Step into the enchanting world of early 1930s British cinema with Her First Affaire (1932), a black-and-white romantic drama that captures the heart and struggles of youthful passion, misguided devotion, and the intoxicating charm of first love. Directed by Allan Dwan and starring a young Ida Lupino in her breakout role, this film offers a window into the emotional turbulence of adolescence at a time when societal expectations and personal desires often clashed in quiet but powerful ways.
đ Plot Summary:
Set in a conservative English town, Her First Affaire follows the story of Anne (played by Ida Lupino), a young and impressionable schoolgirl living in the shadow of upper-class social expectations. Bored by her dull routine and craving adventure, Anne becomes infatuated with a charming, older author named Victor Lefevre (George Curzon), whose mysterious presence and intellectual charisma offer an escape from her strict upbringing.
Victor, amused and somewhat flattered by Anneâs adoration, does little to discourage her advances. What begins as an innocent schoolgirl crush quickly spirals into a more intense and complicated emotional entanglement. Anne runs away from school to be closer to Victor, only to discover that adult emotions are not as romantic or simple as they seemed in her imagination.
As Anne faces the harsh realities of adult relationshipsâincluding disillusionment, rejection, and public scandalâshe embarks on a personal journey of self-discovery and emotional growth. Her youthful idealism crashes against the rocks of reality, but from the rubble of her heartache, she finds strength and wisdom.
This subtle and emotionally layered film explores themes of romantic obsession, societal roles, youthful rebellion, and the bitter sweetness of growing up.
đ Plot Summary:
Set in a conservative English town, Her First Affaire follows the story of Anne (played by Ida Lupino), a young and impressionable schoolgirl living in the shadow of upper-class social expectations. Bored by her dull routine and craving adventure, Anne becomes infatuated with a charming, older author named Victor Lefevre (George Curzon), whose mysterious presence and intellectual charisma offer an escape from her strict upbringing.
Victor, amused and somewhat flattered by Anneâs adoration, does little to discourage her advances. What begins as an innocent schoolgirl crush quickly spirals into a more intense and complicated emotional entanglement. Anne runs away from school to be closer to Victor, only to discover that adult emotions are not as romantic or simple as they seemed in her imagination.
As Anne faces the harsh realities of adult relationshipsâincluding disillusionment, rejection, and public scandalâshe embarks on a personal journey of self-discovery and emotional growth. Her youthful idealism crashes against the rocks of reality, but from the rubble of her heartache, she finds strength and wisdom.
This subtle and emotionally layered film explores themes of romantic obsession, societal roles, youthful rebellion, and the bitter sweetness of growing up.
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Short filmTranscript
00:00:00The End
00:00:30The End
00:01:00The End
00:01:30Ha-ha, my proud beauty!
00:01:45You fool!
00:01:46And over those papers, or by midnight, your body shall be in the depths below.
00:01:51And if Aunt Agatha catches you with this, your body will lie in the street below.
00:01:54Go on, Anne. Let's get a move on.
00:01:56Oh, no, let me finish this chapter.
00:01:57Oh, very well. Twenty seconds.
00:01:59Be quiet a minute.
00:02:01Fifteen seconds.
00:02:02Oh, shut up, darling. Can't you see I'm reading?
00:02:04No, really. I thought you were riding a bicycle.
00:02:06Shh.
00:02:08Time.
00:02:09Oh, Brian.
00:02:10Hmm, fires of impulse. What's it about? Gas cooker?
00:02:13Give it to me. I will not have it covered with grubby finger marks.
00:02:15Must be a nice, clean subject.
00:02:17Kerry Merton's latest?
00:02:19Never heard of him.
00:02:20Well, in case you're interested, Kerry Merton can thrill any woman with a single sentence.
00:02:25No woman has a single sentence.
00:02:27Listen to this.
00:02:29Love is the beckoning hand. Follow it wherever it may lead. Don't fear it. You were born free and love is your birthright.
00:02:36Don't you agree with him?
00:02:37Give me that book.
00:02:37No.
00:02:38Come on.
00:02:38Why?
00:02:39Never mind why. I want it.
00:02:40You're going to keep it.
00:02:42Wrong. I'm going to burn it.
00:02:43Burn! Give me that book. Give me that book. I shall never get you again.
00:02:46Oh, you're going to burn it. Don't kill it. Don't kill it. Don't kill it.
00:03:01Give it to me.
00:03:06Give it to me.
00:03:08Now, who do you love? Kerry Merton or me?
00:03:15I've never met Kerry Merton.
00:03:17It must be me.
00:03:18I'll bet he's fascinating.
00:03:19I'll bet he's potty.
00:03:20I'll bet he knows how to make love.
00:03:22Meaning I don't?
00:03:23Oh, you're not bad for an amateur.
00:03:24I suppose he's a professional.
00:03:26Of the highest rank.
00:03:27Hmm, rank is right.
00:03:28You should read some of his books and learn some new ideas.
00:03:30Haven't learned all the old ones yet.
00:03:32Oh, strange. Didn't your granny teach you?
00:03:36I scarcely remember.
00:03:37Dear me, I thought you were quite old friends. I always think of you as grandma's boy.
00:03:42Just the same you love me.
00:03:44Do I?
00:03:44You wouldn't promise to marry me if you didn't.
00:03:46Oh, well, marriage is a little old-fashioned, isn't it?
00:03:49Is that what Kerry Merton thinks?
00:03:51He understands.
00:03:52What?
00:03:53Me. Every woman.
00:03:55Now you're talking absolute rot.
00:03:57You approve of convention, of course.
00:03:59A man can be free, but a woman must be changed.
00:04:02Well, Kerry Merton thinks differently. He isn't stuffy.
00:04:04She ought to be horse-whipped, and you ought to be spanked.
00:04:07Fine.
00:04:07I'm sorry, Anne.
00:04:14But somehow this old fossil infuriated me.
00:04:17If he were old, he couldn't write so beautifully.
00:04:20If he were young, he wouldn't write so disgustingly.
00:04:22We'll settle this, Brian.
00:04:26How?
00:04:26We'll call on him and find out.
00:04:28Can't do that.
00:04:29Oh, yes, we can.
00:04:30He's got a place up the river of Braden.
00:04:31We'll go there this afternoon.
00:04:33I wouldn't take you across the road to see that bounder.
00:04:35I'm afraid he'll be too fascinating, I suppose.
00:04:37Fascinating? Him?
00:04:38Ha!
00:04:38All right, I will take you to Braden.
00:04:43Good.
00:04:44On one condition.
00:04:45It being?
00:04:46If this fellow proves to be what I think he is,
00:04:48you'll drop these silly ideas and listen to Grandma's boy.
00:04:51And if he proves to be what I think he is?
