All language subtitles for Gloria de un Día (1933) 6.4 {Morning Glory}[Lowell Sherman](Katharine Hepburn, Douglas Fairbanks Jr) V.O. {subt eng} 1h14m_track3_[eng]

There's nothing in front
of the 14th row, madam.

Going down.

Yes. Yes.

- Hello, Bob. How are you?
- Oh, hello.

- Tough season, isn't it?
- Pretty tough.

I'm afraid nowadays
they're all tough seasons.

- I guess you're right.
- Come in, Mr. Hedges.

- Mr. Easton's expecting you.
- Thank you.

Mr. Kellog, will you come back
tomorrow morning at 10:00?

- Thank you.
- Mr. Seymour won't see anyone else today.

- Goodbye, Miss Hall. Good luck.
- Goodbye.

I hear Mr. Easton
is casting his new play.

Evidently everyone else
has heard it too.

When I arrived, it looked as though
the entire Actors' Equity Association...

...had been sent for.

My name's Eva Lovelace, my stage name.

What's yours?

- Hall.
- Hall?

Gwendoline Hall.

You've probably never heard of me,
because I'm just starting.

If Mr. Easton takes me,
it will be my New York debut.

But I've...
I've acted ever since I was a child.

My parents objected, of course,
to my having a career.

Parents always do, I believe.

If they're anything like mine were,
they do.

- Where are you from?
- Franklin.

Franklin, Vermont,
to go into the loathsome details.

I suppose you've had
a good deal of experience.

One way or another.

Do you believe in marriage?

I always have.

I don't. Not for the artist.

Good heavens, aren't you cold?

A coat like that isn't enough
on a day like this.

Oh, no. I like to feel cold.
It makes me feel strong.

I shouldn't like to go about swathed
in furs unless they're sables.

I don't like anything cheap,
particularly furs.

Although your story is very delightful
and has great charm...

...I will be unable to do it this season.

I'm about to produce Blue Skies,
a new comedy by Joseph Sheridan...

...which will complete my plans
for the year.

The usual, very truly yours.

- Is that all?
- That will be all for now.

Sounds very much like the first letter
you wrote me. Remember?

Well, it didn't discourage you though.

Much water has gone under
the bridge since then.

- It's been a very, very happy association.
- Happy and, I hope, profitable.

Oh, say, by the way...

...did you see the new Molnár play
at the Lyceum?

Yes, and you were right about it.
It's gone over very big.

I understand the ticket agencies
have bought it for eight weeks.

And, incidentally, I win my bet.

That's right, so you do.
Now don't rub it in.

I said if that piece was a big success,
I'd do the one you had your heart set on.

- The Golden Bough.
- Right.

You can go ahead with the translation.

- When will you read it?
- As soon as you've finished it.

- Come in, Seymour.
- Right.

Yes, I feel that your hunch is right. We'll
have to give it very careful preparation.

We want our production to be
as good as theirs if not better.

The casting will have to be gone over.

- Anybody waiting?
- Just a few, governor.

I've eliminated most of them.
Oh, Miss Hall is waiting.

- Gwendoline Hall.
- Say, look...

- Just came.
- Thank you.

I've got an idea. Why couldn't Hall
play the part right next to Vernon?

I was thinking of her,
but you've got to be careful.

- She's an awful souse.
- Take a chance.

- All right I'll see her.
- Yes, sir.

Won't you come in, Miss Hall, please?

Goodbye.
I'll see you again, I'm afraid.

- Hello, Bob.
- How are you, Will?

There's a part in this new piece,
Blue Skies...

...the governor wants to
talk to you about.

- It's not a great part.
- Oh, any part's a part, Will.

Would you like to come back or wait?

- No, no, I'll wait.
- Good.

You're English, aren't you?

Yes, I am.

Or was.

I've been over here a long time.

They take me for English sometimes too.

But I could tell you were
the real thing right off.

I mean, they take me
for English at home...

...where they think you're either English
or affected if you try to speak properly.

Do you suppose it'd be all right for me
to sit beside you so I could talk to you?

- I... I hardly know.
- I don't suppose anyone would object.

Mr. Hedges. How are you?
Glad to see you.

Will you get me that script?

- Who's that?
- Mr. Sheridan...

...author of the play I hope to get into.

- Cold today, isn't it?
- Oh, Mr. Sheridan...

Oh, I'm sorry, young lady,
there's nothing for you.

Would anybody mind if I sat down
by that gentleman who's going to wait?

It's all right, come on in,
it's fine.

Well, here I am.

So I see.

I hope you're going to tell me
your name.

I want you for my first friend
in New York.

Mine's Eva Lovelace.

It's partly made up and partly real.

It was Ada Love. Love's my family name.

I added the lace.

Do you like it or would you prefer
something shorter?

A shorter name would be
more convenient on a sign...

...still Eva Lovelace in Camille, for instance,
or Eva Lovelace in Romeo and Juliet...

...sounds very distinguished, doesn't it?
I don't want to use my family name.

I'll probably have several scandals
while I live.

I don't want to cause them trouble
until I'm famous, when nobody will mind.

That's why I must decide on something
while there's still time, before I'm famous.

Don't you think there's something very
charming that suits me about Eva Lovelace?

It's a very attractive name.
Certainly, yes.

- And now tell me, what's yours?
- Mine?

R.H. Hedges in short.

Robert Harley Hedges in full.

I think you said something about my
being your first friend in this city.

- Are you...?
- Yes, my... My friend and teacher.

You speak so beautifully,
and I know I speak so nondescript-ly...

...but could you...?
Would you...?

I want to ask you if you'll give me
a lesson every day right off.

- But I...
- I want to pay.

Not at once, because I've only
money enough for a certain length of time.

But I'd planned to go to the best teacher
I could find and arrange to pay later.

I should have to find someone
who believed in me unequivably.

- What?
- Unequivably.

Do you mean unequivocally?

Yes, that's it.

You see, those are the sort of things
I've got to learn.

Won't you give me a lesson
and let me pay you later?

- But I...
- You see, I want the best or nothing.

I'll pay for it.
And every time I'll give you an IOU.

You know, "I owe Robert Harley Hedges,"
and the date.

And then when I begin to make money,
I'll begin to buy back the slips of paper.

- When may I have a regular lesson? Today?
- But I live a way uptown...

...and my place is not exactly a studio.

Oh, that doesn't matter so long as
it's quiet, and we can sit and smoke.

I smoke, of course.

Though in Franklin, it still isn't done
in the best families.

They're very bourgeois in Franklin
and provincial.

The soul has no liberty in such a place.

Why, in Franklin, my family wouldn't
have permitted Shakespeare himself...

