All language subtitles for Act O

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[alarm rings]

Thank you.

(man on radio)
'And now, for the latest news..'

'This is Jimmy Wallington
in New York..'

'A dispatch today from Berlin
says that the next major flight'

'is a dare to put Graf Zeppelin'

'will be a non-stop trip
around the world'

'with the necessary refueling
accomplished while in flight.'

'The flight is expected
to take 14 days.'

'Colonel Theodore Roosevelt
returned to New York yesterday'

'from a ten month
expedition in China'

'on behalf of Chicago's
Field Museum.'

'He told of strange adventures
encountered'

'from tropical jungles
in Indo-China'

'to barren snow swept mountains
in Central Asia.'

'The former president
was in excellent spirits'

'and in excellent health.'

'Seven persons were slightly
injured when a special train'

'carrying John Philip Susan
was derailed at CAPS, Colorado'

'thirteen miles
west of Walsenburg.'

'Mr. Susan,
the noted band conductor'

'escaped with only
a slight shaking up.'

'"The orchestra will be able
to play "The Stars and Stripes"'

'with its usual vigor.
Desmond D'Souza.'

(Desmond on radio)
'Well, yesterday, the Yanks
beat the Tigers, nine to three.'

'April's Right Field Reception
Committee arose as one fan'

'to greet homer number 42
in the fourth innings'

'as they headed
for the bleachers.'

'This homer
was no mere statistic'

'because it's just about
the size of the third game'

'of the Detroit series.'

'The Yanks took the game
nine to three'

'moving into the series lead'

'two games to one.'

'The score of when the Babe
swung on the Vic Sorrel pitch'

'was one to nothing
with the Yanks ahead.'

'When Babe ambled
around the bases'

'and padded across home plate'

'the score became
four to nothing'

'because his homer
trundled two base runners'

'along the runway ahead of it.'

'Indications
of further nervousness'

'on the part
of speculative interests'

'was seen in the action
of the stock market yesterday.'

'Price movements
were slightly irregular.'

'There's a fairly
steady opening'

'followed by a scattered event.'

'Before noon, however,
an aggressive selling movement'

'developed
on the stock exchange'

'and many leading stocks
were swept sharply downward.'

'Irregular recovery followed,
but the market continued'

'its packing and selling
until the close.'

Damn.

'Most experts believe
there is no danger'

'of a real stock market crash.'

'As for the weather,
fair skies and cool air.'

'Tomorrow, fairer and cooler.'

'The temperature yesterday'

'a high of 62 degrees,
a low of 50.'

'That's all for today.'

'This is Jimmy Wallington.'

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Good to see you.

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[audience cheering]

Hey, you!

Come on.

What are you doing here?

I am sorry.
This theater won't do.

No, not at all.

Not at all.

What are you,
crazy or somethin'?

Or something.

Good morning, Ms. Gunther.

Oh, Mr. Maxwell says
you're to go right in.

Thank you.

[knocking on door]

Good morning, Mr. Maxwell.

Sit down, Moss.

Hi.

Did you read the play?

Yeah.

You didn't like it?

I didn't like it.
I didn't hate it.

Well, what's wrong
with this one?

Same thing that was wrong
with the five others

you asked me to read.

- Four.
- Five.

You forgot the short one
you brought in first.

Five.

They all prove you have talent

but personally, I wish
you'd write a comedy.

Isn't there a market
for good serious plays?

Sure, yours is serious

but they're not very good.

But when you write
a comedy scene

the plays come to life.

Now, you may not be
Eugene O'Neill.

But what's wrong
with being George S. Kaufman?

How about my being me,
Moss Hart?

Alright.

Have some fun
while you're being you.

Think it over.

I will.

Perhaps, sir, Eugene O'Neill
will be pleased to know

I'm no longer
in the competition.

When I see him,
I'll tip him off.

Hail and farewell.

You haven't
eaten anything, Moss.

Not hungry.

You've got that
"They rejected my play" look.

They did.

So write another one.

I didn't mean
he should start right away.

I'll talk to him.

No sweetness and light, pa,
I couldn't stand it.

Alright, I'm all
bitterness and dark.

I spent four years
writing these.

Four years.

Wore summers working
like a slob to make enough money

to keep me going
during the winter

to write plays nobody wants.

I'm a damn fool.

You could be at that.

Then some idiot tells me
I ought to be writing comedy.

Oh, what the hell is so funny?

How can you laugh
with a knife in your belly?

When I was a young boy in London

I saw a man walk on nails

and he was laughing.

It was a good trick.

- Pa?
- Yes, Mossy?

I worked as a camp counselor,
a social director

a floorwalker, actor

little theater director,
and an...office boy.

And always, I kept dreamin'
I was a writer..

And I stopped dreamin'.

Oh, I used to dream
about being a songwriter

and a musical entertainer.

As soon as I stopped dreamin'

I never had a chance.

You're only 25 years old, Mossy.

If you don't get tired, you've
got years left for dreaming.

Have some coffee.

Hello, men.

- Hi, Moss.
- Hello, Moss.

So, why do you look happy?

Whenever I join
my indigent friends

I always look happy because
I know I'm not as miserable.

How did Maxwell like
your new play?

Huh, he gave it back to me.

If you give him a play by anyone

but Eugene O'Neill, he hates it.

'He knows from nothing.'

Uh, cheese sandwich
and a glass of beer, Harry.

I can tell
you got your play back.

Someday, I will kill Harry.

You read the notices
on Elmer Rice's new play?

- Yeah, they were good.
- The play is awful.

I liked it.

Monoact is not about plays.

I'm no actor, and I liked it.

Your judgment
is notoriously bad.

Friar Lester, any play
turns you green with envy.

You can't act, write or direct.

You've no anchor for an opinion.

Let's each take a knife
and kill Lester.

First, uh, Harry.

Be my luck to be killed
by incompetence.

Archie Leach,
an actor out of work.

Oliver, a producer
without a play.

Teddy Manson, imitation work,
yet Moss Hart--

I'm the only working member
of this company.

I began directing
a new YMHA group in Newark.

- 'Tonight?'
- Tonight.

That's so wonderful.

Look at him, our friend.

A director
of a YMHA little theatre.

I predict he will soon
be working in New York

for the YMHA,
no limit to where he'll go.

Ah, that looks good.
Give me a bite.

You reach for it
and I'll stab you.

Say, Mossy, what did Maxwell
say about your play?

Said I ought to be
writing comedy.

Excuse me,
aren't you Archie Leach?

Oh, yes, ma'am.

I saw you in "Great Neck"
last week.

You were wonderful.

Oh, well, uh, thank you.

Could you join my mother
and me for a cup of coffee?

- Oh, well, I, uh--
- Please.

Sure. Thank you.

Excuse me, Teddy.

(Teddy)
Excuse me.

Gentlemen.

I told you you should be
writing comedy three years ago.

Well, Lester, maybe
you didn't sound sincere.

You mean to say
you don't remember?

- No, I don't remember.
- The hell with you.

Why does he always get mad
and run out

before the check arrives?

It's an act
of self-preservation.

I'll tell you just when it was.

We were coming out
of the theater after seeing

"Abie's Irish Rose,"
you were looking

as if you'd just been gassed.

