
01:26:40,862 --> 01:26:42,780
DINAH,
THAT WAS WONDERFUL.
1653
01:26:42,864 --> 01:26:44,616
IT WAS FUN,
WASN'T IT?
1654
01:26:44,699 --> 01:26:46,743
LOOK, UH...
1655
01:26:46,826 --> 01:26:48,953
CAN'T WE BE CIVILIZED
ABOUT THIS
1656
01:26:49,037 --> 01:26:52,582
AND MAYBE GO SOMEPLACE
AND TALK THINGS OVER?
1657
01:26:52,665 --> 01:26:53,791
WELL, THERE'S--
1658
01:26:53,875 --> 01:26:56,044
THERE'S NOTHING
TO TALK OVER, JOSH.
1659
01:26:56,127 --> 01:26:58,963
YOU'RE DOING VERY
WELL WITHOUT ME,
1660
01:26:59,047 --> 01:27:02,342
AND I'M DOING WHAT I GUESS
I'VE ALWAYS WANTED TO DO,
1661
01:27:02,425 --> 01:27:05,470
AND--AND
IN THE LONG RUN,
1662
01:27:05,553 --> 01:27:08,056
WE'LL BE
MUCH HAPPIER APART.
1663
01:27:08,139 --> 01:27:09,849
DON'T YOU THINK SO?
1664
01:27:09,933 --> 01:27:12,977
DO YOU?
1665
01:27:13,061 --> 01:27:14,145
OF COURSE I DO.
1666
01:27:15,396 --> 01:27:18,858
I CAN'T BELIEVE
YOU REALLY MEAN THAT.
1667
01:27:18,942 --> 01:27:22,904
LOOK, JOSH, THAT WASN'T JUST
ANOTHER SQUABBLE WE HAD.
1668
01:27:22,987 --> 01:27:25,949
OUR BREAKUP WASN'T JUST
A WHIM OF THE MOMENT.
1669
01:27:26,032 --> 01:27:28,368
IT'S BEEN COMING
FOR A LONG, LONG TIME.
1670
01:27:28,451 --> 01:27:31,496
IT HAD TO HAPPEN.
YOU--
1671
01:27:31,579 --> 01:27:34,457
YOU'VE BEEN TAKING ME
FOR GRANTED TOO LONG.
1672
01:27:34,540 --> 01:27:38,127
I HAVE TO STAND
ON MY OWN TWO FEET
1673
01:27:38,211 --> 01:27:41,422
AS A PERSON
AND AS AN ACTRESS,
1674
01:27:41,506 --> 01:27:42,507
AND UNTIL I DO,
1675
01:27:42,590 --> 01:27:47,345
I--I CAN'T TAKE TIME
TO THINK ABOUT US
1676
01:27:47,428 --> 01:27:50,890
OR ANYTHING CONNECTED
WITH THE FUTURE,
1677
01:27:50,974 --> 01:27:55,812
AND THAT'S HOW
IT'S GOT TO BE.
1678
01:27:55,895 --> 01:27:59,232
YOU REALLY DO MEAN IT,
DON'T YOU?
1679
01:27:59,315 --> 01:28:00,775
YES, I DO.
1680
01:28:05,571 --> 01:28:07,198
WELL...
1681
01:28:11,119 --> 01:28:13,204
THANKS FOR THE DANCE.
1682
01:28:23,798 --> 01:28:24,757
I KNEW THIS WOULD DO IT.
1683
01:28:24,841 --> 01:28:26,551
I KNOW HOW TO HANDLE
THOSE KIDS.
1684
01:28:26,634 --> 01:28:28,094
I BET THEY'RE IN
EACH OTHER'S ARMS RIGHT NOW.
1685
01:28:28,177 --> 01:28:30,138
GOOD, EZRA.
GOOD.
1686
01:28:30,221 --> 01:28:32,056
HEY, JOSH. WHERE'S DINAH?
1687
01:28:32,140 --> 01:28:33,599
SHE'S RIGHT
OVER THERE.
1688
01:28:35,184 --> 01:28:38,604
WELL, IF AT FIRST
YOU DON'T SUCCEED, GIVE UP.
1689
01:28:41,107 --> 01:28:42,358
HELLO, EZ.
1690
01:28:42,442 --> 01:28:43,317
HELLO, JOSH.
1691
01:28:43,401 --> 01:28:44,318
HELLO,
GENEVIEVE.
1692
01:28:44,402 --> 01:28:45,403
THIS IS HENRIETTA.
1693
01:28:45,486 --> 01:28:46,446
OH, SORRY.
1694
01:28:46,529 --> 01:28:48,114
HELEN, SCOTCH AND
PLAIN WATER, PLEASE.
1695
01:28:48,197 --> 01:28:49,407
Woman: YES, SIR.
1696
01:28:49,490 --> 01:28:51,159
WELL, TONIGHT'S
THE NIGHT.
1697
01:28:51,242 --> 01:28:52,076
FOR WHAT?
1698
01:28:52,160 --> 01:28:53,578
DINAH'S SHOW
IS OPENING.
1699
01:28:53,661 --> 01:28:55,079
OH, THAT. GIVE ME
A CIGARETTE, WILL YOU?
1700
01:28:55,163 --> 01:28:56,456
NOT INTERESTED, HUH?
1701
01:28:56,539 --> 01:28:58,082
BARREDOUT
COME IN YET?
1702
01:28:58,166 --> 01:28:59,250
WHAT DO YOU CARE?
1703
01:28:59,333 --> 01:29:01,044
WHERE HAVE YOU BEEN
THESE PAST 10 DAYS?