...to call on me
because he was a married man.

Now, Gwendoline,
I'd like to have you play this part.

Look it over.

But remember what I told you,
for your own good, no drinking.

- Let that bottle alone in business.
- I know.

Mr. Easton, it won't occur again.

That was an accident.

- It was my ex-husband's birthday and...
- I know.

Well, you know
how those things happen.

- All right, Gwendoline.
- Goodbye.

- Be careful.
- I shall.

I'll mull over these lines tonight, although
it's not the best part I've ever played.

I understand, dear.
Rehearsals will be Tuesday.

- Never mind. Goodbye, Will.
- Goodbye, Miss Hall.

- Well, Rita.
- Gwendoline, my sweet.

My dear,
it's so nice seeing you again.

Yes, it's so nice to see you too.

My, you're gaining weight.

Yes. I'll soon be your size, my dear.

Tell me, are you going to be
in the play?

Well, they want me, so I've consented
to read the part over tonight.

Well, it'll be so nice
to have you in my company again.

- Well, don't let it throw you.
- No, I won't.

- Goodbye, dear.
- Goodbye. Goodbye.

- Call me up. I'm at the Ritz.
- I shall. You must come and have tea.

Yes, you bet I will. I'd love to.

Did you ever hear such nerve
in all of your life? That silly...

Come into my office
and tell me your troubles.

- Yes, a lot of good that will do.
- Now, now, now, be a good girl.

Will you please tell
Louis Easton I'm here?

- Certainly.
- How do you do, Miss Vernon?

I hope you remember me.

Why, Bob, of course I remember you.

- How are you?
- Miss Lovelace, Miss Vernon.

- How do you do?
- How do you do too?

Tell me, are they trying to rope you
into this putrid show too?

Well, I'm doing my best to be roped.

Well, my part will have
to be rewritten before I'll play it.

It's no good.
The man's part hogs the show.

We've all got to stand and kid Rita Vernon
into believing that this is a great part.

We know it isn't.
But she's under contract to me...

...and I need her to put over
your first play.

I better make myself scarce.

Somehow, I always seem
to say the wrong thing to her.

You go in there.
We'll let you know when she's gone.

But don't worry. Leave it to me.

Send in Miss Vernon.

Of course, there is a good fat bit
in the third act.

Will you go right in,
Miss Vernon, please?

Thank you.

Pardon me,
here's where I go to the mat.

Thank you very much.

Can she really act?

Rita Vernon? Yes.

She has a gift,
and she's been lucky.

Several years ago,
she was in my company.

Made a hit in a small part,
gave great promise.

She's a nice girl...

...but I'm afraid she's been spoiled.

- Did you ever know Ellen Terry?
- Yes.

I played with her.

- Was she very, very lovely?
- Yes.

The very loveliest thing
I ever saw in all my life.

I've always known she was.

- Did you ever see Sarah Bernhardt?
- Yes.

Both on the stage and off, many times.

She was the most wonderful of all,
wasn't she?

Yes. The most wonderful of all.

- More wonderful than Ellen Terry?
- Oh, they were both wonderful.

Bernhardt broke your heart.

Ellen Terry mended it.

I suppose I shall never be wonderful,
not wonderful like them.

But I've something very wonderful in me,
you'll see.

You'll help me with all the great parts,
Lady Macbeth and Juliet and Cleopatra.

I am sick and tired of playing all
this silly tripe that you pick up for me.

Why, it's not getting me anywhere.

I want drama.

Something that I can get my teeth into.

My public wants to see me
in something strong, not comedy.

But, Rita, dear, I've told you,
I give you my absolute word...

...if you do this one little thing for me,
after that you can pick your own play.

- There's no catch in it?
- No catch.

Now, please sit down and calm yourself.
Don't be so excited.

You know I wouldn't ask you to do
anything that wasn't good for you. Please.

Now, Louis,
if I do this silly play of yours...

...next time I can play any part I like...

...is that right?
- That's right, dear.

Rita, please, this is business. Please.

I know, I know,
but I never see you anymore.

Can't you come
and have dinner with me tonight?

All right, dear, dinner.

Well, in that case,
I suppose I'll play the part.

Well, I'm very happy. And you'll find out
that I've told you the truth.

This play, Blue Skies, was made for you.

That may be,
but don't forget your promise.

My part has to be built up and plenty.

- I'll get Sheridan right on the phone.
- Now you're talking.

So until tonight, au revoir, mon cher.

All right, Joe.

Coast is clear.

I suppose she's the best
we can get.

But I don't think she's as good
as she was years ago.

I know you're too critical.
She's an awful lot of trouble...

...and you never can tell what
she's going to do, but she's box office.

She's all right for this sort of thing,
but, I don't know...

...l'm glad to get it over
so we can get underway.

I just had a bright thought.

Oh, I see. Wheeler and Woolsey
playing straight for each other.

Rita, he just came in the room
this moment.

- We were just standing here...
- Oh, Louis, no alibis.

My thought was
why can't you get me something by...?

Oh, what's his name? You know...

Oh, that man that wrote that thing that
Katharine Cornell is playing at the Lyceum.

- Oh, you mean Molnár?
- Yes, yes. That's the one.

Didn't you tell me something
about having a play by him?

One you'd taken an option on
because Sheridan was crazy about it?

Well, what sort of a play is it?
Anything like the one at the Lyceum?

You could tell the same author wrote it,
but the story is different.

As a matter of fact, it'll be a great play
once we find the right woman.

The right woman.

Why haven't you sent
this play to me to read?

Now listen, ask him. That's his job.
I haven't anything to do with it.

Well, when can I see the manuscript?

Well, it isn't translated yet.

As a matter of fact,
we're working on it now.

I don't think you'd care for it.

I'll decide that myself.

Can I...? Can I see it today?

We...

We only have one copy,
and that's in my office.

Well, what's to prevent me
from reading it right now?

Or possibly you could tell me the story.

I suppose you don't mind
if I want to play the part?

Everything's very indefinite, Rita, very.

Look here,
there are several other managers...

...who will try pretty hard
to get me what I want.

I'm only going to do this rotten comedy
of yours to oblige you.

- It won't do me any good.
- Let's not go into that again.

If you want to read it, make yourself
comfortable in Sheridan's office.

- You've no one else in mind, have you?
- No, no, no. I've thought of several, but...

Rita's not silly enough to want to
do something she isn't suited for.

The trouble with you managers is that
you never give anyone a chance...

...to do anything
you haven't seen them do before.

Come along, Joseph,
and find your masterpiece for me.

What's the name of it, anyway?

- What?
- That's the German title of it...