I said there was nothing
to be ashamed of

if you wrote good comedy,
and I said

"You oughta be writing comedy
because you had

a slightly cockeyed view
of almost everything."

That was three years ago!

And that is for my drink.

Goodnight, gentlemen.

And remember me
to the YMHA in Newark.

He has also appeared on Broadway
in the play "Emperor Jones"

'playing the part of the
English cockney, Smithers.'

His experience and talent
should be a great boom

for all of the white players

and it's a privilege
to introduce him to you.

Moss Hart.

Thank you, Mr. Kruger, while
the introduction was eloquent

it hardly did me justice

and I might add,
I am being grossly underpaid.

[laughing]

I have selected your first
program of one-act plays

and I welcome your comment.

And let me assure you,
I will listen

with a completely closed mind.

As your director,
I intend to function

as directors function
in the professional theater.

I'll cast the plays
as I see fit.

You'll do as you're told
once rehearsals get underway

and any of you who do not choose
to behave professionally

had better excuse yourselves.

A theater in any form requires
discipline and concentration.

Now, I offer that to you.

And I expect that in return.

Mr. Kruger has told me
that you are

a devoted theatrical company

and I am prepared
to believe this

until I discover it is not so.

If I've failed
to ingratiate myself

in the few moments
I've talked to you

you will likely find me
less attractive

as time goes by.

Thank you.

[audience applauding]

Now, Mr. Kruger, if you have
no further business here

we'll get down to work.

I'll leave the players
to your mercy.

I offer them nothing
but the whip.

As our first program
of one-act plays

we will do "The Valiant"

"The Angel Intrudes,"
and "The Game Of Chess."

Are you familiar
with these plays?

- Hmm.
- 'Yes?'

Most of us know "The Valiant,"
but we think

it's too conventional.

As I intend to stage it,
it will not be conventional.

'Yes.'

We talked about doing
"The Game of Chess"

last season but thought
it was too melodramatic.

There's nothing wrong
with melodrama.

I'll pick at random
some of you to do the readings.

We'll get down
to rehearsal tonight.

First, "The Valiant."

Your name, sir?

David Star.

'Will you, uh, read the part
of the prisoner, please?'

- Your name, sir?
- Dr. Eugene Bergen.

Please read the warden.

- 'Your name, sir?'
- Uh, Jack Weinberg.

'Mr. Weinberg, you might
make an excellent priest.'

Thank you.

Goodnight to you all.

- Oh, David.
- Yes, Mr. Hart?

Moss. Which way do you go?

My home is only two blocks away.

Is there a coffee shop
near here?

Only a block away.
If you've the time, so have I.

Hm, lead on, I follow.

It's not the Ritz,
but the coffee is hot.

May I ask you something?

Of course, anything.

How did it go tonight?

It went fine.

Do you think
the group liked me?

I'd a feeling you didn't care
one way or the other.

Well, I did.

I feel I can share
a secret with you.

I was nervous as a cat.

'Always am with a new group.'

You didn't show it.

Well, it's an old habit.

The more frightened I am

the more aggressive I become.

The less sure,
the more arrogant.

But that's just between us.

Scout's honor.

What do you do for a living?

Anything, but I dream
of making a living one day

as a writer.

I had an instinct
we shared a dream.

You're being honest
when you said it went alright.

If you were nervous tonight,
I'd hate to see you

when you felt secure.

Well, those times,
I am the soul of graciousness.

Cheers.

L'chaim.

[train chugging]

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[typewriter clacking]

Morning, Miss Nobel.

Hello, Mr. Hart.
It's been a long time.

I've been working very hard.
Is Mr. Hyman in?

- Yes. Go right in.
- Thank you.

Mossy. Oh, Mossy.

Hi, Joe.

Hey, the boy playwright
looks exhausted.

He is, but he will live.

Well, sit, sit.
Come on, sit.

Have a cigar.

Hey, look at those.

Thanks, eh.

I haven't seen you for months.

Having some trouble?

Well, in the four years
you've known me

when hasn't there been trouble?

- You need help?
- Mainly an open ear.

Ah, it's open.
It's open.

Four years ago,
when I first came to see you

after that miserable summer
at Half Moon camp

I asked you for $200
and told you

I was gonna be a playwright.

Now, since then,
the sum has increased.

Still the best investment
I ever made, so..

Well, in those years,
I've written five serious plays.

You read them all,
and you said they were good.

Did you really think so?

Oh, Moss, each one
was better than the last.

[laughing]

How would you feel...
if I told you

I had discarded the mantle
of O'Neill, Ibsen and Shaw?

(Joe)
'Are you quitting?'

- I've written a comedy.
- 'Is it good?'

Well, I think
it's the best thing I've done.

It's about the movies,
the talkies, the satire

and all the crazy excitement
of Hollywood.

- 'But you've never been there.'
- Yes, I have.

In the pages of "Variety"

and the fan magazines
and the Louella Parsons column.

I've been there all of October
and most of November.

- And I put it all in there.
- I'll buy you a drink.

- We'll celebrate.
- Maybe tomorrow.

Tonight, I'm reading it
to the Y group in Newark.

Now, they are sharp.
They'll be a good audience.

If it goes well, well,
I'll let you see it.

And you can buy me that drink.

[telephone rings]

Wait.

Yeah.

Alright, I'll talk to him
in a minute.

And Mossy...
if it doesn't go well?

Uh, if it doesn't go well,
I'll let you

still buy me that drink,
but, uh

you'll have to get me a job.

Alright.
Good luck, Mossy.

Thanks, Joe.

- Moss.
- Yeah?

If, if it doesn't go well..

...I won't let you quit.

Why, I don't like to lose
on any investment.

Anyway, I am stage-struck.
You're my passport.

- Joe, believe me--
- The ear is closed.

[laughs]

- So long.
- So long, Joe.

- Thank you.
- Yeah.

The play is called
"Once In A Lifetime."

It is, please, dear God,
a comedy.

"Act one, scene one."

"The scene is a furnished room
in the West 40's, New York."

"George, imperatively,
'From scratch.'

"Glogauer looks at the others
who are speechless.

"Glogauer nods his head slowly
and says, "If George says

"'It's from scratch,'
it's from scratch."

The curtain falls.
The end.

[applauding]

Thank you, I mean it deeply.

But I wanna have
your frank opinion.

I think the first act
is the most complete one.

The second is good.

But the third act
slips away a bit.

- You're crazy.
- I don't think so.

Moss. Moss.

I think it's a hell of a play
and a sure hit.

It's not perfect, yeah,
but neither was "Hamlet"

at the first reading.

There's only one man
that should produce it.

Warren Stone.

[indistinct chatter]

Thank you, David,
but-but that's like

finding your way blindfolded
to a gold mine.

Now, he's got, what,
three hits running on Broadway

and he's swamped with scripts
from all the top playwrights.

It's a, it's a flattering
suggestion, but it's impossible.

You know, it could lie
on his desk

for months
before he'd even read it.

But I bet he'd go for it.

Don't waste any time
rewriting it.

Get it to him tomorrow.
Now..

Now, he'll buy it.
I bet he will.

How much?

It just so happens
that I know his sister.