00:04:53He'll still listen to Grandma's boy.
00:04:55Go on, go and get ready.
00:04:56Oh, I'm so sorry, Auntie dear.
00:04:58Gracious, Chate, how you do, Burns?
00:05:01Good afternoon, Brad.
00:05:02Good afternoon, Miss Brent.
00:05:03Why all this excitement?
00:05:04We're going hunting.
00:05:05Hunting?
00:05:06Mm-hmm.
00:05:06For the author of this.
00:05:08Powers of impulse?
00:05:13What is this burning subject?
00:05:15Some trash, I suppose?
00:05:16Worse.
00:05:17Poison.
00:05:18Poison?
00:05:18Mm-hmm.
00:05:18Mental poison.
00:05:20Oh, in that case, I shouldn't dream of looking at it.
00:05:23Carefully, it doesn't burn the sofa.
00:05:25Ready, Brian?
00:05:26Yes, right, I have.
00:05:27Goodbye, Aunt Agatha.
00:05:28Goodbye, dear.
00:05:29Bye-bye.
00:05:29Bye-bye.
00:05:38Carey Merton, Carey Merton, Carey Merton, Carey Merton, Carey Merton.
00:05:43Carey Merton, Carey Merton, Carey Merton.
00:05:47You promised you'd show me Carey Merton.
00:05:53Is he here?
00:05:55Well, that's his house.
00:05:56Just there.
00:05:57Next to the playgrounds.
00:05:59I wonder if he's in anything like his books.
00:06:09I say, that's Carey Merton's wife.
00:06:12Oh, my dear.
00:06:13Fancy being married to him.
00:06:15Look, you can see him in there in his study.
00:06:17Okay.
00:06:22Hello, Miss Barry.
00:06:23They're in the study, madam.
00:06:25She yearned for adoration.
00:06:28No.
00:06:29She was love hungry.
00:06:31No.
00:06:33Love was a food, and she...
00:06:36No, no, no.
00:06:39Carey, dear.
00:06:40What's the matter?
00:06:42It's my heroine confounder.
00:06:44What's the matter with your heroine?
00:06:46Everything.
00:06:47What's she done?
00:06:49Nothing.
00:06:49That's the whole trouble.
00:06:50She won't move.
00:06:53Surely you can persuade her.
00:06:54She was to have been such a lovely thing.
00:06:58She just won't come to life.
00:07:00Of course she will, dear.
00:07:02Tell me.
00:07:04Is she married?
00:07:05No.
00:07:06Interesting.
00:07:07Oh.
00:07:07Well, that is.
00:07:08I mean, she's very young.
00:07:11Aren't you here to manage her?
00:07:13She hasn't met him yet.
00:07:15What's he like?
00:07:17Oh, my usual successful type, you know.
00:07:20Strong and silent.
00:07:21Married, of course.
00:07:26Yes, to a good woman.
00:07:28Rather like a cow, you know the type.
00:07:30Do I, dear?
00:07:32The wife doesn't bother me.
00:07:33She's just background.
00:07:34I see.
00:07:36Let's look for the girl.
00:07:38Can't you see her?
00:07:40Young, vivid, seeking after life.
00:07:43You mean modern?
00:07:45Yes.
00:07:45Why?
00:07:46Modern girl's always seeking after something.
00:07:48I know, dear.
00:07:49I know.
00:07:50That's why she's interesting.
00:07:52She's seeking after life like a...
00:07:55Like a...
00:07:56Like a kitten after its first month.
00:07:58Well, yes.
00:08:00But the world at her feet and love is her birthright.
00:08:02That's grand until she comes up against social conventions.
00:08:05Ah, now you have said something.
00:08:07She finds herself up against this priggish social convention that tries to cramp her.
00:08:10And then what does she do?
00:08:11Can you tell me that?
00:08:12I'm not a modern girl.
00:08:14Then I'll tell you what she does.
00:08:15She smashes me.
00:08:16Oh, I'm sorry.
00:08:18There I go raving again.
00:08:20Why don't you shoot me?
00:08:23Why?
00:08:24You haven't opened your fan mail.
00:08:26Oh, it's the usual thing.
00:08:28Pretending you don't like it?
00:08:30Hmm.
00:08:31Truthfully, I suppose I do.
00:08:35You're tired.
00:08:37Why not chuck work for a while?
00:08:39Let's run over to St. Moritz.
00:08:41Very lovely up there now.
00:08:43St. Moritz would form it a distraction.
00:08:46What I need is new inspiration.
00:08:50I'd say, quite a pretty girl.
00:08:53Quite.
00:08:55Don't open any more of those now.
00:08:57We're going to lunch with Lady Brogdon, are we?
00:08:59We are, where?
00:09:00Get the cup.
00:09:01But, Margot, dear, you know what that means.
00:09:03I'll only run into a lot of foolish women.
00:09:05Yes, but think of the thrill you'll give them.
00:09:08Oh, they're easily thrilled.
00:09:10And I know they'll admire your new tie.
00:09:13Do you think so, really?
00:09:14Yes.
00:09:16I'm sorry if I was a terso girl.
00:09:18That's all right, my dear.
00:09:22Come on.
00:09:23Too divine.
00:09:34Oh, Ursula, darling, I've been looking for you.
00:09:36I want you to be on the committee of the fancy dress, darling.
00:09:38Of course, Lady Brogdon.
00:09:39I shall be delighted.
00:09:40Won't you join us at luncheon?
00:09:41Sorry, my dear, but I'm expecting the Carey Mertens.
00:09:44Oh, is he coming?
00:09:45Now, careful, Ursula.
00:09:47You know, I can forgive it to the youngsters.
00:09:48But you've got really too old for this nonsense.
00:09:50Really, dear.
00:09:56There he is now.
00:09:57I wish I dared speak to him.
00:09:59I'm going to death.
00:10:00You think it's having his name written in his own book.
00:10:03Justice, very quickly.
00:10:04Oh, Mr. Watson, you're right in my book.
00:10:06I do think terrible at night.
00:10:07Well, this is quite against my rule, you know.
00:10:09Oh, you must have something terrible at night.
00:10:10Oh, Mr. Watson, please.
00:10:12Will you, will you not?
00:10:13Please put it on my mail, will you?
00:10:15Hello, Lady Brogdon.
00:10:19Hi, Margot, dear.
00:10:20Nice to be with you now.
00:10:21And where's your famous husband?
00:10:24There.
00:10:25Yes.
00:10:26Oh, my God.
00:10:28Oh, it's fine.
00:10:30Thank you so much.
00:10:33I bless my soul that round the man like flies.
00:10:37I find it decidedly amusing, don't you?
00:10:40Not very.
00:10:42Jealous?