...but it will probably be changed once
we translate it to The Golden Bough.

Golden Bough? Well, I can't say I like...

Poor Sheridan.
It'll kill him if she likes that piece.

She won't even understand it.

By the way, I was thinking
of Hedges for the doctor part...

You were thinking of Hedges?
Of course he's going to play the doctor.

He's the first star I ever had.

He's been a sort of
good-luck charm to me.

- Where is he?
- He's waiting outside.

Hello, Bob, how are you?

- Extremely well, thank you.
- I'm glad to see you.

This isn't much of a part, Bob.
I wish it were better.

- It's all I can offer at this time.
- That's all right.

- I'm always happy under your banner.
- We'll find something someday.

Joseph Sheridan will have me
producing Shakespeare yet.

Oh, please do, Mr. Easton. I...

This is a young woman,
a pupil of mine.

She's studying with me.

- Well, you certainly picked the right tutor.
- Thank you.

She's anxious to become
an actress, governor.

I didn't know young women anxious to
become actresses took the trouble to learn.

- What is your name?
- Eva Lovelace. Like it? I can change it.

Bob, come in
and sign your contract.

- Run along, Bob.
- All right.

If there's one person in the world
I've prayed to meet, it's you.

- Thank you. Been on the stage long?
- Not the regular stage.

- I was in a lot of plays at the Little Theater.
- The Little Theater?

At Franklin, Vermont,
where I lived until sometime ago.

The Franklin papers, both of them,
agreed that I had a future.

I play all sorts of parts.
Hedda, you know, lbsen's Hedda...

...the old woman
in Riders to the Sea...

...the queen in The Queen's Enemies
by Dunsany...

...Kitty in Shaw's You Never Can Tell...
- Bernard Shaw?

- Yes, the one and only.
- You think Shaw's clever?

- He's the greatest living dramatist.
- You think?

I know it. By the way, I had a charming
letter from him the other day.

I wrote him and sent him a photograph
of a scene from the play...

...and told him that I was coming to New
York and expected to be famous...

...and have a theater of my own
so I could play his Cleopatra...

...until I was too old for it, when I'd do
Mrs. Warren's Profession.

I didn't know whether he'd ever answer
my letter or not...

...but here's his letter. May I read it to you?
It's never left me since I received it.

- I even sleep with it under my pillow.
- Very interesting, but...

May I see it?

Oh, this is marvelous.

He says it's cheeky of them
to have produced a play of his at all.

He's sure it was
a piratical performance.

- He's glad that Miss... Miss Lovelace?
- That's my stage name.

He's glad Miss Lovelace will see that he's
recognized when she has her own theater...

...and hopes she won't forget him.

Oh, I won't. I've sworn it.

There will always be a Shaw play in my
repertoire as long as I'm in the theater.

Of course, I expect to die at my zenith.

My star shall never set,
I've sworn that too.

When that moment comes, when I feel
that I've done my best, my very best...

...I shall really die by my own hand
some night at the end of the play...

...on the stage.

Thanks.

Have you seen the Molnár play
that Katharine Cornell is doing?

- You like it?
- I haven't seen it, but I reverence it.

I read it first in German.

- Is that so?
- Yes, I took lessons...

...from an old German piano tuner
in Franklin every day for a year.

I've made all the translations
we used at the Little Theater.

- Molnár's written a new one.
- Really?

It hasn't been translated yet.
The Golden Bough.

Miss Rita Vernon is reading it now.

But, Mr. Easton,
she could never do justice to the part.

- I wouldn't let that worry you.
- Pardon me, governor.

- Would you care to sign the contract now?
- Yes, I would.

- You won't forget me, Mr. Easton.
- I won't.

- You're sure there's nothing for me?
- Sorry.

Perhaps an old woman
or a middle-aged one.

Pardon us.

- Is this the young woman?
- Yes.

- Mr. Seymour, Miss Lovelace.
- How do you do?

I've been telling Mr. Seymour
you're very ambitious.

I hope someday he'll give you a chance.

- What experience, Miss Lovelace?
- Only amateur and stock so far.

No. No stock.

No, I've great contempt for stock.

I've had no experience,
not what you'd call experience probably.

Of course, that means
I'd take less money.

I can get on
on $20 a week.

I need more for my lessons.

Also, I owe my German teacher at home
a large sum, but my debts can wait.

I'll play any part
that appeals to me for $20.

But I'll never,
under any circumstances...

...play any part with which
I don't feel a sincere congeniality.

- No?
- No.

No, money's nothing to me,
absolutely nothing.

I could have married for money
if I'd wanted to.

Edwin Talbert, son of W.E. Talbert, one of
the richest in Franklin, wanted to marry me.

You've heard of W.E. Talbert,
the Chow-Chow King they call him?

Funny. Talbert's Chow-Chow is famous,
of course. Practically owns Franklin.

But I think artists should be free.

Free to love, free to dream,
free to sin, if you call it sin.

- Why, any human experience is...
- If you'll leave your name and address.

Would you take
this lady's name and address?

I'm sorry. There's nothing at the moment.

- You've been very kind.
- That's all right. I'll mail your contracts.

- All right.
- L-O-V-E-L-A-C-E.

- Your address?
- I'm moving. I'll come in again.

Now, my dear, shall we go?

I don't think I ought to go
before I say goodbye.

He has loads of charm, hasn't he?

He's very nice, but I don't think
I'd disturb him now.

Oh, but we talked a long time.
I'm sure he likes me.

I'll give you a leading man.

- Philip Emerson.
- Philip Emerson?

Oh, he can never play the part.

He's America's best bad actor.

Can't you see how
he'd be next to Vernon?

She's a head taller than he is.

And he mouths all his words...

...and whispers half his speech
as if they were secrets.

- Besides that...
- I'm not interrupting, am I?

But I didn't want to go without saying
goodbye to you, Mr. Easton.

And you too, Mr. Sheridan.

- That was your name, wasn't it?
- Yes. Goodbye.

Come in when you get another letter
from Bernard Shaw.

Oh, I won't wait that long.

Will you let me play
The Golden Bough when you put it on...

...if Miss Vernon isn't satisfactory?

I'll read the part for you
any time you like.

I'm so glad I've met you.

I've always reverenced you
for the fine things you've done.

Your charm makes up for anything
I might have found fault with you for.

So au revoir.

Au revoir, royal empress.

Doesn't Antony call Cleopatra
the loveliest things?

- That girl's a character.
- I think she's got something.

She's got nerve.

- Wouldn't she do for that bit in the last act?
- No. That bit has to be acted.

She's a nut.
You'll probably never hear of her again.