Yeah, that's right.
Nina.

Let's call her, right now.

- Come on.
- Why not?

[instrumental music]

Not a word, Joe, huh?

[indistinct chatter]

Fellas.

Order up, men.
The drinks are on Joe.

- Coffee.
- Same.

- A beer.
- Beer.

Well, what play
did you see tonight?

We finally caught up
with "Broadway."

I don't understand
why it's a hit.

- You're crazy, it's wonderful.
- Yes.

If you're willing
to settle for that--

Oh, to hell with them, what..

Aren't you gonna ask
why I'm buying the drinks?

You're richer, that's why.

The fact is, gentlemen,
I've, uh, written a new play.

A comedy.

Why is this play different
from all other plays?

Because..

Don't get nervous.

"Mr. Hart,
your play interests me.

"Be at the Madison Hotel, 58th
street, east of Fifth Avenue

"tomorrow afternoon
at 2 o'clock.

Warren Stone."

Mr. Leach..

I saw you in a play
in Hackensack a year ago.

Oh, well, uh, thank you
for remembering.

I'd like you to meet my sister.

Please don't say no.

Well, alright.

Oliver, please?

Uh, good news, Moss.
See you later.

You're wasting your time. Warren
Stone will never do that play.

How do you know?
You haven't read it.

I don't have to read it.
I know he won't do it.

And why haven't I read it? You
let me read all your lousy ones.

I have a carbon copy.
I'll bring it tomorrow.

I'm busy tomorrow.

Well, we're not busy.
Tell us about it.

Yeah, what inspired you
to forsake the tragic muse?

Greed.

[instrumental music]

- Yes.
- My name is Moss Hart.

May I have the room number
of Mr. Warren Stone?

[music continues]

(male #1)
'Anytime.'

'Mr. Stone, there's a Mr. Hart.'

Yes.

Mr. Stone asks you to wait.

[clock chimes]

[dog barking]

[music continues]

My name is Moss Hart.

My appointment with Mr. Stone
was for 2 o'clock.

Mr. Stone knows you are here.

We're not allowed to ring him
till he calls down.

[instrumental music]

Very well, Mr. Stone.

Uh, Mr. Hart?

Mr. Hart.

Mr. Stone says
to leave the manuscript

and to be here promptly
12 o'clock noon, tomorrow.

[instrumental music]

[music continues]

Ahem. It's 12 o'clock.

Mr. Stone asked me
to be here promptly.

'Later. Mr. Stone,
Mr. Hart is here.'

'Yes, sir.'

Mr. Stone asks you to wait.

[instrumental music]

[music continues]

[dog barking]

'Mr. Hart.'

Mr. Stone will see you
at 10 o'clock tomorrow morning.

"10 o'clock sharp," he said.

You tell Mr. Stone..

Yes?

Tell him I'll be here.
10 o'clock sharp.

[clock chimes]

Mr. Stone says to come right up.

Suite eight, ten and twelve.

Suite eight, ten and twelve.

[instrumental music]

[dog barks]

Thank you.

[knocking on door]

Hello?

[buzzing]

(male #2)
'Come in.'

Hello?

'Come in. Come in.'

Good morning.

I'm sorry I couldn't see you
until now.

As a matter of fact,
I-I only have a few minutes.

But I did want to see you.

Well, I certainly appreciate it.

I, uh, read your play
last night.

And I, uh..

...I liked a great deal of it.

Now, would you mind
handing me my shorts?

See, what your play lacks
at the moment

is definition.

It's.. It rambles
from satire to false

to blurless comedy.

It has not assumed
the form for flight.

Once it has,
it'll take wings and sail.

See, satire
is a disciplined form.

You can go back to Sheridan
till Aristophanes

to understand what I mean.

See..

...satire gives you
no license to abandon

either discipline or form.

You, uh, you have a fine flair

for writing funny lines.

[chuckles]

But it's not enough.

It's not nearly enough.

Sit down.

If I do your play..

...and I'm thinking seriously
about it..

...you'll have to revise
some of your notions

about construction.

And while I will be demanding

absolutely sure of myself

and occasionally indifferent

to your, uh, sensibilities

you'll wind up
with a better play.

And that, after all,
is the ultimate objective

in the theatre.

The play.

"The play."

"The play."

All the rest, the, uh

the acting, directing

costuming, designing

those are ornaments on the tree.

The play is the tree

with its trunk, the characters.

Its limbs and branches,
plot points and dialogues.

The playwright, Mr. Hart..

...is a Don Quixote..

...attacking the windmills

using his pen for a lance.

If you have no stomach
for being thrown into the mud

you will, as Cyrano says..

"Never be tossed upwards--"

"To the stars."

Now, listen, my young friend,
don't think

that you'll learn to find
the theatres full of romance.

There are grubby facts
to be faced

tiresome people to meet.

You'll be subjected to frauds
who appear talented

and brilliant talents

who are cursed
with malevolent characters.

No, it's...it's a trade
for the hearty

the trusting, the gifted.

The soft, the suspicious,
the benighted..

...best go back
to selling shoes.

I-I have no patience
with the inept.

Uh, sorry, I have
some calls to make

you'll have to excuse me.

And pay no attention
to those old bromides, such as

"If you've got a good
second act, you're home free."

Utter nonsense.

A good play needs the urgency
of a powerful first act

force and fascination
of a booming second act

emotional release and conclusion
in a third act.

- Everything else is secondary.
- Uh-huh.

Very nice of you to come by.
You'll hear from me soon.

- Goodbye.
- Oh, goodbye.

- Morning.
- 'Morning, Mossy.'

Where are you going?

I have a lunch date
with Lester Sweyd.

- Still no word from Mr. Stone?
- No.

Why don't you take the play
to someone else?

Mr. Stone isn't the only pebble
on the beach.

But he's the biggest pebble.
I'll wait.

Your money won't
hold out forever.

I'll be trying to get a job.

Though there's not much market
for a cigar maker.

We can manage, don't worry.

Oh, it's-it's hard to get a job

for a man your father's age.

I know, ma.

What do you want for breakfast?

Oh, all I want is some coffee.

Pa, will you open the window?
It's hot in here.

No, no. It lets the dirt in.

Moss, you're 25 years old.

You can't just sit around
waiting for a miracle.

Ma, I'm not waiting
for a miracle.

All I'm waiting for
is a call from Warren Stone.

- But if he doesn't--
- Martha, let Moss be.

We're not starving.
We're not out on the street.

You want the theatrical section?

Thanks.

- Hello, Lester.
- Moss.

This is Clara Baum.

I've told you about her
and her about you.

- How do you do, Ms. Baum?
- Hello, Moss.

Lester let me read your play.

I liked it very much.

Thank you.

You ought to let Clara
handle your play.

Well, that might be a good idea

but as you know, Ms. Baum,
Warren Stone has read the play.

- And he's very interested--
- Moss, Moss.

Moss, you'll
never hear from him.

It's been weeks,
if he wanted to do it

you would have had a contract
long ago.

- I'm afraid that's right.
- Oh, of course it's right.

So, I've sent the play
to, uh, Sam Harris.

You what?

I called Max Seigel
and Harris's office

and told him about the play.

He sent it to Harris
in Florida two days ago.