1704
01:29:01,127 --> 01:29:02,587
I CAN'T EVEN GET YOU
ON THE PHONE.
1705
01:29:02,670 --> 01:29:05,048
I'VE BEEN TAKING A DAY
COURSE AT CITY COLLEGE.
1706
01:29:05,131 --> 01:29:07,091
STOP KIDDING, JOSH.
YOU LOOK A WRECK.
1707
01:29:07,175 --> 01:29:08,634
I'M NOT.
I FEEL FINE.
1708
01:29:12,221 --> 01:29:13,723
HERE'S TO DINAH.
1709
01:29:13,806 --> 01:29:15,641
TO DINAH. RIGHT.
1710
01:29:33,076 --> 01:29:35,161
[SPEAKING FRENCH]
1711
01:29:38,206 --> 01:29:39,665
THE HONORABLE JUDGES
1712
01:29:39,749 --> 01:29:42,293
OF THE CONSERVATOIRE
FRANCAIS.
1713
01:29:43,628 --> 01:29:45,671
[SPEAKING FRENCH]
1714
01:29:56,599 --> 01:29:58,976
MADEMOISELLES, YOU HAVE
EACH BEEN COACHED
1715
01:29:59,060 --> 01:30:01,979
IN GESTURE AND DICTION
FOR THIS AUDITION,
1716
01:30:02,063 --> 01:30:04,524
AND YOU WILL ALL HAVE
AN EQUAL CHANCE,
1717
01:30:04,607 --> 01:30:07,985
BUT ONLY ONE WILL BE
CHOSEN TO JOIN THE RANKS
1718
01:30:08,069 --> 01:30:09,987
OF THE CONSERVATOIRE
FRANCAIS.
1719
01:30:10,071 --> 01:30:13,533
YOU MAY EACH PERFORM
ONE SELECTION.
1720
01:30:13,616 --> 01:30:17,453
WHEN YOU FINISH, TAKE
YOUR PLACE OVER THERE.
1721
01:30:17,537 --> 01:30:19,789
LET'S BEGIN, PLEASE.
1722
01:30:20,998 --> 01:30:25,336
MADEMOISELLE
CLEMENTINE VILLARD.
1723
01:30:32,218 --> 01:30:34,387
DON'T BE NERVOUS,
MADEMOISELLE.
1724
01:30:34,470 --> 01:30:36,264
WHAT WILL YOU
RECITE?
1725
01:30:36,347 --> 01:30:39,725
PORTIA'S SPEECH FROM
THE MERCHANT OF VENICE.
1726
01:30:41,602 --> 01:30:44,856
THE QUALITY OF MERCY
IS NOT STRAINED.
1727
01:30:44,939 --> 01:30:48,025
IT DROPPETH AS
THE GENTLE RAIN FROM HEAVEN
1728
01:30:48,109 --> 01:30:49,735
UPON THE PLACE BENEATH.
1729
01:30:51,112 --> 01:30:52,238
HELLO, JOE.
HOW'S IT GOING?
1730
01:30:52,321 --> 01:30:54,657
TERRIFIC SO FAR.
LOOKS LIKE A HIT.
1731
01:30:54,740 --> 01:30:56,075
GOOD.
1732
01:30:56,159 --> 01:30:59,036
Woman: AND THEN
IS HEARD NO MORE.
1733
01:30:59,120 --> 01:31:02,123
IT IS A TALE TOLD
BY AN IDIOT,
1734
01:31:02,206 --> 01:31:04,542
FULL OF SOUND AND FURY,
1735
01:31:04,625 --> 01:31:06,878
SIGNIFYING NOTHING.
1736
01:31:11,465 --> 01:31:14,385
Man: MADEMOISELLE
SARAH BERNHARDT.
1737
01:31:27,106 --> 01:31:29,275
WHAT WILL YOU RECITE,
MADEMOISELLE?
1738
01:31:29,358 --> 01:31:31,694
THE POTION SCENE
FROM ROMEO AND JULIET.
1739
01:31:31,777 --> 01:31:34,697
THERE'S NO NEED FOR YOU
TO BE NERVOUS.
1740
01:31:34,780 --> 01:31:37,700
I AM NOT NERVOUS,
MONSIEUR LE JUGE.
1741
01:31:37,783 --> 01:31:40,620
VERY WELL. IN THAT CASE,
YOU MAY BEGIN.
1742
01:31:40,703 --> 01:31:43,080
FAREWELL.
1743
01:31:43,164 --> 01:31:47,084
GOD KNOWS WHEN WE SHALL
MEET AGAIN.
1744
01:31:47,168 --> 01:31:52,256
I HAVE A FAINT COLD FEAR
THRILLS THROUGH MY VEINS
1745
01:31:52,340 --> 01:31:57,386
THAT ALMOST FREEZES UP
THE HEAT OF LIFE.
1746
01:31:57,470 --> 01:31:58,930
I'LL CALL THEM BACK.
1747
01:32:01,057 --> 01:32:02,892
FORGIVE ME, MONSIEUR,
BUT THESE ARE JUST
1748
01:32:02,975 --> 01:32:04,477
WORDS AND GESTURES
TAUGHT ME BY MY COACH.
1749
01:32:04,560 --> 01:32:05,978
I LEARNED THEM
LIKE A PARROT.
1750
01:32:06,062 --> 01:32:07,396
THEY HAVE NOTHING TO DO
WITH ACTING, AND--
1751
01:32:07,480 --> 01:32:08,439
WITH YOUR PERMISSION,
1752
01:32:08,522 --> 01:32:09,649
I'D LIKE TO RECITE
SOMETHING ELSE.