I wonder.

I said, I wonder.

Hey, taxi.

Taxi.

Just wait a minute, will you?

Isn't this my little pupil?

- Why, Mr. Hedges.
- Why, I haven't seen you for a long time.

Well, it has been a long time,
hasn't it?

But I've been so frightfully busy,
you know how it is.

I've hardly seen any of my old friends.

You're a lucky little girl
to be busy these days.

It's been a pretty hard winter
on Broadway for most people.

- Let me see, last time I saw you...
- Well, I was rehearsing for the Frolics.

I just took that chorus work
for the experience.

One needs all sorts of experience,
and there'd been sort of a lull in the drama.

Are you working now?

Well, not exactly,
but I've been promised an engagement...

...in some Shakespearian repertoire on the
road next spring if nothing else turns up.

- Won't you join me?
- No, thank you. I'm going to a party.

I thought I'd give you a lift,
drop you off wherever you like.

- Well, I live so far uptown.
- Well, I'm going uptown myself.

Oh, no, I'd be taking you
out of your way.

Now, now, now,
I'm going to pay for this.

- Mr. Hedges...
- How much do we owe?

- Just a cup of coffee.
- After-dinner coffee.

There you are.

Come along.

Hop in.

Straight up Broadway, please.

Now, where do you live?

Well, now, isn't that stupid of me?

I just can't remember the address.
You see, I just moved and...

I didn't like the quarters
I was in.

All right.
You drop me off where I'm going...

...and I'll send you on to where you live.

Thank you.

Well, did Blue Skies go well tonight?

Yes, looks like a hit.

I'm awfully glad for Sheridan's sake.

Poor Mr. Sheridan,
he gave me my first chance you know.

It was a nice little part.
I was sorry I didn't make good.

You will, my dear.

After all, maybe I shouldn't have come.
I wasn't invited.

Oh, never mind.
This party's being given for me.

I'm running this, dear.

Louis, my dear.

I was beginning to wonder about you.

I know, dear, but there were
so many congratulations.

- You know how it is, opening night.
- I know.

- You gave a very fine performance.
- Thank you.

It was terribly sweet of you
to send me this necklace.

I'm glad you like it.

Oh, I don't believe
you know Pepi Valaz.

No, but I suppose I have to.

Mr. Valaz, this is Mr. Easton.

- How do you do?
- How do you do?

Make yourself at home.

- If you don't see what you want, ask Rita.
- Thank you.

Well, I see you're at it again.

Pepi, I didn't know
you were going to be here.

- So good to see you.
- Thank you.

Where on earth do you rake up
all these boyfriends?

I see you can't take it.

- Gwendoline, my dear, how are you?
- Rita, my sweet.

You gave a perfectly
charming performance this evening.

- Thank you. You were good too.
- Thank you, dear.

- You were so lovely.
- Oh, thanks. Thanks so much.

- Thank you.
- Congratulations. You were grand.

- I didn't think you were going to be as...
- Here you are, Rita.

- Thanks so much.
- Take this.

You'll probably need it after putting over
that rotten show for Easton.

Thank you, Charley.
I quite agree with you.

You know, Rita, you're a wonder.

The play would have been
positively stupid...

...if it hadn't been for your performance.

I know that.

You know, Charley, Easton ought to be
ashamed of what he's paying me.

Well, whatever it is, it isn't enough.

You ought to get a top salary
and half the profits.

I wish you'd tell that to Easton.
I get the salary, but that's all.

Oh, but you should get
everything you want.

- You're the best young actress in America.
- I know that.

Hi, governor. Look what I brought you.

I persuaded Miss Lovelace
to come along.

- How do you do? Nice to see you.
- How do you do?

Won't you give your coat?

- Glad to see you, Bob. How have you been?
- Well, thank you.

Do come in, please,
and meet some of my friends.

- Hello, how are you?
- Mr. Sheridan.

How charming.

It's been a long time since we met.

I'm sorry I wasn't good in that part.

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

What do you think, yourself?

Well, I'm just a little bit afraid
to think.

She's just a stage-struck kid
that I met in Easton's office.

I think she's a bit nutty.

- Did anyone say anything about food?
- I don't know. Did they?

Not yet, but we'll find some.
Will you have something?

Presently. I hope you don't mind
my not dressing.

- I didn't know I was coming to your party.
- Certainly not.

- I wasn't invited.
- Any friend of Bob's is always welcome.

- I'm glad you came.
- So am I.

- Won't you have anything to eat?
- Well, perhaps later.

I don't think a little food
would go amiss there.

I'm glad you told me.

- I'll go and get you something.
- Thanks.

You know, I completely lost track
of you after you...

- After you left our show.
- Well, it's my fault really.

As I was telling Mr. Hedges,
I've been frightfully busy.

You know how it is, one's continually
on the run seeing this manager and that.

- With success?
- More or less.

You see, I've turned down several parts.

I learned my lesson in your show.
From now on, I'm accepting no part...

...unless I feel that
I'm particularly fitted for it.

I see.

You know, I...
I've been worrying about you.

It's nice to know that someone worries.

You know, I...

I'd like to help you.

I mean, give you advice
whenever you feel like you might need it.

If I need any help I'll come to you...

...but things really look
very bright for me now.

Really, the brightest since
I've been in New York.

Why, just this morning,
I was talking to Gilbert Miller.

- Isn't Mr. Miller in London?
- Well, you didn't let me finish.

I was talking to Mr. Miller's secretary.

Isn't this a delightful room?

- I like that etching. It looks like a Whistler.
- It is.

And that's an awfully good
pen and ink of Mr. Easton.

- He's very attractive, isn't he?
- Yes, very.

And what the French call sympathique.

I've thought of him often.

I was sorry on his account
I wasn't good in that part.

I mean, he liked me,
at least I felt that he liked me...

...and I thought he thought
I'd succeed.

And I wanted to do so immediately,
just to show him that he was right.

Well, it's always rather hard,
you know, getting started.

Oh, no, I've had lots of chances,
I've just never made good.

Well, you shouldn't be discouraged.

As a matter of fact,
I liked you at rehearsals.

Well, naturally, I wasn't very responsive
when you tried to tell me what to do.

You see, I was very sure of myself
in those days.

You... You make those days
sound like such a long time ago.

- Mr. Lawrence, nasty night.
- Yes, it is nasty.

Who's that man?

That's Henry Lawrence, the critic.

Well, Henry, how are you?
Glad to see you.

I see you put it over again.

- You really liked the show?
- I did. That's what my review will say.

But I can't guarantee
what the other boys will think.

Henry, my dear, how are you?

I'm so glad you came.