00:10:42Of them?
00:10:43No.
00:10:44Of his success, eh?
00:10:45Something of the sort.
00:10:47You see, Carrie's outgrowing me.
00:10:49I no longer inspire her.
00:10:50Oh, dear, as bad as that.
00:10:52I suppose it might be worse.
00:10:54Impossible.
00:10:55Who's the woman?
00:10:55Oh, there isn't any woman.
00:10:57Yet.
00:10:58Maybe there ought to be.
00:11:00What?
00:11:01Carrie's been grazing in the same pasture too long.
00:11:03That's the trouble.
00:11:05Try not to take off the hobbles.
00:11:07The hobbles?
00:11:08Let him loose for a bit.
00:11:09Shut one eye.
00:11:10Pretend you're not looking.
00:11:11He'll run better in double harm if ever after.
00:11:13It wouldn't work with Carrie.
00:11:14My dear, it always works.
00:11:16You don't know him.
00:11:18He's brave enough in a crowd, but alone with one woman.
00:11:21He jumped the fence in a panic straight back to the home pasture.
00:11:25To find you there waiting to soothe him, eh?
00:11:27My dear, how absurd.
00:11:29He'd shy away from any of the girls we know.
00:11:31Well, maybe, but someday some little girl is going to come along with a lump of sugar.
00:11:35A lump of sugar?
00:11:36Why?
00:11:37Half the drawing-room's in London.
00:11:38There's some young girl devouring one of his wretched books.
00:11:45Oh.
00:11:51A child reading stuff like that.
00:11:53It has a impulse, indeed.
00:11:59Who is this Carrie Merton, I wonder?
00:12:01Who?
00:12:01Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton, Carrie Merton.
00:12:23Cary Merton.
00:12:25Cary Merton.
00:12:27Cary Merton.
00:12:29This is where he lives.
00:12:31How do you know?
00:12:32There were photographs of this place in a magazine.
00:12:34There he is. Oh, do come on and let's have a look at him.
00:12:37You can't run wild like this over a man's private property.
00:12:39No man has property which a woman can't share if she's clever.
00:12:42That's one of Cary Merton's own lines. Come on.
00:12:45I suppose you won't be happy until you've seen the wretched person.
00:12:53Now listen to this, Margot.
00:12:58Love was a food and she was starving.
00:13:00She knew that somewhere within that villa was the man, her man.
00:13:03Though she had never met him, she felt that through the ages they had been meant for each other.
00:13:07So she stood there waiting. What would destiny hold for her?
00:13:10Would love come gently like an autumn leaf, fluttering, falling?
00:13:13Or like a ravening brute, teeth gnashing, eyes ablaze?
00:13:16Or like a ravening brute, teeth gnashing, eyes ablaze.
00:13:18Will you just come and walk?
00:13:19Or like a ravening brute...
00:13:20The two men were looking for him.
00:13:21Oh!
00:13:22Ow!
00:13:23No!
00:13:24Stop it!
00:13:25No!
00:13:26Oh, no!
00:13:27Oh, no!
00:13:28Get off there!
00:13:29Get off there!
00:13:30Get off there!
00:13:31Come on!
00:13:32Get off there!
00:13:33Get off there!
00:13:34Get off there!
00:13:35Get him!
00:13:36Get off, just stand by!
00:13:38Ah!
00:13:39Well, certified?
00:13:46What happened?
00:13:48It fell in, evidently.
00:13:50But what are you doing here?
00:13:52Were you calling on us?
00:13:53Yes, we were.
00:13:55But your dog scared us before we ran.
00:13:57What a shame.
00:13:58Oh, it's quite all right, really.
00:14:00Actually, it was all Brian's talk.
00:14:02Brian?
00:14:04He's Brian.
00:14:05Brian Cutler?
00:14:06What's left of me?
00:14:08Molly Cutler's brother?
00:14:09Ah, yes.
00:14:10Oh, Carrie, this is Brian Cutler.
00:14:13Yes, this is my husband, Carrie Merton.
00:14:16How are you?
00:14:17Very damp, thanks.
00:14:18Yes, you seem to have taken to the water rather than literally.
00:14:20Oh, let me introduce Miss Brent, my fiancée.
00:14:23I'm sorry.
00:14:24Sorry?
00:14:25Oh!
00:14:26This, I mean, these are Mr. and Mrs. Carrie Merton.
00:14:30Oh, Miss Merton.
00:14:33Oh, Carrie, bring her up to the house.
00:14:36It must be the chocolate with cold water.
00:14:37Hmm, take more than cold water to shock Anne.
00:14:45I'll take her.
00:14:46But don't trouble, you'll get all wet.
00:14:48But I am all wet.
00:14:50Thanks, sir, you are.
00:14:51Too bad.
00:14:51Too bad.
00:14:51Oh, thank you, Mr. Merton.
00:15:20Are you comfortable?
00:15:22Quite, thanks.
00:15:24Another cushion?
00:15:28You're spoiling me.
00:15:30Not at all.
00:15:31A pity toe would have us turned on your adventure.
00:15:34We oughtn't to have come.
00:15:36It was awful cheap.
00:15:37I've read all your books.
00:15:38Every one of them.
00:15:39That's very nice of you.
00:15:41And have you read them, Brian?
00:15:43Well, I'm not much of a reader.
00:15:45Oh, you needn't be shy about it.
00:15:47Nobody knows better than I do that my great appeal is to women.
00:15:50Yes, I know.
00:15:51Well, I think your books are simply divine.
00:15:54Brian doesn't like them.
00:15:56Men seldom do like my books.
00:15:58I tell the truth about love and marriage.
00:16:01Brian should be very interested in love and marriage.
00:16:04Didn't you say you two were engaged?
00:16:06Yes.
00:16:07But I don't go in for modernism.
00:16:09No, of course you don't.
00:16:11Modernism is a woman's problem.
00:16:12But how would you like it if your wife got terribly modern?
00:16:15Marriage shouldn't make any difference to the freedom of the individual.
00:16:18Oh, Mrs. Merton.
00:16:19Don't you get a thrill being married to such a famous man?
00:16:21Oh, I'm afraid I've got rather used to it.
00:16:24Yes, I suppose marriage is like that.
00:16:26Like what?
00:16:27Oh, like that.
00:16:28I mean the edge, wearing off things.
00:16:30A lot you know about it.
00:16:32Oh, please don't misunderstand me.
00:16:34My husband and I are perfectly happy.
00:16:36Aren't we, dear?
00:16:39Aren't we, dear?
00:16:40What?
00:16:41Oh, yes, of course, sir.
00:16:43Perfectly.
00:16:44Oh, I didn't exactly mean that.