1753
01:32:09,732 --> 01:32:11,859
VERY WELL.
BE QUICK ABOUT IT.
1754
01:32:18,199 --> 01:32:21,619
I'LL RECITE
LA MARSEILLAISE.
1755
01:32:21,702 --> 01:32:24,247
DON'T BE
RIDICULOUS.
1756
01:32:24,330 --> 01:32:25,581
ANY CHILD
CAN RECITE THAT.
1757
01:32:25,665 --> 01:32:26,958
I'M AFRAID THAT
IS NOT ACCEPTABLE.
1758
01:32:27,041 --> 01:32:28,417
LET US GO ON.
1759
01:32:28,501 --> 01:32:31,545
BUT, MONSIEUR, YOU CANNOT
DENY A LOYAL FRENCH CITIZEN
1760
01:32:31,629 --> 01:32:33,965
THE RIGHT
TO STAND IN PUBLIC
1761
01:32:34,048 --> 01:32:36,968
AND SPEAK THE WORDS
OF OUR NATIONAL ANTHEM.
1762
01:32:37,051 --> 01:32:38,844
[SPEAKING
FRENCH]
1763
01:32:38,928 --> 01:32:45,017
ALLONS, ENFANTS
DE LA PATRIE.
1764
01:32:45,101 --> 01:32:49,146
LE JOUR DE GLOIRE
EST ARRIVE.
1765
01:32:49,230 --> 01:32:51,649
CONTRE NOUS DE LA TYRANNIE,
1766
01:32:51,732 --> 01:32:54,694
L'ETENDARD SANGLANT
EST LEVE!
1767
01:32:56,696 --> 01:32:59,657
ENTENDEZ-VOUS,
DANS LES CAMPAGNES,
1768
01:32:59,740 --> 01:33:03,661
MUGIR CES FEROCES SOLDATS?
1769
01:33:03,744 --> 01:33:06,580
ILS VIENNENT
JUSQUE DAN NOS BRAS,
1770
01:33:06,664 --> 01:33:13,254
EGORGER NOS FILS...
1771
01:33:13,337 --> 01:33:15,965
NOS CAMPAGNES.
1772
01:33:16,757 --> 01:33:19,218
AUX ARMES, CITOYENS!
1773
01:33:19,302 --> 01:33:21,595
FORMEZ VOS BATAILLONS!
1774
01:33:21,679 --> 01:33:25,641
MARCHONS, MARCHONS!
1775
01:33:25,725 --> 01:33:31,022
QU'UN SANG IMPUR
ABREUVE NOS SILLONS!
1776
01:33:37,778 --> 01:33:40,197
[JUDGES MUTTERING
IN FRENCH]
1777
01:33:40,281 --> 01:33:41,866
Judge: WAIT!
1778
01:33:44,035 --> 01:33:46,078
[SPEAKS FRENCH]
1779
01:33:53,627 --> 01:33:54,712
BY UNANIMOUS CONSENT,
1780
01:33:54,795 --> 01:33:56,714
THIS COMMITTEE
HAS CHOSEN YOU
1781
01:33:56,797 --> 01:33:58,924
FOR THE CONSERVATOIRE
FRANCAIS.
1782
01:33:59,467 --> 01:34:03,220
[APPLAUSE]
1783
01:34:03,304 --> 01:34:07,016
BRAVO!
1784
01:34:21,822 --> 01:34:22,865
LADIES AND GENTLEMEN,
1785
01:34:22,948 --> 01:34:26,410
I AM MUCH TOO EXCITED
TO SAY ANYTHING.
1786
01:34:26,494 --> 01:34:27,745
I CAN ONLY HOPE
1787
01:34:27,828 --> 01:34:29,914
THAT THIS EVENING
MARKS THE BEGINNING
1788
01:34:29,997 --> 01:34:32,541
OF A LONG ASSOCIATION
BETWEEN MYSELF
1789
01:34:32,625 --> 01:34:34,710
AND MY BEAUTIFUL,
ENCHANTING STAR,
1790
01:34:34,794 --> 01:34:37,838
WHOM I WORSHIP
ON AND OFF THE STAGE.
1791
01:34:37,922 --> 01:34:39,548
[APPLAUSE]
1792
01:34:47,306 --> 01:34:49,392
[ALL TALKING AT ONCE]
1793
01:34:49,475 --> 01:34:50,810
JOSH, DID YOU
SEE ANY OF IT?
1794
01:34:50,893 --> 01:34:51,811
THE LAST SCENE.
1795
01:34:51,894 --> 01:34:52,895
SHE WAS PRETTY GOOD,
WASN'T SHE?
1796
01:34:52,978 --> 01:34:54,647
PRETTY GOOD?
GREAT.
1797
01:34:54,730 --> 01:34:56,107
SHE SURE
WAS TERRIFIC.
1798
01:34:56,190 --> 01:34:57,858
WHAT I CAN'T GET OVER
IS THAT BARREDOUT FELLOW.
1799
01:34:57,942 --> 01:34:58,943
HE SHOULD BE
IN THE MOVIES.
1800
01:34:59,026 --> 01:35:00,194
I WISH HE WERE.
1801
01:35:00,277 --> 01:35:02,696
HE'S DREAMY. THEY MAKE
SUCH A HANDSOME COUPLE.
1802
01:35:02,780 --> 01:35:04,115
MARIE, THIS IS
MR. BARKLEY,
1803
01:35:04,198 --> 01:35:05,116
HER HUSBAND.
1804
01:35:05,199 --> 01:35:07,660
I THOUGHT
YOU TWO WERE DIVORCED.