Are you crazy, Lester?

You had no right to do that
without asking me.

I believe in the play.
I believe in you.

And I believe Harris
will jump at it.

And you can jump in the lakes.

Sam Harris is the best
commercial producer on Broadway.

His record's even better
than Warren Stone's.

I don't care if he's
Daniel Froman, Max Ryan

Hardin David, Balasco Rapton.
I want Warren Stone.

Excuse me, Ms. Baum.

Moss.

[thinking]
Well, now, what would you
really be willing

to give up to have
a hit on Broadway?

An arm?

Sure, but the left one.

I need the right one
for the pencil.

Alright, uh, how about a leg?

Well, that's easy.

Uh-huh.

Now then, would you
be willing to be, uh..

[indistinct chatter]

Absolutely bald?

That's right.
Bald as a beard ball.

Sure, I'd be willing.

Anything.

But why don't I hear
from Warren Stone?

[phone rings]

Hello?

Just a minute.
Mossy. Mossy.

Ah, I'm coming, I'm coming.

It's for you.
It's Lester Sweyd.

I don't want to talk to him.

He says it's urgent.
Good news.

Hello? Yes.

What? What?

Sam Harris wants
to buy the play.

Lester, that is good news.

When? Fine, I'll be there.

Uh, uh, thank you, Lester.

Goodbye.

I have to be in Sam Harris's
office at 2 o'clock.

Good, Mossy. I knew something
wonderful would happen.

I got up all the cards
in solitaire.

[feet tapping]

[chuckles]

Well, Mr. Hart,
I have exciting news.

This is Mr. Harris's telegram.

"I like play.

"Ask the young author
if he will be willing

"to make a musical of it
with Irving Berlin

Sam Harris."

I do not write
musical comedies, Mr. Seigel.

'I am a playwright.'

I write plays.

Only plays.

Wait a minute.

[chuckles]

Wait a minute.

You don't have
to write musical comedies

if you don't want to.

Let me send Mr. Harris
another telegram.

How's this?

"Young author says
is playwright

"and...doesn't write musicals.

"Would you be interested

in play as a play?"

- Plain enough?
- Uh, yes. Fine.

'But, uh, you see,
there is another producer'

'who's interested in the play
just as it is'

without any, uh,
songs or dances.

So, he'd better
make up his mind.

Mr. Harris is a quick decider.

You'll hear one way
or another by tomorrow.

Yes, well, thank you very much.

Thank you, Max.

[stalking]
Are you out of your mind?

You just turned down
Irving Berlin and Sam Harris.

Your head is full of rocks.

Moss, you handled that
very badly.

"Badly?"
You'll be a laughing stock!

I did what I had to do.

If you'll wait here,
I'll get a razor.

You can finish the job
by cutting your throat.

Lester, you're hysterical.
I'm going for a walk.

[intense music]

Shoe shine.
Want a shine, sir?

'Shine? Shine?'

'Shoe shine.'

'You want a shoe shine?'

[phone rings]

- Hello?
- Moss Hart?

(Moss)
'Yes?'

This is Max Siegel.

Oh, hello.

I want to read you
Sam Harris's answer.

Please.

"Tell young author

"I will produce his play
if George Kaufman

"likes and agrees
to collaborate and direct.

"Would young author approve?

I've sent play
air mail to Kaufman."

- Are you still there?
- Uh, t-tell him, "Yes!"

Wonderful.

Well, when will we know
whether Kaufman likes it or not?

Well, he usually reads a play
the day he gets it

so we should hear from him
by Thursday, okay?

Okay.

I'm sure he'll like it.

I'm going to draw up contracts.

Don't write any musical
comedies in the meantime.

[chuckles]

Goodbye, playwright.

[chuckles]
Uh, goodbye.

And thank you very much.

Well, was that it?

That was the message
I remembered verbatim.

Wonderful. Congratulations.

- Dudo, congratulations.
- Or what?

Moss, did you
really say "Yes?"

- Well, of course. Why not?
- It'll wind up his play.

You might just as well have
said, "By George S. Kaufman."

- He'll get all the credit.
- Precisely.

Nobody will believe
you had anything to do with it.

A first play
should be a solo effort

that's how you get
your reputation.

It's an old Machiavellian axiom.

"A lesser prince
never allies himself

with a greater prince.
If he does, he's doomed."

Don't let them
depress you, Moss.

I think it was marvelous.

You have the brain of a cretin.

Moss, you've just handed
your play over to Kaufman.

Now say goodbye to yourself.

Mr. Leach.

I'm Miss Floring Baker.

We met in Asbury Park.

- Oh, how do you do?
- I hope I'm not intruding.

Pretty girl like you
wouldn't be intruding anytime.

Thank you.

Uh, could we talk
for a few minutes, please?

Uh, well, of course.
Of course.

Oh, don't worry, Moss.

Everything is going
to be just fine.

(Archie)
'Oh, Teddy.'

Archie is building
his own fan club.

Against his will.

You know what's strange?

I'm the aggressive one.

He gets all the girls.

Cheer up, Moss.
It's not the end of the world.

It's the end of your career.

I think it's
a very good opportunity.

To be buried.

Let Clara Baum call Max Siegel

and tell him
you've changed your mind.

Absolutely not. Right or wrong,
I've made up my mind.

And on this happy occasion,
I will buy us all

a glass of delicious near-beer.

Not for me,
I never drink at funerals.

Count me in, I'm thirsty.

Harry?

In a minute.

David, you haven't said a word.

Tell me what you think.

I-I felt I was a guest

and shouldn't interrupt.

Well, it's time.

I think it's a great chance.

You'll be working with the best
craftsman in the theatre.

If the play works,
your career is on the way.

David.

Your estimate of this situation
is ridiculous.

Also, provincial.

Like from Newark.

When are you supposed to hear
from Mr. Kaufman?

Maybe today or tomorrow.

I shouldn't call Mr. Stone
and tell him I've accepted

Mr. Harris's offer.

Well, do that or play cards.

You're making me
as nervous as you are.

Uh, could I have
Regent 0-0-2-2, please?

Hurry back,
I've got a good hand.

Uh, hello, may I speak
to Mr. Stone, please?

Yes.

Uh, this is Moss Hart.

Thanks, I'll wait.

Hello?

Oh, hello, Mr. Stone.

Uh, Mr. Stone..

Uh, I do hope you'll understand.

But, uh, I assume
not having heard from you

that I should look around
for another producer.

Uh, you understand, of course,
that this is no reflection.

Uh, but, well

the-the fact
of the matter is that

'Sam Harris wants
to do the play'

'if George Kaufman likes it.'

'You see, I feel that, uh..'

Listen, uh, there is
no need for explanations.

I think you're doing
exactly the right thing.

I'm going to stage "Uncle Vanya"

as my first play of the season.

Chekhov has never really been
produced in this country.

Don't you agree?

Well, I, uh..

You know George Kaufman?

- Ha-have you met him?
- Uh, no.

Has he read the play?

Perhaps he's reading it today.

I-I do want to thank you
for being so understanding.

Well, this is Kaufman's
home telephone number.

You call him and tell him
Warren Stone says

that this is just the kind
of play he ought to do.

Well, thank you.