00:16:46What I mean is, I feel a girl oughtn't to get married till she knows what she's doing.
00:16:51What?
00:16:52And a very sound point of view.
00:16:54Oh, is it?
00:16:56Yes, people fear experience too much.
00:16:59They don't realize it helps one to get a grip on life.
00:17:03What do you mean by experience?
00:17:05He doesn't mean marriage.
00:17:06No, I thought he didn't.
00:17:08I agree with him thoroughly.
00:17:10Don't get my word.
00:17:11Why don't you two sit outside?
00:17:12He's much warmer there.
00:17:13Good idea.
00:17:14There's more air, too.
00:17:16As soon as your things are dry, I'll let you know.
00:17:18You're so kind.
00:17:24And you too, Mr. Merton.
00:17:26I shall never forget this afternoon.
00:17:29Never.
00:17:29Quite against my rules, you know.
00:17:32Oh, I beg your pardon.
00:17:42You needn't have been so rude.
00:17:43I'd like to strangle him.
00:17:46He's a perfect dear.
00:17:47He's a perfect ass.
00:17:48Just because he tells the truth about marriage.
00:17:50I was a fool to bring you down here.
00:17:52You were bad enough before.
00:17:54Goodness knows what you'll be like now you've actually met the poor staff.
00:17:56Oh, I'm much too upset to argue with you.
00:18:00Good.
00:18:00Then the sooner our things are dry and we go back to London, the better.
00:18:03I don't think I feel well enough to go back to London.
00:18:06Now, look here, Anne.
00:18:07What's the idea?
00:18:08I think I'll stay in Brady for a while.
00:18:10Oh, no, you don't.
00:18:11You'll come back with me to London and like it.
00:18:13Try and make me go back.
00:18:14You're chasing this Carrie Merton.
00:18:16Oh, chasing.
00:18:18I hadn't noticed him running away.
00:18:20Now, listen here, Anne.
00:18:21I'm just about sick of this.
00:18:23And so?
00:18:25Well?
00:18:27Your thing's nearly dry.
00:18:28Oh, thanks.
00:18:29Oh.
00:18:31Oh.
00:18:31Oh, my dear.
00:18:34What's the matter?
00:18:35I don't know.
00:18:36I just feel weak.
00:18:38She's not weak.
00:18:39She's as fit as I am.
00:18:40Oh, but she's had a terrible shock.
00:18:42Oh, men never seem to understand.
00:18:46Oh, please, may I use your telephone?
00:18:48Of course, my dear.
00:18:49It's just inside.
00:18:49Thank you so much.
00:18:51What are you going to do?
00:18:52Telephone on, Rebecca, sir.
00:19:10Oh, hello, miss.
00:19:24Oh, there must be a reply.
00:19:25Try again.
00:19:26Oh, what is it, Margaret Troyd?
00:19:40Phone, Mum.
00:19:40Yes, well, I can hear that.
00:19:42Yes, well, it's been ringing for ages.
00:19:44Oh, I can't hear it.
00:19:45I've lost my glasses.
00:19:49Oh, oh.
00:19:50Oh, Margaret Troyd.
00:19:51See, take this.
00:20:05Only keep the place.
00:20:10Yes?
00:20:12What?
00:20:13Yes.
00:20:13Yes.
00:20:13Yes, hello?
00:20:19What?
00:20:20Oh, I am, my dear child.
00:20:23Aunt Agatha, I'm not coming home.
00:20:25I want you to come down here and stay with me.
00:20:27No, certainly not.
00:20:28I never heard of such a thing.
00:20:30You must come home at once.
00:20:31But, darling, I can't.
00:20:33I'm ill and weak.
00:20:36No, no.
00:20:37Ill and weak.
00:20:39You don't sound weak.
00:20:42Now, don't argue, darling.
00:20:44Pack a bag for yourself, dear, and bring me down some clothes.
00:20:46No, I insist on your coming back at once, mixing with a lot of strangers.
00:20:51Well, they may be impossible, people.
00:20:53Who are they, anyway?
00:20:58What?
00:20:59What, Merton?
00:21:00Carey Merton?
00:21:03Not thee, Carey Merton.
00:21:04Oh, no, I wouldn't dream of you coming home, dear.
00:21:10No, of course, you're ill.
00:21:11Yes, you wait there.
00:21:13I'll come down to you.
00:21:14Goodbye, dear.
00:21:15Goodbye.
00:21:16Yes.
00:21:19Come on, George.
00:21:20I'm going to be Carey Merton.
00:21:21Come and help me back.
00:21:24I'm brimping like a twit.
00:21:25I mean, twitching like a bride.
00:21:34Look here, Anne, give up this silly idea and come back with me.
00:21:37Certainly not.
00:21:38I don't understand you at all.
00:21:40Of course you don't.
00:21:41I love you, Anne.
00:21:42Why not marry me and forget all this modern nonsense?
00:21:44What?
00:21:45Tie myself down to one man with all my youth before me?
00:21:48And the world full of men?
00:21:51You've got to stop reading this cat's rotten books.
00:21:53You seem to think you can order me above.
00:21:55No, I don't, but I do feel I have some say in the matter.
00:21:57Really?
00:21:58Well, we're engaged, aren't we?
00:22:00Oh, I'm wearing your ring for what it amounts to.
00:22:02For what it amounts to?
00:22:03Well, I suppose you call that another silly convention.
00:22:06Of course.
00:22:07I see.
00:22:07Well, isn't it?
00:22:08No.
00:22:09Now, how do I know I'm going to love you forever and ever?
00:22:12But you've told me you loved me.
00:22:13Well, I may meet someone I love more.
00:22:15Rot.
00:22:16Not at all.
00:22:17You and I have only met politely.
00:22:19I don't know what you're really like.
00:22:21Why?
00:22:22I've never even met you at breakfast.
00:22:24What difference does that make?
00:22:25Oh, more than you think.
00:22:27Well, help me to decide whether you ought to be the first man in my life.
00:22:31What?
00:22:31Well, I feel you oughtn't to be the only one.
00:22:35You silly little fool.
00:22:37Oh, you'd better take this back.
00:22:39No, Anne, please.
00:22:45Hello, Brian.
00:22:46Surely you're not going.
00:22:49Yes.
00:22:50I'm afraid I've outstayed my welcome.
00:22:51How absurd.
00:22:53You're always welcome.
00:22:54That's awfully nice of you.
00:22:55Thanks.
00:22:57Well, I must be off.
00:22:58Oh, but you're coming to the costume dance on Saturday, of course.
00:23:03I don't see how I can now.
00:23:05I'm sure you can.
00:23:07Promise you'll try.
00:23:08Very well.
00:23:09I'll try.
00:23:10Good.
00:23:11Brian seems a tremendous hurry to leave.