1805
01:35:08,953 --> 01:35:12,456
SEE YOU LATER,
DARLING.
1806
01:35:12,540 --> 01:35:13,624
YOU WERE TERRIFIC,
DARLING.
1807
01:35:13,707 --> 01:35:14,458
THANK YOU
VERY MUCH.
1808
01:35:14,542 --> 01:35:15,626
THANKS FOR COMING BY.
1809
01:35:15,710 --> 01:35:18,629
WE'LL SEE YOU
AT MILLIE'S LATER.
1810
01:35:23,175 --> 01:35:25,970
DINAH,
I'M SO PROUD OF YOU.
1811
01:35:26,053 --> 01:35:27,638
OH, THANK YOU,
JACQUES.
1812
01:35:27,721 --> 01:35:30,683
YOU KNOW, I FEEL LIKE
A TONGUE-TIED SCHOOLBOY.
1813
01:35:30,766 --> 01:35:32,393
I REALLY MEANT
WHAT I SAID BEFORE.
1814
01:35:32,476 --> 01:35:34,728
I DO WORSHIP YOU.
1815
01:35:34,812 --> 01:35:36,647
I WAS HOPING
THAT TONIGHT
1816
01:35:36,730 --> 01:35:39,733
YOU WOULD GIVE ME
SOME WORD, SOME SIGN.
1817
01:35:39,817 --> 01:35:42,903
WELL, UH, LATER,
JACQUES.
1818
01:35:42,987 --> 01:35:46,198
ALL RIGHT.
THIS IS YOUR NIGHT.
1819
01:35:46,282 --> 01:35:48,617
I'LL WAIT FOR YOU
AT FLORIANO'S, DARLING.
1820
01:35:48,701 --> 01:35:49,577
ALL RIGHT.
1821
01:35:49,660 --> 01:35:50,995
DON'T BE TOO LONG.
1822
01:35:51,078 --> 01:35:52,496
ALL RIGHT.
1823
01:35:54,373 --> 01:35:57,126
OH, MRS. BARKLEY,
YOU WERE WONDERFUL.
1824
01:35:57,209 --> 01:35:59,837
OH, THANK YOU,
MARY. MARY...
1825
01:35:59,920 --> 01:36:01,130
YES, MA'AM?
1826
01:36:01,213 --> 01:36:03,799
ARE THESE ALL
THE TELEGRAMS?
1827
01:36:03,883 --> 01:36:05,134
THAT'S ALL THERE ARE.
1828
01:36:05,217 --> 01:36:07,178
DID YOU ASK
THE DOORMAN?
1829
01:36:07,261 --> 01:36:08,637
YES, I DID.
1830
01:36:08,721 --> 01:36:10,473
YOU DID.
1831
01:36:16,270 --> 01:36:18,147
OOH, THERE HE IS!
1832
01:36:18,230 --> 01:36:19,148
HE IS HANDSOME,
ISN'T HE?
1833
01:36:19,231 --> 01:36:20,691
GEE, SHE'S
A LUCKY GIRL.
1834
01:36:20,774 --> 01:36:23,360
MARIE, WHY DON'T YOU GO
POWDER YOUR NOSE, HUH?
1835
01:36:23,444 --> 01:36:25,112
I JUST DID.
EVERYONE IN THE POWDER ROOM
1836
01:36:25,196 --> 01:36:27,281
WAS TALKING
ABOUT HIM AND HER.
1837
01:36:27,364 --> 01:36:29,033
SHE THINKS SHE'S PROVED
SHE DOESN'T NEED ME.
1838
01:36:29,116 --> 01:36:32,161
THINKS? SHE HAS
PROVED IT. DRINK UP.
1839
01:36:32,244 --> 01:36:33,329
AND I HELPED HER
DO IT.
1840
01:36:33,412 --> 01:36:35,122
YOU KNOW, WHEN HE GOT
UP ON THE STAGE
1841
01:36:35,206 --> 01:36:36,207
TO MAKE
THAT CURTAIN SPEECH,
1842
01:36:36,290 --> 01:36:37,917
I HELD MY BREATH.
I THOUGHT FOR SURE
1843
01:36:38,000 --> 01:36:39,710
HE WAS GOING TO ANNOUNCE
THEIR ENGAGEMENT.
1844
01:36:39,793 --> 01:36:41,462
MARIE, WHY DON'T YOU
GET YOUR BROOMSTICK
1845
01:36:41,545 --> 01:36:42,755
AND FLY HOME, HUH?
1846
01:36:42,838 --> 01:36:44,715
I THREW DINAH
RIGHT INTO HIS ARMS.
1847
01:36:44,798 --> 01:36:45,966
WHAT A SAP.
1848
01:36:46,050 --> 01:36:47,676
IF EVER A FELLOW
DUG HIS OWN GRAVE.
1849
01:36:47,760 --> 01:36:50,804
WHAT ARE YOU TALKING ABOUT?
YOU WERE BOTH TO BLAME.
1850
01:36:50,888 --> 01:36:52,139
SO YOU THINK
IT'S OVER, TOO?
1851
01:36:52,223 --> 01:36:53,724
I DON'T KNOW.
NOT NECESSARILY.
1852
01:36:53,807 --> 01:36:55,809
YOU THINK SHE DOESN'T
LOVE ME ANYMORE.
1853
01:36:55,893 --> 01:36:57,144
YOU THINK I'VE LOST HER.
1854
01:36:57,228 --> 01:36:59,146
I DIDN'T SAY ANYTHING
OF THE KIND.