Charming performance, my dear,
charming.

Oh, thank you, thank you.
I'm so glad you liked it.

- Would you like a little drink?
- If you don't mind.

Good evening, Miss Vernon.

Good evening.

Evidently you don't remember
who I am...

...but I met you with Mr. Hedges
in Mr. Easton's office...

...when I first came to New York.

But, my dear, I meet so many people.

Come along, Pepi,
let's have another drink.

You know, the only way to live through
a party like this is to get good and tight.

Well, I guess she didn't know
who I was.

You must have something to eat.
I won't be a moment.

- I'm going to get you some food.
- All right.

- My good fellow, pardon me.
- Pardon me.

Oh, just a minute.

The question before
the American people is:

Why doesn't Easton invite
some interesting people to his parties?

And is there a law
against having any pretty girls?

You better take that up
with your host.

Thanks, I will.

- Do you like bologna with your cheese?
- Yes, I love it.

My dear woman, who are you
and what are you doing here?

I'm Eva Lovelace. Who are you?

The only American
of any importance in the room.

My name is Charley Van Duesen.

Not the author?

I congratulate you on your sagacity...

...but unfortunately it proves
that you are familiar with modern literature.

Pretty little girls like you
mustn't be highbrow.

May I offer you a glass of champagne?

Oh, well, thanks, I...

That's not to look at, my dear girl.

What did...?
What did you say your name was?

- Eva Lovelace.
- Lovelace. Oh, I'll remember.

Richard Lovelace
is one of my favorite poets.

Mine too.

No, no, no. Mustn't be highbrow.

- Where's our little girl?
- Inside. I'm getting something hot for her.

- Are you looking after her? Fine.
- Trying to.

Well, well, well.

Well, you're Mr. Lawrence, aren't you?

- Henry Lawrence?
- Frequently.

I've read everything you've ever written
and reverenced it.

Naturally.

But I promise not to
hold that against you.

So you want to play, eh?

Well, are you really Henry Lawrence,
and is he really Charles Van Duesen?

No, they've got us mixed up
a bit tonight.

I'm Van Duesen,
and he's Lawrence.

But don't let that worry you. Cigarette?

Oh, don't believe him.

Don't let him make you think
that I'm a bank robber.

Oh, Hank, get away from here,
you low drunkard.

Just a moment...

...l'm lighting a cigarette
for this dear little lady.

Give me that.

- May I?
- Well...

I go on the theory that anything
worth doing at all is worth doing well.

Anything?

Kiss me, dear.

Well, if that sort of thing is being done.

Drink for the bird of time
has but a little way To flutter.

And the bird is on the wing

Here's some nice hot food for you.

Thanks.

Well, who cares anything about
prosaic things like food?

- Come on, let's dance.
- All right.

I love that funny music.

- You seem to get a kick out of everything.
- That's because everything interests me.

That's why someday
I'm going to be a great actress.

Because I look around
and absorb and understand.

One must drink in everything,
don't you think so?

I suppose you're right. Your theories of life
prevent it from being humdrum, don't they?

Would you like me to come over there
and sit beside you, Mr. Easton?

Delighted.

I beg your pardon.

- Hello.
- Hello.

Oh, no, no, no, don't get up.
I'll sit here.

Are you comfortable?

Quite.

Hello.

Hello.

- Mr. Easton.
- Yes?

I shouldn't be surprised
if I'm a great actress.

You think so?

I shouldn't be surprised.

Either I'm a rotten actress
or I'm a great actress.

I'm not just a pretty good actress.

Now, sometimes,
I think I'm very, very, very bad.

No good.

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

Oh, I feel wonderful, Mr. Easton.

- Not afraid anymore.
- I'm glad of that.

You see, I wasn't afraid,
not for a long time.

When I lost a part,
I thought it was because I was a genius...

...and geniuses always have a hard time.
- Always.

Yes, the world never appreciates genius
when it's young.

Then I began to get afraid.

"Maybe I'm crazy," I got to thinking.

"Maybe I'm not a genius."

And then I said, "It's better not to think."

In this world where but to think
is to be full of sorrow...

...it's better not to think.

But tonight I'm not afraid to think,
because I'm almost thoroughly convinced...

...that I'm a genius again.

Will you excuse me?
I want to see about the musician's supper.

- I'll be right back.
- All right.

How many drinks has that kid had?

Not more than a glass or two
of champagne, I don't think.

Well, had she had anything
before she came?

- Not even food.
- Just a cup of coffee.

This is a wonderful party, Mr. Easton.

A night I'll never forget.

Why, when I think
that I sat on that stairway...

...and talked and smoked and drank...

...with Charles Van Duesen
and Henry Lawrence...

...why, in Franklin,
these men are just names.

Yes, Mr. Easton, I like your party.

And I like New York.

It's a beautiful city.

I love to walk and walk
and look and look.

Now, you see, in Franklin, if you walk and
walk, you get way out on a country road...

...where there's nothing
but great big trees and fields.

And yet, I don't know,
there's something about it.

About those fields,
that gives you a feeling...

...of being great and lonely.

I feel it now,
right here in my heart, I tell you.

I tell you, I know.

- I know. I know that I'm a great actress.
- Now, now, please be quiet.

- I'm the greatest young actress in the world.
- Now, take it easy.

I'm gonna go on getting greater
and greater and greater, you'll see.

Steady, kiddie,
you're making a fool of yourself.

I'm not making a fool of myself.

Listen, you're talking
to the greatest actress in the world...

...and I'm gonna prove it to you.
Now keep quiet, all of you.

And you... You, just wait a minute.
Just watch me.

Wait a minute. Wait a minute.

To be, or not to be: That is the question:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune

Or to take arms against a sea of troubles

And by opposing end them?

To die: To sleep.

No more.

And by a sleep to say we end

The heart-ache
and the thousand natural shocks

That flesh is heir to

'Tis a consummation

Devoutly to be wish'd.

To die, to sleep.

To sleep: Perchance to dream:

Ay, there's the rub.

I saw Charlie Chaplin
do this in California...

...and he was never as funny as this kid.

Funny? Why, Hamlet's tragedy.

Well, it's always been comic to me.

Well, that's the most pathetic statement
I've ever heard from anyone...

...but if you can't understand Hamlet, you
may be able to understand something else...

...though I doubt it.
By the look of...

Now, turn out those lights there.

And you... You... You listen.

And all of you be quiet.

Be quiet.

Romeo, Romeo!

Wherefore art thou Romeo?

Deny thy father and refuse thy name.

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

And I'll no longer be a Capulet.

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

'Tis but thy name that is my enemy.