00:23:19Oh, he's a nitwit.
00:23:20Oh, I'm afraid you'll be squabbling.
00:23:23Well, yes, but it was impossible.
00:23:25He's got the most Victorian ideas.
00:23:27Besides that, he was very rude about Mr. Merchant's books.
00:23:30Really?
00:23:31A great book.
00:23:32Well, I must say, I think you were a little unkind to him.
00:23:34Oh, let's not talk about Brian.
00:23:36The great thing is I'm here.
00:23:38And absolutely free.
00:23:39I'll go and change now, if I may.
00:23:41Do, my dear.
00:23:42Your fingers are quite dry.
00:23:43Why, Toby, isn't it refreshing to have someone so young with us?
00:23:46She's like a breath of new life about the place.
00:23:49That child has something, Margot.
00:23:51A strange something.
00:23:52Yes.
00:23:53Perhaps a lump of sugar.
00:23:54Hmm?
00:23:55Sugar?
00:23:56Hello, Anne.
00:24:11You're coming with us.
00:24:11We're going to see Lady Brogdon.
00:24:13I won't, if you don't mind.
00:24:15I've got rather a headache.
00:24:17Oh, my dear.
00:24:18Is it very bad?
00:24:19Well, fairly.
00:24:21Oh, in that case, you must sit there and keep quiet.
00:24:23Have a nice rest.
00:24:25Thank you, Auntie dear.
00:24:27How are your husband and spouse, one, my dear?
00:24:30Do you know, I feel as young as hell.
00:24:32And as attractive.
00:24:33Really?
00:24:34Of course, when I was her age, I was quite a bell.
00:24:37But marriage never appealed to me.
00:24:40Those young men used to hum around like bees around a honeypot.
00:24:43It was too sad, really.
00:24:45You see, when I think of those young men, how foolish they seemed.
00:24:50How beautifully, romantically foolish.
00:24:52They used to vow that if they couldn't get me, they'd need a night for bachelorhood.
00:24:57Tell me, Mrs. Merton, don't you think a bachelor's life is too pathetic?
00:25:02I guess it has its compensation.
00:25:04Yes, but a bachelor is so selfish, he keeps everything to himself.
00:25:07Oh!
00:25:08Oh!
00:25:09Oh!
00:25:11Oh!
00:25:13Madame, my chop, if you don't mind.
00:25:15Oh, how revolting.
00:25:17Not at all.
00:25:17It's just a little underdone.
00:25:19I can assure you, Madame, the whole thing was an accident.
00:25:23Surely that face is familiar to me.
00:25:27What face?
00:25:28Your face.
00:25:29It's the only one I've got.
00:25:30I've seen it somewhere.
00:25:31I feel it.
00:25:32I know it.
00:25:34Yes, of course.
00:25:35It's major gore.
00:25:36You have the advantage of me, Mr.
00:25:38Mr.
00:25:39Miss Brent.
00:25:40Great Scott.
00:25:42Miss Brent.
00:25:42So it is.
00:25:45Ages since I saw you.
00:25:46Ages.
00:25:47Oh, come, Major.
00:25:48It's not so very long ago.
00:25:49Since the war.
00:25:51Which war?
00:25:53Look at the same.
00:25:54Just a big tease.
00:25:57Oh, well, you know Mrs. Merton, of course.
00:25:59Mrs. Carey Merton.
00:26:01Oh, of course.
00:26:02How do you do?
00:26:03I'm very well, thank you, Major.
00:26:04Nice to see you again.
00:26:06I'm sorry about the chop.
00:26:08Well, I think if you don't mind, I'll just stay and chat with the Major.
00:26:11Certainly.
00:26:12I'll go and see if I can find Lady Brogdon.
00:26:14Will you sit down?
00:26:19Oh, I will, thanks.
00:26:21Don't mention it.
00:26:22And what have the earth been doing to you, Major?
00:26:25What have the what been doing to whom?
00:26:27I mean, what has fate brought you?
00:26:30A very tough chop.
00:26:31Oh, we seem to have that in common.
00:26:35Good job, it wasn't Irish stew.
00:26:36Oh, dearly.
00:26:40Tell me, is there a Mrs. Major call?
00:26:43Not that I'm aware of.
00:26:45Oh, but surely you're not a bachelor.
00:26:47Surely I am.
00:26:48Oh, remarkable.
00:26:50And how have you escaped the bonds of matrimony all these years?
00:26:53Oh, I think I was born under a lucky star.
00:26:57You've travelled a great deal, no doubt.
00:26:59Oh, yes, keep moving a bit.
00:27:01Still, even the noblest gets caught, don't I?
00:27:06And do you live down here all alone?
00:27:09Yes.
00:27:10Oh, but Major, surely you haven't gone through all these years
00:27:14without meeting someone who has looked into your eyes
00:27:17and read all your secrets,
00:27:19who has taken count of every little unconsidered trifle,
00:27:23and who has surprised you by valuing you at your true work.
00:27:28Haven't you met such a person?
00:27:31Yes, once.
00:27:33Tell me, who was it?
00:27:35The income tax collector.
00:27:38Oh.
00:27:38You say she's young and attractive?
00:27:44Yes.
00:27:45And Carey's impressed?
00:27:46Obviously.
00:27:47Well, what are you going to do about it?
00:27:50I don't know.
00:27:51I could ask her to leave.
00:27:53I suppose most women would do that,
00:27:54and most women would be wrong.
00:27:56Yes, that's it.
00:27:57I'm afraid of doing the wrong thing.
00:27:59I know, my dear.
00:27:59But it's so easy for a wife to do the wrong thing
00:28:01when she's afraid of losing her husband.
00:28:03She's so vivid.
00:28:05I feel helpless.
00:28:06Oh, now, my dear, don't be frightened.
00:28:09I'll tell you how to play your cards.
00:28:12This girl's staying on for the dance.
00:28:13Oh, yes.
00:28:14I don't know when she's leaving.
00:28:16Well, we'll see what can be done.
00:28:17Meanwhile, I'd rather like to meet this modern vampire.
00:28:21She's thrown up to the bungalow with me.
00:28:22Carey's there.
00:28:23Says she's sure not to be very far away.
00:28:25Come along, then.
00:28:26Of course not.
00:28:26I'm delighted to have you.
00:28:27If I'm putting you off your work,
00:28:28I can go back to the garden and read.
00:28:30You'll do nothing of a kind.
00:28:31In any case, life needn't be all work needed.
00:28:34You're awfully kind and understanding to me.
00:28:36You know perfectly well that this is one of those times
00:28:38when I hate being alone.
00:28:39It isn't good for anyone to be alone too much.
00:28:42It's human to want companionship.