1855
01:36:59,230 --> 01:37:00,814
YOU THINK SHE
LOVES BARREDOUT.
1856
01:37:00,898 --> 01:37:03,317
WELL,
WHAT DO YOU THINK?
1857
01:37:03,400 --> 01:37:06,862
I DON'T KNOW, BUT
I'M GOING TO FIND OUT.
1858
01:37:06,946 --> 01:37:09,240
I LOVE HER, EZ.
1859
01:37:09,323 --> 01:37:10,908
I'VE GOT TO KNOW
WHERE I STAND.
1860
01:37:10,991 --> 01:37:12,785
THIS NIGHT
MIGHT BE THE END.
1861
01:37:12,868 --> 01:37:14,203
SHE'S STILL
AT THE THEATRE.
1862
01:37:14,286 --> 01:37:15,871
WHY DON'T YOU
CALL HER UP?
1863
01:37:15,955 --> 01:37:17,373
I COULDN'T
DO THAT.
1864
01:37:17,456 --> 01:37:19,792
JOSH, YOU GOT TO FACE IT
AND TALK TO HER.
1865
01:37:19,875 --> 01:37:21,252
OTHERWISE,
IT MIGHT BE TOO LATE.
1866
01:37:21,335 --> 01:37:22,836
I--I CAN'T.
I CAN'T.
1867
01:37:22,920 --> 01:37:25,005
YOO-HOO! MR. BARREDOUT!
1868
01:37:28,175 --> 01:37:29,760
SURE.
I'LL CALL HER.
1869
01:37:29,843 --> 01:37:33,013
GOOD LUCK. TEN TO ONE
IT'S STILL YOU.
1870
01:37:34,056 --> 01:37:35,349
YES. I AGREE
WITH YOU.
1871
01:37:35,432 --> 01:37:36,934
I THINK
SHE'S GOING TO BE
1872
01:37:37,017 --> 01:37:37,810
ONE OF THE GREATEST
LEGITIMATE ACTRESSES
1873
01:37:37,893 --> 01:37:38,978
OF OUR TIME.
1874
01:37:39,061 --> 01:37:41,522
Man: THERE'S NO DOUBT
ABOUT IT. NO DOUBT.
1875
01:37:43,357 --> 01:37:44,775
MARY, YOU DID
DOUBLE-CHECK
1876
01:37:44,858 --> 01:37:45,901
ALL THE CARDS AND
THE FLOWERS, DIDN'T YOU?
1877
01:37:45,985 --> 01:37:46,860
[TELEPHONE RINGING]
1878
01:37:46,944 --> 01:37:47,903
YES, I DID,
MRS. BARKLEY.
1879
01:37:47,987 --> 01:37:49,113
AND THERE
WASN'T ANYTHING?
1880
01:37:49,196 --> 01:37:50,531
NO. NOT A THING.
1881
01:37:50,614 --> 01:37:53,242
I DON'T
UNDERSTAND THAT.
1882
01:37:53,325 --> 01:37:55,286
HELLO?
JUST A MINUTE, PLEASE.
1883
01:37:55,369 --> 01:37:57,288
IS IT FOR ME?
1884
01:37:57,371 --> 01:37:58,872
HELLO? YES, JACQUES.
1885
01:37:58,956 --> 01:37:59,957
WHAT ON EARTH
DO YOU WANT?
1886
01:38:00,040 --> 01:38:01,125
I'LL BE RIGHT OVER.
1887
01:38:01,208 --> 01:38:03,043
[AS JACQUES]
I JUST WANTED
1888
01:38:03,127 --> 01:38:06,755
TO ASK YOU SOMETHING
FRIGHTFULLY IMPORTANT.
1889
01:38:06,839 --> 01:38:09,967
I HOPE YOU REALIZE
WHAT YOU MEAN TO ME.
1890
01:38:10,050 --> 01:38:15,973
I DON'T MEAN ANYTHING
TO YOU, DO I?
1891
01:38:16,056 --> 01:38:18,350
WHY DO YOU ASK ME
THESE QUESTIONS NOW?
1892
01:38:18,434 --> 01:38:20,144
WE'LL TALK LATER.
1893
01:38:20,227 --> 01:38:23,063
BUT I MUST KNOW
THIS MINUTE.
1894
01:38:23,147 --> 01:38:25,107
DO YOU STILL LOVE
YOUR HUSBAND,
1895
01:38:25,190 --> 01:38:27,484
OR IS IT ME?
1896
01:38:27,568 --> 01:38:29,028
BUT I CAN'T
POSSIBLY ANSWER YOU
1897
01:38:29,111 --> 01:38:30,154
OVER THE TELEPHONE.
1898
01:38:30,237 --> 01:38:31,905
BUT WHY NOT?
WHAT BETTER WAY IS THERE
1899
01:38:31,989 --> 01:38:33,991
TO FIND OUT THINGS
THAN OVER THE TELEPHONE?
1900
01:38:34,074 --> 01:38:35,409
BUT THIS IS ABSURD.
1901
01:38:35,492 --> 01:38:36,952
I'M SORRY, DEAR.
1902
01:38:37,036 --> 01:38:38,329
I'LL BE WITH YOU
IN JUST A SECOND.
1903
01:38:38,412 --> 01:38:40,080
I DON'T SEE HOW--
1904
01:38:42,082 --> 01:38:44,501
JACQUES! J--
1905
01:38:44,585 --> 01:38:46,211
JUST A MINUTE,
JACQUES.
1906
01:38:46,295 --> 01:38:47,671
WILL YOU HOLD ON
JUST A SECOND, PLEASE?