What's in a name? That which we call a rose

By any other name would smell as sweet.

So Romeo would, were he not Romeo call'd

Retain that dear perfection which he owes

Without that title.

Romeo, doff thy name

And for thy name which is no part of thee

Take all myself.

What is she raving about?

Romeo and Juliet.

She's playing Juliet.

And, my dear, she's playing it.

Beautiful.

Childishly beautiful.

Impossibly beautiful.

Well...

...did you like it?

It was charming.
Charming, really charming.

Oh, Louis, it's getting awfully dull here.

Let's go places and do things...

...don't you think so?
- Yes, that's a very, very good idea.

Oh, I see your little girlfriend
has passed out.

She's sleeping.

Robert. Robert.

Please, quiet everybody. Please.

Will you please take the little lady
in the bedroom? She needs some sleep.

Look, governor, honestly, listen,
don't you think that girl's got something?

Oh, I don't know. You know these
youngsters when they get a little drink...

...they show a certain talent, but you
can't do anything with it in the theater.

I've seen it before. I've seen it for years.

- Good morning, Mr. Easton.
- Good morning, Robert.

I'm expecting Mr. Sheridan. Will you
have him come in the moment he rings?

Very good, sir.

- Good morning.
- Good morning.

- Thank you. Hello there.
- Oh, hello, Joseph. How are you?

- Fine. Say, did you see those notices?
- Only the very early editions.

- Very nice for you.
- And you, and Rita.

- I'm afraid we have a success, Joseph.
- I'm afraid so.

Here, read them.

Sorry I had to telephone you so early...

...but I wanted to see you.
- It's all right.

- Have some coffee?
- No, thanks, just finished.

- Did you bring those contracts for me?
- Oh, yes.

Got them right here.

You went home rather early last night.

Some of the other ones
wouldn't take the hint.

They wanted to go places
and keep on going on and on.

I know. Well, I did the best I could.

- I became involved.
- You did?

- Yes. It isn't a very pretty story.
- What happened?

I don't know what happened,
but it did, and now she's...

I don't know how to handle
this particular situation.

- You can get yourself into more jams.
- Yes, I know.

Joseph.

- I wondered if you'd do something for me.
- Sure.

I wonder if you'd see her and...

- Oh, this is very embarrassing.
- Why don't you get Rita to help you out?

Oh, now, don't be silly.
I'm really upset about this.

- Well, what do you want me to say?
- Look...

...l've been trying to figure it out
all morning...

...and I wonder
if you'd give her this for me.

She's such a child.

Is this to make your conscience easy?

Easier, Joseph.

I'm not exactly used to doing
this sort of thing.

- She's an awful fool.
- She's undoubtedly that.

Now, now.

You don't mind, do you?

She's so terribly romantic.

I know what I'm asking isn't part
of your contract...

...but all you've got to do
is to tell her I'm out of town...

...got a long-distance call from Chicago.

That show of mine out there
is starving to death.

Come on, how about it?

You know, she's...

Eva's not the usual run of them.

Eva?

Eva Lovelace?

Why, yes. Who did you think
I was talking about?

I didn't know.

After all, what can I say?

- I can offer her a part, I suppose.
- No.

That's all she wants from anyone,
I'm afraid, a chance to do what she can do.

My plays aren't cast that way,
you know that.

- I don't want to see her again.
- Why do you bother about her at all?

Because she's young.

She's half-starved,
and she's on my mind.

Well, if there's anything
I could say, I'd say it...

...but with her it's...

It is a hard job. I understand, Joseph.

I don't think you do.

Are you...?

Oh, Joseph, I'm...

I'm sorry.

I didn't know.

It's all right.

You know the things
she's gone through, don't you?

But do you know
what she's got to go through...

...before she begins to do
the things she's got her heart set on?

I know.

I know, because I've gone
through it all myself.

You too, I suppose.

Oh, never mind, I...

I'll take this to her.

I suppose the sooner she begins
to look at things sensibly and reasonably...

...the better it'll be for her.

Poor innocent kid.

I'll take it to her
and explain your attitude.

I'll make her understand that it's...

It's tough.

I'll see you at the office
later this afternoon.

Right.

Hello. You're...
You're just the person I want to see.

- Yes. I'm in a hurry.
- Well, you can wait a minute, can't you?

I want to go before I see him.

Of course, it's only for a little while.

I've left word that I'll send him a message
so he won't think I didn't want to see him.

It's just that there's so much
in my heart.

- I want to be alone, do you understand?
- Yes.

I think I'll walk through the park.

I want to be alone, where I can plan a little.

We'll do wonderful things together,
he and I...

...and you'll help us, won't you?

It's like two rivers flowing
through the same valley...

...to the same sea, his life and mine.

Now they're to flow together.

I shall make him very proud of me,
Joseph.

You don't mind
if I call you Joseph too, do you?

Of course not.

It's strange how it all happened.

Yesterday, I was alone and frightened.
Really a little frightened.

Life's suddenly become
very different for me, Joseph.

- I wonder if you understand.
- I understand.

It isn't because he's in the theater or
because he's important and can help me...

...just as I can help him
to do my best and his best.

That's ideal.

But even if he'd never seen a theater,
and never wanted to see one...

...I think I'd still feel
very much the same.

At least just now.

I liked him the moment I met him.

Do you remember that day in his office?
It seems years and years ago.

His charm got me at once.

You've always been terribly kind to me,
you know.

Thanks.

I know you'll agree with me in this.

If this piece builds to a strong second act
climax and then peters out, we're lost.

A play stands or falls on its last act.

After all, you've taken my advice before
and you've been successful.

Well, there's no doubt about that.

How would it be if I built up
that third act so that...

...when she finds out what this man
has done, she denounces him...

...with a dramatic wallop
before the curtain goes down?

Come in.

- There's every chance to do that...
- This was left for you, Mr. Easton.

Oh, take care of it, will you,
I want to make some notes.

Take this, Miss Murray.

In the first act, you must approach
the scene with Madeline differently.

The original version
will not do for this country.

Leading man scene with the father
is too talky.

From here on, build Madeline's scene
to a strong climax.

In fact...

Read that back to me, please,
Miss Murray.

"In the first act, you must approach
the scene with Madeline differently."

So two weeks is all we get?

Well, it looks as if things have got to get
worse before they get better, don't they?

Yeah, I guess that's right.

Hello, baby.

That sure is a pretty dresser set
Mr. Easton gave you.

Yes, he showed quite excellent taste
for once in his life.

It wouldn't seem like opening night
without a present from Mr. Easton.

Well, I think that's the least
he might do for me.

Wait a minute.

Come in.