00:28:44I've never had much companionship.
00:28:46No one understands me.
00:28:49You're lonely, too, aren't you?
00:28:51I?
00:28:53Oh, I don't know.
00:28:53I feel you are.
00:28:55I know you are.
00:28:56You show it in your books.
00:28:57You're seeking something.
00:29:01I feel you're terribly alone in your soul.
00:29:04You know you're the most amazing child.
00:29:07You seem to know a lot about life.
00:29:09Only because I've read your books.
00:29:10Have my books given you this insight into life?
00:29:13Yes.
00:29:14Then for once I can believe in my own success.
00:29:17Oh, I love your books.
00:29:18They're all I've ever really loved.
00:29:20Except...
00:29:21Mm-hmm.
00:29:22...their author.
00:29:24You silly little thing.
00:29:25You mustn't say things like that.
00:29:26Oh, but I must.
00:29:27I feel our lives have touched
00:29:28and that you've always influenced me, Carrie.
00:29:30Carrie?
00:29:31Yes, Carrie.
00:29:32I've known you for years.
00:29:33I've always known you.
00:29:35We belong to each other.
00:29:38My dear child, you mustn't...
00:29:40Very.
00:29:40Very.
00:29:48Oh.
00:29:54Oh.
00:29:54Come along.
00:29:58Oh, but my dear.
00:29:59Don't be foolish.
00:30:00It's just what we need.
00:30:01Oh, but I didn't bargain for that.
00:30:02Everything we want.
00:30:04Excuse me, sir.
00:30:05The dancing master is ready for you, sir.
00:30:07Oh, good.
00:30:08Tell him I'm coming along at once.
00:30:10Yes, sir.
00:30:11Oh, are you taking dancing lessons?
00:30:13Oh, I'm pretty good already.
00:30:14I just have a little polishing up for the costume affair that's taking place here.
00:30:18Just a few of the finer points.
00:30:19Oh, how delightful.
00:30:20I never dreamed you were a dancing man.
00:30:22Oh, it comes naturally to me.
00:30:23You always did.
00:30:24Well, of course I can watch.
00:30:27Certainly.
00:30:27I think I could do with a little polishing, too.
00:30:32Well, madam, I'll take you at 3 p.m.
00:30:34Thank you, Professor.
00:30:36I shall be charmed.
00:30:37Charmed.
00:30:39There we are.
00:30:40I'll take you.
00:30:41Good afternoon, Major.
00:30:42Good afternoon.
00:30:43Professor Hotspur from Tuttle.
00:30:45Miss Brent.
00:30:46How do you do?
00:30:47Charmed, charmed.
00:30:48Professor, do you think you can squeeze me in?
00:30:51Madam, I'm not a corsetur.
00:30:52Oh, no, I meant, could you give me a dancing lesson?
00:30:56Why, switch on after I've finished with a major.
00:30:58Would you care to sit down?
00:30:59Just for a moment.
00:31:00Now, Major, are you ready?
00:31:02Yes, I'm bursting to start.
00:31:03Right, well, now we start with the waltz.
00:31:05It's quite light now.
00:31:07It's quite simple.
00:31:07It goes one, two, three.
00:31:10One, two, three.
00:31:12Now, keep your underchest in, please.
00:31:13I see.
00:31:14One, two, three now.
00:31:16One, two, three.
00:31:18One, two, three.
00:31:19Now, one, two, three.
00:31:21Keep your feet flat on the floor and well planted.
00:31:24Oh, sorry.
00:31:25Oh, oh.
00:31:26Was I stepping at the right time?
00:31:28Yes, but in the wrong place.
00:31:29A technical error.
00:31:30Let me see if I can do it again.
00:31:32No, no, may I suggest you have your lady partner now.
00:31:35Lady partner, please, please.
00:31:37It's all right, now, don't worry.
00:31:43No, no, no, it's the wrong position.
00:31:45Oh, it's certainly quite all right.
00:31:48Now, that's better.
00:31:49Now, action.
00:31:51On the beat.
00:31:52One, two, three now.
00:31:53One, two, three.
00:31:55Three, two, one.
00:31:57One, two, three.
00:31:58Round.
00:32:00Round.
00:32:01Oh, there's one.
00:32:02Round.
00:32:03Now, one, two, three.
00:32:04Little pasta.
00:32:05One, two, three.
00:32:06Three, two, one.
00:32:07One, two, three.
00:32:08Three, two, one.
00:32:09One, two.
00:32:09Oh, Peter.
00:32:11Oh, Peter.
00:32:13I assure you, madam,
00:32:15the whole thing was an accident.
00:33:17I know what it is. Do you think I'm a fool?
00:33:21Yes, sir.
00:33:21What?
00:33:22It's a sabre, sir.
00:33:23It is, but it's a sword.
00:33:25Well, you just said it was a sabre, sir.
00:33:27No, I don't want any more of it.
00:33:28If you keep your tongue still for five minutes, get me out of this.
00:33:30Yes, sir.
00:33:31And I'll give you a level of ten minutes.
00:33:32Oh, thank you, sir.
00:33:33Look out.
00:33:34Oh, now, it's round here, sir.
00:33:37Mind my fingers.
00:33:38Oh, look.
00:33:40Put this in here.
00:33:40What do you want?
00:33:41All in wrestling?
00:33:42Now, put that in there, sir.
00:33:44If you just take a...
00:33:44Don't you be just a sword, sir.
00:33:46Oh!
00:33:47Sir.
00:33:51Pardon me.
00:33:51I think I can help you.
00:33:53Just a minute.
00:33:54Take this out first, you see.
00:33:55Hold that for me.
00:33:56All right.
00:33:58Take this out.
00:34:00So.
00:34:01Oh, it's a bit tight, isn't it?
00:34:02That's right.
00:34:03Hold it close.
00:34:04That's the trouble, sir.
00:34:05You're cutlass.
00:34:08Cutlass.
00:34:10Here you are, you see, sir.
00:34:11It's a cutlass.
00:34:13Oh!
00:34:15Cutlass.
00:34:19Oh.
00:34:21Cutlass.
00:34:22Yes, that's right.
00:34:24It's a sword.
00:34:25Why, so it is.
00:34:26I beg your pardon.
00:34:28Silly affairs, these, don't you think?
00:34:30Oh, I don't know.
00:34:31I rather like fancy-dressed dancers.
00:34:33Oh, it's not a rude question.
00:34:35What are you supposed to be?
00:34:37Romeo.
00:34:38Oh, Romeo.
00:34:39I'm Napoleon.
00:34:41Come along.
00:34:42Have a great day.
00:34:43Well, as a matter of fact, I'm expecting to meet someone here.
00:34:45Juliet?