(Warren)
'The number
is Regent 5-5-9-8.'

Regent 5-5-9-8.

Thank you very much.

- Goodbye.
- 'Goodbye.'

Yes?

Uh, may I speak
to Mr. Kaufman, please?

This is he.

Oh.

Yes.

This is Moss Hart, uh,
you don't know me

Mr. Kaufman, but I, uh--

I received your play
this morning.

I will read it tonight.

Oh. Oh, well, sir, uh..

Warren Stone has read the play

'and he asked me
to give you a message.'

'He said to tell you,
this was just the kind of play'

'you ought to do.'

'Hello?'

'Hello?'

I would not be interested
in anything

that interested Warren Stone.

Moss.

What's wrong?

I have a feeling
I've just lost the chance

of working with Mr...Kaufman.

I placed myself
inside the devious mind

of Warren Stone

and realized he
was deliberately trying

to put the skids
under our boy author.

How would young Mr. Hart know
that my opinion of Stone

is tempered by dislike
and flavored with contempt?

- It was sweet of Warren.
- Yeah.

- Max.
- 'Yes, George.'

I have known you
for nine years.

Uh, just about.

[sighs]
It has taken me all that time
to summon up

the discourteous request
that you not smoke a cigar.

I hate the smoke.

I can chew.

Next.

Uh, call up my new collaborator

and tell him I like his play

and ask him
to meet me here at 3:00.

Chew.

[chuckles]

Benson Hearst, 5-5-2-0.

Thanks for walking me here,
but I intend to see Mr. Kaufman

without a bevy of counsels.

Be careful of what you say.

Don't sign anything.

Don't be anxious.

Look, it's one minute to 3:00.

Goodbye, and thanks
for the advice.

[knocking on door]

Come in.

- Hello, Moss.
- Hello, sir.

This is the young author,
George.

Hi.

Sit down.

Beautiful day.

You want me to do
the talking, George?

Mr. Kaufman is willing to work
with you on the play, and, uh

he has suggested some terms
for a division of royalties.

I suggest you go over these
with your agent.

'I think you'll find
they're generous terms.'

Well, I'm sure
there'll be no difficulty.

[yawns]

When can we have
a working session?

Well, whenever you'd like to.
Right away. Anytime.

- Now.
- Yeah.

11 o'clock tomorrow morning
alright?

Fine, yes.

At my home.
158, East 63rd.

Thank you very much.

Anything else, George?

That's all,
except the second act.

Mr. Kaufman,
I would like you to know

'how much this means to me.'

The wonderful opportunity
to...work with you

is the most exciting thing
that has ever happened to me.

[laughs]

You know, I should have
warned you.

Mr. Kaufman hates
any kind of sentimentality.

He can't stand it.

No harm is done.
He had a barber date.

You helped
get him there on time.

Is there anything else
I should know about Mr. Kaufman?

It would take too long.

It's like a marriage,
nothing anybody tells you

is really any help.

You'll find out.
Get a good night's sleep.

That's my best advice.

The contracts are in here.

If they're okay with your agent,
sign them, send them back.

The five hundred dollar
advance check is enclosed.

Mr. Siegel, I feel that you,
too, have some way of--

I've run out
of rooms too. Goodbye.

[thinking]
Did I tell everybody?

Miss anybody?

No. Got to go to sleep.

I start work
with George. S. Kaufman

at 11 o'clock tomorrow.

Told everybody, didn't I?

I didn't tell Archie Leach.

Can't now.

It's three in the morning. Hmm.

Well, one of the fellas
must've told him.

Could they be right about
Kaufman getting all the credit?

[cheering]

Go to sleep, you dope.

Go to sleep.

- Yes?
- Mr. Hart to see Mr. Kaufman.

- Come right in.
- Thank you.

Mr. Kaufman is waiting for you.

It's the top floor.
Just go right up.

Thank you.

Your coat and hat, sir.

[instrumental music]

[music continues]

[music continues]

Good morning, Mr. Kaufman.

Hi.

A Mark Twain.

Mark, uh, Mark Twain.

[sighs]
That's right.

Uh.. Er, uh..

The trouble begins

in the third scene
of the first act.

It's messy and unclear

and goes off
in the wrong direction.

I suppose
we start with that.

Just cutting away
the underbrush

see what you think.

Of course, I might have cut
too deeply.

Is there something
you wanna have go back?

Oh, no, not a word.
It's just wonderful now.

Just great, I don't understand
how I could've been so stupid.

The scene really works now,
doesn't it?

No, doesn't work at all.

I thought the cuts
would show you

why it doesn't work.

[sighs]

Maybe the trouble begins
earlier than I thought.

Alright, we might as well
face it.

Act one.

Scene one.
Page one.

[sighs]

Well, that's a fair beginning.

Is tomorrow morning at 11:00
alright with you?

Certainly.

Mr. Kaufman, I can't begin
to tell you

how much I've learned
in just this first day.

- Yeah, you're right.
- Yes.

It's amazing how quickly

you get to the heart
of the scene.

And the sense
of character is really..

...remarkable.

[instrumental music]

[thinking]
Moss, you're in business.

- Hi, pa.
- 'Mossy.'

- It's after 1 o'clock.
- Huh, I know.

But, it is, at night,
particularly a snowy night

a long, long way
from Brooklyn to Newark.

When do you have to be
at Mr. Kaufman's?

Same time, 11:00.

One night you'll come home
from Newark

and you'll never get up.

Mossy, you've got
to get some rest.

Rest? I don't need rest, pa.
I need food.

Every day we work together,
Kaufman lives on air.

And I die of hunger.

And all they ever send up is a..

...cup of tea
and two little cookies.

And on a big day..

...they send up
a piece of cake.

- I'll get you a sandwich.
- No, pa. I'm too tired.

[yawing]

Well, it's a lot easier
than walking on nails.

I'm not so sure.

- Goodnight, pa.
- Goodnight, Mossy.

[instrumental music]

[music continues]

[no audio]

[typewriter keys clacking]

[coughing]

[instrumental music]

[music continues]

(Kaufman)
'I don't know, Max, uh'

'probably around the end of May.
I'll let you know.'

Yeah, right.
Goodbye.

Good morning, Mr. Kaufman.

Er, um..

Uh, Moss Hart,
Beatrice Kaufman.

I'm delighted to meet you.

George has told me
many things about you.

Thank you, Miss Kaufman.
I'm glad to meet you.

It's Mrs. Kaufman.

Oh, uh, I'm-I'm sorry.

No, I mean, I didn't know
Mr. Kaufman was married.

I-I thought
you were his sister.

There is hardly
a family resemblance.

Uh, no, sir.
She is much prettier.

Now, that is the arrogant reply
of a young author

who has finished
two acts of a play.

There's still
a third one to write.

Mr. Hart, I've given strict
instructions to George.

And I'm depending upon you
to see that they're carried out.

He's to stop work early today
and come down to tea.

- Please come.
- Yes. Thank you.

Er, um..

Beatrice is having people
for tea.

Darling euphemism tea.

There won't be
a drop of it served.

But, uh, of course,
the whole world

is supposed to come
to a full stop.

Er, um..

Oh, I know, act three,
scene one.

Now, this, uh..