1907
01:38:47,755 --> 01:38:49,048
JACQUES, COME HERE.
1908
01:38:49,131 --> 01:38:50,591
THEY'VE ALL GONE TO MILLIE'S,
SO I THOUGHT I WOULD--
1909
01:38:50,674 --> 01:38:53,093
I'VE GOT TO ASK YOU
SOMETHING VERY IMPORTANT.
1910
01:38:53,177 --> 01:38:56,013
JACQUES, YOU DID
TELEPHONE ME AT THE HOTEL
1911
01:38:56,096 --> 01:38:57,389
DURING REHEARSALS,
DIDN'T YOU?
1912
01:38:57,473 --> 01:38:59,099
NO. WHY?
1913
01:39:00,517 --> 01:39:02,853
YOU DIDN'T TELEPHONE ME
DURING REHEARSALS?
1914
01:39:02,936 --> 01:39:05,064
NO. I KNEW YOU WERE
IN YOUR ROOM RESTING.
1915
01:39:05,147 --> 01:39:06,899
I DIDN'T WANT
TO BOTHER YOU.
1916
01:39:09,234 --> 01:39:12,029
OH! WOULD YOU WAIT OUTSIDE
FOR--I'LL GET DRESSED.
1917
01:39:12,112 --> 01:39:14,948
I'LL GET A CAB.
WHAT'S THE MATTER WITH YOU?
1918
01:39:15,032 --> 01:39:16,951
OH, NOTHING.
NOTHING.
1919
01:39:17,034 --> 01:39:19,078
GOOD.
I'LL BE WAITING.
1920
01:39:19,161 --> 01:39:21,288
YES. UH...
1921
01:39:29,254 --> 01:39:31,882
HELLO, JACQUES.
1922
01:39:31,965 --> 01:39:33,342
YEAH?
1923
01:39:33,425 --> 01:39:35,386
[AS JACQUES]
UH, YES? YES?
1924
01:39:35,469 --> 01:39:41,016
I JUST TOOK A MINUTE
TO THINK THINGS OVER...
1925
01:39:41,100 --> 01:39:43,310
DARLING.
1926
01:39:44,645 --> 01:39:49,233
AND I'LL ANSWER YOU NOW.
1927
01:39:49,316 --> 01:39:50,734
I LOVE YOU...
1928
01:39:50,818 --> 01:39:52,277
ONLY YOU.
1929
01:39:52,361 --> 01:39:54,405
I DID THINK FOR A WHILE
1930
01:39:54,488 --> 01:39:57,241
THAT I MIGHT HAVE SOME
FEELING LEFT FOR JOSH,
1931
01:39:57,324 --> 01:39:59,868
WHEN I WAS FALTERING
IN REHEARSALS,
1932
01:39:59,952 --> 01:40:02,913
BUT THEN WHEN
YOU STARTED CALLING ME
1933
01:40:02,996 --> 01:40:04,873
AND SHOWING ME THE WAY,
1934
01:40:04,957 --> 01:40:08,419
I--I REALIZED
THAT COMPARED TO YOU,
1935
01:40:08,502 --> 01:40:12,506
HE'S A CHEAP,
INCOMPETENT HACK!
1936
01:40:14,299 --> 01:40:16,844
I LOVE YOU, DARLING.
1937
01:40:19,054 --> 01:40:23,183
YOU'VE MADE ME...
VERY HAPPY.
1938
01:40:33,026 --> 01:40:35,404
MARY! MARY! COME ON.
HELP ME FIND THE KEY.
1939
01:40:35,487 --> 01:40:36,947
I'VE GOT
TO FIND THE KEY.
1940
01:40:37,030 --> 01:40:39,450
YOU KNOW THE ONE--
THE ONE I PUT AWAY.
1941
01:40:39,533 --> 01:40:41,201
NOW, MRS. BARKLEY...
1942
01:40:46,123 --> 01:40:47,791
TAXI!
1943
01:40:48,876 --> 01:40:51,587
390 RIVER TERRACE,
PLEASE.
1944
01:40:55,758 --> 01:40:57,801
[WHISTLES]
1945
01:41:48,227 --> 01:41:51,772
[MUSIC PLAYING]
1946
01:41:51,855 --> 01:41:55,234
Josh over phonograph:
♪ ALL THAT I KNOW ♪
1947
01:41:55,317 --> 01:42:01,490
♪ IS YOU'D BE HARD
TO REPLACE ♪
1948
01:42:01,573 --> 01:42:04,868
♪ WHERE ELSE
IN ALL THE WORLD ♪
1949
01:42:04,952 --> 01:42:10,916
♪ SUCH LOVELINESS
AND SUCH GRACE? ♪
1950
01:42:10,999 --> 01:42:15,504
♪ THE POET
OFTEN CHANTED ♪
1951
01:42:15,587 --> 01:42:20,300
♪ THE LOVE
HE FOUND DIVINE ♪
1952
01:42:20,384 --> 01:42:25,180
♪ BUT NEVER
WAS HE GRANTED ♪
1953
01:42:25,264 --> 01:42:30,727
♪ A LADYLOVE LIKE MINE ♪
1954
01:42:30,811 --> 01:42:35,399
♪ DEEP DOWN,
DEEP DOWN INSIDE ♪
1955
01:42:35,482 --> 01:42:40,320
♪ MY SECRET HEART KNOWS ♪
1956
01:42:40,404 --> 01:42:43,907
♪ THE MORE
THAT I'M WITH YOU ♪
1957
01:42:43,991 --> 01:42:50,122
♪ THE MORE AND MORE
MY RAPTURE GROWS ♪
1958
01:42:50,205 --> 01:42:55,419
♪ WITHOUT YOU
AT MY SIDE, I FEAR ♪
1959
01:42:55,502 --> 01:43:01,884
♪ NO FUTURE COULD I FACE ♪
1960
01:43:01,967 --> 01:43:07,055
♪ FOR YOU'D BE
OH, SO HARD TO-- ♪
1961
01:43:07,139 --> 01:43:09,057
♪ HARD TO-- ♪
1962
01:43:09,141 --> 01:43:11,059
♪ HARD TO-- ♪
1963
01:43:11,143 --> 01:43:13,228
♪ HARD TO-- ♪
1964
01:43:13,312 --> 01:43:15,230
Josh: DINAH!