- Hello there.
- Oh, it's you. I thought it was Easton.

If you happen to see him,
will you tell him to come back?

There's a matter of business
I'd like to talk over with him.

I'll tell him.

First, I wanna go over a couple of points,
unless last-minute advice will upset you.

No, not a bit.

But sit down. You look all in,
I think you need a drink.

Oh, no, thanks.
I'm afraid to take anything until it's all over.

- You nervous?
- Not a bit.

Well, I wanna tell you right now
you surprised me.

I can't tell you how pleased I am.

You've worked hard.
You've been patient.

And tonight you're gonna make
the hit of your life.

That's what you tell me
before every opening...

...but they always like me
no matter what I give them.

Come in.

Oh, more flowers.
Just put them over there.

Half hour. Half hour.

In the last act, try to imagine that your long
speech is a series of speeches, which it is.

You take it too fast.

They'll begin to cough.

If you play it as it should be played,
they won't think of coughing.

Now, listen,
finish one phase of the speech...

...then imagine that someone...
That someone differs with it...

...then begin again as if
arguing with them.

All right, all right. Go on.

Now, let me see.

Oh, when your purse falls
in the second act, don't pick it up.

Let it lay. Don't even see it.

No, I won't. That's good.

Now...

No, no, that's enough.

- What have you got there?
- Nothing. It's just an idea.

Well, what is it?

Well, I thought that instead of trying
to hide your tears...

...you might cry as if you didn't know
people were about.

- Oh, that's terrible. That's awful.
- Yes, I know.

Perfectly awful. That's very bad.

I know, too childish.
If it were played differently...

Well, it's not going to be
played differently.

Come In.

- Hello, Rita.
- Hello, Louis.

- Is everything all right?
- Everything will be.

Oh, that's fine. I just came in
to wish you good luck and success.

Thank you, Louis, thank you.
And the same to you.

I was just sending for you.

Shall I talk to you
in front of Joseph?

Why not?

Very well.

You know when I started in with you
four years ago...

...I told you I didn't want a contract.
- Yes.

That I'd take your word,
and you'd have to take mine.

Yes.

And we've never had
any trouble so far, have we?

No.

You asked me what I wanted
the first year and I told you.

The second year I told you.

And last year, Blue Skies, and I told you.

You got what you asked for.
You always have.

Yes, but I didn't ask for
what I really wanted.

And you knew I didn't ask for it,
and you knew why.

So you're asking for it now
instead of then.

No. What I'm asking for now
is not back pay.

Joseph never wanted me for this part.

I knew that.

And I knew I'd loose the chance to play it
if I seemed unreasonable.

That's why I've been so reasonable
these last two years.

- When I've been making a fortune for you.
- Go on, go on.

Have you ever thought it funny...

...that I didn't come to talk salary
in these last two years?

No, why should I?

Anyhow, you thought I'd go on
being reasonable.

Leave it to you to do the right thing
after I'd made a hit in this part...

...which you doubted, all of you.

- That was my fault.
- Now quiet.

You thought... You thought that I would do
a flop in Atlantic City or Baltimore...

...and you'd take the play off
and find somebody else.

I meant to be fair, but I know and
you know that whatever happened...

...the governor would do the right thing...
- Why, should I have known it?

A year ago, at a party you gave,
one of your best friends told me...

...I should be getting $ 1000 a week
and half the profits.

Charley Van Duesen, I know.
Rita, what are you driving at?

I want my name in electric lights
from tomorrow on.

I want a run of the play contract
to play the part in New York and in London.

I want $ 1500 a week and half the profits,
and a cut in on the picture rights.

- Think it over.
- It's a holdup.

Wanting this 15 minutes
before curtain time?

- Well, if I don't...
- She wants my right eye!

- You can't throw a play like that.
- What's to stop me?

There's plenty of ways.

I'll get you before
the Equity Association.

- I'll see you never work again.
- Do anything you like.

- I don't need Broadway.
- Yes, you do.

I could sign a contract...

...that would knock your eye out!
- I wonder.

- Don't bring up that curtain until I tell you.
- Yes.

What are you trying to do?
An outrage with a crowd out there...

Oh, nuts to you.

What are they doing?
Feeding that old hag meat again?

- What are you doing?
- Showing you I mean business.

- I'm washed up.
- You can't get away with it.

- Can't I?
- I wanna see you outside.

Please, governor!

- Listen, now you'll regret this...
- Yes, is that so?

I wouldn't be too long
if I were you. Get out. God.

She's a rat.

He brings me out here to tell me
she's a rat. I know she is.

- I'm caught. I have to give in.
- Don't give in.

- I'd close the theater before I'd do that.
- And my investment?

I've got a girl, she's done nothing much,
but she's an understudy.

- She could play the part.
- You'd take a chance on her?

- Yes, sir.
- Without a rehearsal?

I give my word it's okay.
You know what this means to me.

- You wouldn't have done it if I hadn't urged.
- It's my play.

You think I'm a fool?
I know something about acting.

- We couldn't take a chance.
- She's okay.

- Who is she?
- The Lovelace girl.

He's screwy.

Come along with me
and don't ask questions. Come on.

This is the chance you've been
talking about. Don't muff it.

- What?
- I'm vouching for you.

- You've got to come through now.
- Good luck, kiddie.

Throw all your highbrow theories
right out the window.

Listen, give them all you've got.

Don't think I've tried to put anything
over on you. I didn't plan this.

- Is that all you got to say?
- Yes.

Well, all I've got to say is that you'd
better be good. Come with me.

I hope you come out all right
with Mr. Easton.

Don't worry. I know how to bluff him.
He'll never let me go.

I've got enough on him to hang him.

Go on, Emma, and get your hat
and coat. We're going.

- Well, Rita.
- Yes?

Since you've decided to act
in this unprofessional manner...

...and to take advantage of me
at a moment like this...

...l've decided to let you do
exactly as you please.

Oh, is that so?

Very well. Come, Emma.

- Goodbye, Mr. Easton.
- Goodbye, Rita.

And before I get through with you,
I'll tell where you buried the body.

Bring her in here, Joseph.

Come on now.

- I'll get the wardrobe woman.
- All right.

They're holding the curtain for you.

I can't do it. I'd be frightened
if I knew he were watching.

Forget about him.

I can't, even though
I've never seen him since.

I suppose he didn't love me.

Did you notice how pale
and tired he looked?

And I'm tired. I'm tired too.

It's just come over me
how terribly tired I am.

Pull yourself together.

I wanted to kill myself when I didn't hear
from him. I didn't see a reason to go on.

- Poor kid.
- I couldn't make good.