00:34:46Well, yes, Juliet.
00:34:47There you go, darling.
00:34:48Who is the lady?
00:34:49I may have seen her.
00:34:49Miss Brent.
00:34:51Miss Brent?
00:34:53God, you know Miss Brent.
00:34:54Very well indeed, you.
00:34:55I could write volumes about Miss Brent.
00:34:58Live it.
00:34:59Have you seen her here this evening?
00:35:00No, and I don't want to.
00:35:02Don't you like her?
00:35:03I'm not very fond of women.
00:35:06They bore me to tears.
00:35:08You're rather hard on the fair thing.
00:35:10Well, I have to be.
00:35:10You see, my family was susceptible to two things.
00:35:13Mumps and marriage.
00:35:15I've met mumps.
00:35:15That's enough for me.
00:35:17Well, you're the first real woman hey, but I've met.
00:35:19There's not a woman breathing I'd walk two yards to see.
00:35:22Good evening, my dear.
00:35:32May I assist you?
00:35:33Yes, I'm having trouble with my rapier.
00:35:37That's a saber.
00:35:38Oh, I beg your pardon.
00:35:39I thought it was a sword.
00:35:41That's a pretty costume you nearly have on.
00:35:43For a woman, Hayter, you're not so bad.
00:35:48Well, I'm not quite myself today.
00:35:49I'm Napoleon and living the farm.
00:35:52Oh, get away.
00:35:52I'd like to see the woman you'd run away from.
00:35:54There's your Juliet.
00:35:59That?
00:36:00That's her aunt.
00:36:01If she wants me, I'm away.
00:36:05Last Mr. Sola, please.
00:36:09There you are, Major.
00:36:14Did you see me?
00:36:17I didn't recognize you in that nightgown.
00:36:20Oh, tunic, Major, please.
00:36:22It's a Greek tunic.
00:36:23And Diana the Huntress.
00:36:25I think it's becoming.
00:36:26Becoming what?
00:36:27Oh, now you're teasing me.
00:36:30But I know what you are.
00:36:31Now, don't tell me.
00:36:32You're Lord.
00:36:34However did you guess?
00:36:36That's my big, madress dagger you've got on.
00:36:38Oh, don't let it go for anything.
00:36:40I almost wish it would.
00:36:42Oh, the orchestra.
00:36:43Oh, my feet are itching.
00:36:45Well, why don't you scratch them?
00:36:47Can't you, darling?
00:36:49Yes, we can't.
00:36:50Come along with me now.
00:36:52We'll have a good drink.
00:36:53What will you take?
00:36:54Oh, dearly, I hardly know.
00:36:56See, it's just my birthday.
00:36:57We'll have a loud whiskey and soda.
00:36:59It will be.
00:37:00Two loud whiskey and soda, sweet.
00:37:02Hello, my dear brother.
00:37:04Oh, round that dear boy.
00:37:05Do you know Major Gaw?
00:37:06Oh, yes, quite well.
00:37:07He's been looking for you all the evening.
00:37:10Oh, no, really?
00:37:12Yes.
00:37:13That's good for your handlebars.
00:37:15That will make your hair curl.
00:37:17Oh, a permanent weight.
00:37:19Where, then?
00:37:19Well, really, I know she'll be here to shop for her, oui.
00:37:24But she'll now go still with me.
00:37:27I see.
00:37:27Oh, friend.
00:37:42Oh, a carnival frosting?
00:37:43May I come in?
00:37:54Certainly.
00:38:03Hello, my dear.
00:38:04Would you write the part of my back for me?
00:38:06Well, I've been terribly worried.
00:38:10There's something I must tell you, and yet I don't know how.
00:38:12It's about Carrie and me.
00:38:14Perhaps you'd better tell me.
00:38:16Even if it is difficult.
00:38:17Very well, I will.
00:38:19We're in love.
00:38:22I gathered something of the sort had occurred.
00:38:24Don't hate me too much, please.
00:38:26I couldn't bear a scene.
00:38:28I wondered if it would have been better not to have let you know.
00:38:30But that would have been so cheap.
00:38:32And I don't want there to be anything cheap about my first affair.
00:38:35I don't quite know what to say to you, Anne.
00:38:37I must admit it's rather an unusual situation.
00:38:40Well, I know, but isn't it better that you should know the truth?
00:38:43Yes, yes, of course.
00:38:44I admire your courage in telling me.
00:38:48It's horrible of you.
00:38:51Carrie.
00:38:52How does he feel about the whole thing?
00:38:54He loves me too.
00:38:56Deeply, sincerely.
00:38:57I know it.
00:38:58What woman wouldn't?
00:38:59Does he know I was to be informed?
00:39:01No.
00:39:02I thought it better not to mention it to him.
00:39:03You know what he's like.
00:39:05So kind and chivalrous.
00:39:07He'd hate to think he was hurting you.
00:39:09Yes.
00:39:10Carrie would hate that.
00:39:12So please don't go to him and say, I've told you.
00:39:14It'd upset him dreadfully.
00:39:16Really, it wouldn't do any good, would it?
00:39:18Not at all.
00:39:20It had to be.
00:39:20Well, it's as well to face it sensibly.
00:39:23Really?
00:39:23Do I understand?
00:39:24My dear.
00:39:25I'm a woman of the world, in spite of being a trifle doll by matrimony.
00:39:30Now, obviously, the thing for me to do is to divorce Carrie.
00:39:34So he should marry you.
00:39:35You'd like that, wouldn't you?
00:39:37Oh, good heaven, no.
00:39:38I don't want to marry him.
00:39:40I don't think he's the marrying type at all.
00:39:42Oh, I see.
00:39:45You just want to borrow him?
00:39:47Yes, I suppose you could put it like that.
00:39:49But this is love, Margot.
00:39:50One can't confuse it with the bargain one calls marriage.
00:39:53We can't stop it coming, and we cannot say when it will go.
00:39:55In the meantime, however, I should have to make some arrangements for myself.
00:40:00I mean, I should be terribly in your way if I stayed here.
00:40:03Would you stay here?
00:40:05Oh, my dear child.
00:40:06That's unthinkable.
00:40:08But if Carrie and I both asked you...
00:40:10Oh, that's what I hate about this.
00:40:12The fact that I may be breaking up your home.
00:40:15It was kind of you to think about that.
00:40:17I appreciate it.
00:40:19Then you will stay.
00:40:21I'll think it over.
00:40:23But why can't you?
00:40:24You've read Carrie's books, and you believe in them.
00:40:26Well, you must think the same way as we do.
00:40:28Why, of course.
00:40:29But you can't be married to a man like Carrie and not understand.
00:40:32Wouldn't it be a little inconvenient for us all to share the same house?