1965
01:43:15,314 --> 01:43:16,857
WHAT ARE YOU DOING HERE?
1966
01:43:16,940 --> 01:43:18,817
HELLO.
1967
01:43:18,901 --> 01:43:20,777
I CAME TO SEE YOU.
1968
01:43:20,861 --> 01:43:24,197
WELL!
THIS IS A RARE HONOR.
1969
01:43:24,281 --> 01:43:25,824
I WOULD HAVE THOUGHT
THAT THIS VERY MOMENT
1970
01:43:25,908 --> 01:43:27,326
YOU'D BE
OUT CELEBRATING.
1971
01:43:27,409 --> 01:43:29,202
WELL, DON'T WORRY.
1972
01:43:29,286 --> 01:43:31,079
I'M GOING TO MAKE YOU
VERY HAPPY.
1973
01:43:31,163 --> 01:43:34,458
I WON'T CONTEST IT.
YOU CAN HAVE YOUR DIVORCE.
1974
01:43:34,541 --> 01:43:35,918
THANK YOU.
1975
01:43:36,001 --> 01:43:39,421
DIVORCE HAPPENS TO SUIT
MY PLANS PERFECTLY.
1976
01:43:39,504 --> 01:43:40,923
AS A MATTER OF FACT,
1977
01:43:41,006 --> 01:43:43,425
I'M EXPECTING A YOUNG
LADY HERE ANY MINUTE,
1978
01:43:43,508 --> 01:43:45,177
SO IF YOU DON'T MIND...
1979
01:43:47,179 --> 01:43:48,680
SHIRLEY?
1980
01:43:48,764 --> 01:43:50,182
SHIRLENE.
1981
01:43:50,265 --> 01:43:51,934
THEN YOU AND SHE
ARE REALLY--
1982
01:43:52,017 --> 01:43:54,645
WE'RE MAD
ABOUT EACH OTHER.
1983
01:43:54,728 --> 01:43:56,980
CONGRATULATIONS.
1984
01:43:57,064 --> 01:43:58,982
CONGRATULATIONS
TO YOU, TOO.
1985
01:43:59,066 --> 01:44:00,776
AND I HOPE YOU'LL FIND
YOUR NEW DIRECTOR
1986
01:44:00,859 --> 01:44:05,197
EASIER TO GET ALONG WITH
THAN I WAS.
1987
01:44:06,949 --> 01:44:08,784
I DOUBT THAT.
1988
01:44:12,412 --> 01:44:14,122
WELL...
1989
01:44:14,206 --> 01:44:15,791
GOOD-BYE.
1990
01:44:17,584 --> 01:44:19,211
GOOD-BYE.
1991
01:44:23,882 --> 01:44:27,594
DON'T YOU EVEN WANT TO...
SHAKE HANDS?
1992
01:44:36,603 --> 01:44:37,938
[AS JACQUES]
PERHAPS YOU SHOULD NOT BE
1993
01:44:38,021 --> 01:44:40,023
QUITE SO DEMONSTRATIVE,
1994
01:44:40,107 --> 01:44:41,525
THROWING YOUR ARMS
AROUND ME
1995
01:44:41,608 --> 01:44:44,569
AND KISSING ME IN FRONT
OF ALL OF THOSE PEOPLE.
1996
01:44:44,653 --> 01:44:46,571
DISCIPLINE, YOU KNOW.
DISCIPLINE.
1997
01:44:46,655 --> 01:44:48,115
[NORMAL VOICE]
DARLING,
1998
01:44:48,198 --> 01:44:50,033
I THINK YOUR ACCENT
WAS AMAZINGLY GOOD.
1999
01:44:50,117 --> 01:44:51,326
WAIT A MINUTE.
2000
01:44:51,410 --> 01:44:52,995
HAD ME COMPLETELY FOOLED
UNTIL TONIGHT,
2001
01:44:53,078 --> 01:44:55,872
WHEN JACQUES WALKED IN
WHILE YOU WERE ON THE PHONE.
2002
01:44:55,956 --> 01:44:58,417
DINAH, YOU KNOW.
2003
01:44:58,500 --> 01:45:00,377
AND YOU TORTURED ME
LIKE THIS?
2004
01:45:00,460 --> 01:45:02,045
JUST A LITTLE TORTURE.
2005
01:45:02,129 --> 01:45:04,464
YOU KNOW THAT I ALMOST
WALKED INTO THE EAST RIVER?
2006
01:45:04,548 --> 01:45:05,382
NO.
2007
01:45:05,465 --> 01:45:06,883
I ALMOST SHOT MYSELF.
2008
01:45:06,967 --> 01:45:07,968
NO.
2009
01:45:08,051 --> 01:45:09,428
I ALMOST JUMPED
OFF THAT ROOF.
2010
01:45:09,511 --> 01:45:10,554
MY POOR DARLING,
2011
01:45:10,637 --> 01:45:11,805
YOU MIGHT HAVE ALMOST
KILLED YOURSELF.