Skim over the notes and decide
if it's worth writing.

What's the matter?

Sorry, late night.

Whenever you're ready.

"Meterstein. Oh,
it's the retakes."

"Weisskopf. Yeah, it's
the retakes, alright."

Yeah, that's, that's funny.

Mmh. Funny, not hysterical.

Oh, it's quarter to five.

[indistinct chattering]

They're here.

Let us join the guests.

[indistinct chattering]

Have some tea.

[piano music]

[thinking]
No one will believe me.

Alexander Woollcott.

Katharine Cornell.

Robert Sherwood.

Heywood Broun.

Robert Benchley.

Helen Hayes.

Franklin P. Adams.

Fanny Brice.

George Gershwin.

Edna Ferber.

Leslie Howard.

Dorothy Parker.

Moss, the company you keep.

If you've recovered,
I'll begin to introduce you.

Ms. Bergon, uh, Moss Hart.

Mr. Houston, Mr. Richmond,
Moss Hart.

Ms. Les Scott, Moss Hart.

Ms. Feramort,
Mr. George King Nathan

Moss Hart.

[indistinct chattering]

Moss Hart.

Hello, Alec.

Are you alright?
Have you met everyone?

Everyone. I'm having a marvelous
time. Thank you, Mrs. Kaufman.

- Oh, I'm glad.
- Goodnight, Beatrice.

Goodnight, darling.
Thank you for coming.

- Thank you.
- Goodnight.

Oh, goodnight, Jack.

[indistinct chattering]

I've read that book,
Mr. Woollcott.

You'll like it very much.

How would you know?

[piano music]

"How would you know?"

Well, Mr. Woollcott,
I would know, because..

It seems to me that if..

Come to think of it, sir

perhaps your taste
for literature

might not be equal
to your reputation.

- Morning, Mr. Kaufman.
- Er, uh, hi.

Um, how are your YMHA rehearsals
coming along?

Fine.

Er, uh.. I've been thinking.

Should begin casting.

Rehearsals in
a couple of weeks.

- Good.
- You sure?

It's day and night.

Anything in your summer
schedule that'll interfere?

No, I don't think so.

Better make sure.

Well, to sum up,
we, uh, try out the play in May.

If it works...
well, I'm alright.

If it fails and they give it up,
my summer's open.

I've got no job.

- It's a gamble.
- Yeah.

- Moss.
- Yeah?

What happens if you sign
with a summer hotel?

And then you cancel out
once you know

whether the play works or not.

Can't do that, Joe,
look, if I sign

I have to get a staff together,
assemble plays and sketches.

And anyway, it'd be
a dirty trick to cancel out.

- They'd be stuck.
- That's all of it?

Oh, no, not quite.

I have to give up my job
at the Y

in Brooklyn and Newark.

Tell me more about the tea party
at Kaufman's, will you?

For God's sake, Joe.

What's a party got
to do with it?

Everything.

Moss, when you came in here, you

you were alive and happy.

You belong in that world.

- I'd like to.
- You belong.

Give up the social director's
job, give up the Y jobs.

Gamble on the play.

Mossy, er..

If you run short of cash, I..

...I've had
a pretty good season.

- Joe, you're a great friend.
- Could be, could be.

Could be you're
a lousy business man.

Also possible.

(George)
Thank you, Joe.

[indistinct chattering]

[pleasant music]

Why the celebration?

We haven't finished
the third act.

Uh, there seemed
to be a crisis

about the household.

Also, I have caught on
to the fact

that you seem
to have been starving.

I cannot tell a lie,
this will likely be

the most expensive lunch
you've ever paid for.

- Fine, I'll swap you.
- What?

Could you give up cigars
and go in for a pipe?

- Done.
- I'm a big winner. Order.

Er, I'm not complaining, uh,
but if you took bigger bites

we could finish
the third act in a week.

I may never get
this chance again.

We can always write
a third act.

[sighs]

Er, um..

...what'd you think if I were to
play the part of Lawrence Veil?

You're like all of us.
A frustrated actor.

Of course, it's bit of a trick

because I've never
acted professionally.

'But I think I could do it'

'and since it is the part
of a playwright'

'I might lend it
a kind of authenticity.'

Oh, it's a wonderful idea.

Are you saying that on
a full stomach or a clear head?

Both. The part couldn't
be cast better.

- Hmm.
- 'I'll swap you.'

What?

Instead of "Er,"
could you call me Moss?

You drive a hard bargain.

But, uh, if we can
finish in a week

we'll begin casting, go into
rehearsal the first week

of April and be ready for that
May tryout in Atlantic City.

- Thanks for the lunch.
- My pleasure, er..

Moss.

Sam, this is
our young author.

Our late young author.

- Glad to meet you, sir.
- Glad to meet you.

George tells me
you're a hard worker.

Also a hungry one.

I like the rewrites
on the play.

Well, Mr. Kaufman's done wonders
from the very beginning.

We have actors waiting.

Can we postpone congratulations
until after we cast the play?

Don't let him fool you.

His bite isn't as bad
as his bark.

It's worse.

[instrumental music]

But, George, dear.
I was only asking a question.

I know, Susan, dear.
But I haven't got the answer.

George, you're smart enough
to know the answer to anything.

- You mean it?
- Of course I mean it.

(female #1)
'You're the most wonderful man
I know.'

'The smartest, the dearest.'

'And George darling,
you're the sweetest.'

'I mean it, George,
from the bottom of my heart.'

Thank you very much.

I'm not a beginner, I've been in
this business since I was a kid.

And I'll tell you
something else.

I don't think anybody's gonna go

to these talking movies.
We'll all go broke.

(male #3)
'Yeah, well, don't tell that
to Glogauer'

'because he might believe you,
and you could get fired.'

(male #4)
'Well, as far
as I'm concerned, he..'

'You really think
I could get fired?'

'Uh...okay, just forget
I said anything.'

Thank you, Eddie.

George, you're smart enough
to know the answer to anything.

- Do you mean it?
- Of course I mean it.

You're the most wonderful man
I know.

(female #2)
'The smartest, the dearest.'

'And George darling,
you're the sweetest.'

'I mean that, George,
from the bottom of my heart.'

Thank you very much.

Well, chief,
what do you want me to do?

Don't call me chief.
I'm not an Indian.

I already told you a million
times. Don't bother me.

If the doctor says the sound
is wrong, the sound is wrong.

But Mr. Glogauer, I just wanted
to tell you about the Shlupkin--

Don't mention
the Shlupkin Brothers.

As a matter of fact,
you're fired.

(male #5)
'Everybody drives me crazy.'

'Sound, hockey,
Shlupkin Brothers.'

'Why didn't I stay
in the shoe business?'

Thank you,
thank you very much.

You chew too loud, Lester.

Pass me the cheese, please.

Well, we're practically all set
except for couple of bit parts.

- You like the cast?
- Well, I have some reservation.

Better speak up and tell 'em.

You're the boss.
It's your play.

Lester, it's my first Broadway
show, it's their umpteenth.

The theatre is no place
for modesty. Say your piece.

If I was sure,
I'd speak up.

When do you open, Moss?

Uh, May 6, Atlantic City,
one week, and then Brighton

for a week.
I'll invite you to Brighton.