I did all sorts of things trying to pretend
it was all a sort of joke, just experience.

- I'd make up for it all someday.
- You will tonight.

Yes. Yes, but suppose I do go on tonight
and I'm not wonderful?

Then everything's gone.

If I can't act, there's nothing left.

Because even if he came to me now
on his knees, I think it'd be too late.

And that's a tragedy.

And I don't think I can act, Joseph.
I think I'm too tired.

- Even if I can, what does it matter?
- It matters a lot.

It's the chance
you've always dreamed of.

If I thought you were gonna fail me
or yourself...

You're right, Joseph.
Of course you're right.

Oh, it was silly the way I just talked.

Listen, I'll give a performance tonight
that will make you proud of me.

Here's the script.
You'd better go over the lines.

The wardrobe woman will be here
in a moment.

You have a little time.
You don't go on till the middle of the act.

I'm going out to make an announcement.
Now, don't worry. I'll stall.

There you are.

This is history. Why, you haven't stayed
for a last act in years.

Well, my boy,
I'm going to stay for this one.

Last act, ladies and gentlemen.
Third act.

The pupil is better.
Far better than the teacher.

I'll be quick and change
and come right back.

It was delightful.

- I'm so happy for you.
- Thank you so much.

I just want to shake the hand
of this wonderful young girl.

Your performance, my dear,
was inspirational.

I've seen them come,
and I've seen them go.

This is your moment.

May God bless you while it lasts.

Thank you so much.

All right, Nellie.

I'll be right outside if you want me.

- Well, you really liked me?
- How could I help it? You were superb.

Joseph, he never forgets anything,
does he?

Everything's perfectly glorious, isn't it?

Well, why do we keep standing up?

We keep standing as though we were
waiting for something.

We are. There's something that
I've been wanting to say to you.

About us?

About you and me?

You've taught me how...

How different a person can be
if given a chance.

I can't tell you how I feel
that I never gave you one before.

- You gave me a chance.
- No, that wasn't a chance.

- I didn't have faith then.
- Oh, that's nothing.

You've been so brave that I feel particularly
ashamed of what happened once.

I should have taken better care of you,
not let you get lost.

Let's not talk about that, please.

You mustn't think
any more about it, really.

It's been so beautiful
just as it's been.

I'm glad you feel that way about it.

And it's going to be
so much more wonderful now.

You'll be so proud of me, really you will.

I can be so wonderful for you.

You see, you're in my heart.

Please, Eva.
You must put me out of your heart.

I don't belong there,
and you don't belong in mine.

I'm not the man for you. I never was.

You don't belong to any man now.

You belong to Broadway,
to theater, lights.

From now on, you're under
my professional wing.

Why, you're the most valuable
piece of theatrical property I've ever had.

I understand.

Why, it's going to be difficult
because I'm a very difficult taskmaster.

I'm likely to make a pest of myself...

...but you're far too valuable
ever to get out of my sight.

Come in.

May we come in?

Come right in, please.

My dear, words fail me.

From now on, I'm going all over the town
shouting from the housetops...

...that Eva Lovelace was once my pupil.

I wish I'd given you more lessons.

I should like to have been
able to take more credit...

...for the beautiful performance
you gave this evening.

The three of you make me proud,
and I'm going to make you proud of me.

- I'll be so wonderful.
- Oh, lots of people can be wonderful.

Every year, in every theater,
some young person makes a hit.

Sometimes it's a big hit,
sometimes a little one.

It's a distinct success.

But how many of them keep their heads?

How many of them work?

Youth comes to the fore.

Youth has its hour of glory...

...but too often it's only
a morning glory.

A flower that fades before
the sun is very high.

I'd like to take your gown, my dear,
to have it altered for tomorrow.

Let her wear it tonight. Morning will do.

You might wanna wear it out.
We ought to celebrate.

Very well.

- I'll be back to help you dress for the street.
- Thank you.

Talking of morning glory...

...it's a coincidence
that she should be here.

She's an example for you, my dear.

Her name's Nellie Navarre.

And once, years ago,
over night, all Broadway knew it.

She was just like you,
young, inspired.

She became the toast of the town
and then faded out.

- Was that before your time?
- No, no. Bob's right.

You're coming tomorrow to sign a contract
to play this part...

...as long as the public wants to see you.

It's going to be hard, maybe,
night after night, doing the same job.

You mustn't take the people
running after you too seriously...

...telling you what to do.

Keep your health, your money
and your head if you wanna go on.

There's more newspapermen
wanting to interview Miss Lovelace.

Oh, fine. I'll be right back.
Come along, Bob.

I'd like to go over the light cues
with you in the second act.

You look tired.

I am.

Crushed?

Yeah.

You seem to have been the only one who's
understood me through it all, Joseph.

You've always been ready to help me.

I don't know. Things have been happening
so fast, I hardly know where I am.

Once I thought Mr. Easton loved me.

That seems awfully long ago.

You've always been awfully good
to me Joseph. Why?

I'll tell you why.

- I love you.
- Oh, Joseph, don't say that.

I know.

I won't tell you now.

You've...

You've always understood me, Joseph.

Of course.

I understand.

You've got to take care of yourself now,
you know.

You can't think of anyone
or anything else in all the world.

You've suffered so.

You've got to eat the right foods,
you know.

Health, keep your feet warm.

Oh, you've so much to do.

You've got to hang on to all this.

But be careful, my dear. Do be careful.

Shut the door, Nellie.

Are you ready to dress
for the street now, my dear?

No, not yet, Nellie.

I just want to be alone with you.

Success seems so empty.

Yes, my dear.

There's only one thing in life
that means anything.

I've found that out.

Joseph told me just now
that he loved me.

And I begged him not to say it.

And now I wish I hadn't
because I'm lonely.

Lonely now in the moment
I've lived for and dreamed for.

I wish I'd listened years ago...

...when someone told me he loved me.

Nellie, I could make him happy.

Of course you can, my dear.

And he could make me happy too.

Certainly he can.

Nellie, they've all been trying
to frighten me.

Trying to frighten me into being sensible,
but they can't do it.

Not now.

Not yet.

They've got to let me be
as foolish as I wanna be.

I... I wanna ride through the park.

I want a...

I want to have a white ermine coat.

And I'll buy you a beautiful present.

And Mr. Hedges...

I'll buy Mr. Hedges a little house.

And I'll have rooms full of white orchids.

And they've got to tell me that I'm much
more wonderful than anyone else.

Because Nellie... Nellie, I'm not afraid.

I'm not afraid of being
just a morning glory.

I'm not afraid. I'm not afraid.

I'm not afraid. Why should I be afraid?

I'm not afraid.