2012
01:45:11,888 --> 01:45:14,641
I KNOW.
2013
01:45:14,725 --> 01:45:15,726
OH.
2014
01:45:15,809 --> 01:45:18,270
I LOVE YOU SO.
2015
01:45:20,522 --> 01:45:21,732
IT MUSTN'T
HAPPEN AGAIN.
2016
01:45:21,815 --> 01:45:24,359
NO. WE MEAN MUCH
TOO MUCH TO EACH OTHER.
2017
01:45:24,443 --> 01:45:25,736
YOU'RE SUCH
A WONDERFUL GIRL
2018
01:45:25,819 --> 01:45:27,320
AND SUCH
A TALENTED ACTRESS.
2019
01:45:27,404 --> 01:45:29,364
OH! YOUR PERFORMANCE
WAS MAGNIFICENT!
2020
01:45:29,448 --> 01:45:31,450
YOU DON'T KNOW
HOW GREAT YOU ARE!
2021
01:45:31,533 --> 01:45:32,743
I HAVE AN IDEA
FOR A PLAY--
2022
01:45:32,826 --> 01:45:34,411
DARLING, I DON'T WANT
TO DO ANOTHER PLAY.
2023
01:45:34,494 --> 01:45:35,954
NO MORE
DRAMA? NO BIOGRAPHIES.
2024
01:45:36,038 --> 01:45:37,289
NO WORRYING
NO MESSAGES? ABOUT THE PLOT.
2025
01:45:37,372 --> 01:45:38,665
NO?
2026
01:45:37,372 --> 01:45:38,665
NO!
2027
01:45:38,749 --> 01:45:40,459
THEN WE'LL HAVE NOTHING
BUT FUN SET TO MUSIC.
2028
01:45:40,542 --> 01:45:41,793
WE'LL HAVE TEMPO.
2029
01:45:40,542 --> 01:45:41,793
YES!
2030
01:45:41,877 --> 01:45:43,462
YOU KNOW,
THAT GOOD OLD TEMPO.
2031
01:45:43,545 --> 01:45:47,090
♪ JUST GIVE ME
THAT MANHATTAN DOWNBEAT ♪
2032
01:45:47,174 --> 01:45:50,927
♪ THAT BEATS A TEMPO
OF ITS OWN ♪
2033
01:45:51,011 --> 01:45:52,929
♪ YOU'VE GOT TO SHOUT,
"THIS IS IT" ♪
2034
01:45:53,013 --> 01:45:54,848
♪ THE DAY YOU VISIT ♪
2035
01:45:54,931 --> 01:45:57,851
♪ THE JUMPIN'-EST TOWN
WAS EVER KNOWN ♪
2036
01:45:57,934 --> 01:46:01,438
♪ KEEP YOUR PAREE
AND LONDON TOWN BEAT ♪
2037
01:46:01,521 --> 01:46:05,233
♪ POP KNICKERBOCKER
STANDS ALONE ♪
2038
01:46:05,317 --> 01:46:08,779
♪ DRIVE UP ANY AVENUE,
SWING DOWN ANY STREET ♪
2039
01:46:08,862 --> 01:46:12,282
♪ THERE'S NO BEAT HAS
MANHATTAN DOWNBEAT BEAT ♪
2040
01:47:16,054 --> 01:47:19,141
♪ MANHATTAN HAS A BEAT
THAT'S ALL ITS OWN ♪
2041
01:47:19,224 --> 01:47:22,686
♪ MANHATTAN HAS A BEAT
TO CALL ITS OWN ♪
2042
01:47:22,769 --> 01:47:24,729
♪ SO, MISTER, LEAD HER ♪
2043
01:47:24,813 --> 01:47:28,775
♪ WHEN YOU HEAR
THE FAMOUS DOWNBEAT ♪
2044
01:47:28,859 --> 01:47:30,402
♪ COME 1, 2, 3,
AND GIVE THEM ♪
2045
01:47:30,485 --> 01:47:33,363
♪ THAT MANHATTAN
DOWNBEAT ♪
2046
01:47:33,446 --> 01:47:37,075
♪ THAT BEATS A TEMPO
OF ITS OWN ♪
2047
01:47:37,159 --> 01:47:39,244
♪ YOU'VE GOT TO SHOUT,
"THIS IS IT" ♪
2048
01:47:39,327 --> 01:47:41,246
♪ THE DAY YOU VISIT ♪
2049
01:47:41,329 --> 01:47:44,124
♪ THE JUMPIN'-EST TOWN
WAS EVER, WAS EVER KNOWN ♪
2050
01:47:44,207 --> 01:47:47,752
♪ KEEP YOUR PAREE
AND LONDON TOWN BEAT ♪
2051
01:47:47,836 --> 01:47:51,882
♪ POP KNICKERBOCKER
STANDS ALONE ♪
2052
01:47:51,965 --> 01:47:54,009
♪ DRIVE UP
ANY AVENUE ♪
2053
01:47:54,092 --> 01:47:56,011
♪ SWING DOWN
ANY STREET ♪
2054
01:47:56,094 --> 01:47:59,347
♪ NO BEAT
HAS MANHATTAN DOWNBEAT ♪
2055
01:47:59,431 --> 01:48:03,059
♪ NO BEAT
HAS MANHATTAN DOWNBEAT ♪
2056
01:48:03,143 --> 01:48:06,897
♪ NO BEAT
HAS MANHATTAN DOWNBEAT ♪
2057
01:48:06,980 --> 01:48:16,615
♪ BEAT ♪
135274
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