Huh, thanks.
But I'll be gone.

Hey, our shining star heads
for Hollywood next week.

You got a part?

No. Just a chance
for one at Paramount.

But I think it's worth a trip.

Hollywood.

That is the last we shall
ever hear about you, Leach.

That's a cinch. First thing,
they change your name.

Never. That's one thing
I'll never let 'em do.

- Change my name.
- Ya!

Well, good luck
to both of us.

You'll call and tell us
how it goes?

[sighs]
Yes, I will, ma.

Everybody on the block will be
at Brighton next week.

I'll tell them all
to buy seats early.

What time do you leave?

I've to be at, uh,
Penn station

at 10:00.

Oh, I better get
a good breakfast ready.

You want some sandwiches
for the train?

No, thanks, ma.

I wish you'd take
some heavy underwear.

You want me to ride
in with you, Mossy?

No, thanks, pa.

Come on, we'd better eat.

Step out with your
right foot, Mossy.

[train hooting]

[thinking]
Atlantic City.

Brighton. Broadway!

It's happening, Moss.

All of it.
It's all true.

[crowd clapping]

[train hooting]

(Moss)
Hello, Mr. Kaufman.

[crowd chattering]

Good luck, Moss.

Mr. Kaufman, I'm..

(male #6)
'Come in.'

(female #3)
'Hello, George.'

(male #6)
'Hello, May.'

(female #3)
'You haven't heard
anything, have you?'

(male #6)
'No. Are you going
to stay and taunt me?'

'I'm reading.'

[crowd laughing]

(female #3)
'What are you reading?'

(male #6)
'A great book.
"The Murder Of Sam Burgan."'

[crowd laughing]

(female #3)
'Well, you won't miss anything
if you keep talking.'

[crowd laughing]

[background chattering]

They seem to be liking it.

A while ago, when you were doing
whatever you were doing

they didn't seem
to be liking it at all.

Manage to stick around
during act two.

I'll be on the stage.

(male #7)
'From scratch.'

(female #4)
'From scratch?'

(male #7)
'From scratch!'

[crowd clapping]

[crowd chatter]

If they don't get this fixed,
it's a flop.

I can't understand it.

First act was good
but the rest is terrible.

Mossy.

Didn't go too well,
did it, Joe?

First performance, Moss.

There's work to do
but you got the time to do it.

Kaufman's with you.

- I'm sick, Joe.
- Of course you are.

You'll get better.

Moss, I...I've got
to drive back tonight.

I'll see you in Brighton
next weekend.

Do me one favor,
will you, Joe?

Sure.

Call, uh, call my father
and tell him, uh..

...that it didn't go too well,
and that, uh, I have to work.

- You know.
- Yeah, okay.

I couldn't stand to face him
even over the phone.

Sure.

- Goodnight, Moss.
- Goodnight, Joe.

Come in.

Where were you?
Still in the men's room?

- Thought of never leaving it.
- Well, we know we've gotta do.

I got Sam Harris' notes here.

If your appetite
ever returns, there's food.

- Now, you want to go to work?
- Sure, I'll try.

Trouble begins
in the middle of the first act

when we go into
that studio thing.

Hey, you want some fudge?

- No, thanks.
- Oh.

[thinking]
Maybe it can be fixed.

Maybe.

By the time
we get to Brighton.

Right.

[crowd chattering]

(Martha)
'Hello, Mr. Wilson.'

Am so glad you're here.
Hope you enjoy the show.

Hello, Teddy.

Hello, David.
How are you?

- Oliver! How are you, Oliver?
- Fine.

Curtain's going up.
Curtain's going up.

[crowd chattering]

[crowd clapping]

(male #6)
'Come in.'

(female #3)
'Hello, George.
Jerry not back yet, huh?'

(male #6)
'No.'

(female #3)
'Anything new
since this afternoon?'

(male #6)
'No.'

(female #3)
'You haven't heard anything,
have you?'

(male #6)
'No.'

[crowd laughing]

(female #5)
'I only asked you a question.'

(male #8)
'I know, Susan dear,
but I haven't..'

[background chattering]

(male #9)
'What do you mean
by a crack like that?'

(male #10)
'I'll tell you what I mean.'

'I'm sick and tired of Glogauer
pushing me around'

'and I'm sick and tired of that
phoney doctor telling me'

'how to run
my sound department.'

'I'm not a beginner,
I've been in this business'

'since I was a kid.'

They stopped laughing
in the same damn place.

- 'We'll all go broke.'
- 'Well, don't tell Glogauer.'

(male #9)
'Because he might believe you,
and you could get fired.'

(male #10)
'Well, as far
as I'm concerned, he..'

(male #10)
'Okay, just forget
I said anything.'

[crowd clapping]

Moss.

- Look, Moss--
- It was so--

Don't be kind.

It all goes sour after the
beginning of the second act.

What's the use of kidding?
It needs a lot of fixing.

We're as disappointed
as you must be.

You can't be, believe me.
You can't.

Well, let's talk tomorrow, Moss.
This is no time.

Fine. Goodnight.

Moss? I enjoyed
every minute of it.

I didn't laugh so much
but...I enjoyed it.

- See you at the house, Mossy.
- My friends liked it too.

They criticized it, but..

They're jealous.

Sure, ma.
Tha-that must be it.

Look, I-I've got to go see
Mr. Kaufman. I'll be home later.

Goodnight, Bernie.

Come.

Where's Moss?

He's in the alley.

Hold on. Moss.

What happened to all the work
you were supposed to be doing?

It's the same play
I saw in Atlantic city.

Well, that's too damn bad.

- I'm sorry for ya.
- What?

(Moss)
'I said I'm sorry that you had
to sit through it again.'

And I'll tell you what happened
to all that work.

Yeah, the work we did between
12 and 6 every lousy night.

The work wasn't any good,
you hear me?

That satisfy?
It wasn't any good.

Why you blasting off on me--

Because I feel like it.

I suppose you're worried
about the money I owe you.

Well, you'll get it back,
every cent of it.

'Even if I have to dig
ditches for it.'

Moss, I wasn't even saying--

(Moss)
'Shut up.'

The play stinks.

It isn't gonna work
and you're all feeling

so damn sorry.

Well, to hell with it,
do you hear me?

(Joe)
'Moss..'

And to hell with you.

[instrumental music]

[music continues]

[sobbing]

[people chattering]

[audience applauding]

[knocking on the door]

Come in.

Mrs. Kaufman told me
she was leaving for Europe.

Uh, yes, she is.

When do we begin the rewrites?

Uh, this has not been an easy
decision for me to make.

It's taken me all week.

But I am positive now..

...that I haven't anything more
to give to this play.

Someone else,
or maybe you alone

would be better than I..

...from now on.

Gone dry on it.

'I lost my taste for it,
that happens, sometimes.'

I'm sure you'll get it
done again.

Ah, what you need is an idea

to crack the second
and third acts.

I want no part of
any rights or royalties

for whatever I've done,
they're yours, free and clear.

I've spoken to Sam Harris..

...and he'd like to talk
to you on Monday.

I imagine he wants
to tell you himself..

...that..

Are you sure you've gone
dry on this, Mr. Kaufman?

I would be of no use
to you anymore.

I see.

Goodbye.

[door shuts]

Greetings, former friend.

Joe, forgive me.

What's on the programme?

Well, at the moment,
it could be suicide.

Kaufman told me
he's through with it.

Well, he'll never like the play
if you commit suicide.

And you'll never pay me
the money you owe me.

Joe, tell me you accept
my apologies.

I accept, I accept.

You had to let go on somebody,
I happened to be there.

Joe, I can't let Kaufman
off the hook.

I gotta find a way to beat
the second and third acts.

You want me as a sounding boy?

No, tomorrow,
I'm gonna go to the beach.

It's Sunday,
I started it there

maybe that's where
I'll finish it.

Okay, come on,
I'll drive you home.

[indistinct chatter]

- Ten.
- Twenty for a pair.

You didn't have any dinner?

- You alright?
- Sure.

- Sun stroke?
- Yeah, maybe.

I gotta run over my notes.

Tomorrow, I'm gonna
barge in on Mr. Kaufman

and I'd better be ready.

[sighs]

If only he'd gone to college
and learned the law.

You, study.

- Study hard.
- Sure.

Show business is no place
for a coward.

[instrumental music]

- Good morning, Alison.
- Good morning, Mr. Hart.

Is Mr. Kaufman in his room?

I'm sure he is, but..

[instrumental music]

Mr. Kaufman.

You have me
at a disadvantage.

Oh, good morning.

Look, I'm sorry
to break in like this

but you have to listen to me.

I have a way of doing
the second and third acts.

It's only gonna take me
20 minutes to tell ya.

Now, don't say no
until you've heard me out.

I'm-I'm sure it can work,
and I know I had no right

to barge in like this,
but to me it's a matter of--

[shouting]
Hold it.

I-I promise to listen.

The water is getting cold.

Be out in a second.

[panting]

Then, Glogauer looks at George
and nods his head.

And then he turns
to the secretary and yells

"Tell 'em to go ahead,
I don't know what it is

"but if the doctor
wants the studio torn down

we'll tear it down."

And on the excitement
of everybody giving orders

the curtain's down
for the end.

Hmm.

- Breathe.
- I was waiting.

- How soon can you move in here?
- In here with you?

No, no, not in this room.
In this house.

We have a full summer's work
ahead, evenings included.

If we work straight through, we
can go into rehearsal in August.

Oh, I'll go home right now and
pack a bag, I'll be right back.

Uh, tomorrow will do.

I'll be looking at you
all summer.

Er, uh, you had a whole day off,
uh, yesterday.

[instrumental music]

[music continues]

Sorry.

How did
the dress rehearsal look?

Terrible.

Good sign.

Now, listen to me.

Get a good night's sleep

tomorrow's your day.

I may not make it.

Get a room in the hotel,
here in New York.

Relax.

Goodnight and good luck.

Sort of a treat on me.

A hundred-dollar treat?

Live it up.

Goodnight.

Thank you.

Thank you very much.

Come in, come in.

Is this, uh,
a look at the future?

Well, I certainly hope so, if
not, I've had it at least once

thanks to Sam Harris.

- Nice way to live.
- I should say.

Or die.

Take a look out
of that window, you can see

the marquee from here.

- You too, Joe.
- I've seen this thing.

May not be there long,
but at least I've had a chance

at that and I love it.

[indistinct chatter]

- Joe?
- Huh?

Oh, wait, I'll see you.

[audience applauding]

Come in.

[audience applauding]

- Hello, George.
- Hello, May.

(May)
'Jerry not back yet?'

[fan whirring]

(male #11)
'Turn off those fans.'

[audience applauding]

[audience laughing]

Mr. Glogauer is now
on number nine.

Mr. Glogauer is now
on number nine.

[audience laughing]

I beg your pardon, but I forget

whom you're waiting to see.

I don't wonder.

I beg your pardon.

I would like to see
Mr. Glogauer.

Oh, Mr. Glogauer
is on number nine.

[audience laughing]

- Napoleon just informed me.
- How's that?

I said Lord Nelson
just came in here with a sign.

[audience laughing]

Well, have you an appointment
to see Mr. Glogauer?

Yes, ma'am, direct.

Right through Mr. Meterstein

to Mr. Weisskopf
to Mr. Glogauer.

You're in, Moss, you're in.

It hasn't let up for one minute.

I wouldn't know, I spend most
of the time in the men's room.

Mr. Weisskopf is now
on number six.

Mr. Weisskopf is now
on number six.

Mr. Glogauer is
on number nine again.

Mr. Glogauer is
on number nine again.

Cadet, thank you
so very much.

You're very welcome, sir.

Wait a minute.

Now, I'll give you
a piece of news.

I'm going to the men's room,
and if anybody wants me

I'll be in number three.

[audience laughing]

[audience applauding]

It's holding out, Joe.

If only the third act
holds up, huh?

- Shh.
- Shh.

- 'Screw the oaf.'
- 'Yes, sir.'

(male #12)
'Tell 'em to go ahead.'

'Tell 'em to go ahead,
I don't know what it is'

'but it will turn out alright.'

Only a minute to go.

It worked, Joe.
All of it worked.

Construction department.

[audience applauding]

[applause continues]

I would like
this audience to know..

...that 80 percent
of this play

is Moss Hart.

[audience applauding]

[indistinct chatter]

- Wonderful, Moss.
- Mr. Kaufman--

Uh, please,
no farewell to the troops.

Just, thank you very much.

Moss...you deserved it.

"Having no visible reference
for Hollywood, Moss Hart

"and George S. Kaufman have
written 'Once In A Lifetime'

"which was acted
at the Music Box last evening.

"It is a hard swift satire,
fantastic and deadly

"and full of highly-charged
comedy lines.

"The skinning of Hollywood
is neat and complete.

The good lines
are hilariously--"

Fine, David, that's enough.

We'll, uh, call you.

[all laugh]

It appears,
ladies and gentlemen, that..

...I have a hit on Broadway.

If you hang around,
I'll read the others.

- I do them great too.
- I know, but I must leave.

I'm going back to that, uh..

...moth-eaten apartment
I call home

and then I...
shall sleep for days.

See you all..

...and thank you all.

Moss.

How does it feel?

You know that dream
I've always had?

Well, this is
much, much better.

[instrumental music]

- Wait here.
- How long?

As long as it takes,
here's a deposit.

Mossy, Mossy,
you did it, Mossy, darling.

You did it, Moss.

I did, thank God I did.
Now listen carefully.

- We are moving out.
- Moving out?

Well, the rent is paid
till the first

of November,
and it's raining.

We're moving out now,
leave all your ugly clothes

all this furniture,
pack one suitcase

full of sentimental junk,
and then out we go.

- Moss, you drunk?
- Pa, I know what I'm doing.

Bernie, will you get going?
We're moving today, right now.

Leave all of this stuff
for the junk man.

But where do we get the money?

From a theatre called
"The Music Box."

Let's call it the money box.

There's a cab waiting,
will you hurry up?

He means it,
let's get a move on.

Bernie, don't forget
your diploma.

[glass shattering]

[instrumental music]

[music continues]

[sighs]

[instrumental music]

[music continues]