00:40:34I mean, our relative positions might be confusing to the tradesfolk.
00:40:39There is that.
00:40:40I hadn't really looked at it in that light.
00:40:42Oh, it's a pity.
00:40:43Because you're such a good housekeeper, and you know how to make us comfortable.
00:40:46There are drawbacks, dear.
00:40:49You'll have to face them.
00:40:51Scandal, for instance.
00:40:53Oh, but aren't we above that sort of thing?
00:40:56Perhaps.
00:40:57But do you think a man really likes to have his first wife with him on his second honeymoon?
00:41:00Oh, but Carrie is so broad-minded.
00:41:04I know.
00:41:06If only you and he could be somewhere else.
00:41:08Not here.
00:41:10But that would mean leaving you behind all alone.
00:41:12It would be awfully dull for you.
00:41:14It is difficult.
00:41:17Oh, my dear.
00:41:19Why not let me think it over?
00:41:20It's an important step for all of us.
00:41:22All right.
00:41:23We'll agree to whatever's best for you.
00:41:24And, Margot, do you think it would help if you read Fires of Impulse again?
00:41:28Why?
00:41:28Well, you remember, in spite of what happened, the two women were always friendly.
00:41:33Naturally.
00:41:35That's the only way.
00:41:36Oh, darling.
00:41:37Thank heavens you're modern.
00:41:39Oh, my dear child.
00:41:41You love, Miss.
00:41:43Yes, oh, Miss.
00:41:45What are those plates down your boots, Major, dear?
00:41:49Oh, they're spurs.
00:41:51Oh, they're very silly.
00:41:53What do they do?
00:41:55They don't do anything.
00:41:56Then why do they do it?
00:41:58Oh, they're used to help the horse.
00:42:02Oh, I see.
00:42:03Then if you have a short horse, you can lift your heels round those dear little wheels and, of course, help the horse.
00:42:12That's true.
00:42:13Yes.
00:42:14And terribly late.
00:42:16Is it coming?
00:42:16Why don't you go and call for her?
00:42:20That's a good idea.
00:42:21I will.
00:42:22Oh, thank me.
00:42:24It's a good one.
00:42:27Are you sure he's got the scotch?
00:42:29Oh, thank you.
00:42:42Margot.
00:42:47How do you like it?
00:42:48Well, where's the rest of it?
00:42:49Where's all there is?
00:42:50It's a new design.
00:42:52Who designed it?
00:42:53You're one of the latest young men.
00:42:56Must be, must have run short of ink.
00:42:59Don't worry about it.
00:43:01Don't need to take your mind off your work.
00:43:04No doubt you're writing about the freedom of the individual.
00:43:07As a matter of fact, I am.
00:43:09Then, in principle, you ought to approve of this costume.
00:43:12It represents freedom.
00:43:15You must admit, you're very individual.
00:43:18Well, it's not like you.
00:43:20How do you know?
00:43:22It may be me.
00:43:28Why, Carrie, aren't you coming?
00:43:30No, I'm afraid the muse is working tonight.
00:43:32Come along, dear.
00:43:33We're terrible ladies it is.
00:43:35Very well.
00:43:37Do you like my costume?
00:43:37I think it's perfectly charming.
00:43:40Sweet and pretty, it's simple.
00:43:42I envy your dance partner.
00:43:43Well, if you should change your mind,
00:43:45we could easily make up a costume for you.
00:43:46A little cheeks and a face top.
00:43:48You'd be a marvelous chic.
00:43:51Well, I'm afraid you must excuse me.
00:43:53I feel that I shall do some of my best work tonight.
00:43:58Inspired?
00:44:00Definitely.
00:44:02Well, we'll leave you then.
00:44:03Come along, Anne.
00:44:07Hello, Anne.
00:44:10Hello, Brian.
00:44:11I didn't expect you.
00:44:12I sort of made up my mind at the last minute.
00:44:14I couldn't stay away.
00:44:14You might have let me know.
00:44:16I like your costume, Brian.
00:44:17It suits you.
00:44:17In your suit, you.
00:44:18Why not?
00:44:26Hello, Tommy.
00:44:27Who are you supposed to be?
00:44:29Why can't you guess?
00:44:29Well, come along, dear.
00:44:30Nellville Gideon's going to give us a song.
00:44:32Come along.
00:44:33Want to hear him?
00:44:34Oh, yes.
00:44:37Excuse me while I do a little pony.
00:44:38What's up?
00:44:39A pony word?
00:44:40A quick one, old boy.
00:44:41Hello, Anne.
00:44:50Hello, Mel.
00:44:56I've heard about love
00:44:59And what it does to the heart
00:45:02I've lived without love
00:45:05Never studied its art
00:45:07But I'll confide
00:45:11In you
00:45:13I'll know just what to do
00:45:20When love comes my way
00:45:27I shall make it stay
00:45:31It will discover in me
00:45:37An ardent lover in me
00:45:42I know I shall dwell
00:45:46Deep within its spell
00:45:50My heart's beating
00:45:53For that happy day
00:45:58When love comes my way
00:46:08Nice sentiment in that song, eh, dear?
00:46:16Oh, it's pretty, but a bit old-fashioned.
00:46:18Oh, my dear, love is never old-fashioned.
00:46:21That depends on the lover.
00:46:23Oh, you're one of those modern girls.
00:46:25Perhaps you'd like it better this way.
00:46:27When love comes my way
00:46:35I will shout hooray
00:46:39I've been so childishly meek
00:46:44Now I will show my technique
00:46:48I know I'll upset
00:46:51Each blonde and brunette
00:46:55Not one girl
00:46:57Will dare to tell me no
00:47:01When love comes my way
00:47:07That's bitter!
00:47:10Oh, dear, baby, you ain't heard nothing yet.
00:47:12Listen to this one.
00:47:13When love comes my way
00:47:21I will shout hey, hey
00:47:25I'm just the fella for you
00:47:29I beat my girls black and blue
00:47:33I'll go out each night
00:47:36I'll get myself tight
00:47:40Nice young ladies
00:47:43Better keep away
00:47:45When love comes my way
00:47:52Oh, you must tell me what to do, Lady Brogan.
00:48:02I'm quite beyond thinking for myself.
00:48:04Where's Katie now?
00:48:06At home, working.
00:48:08She's like a factory in full blast
00:48:10Turning out more munitions
00:48:11For his war on convention.
00:48:12Send her to him.
00:48:15Well, no, you've got to take a chance.
00:48:16Now do as I tell you.
00:48:22Brian, you're dancing marvellous.
00:48:26I'm glad there's something about me you like.
00:48:31Is there anything you like about me?
00:48:34Yes.
00:48:36Two things.
00:48:37Oh, what?
00:48:40My arms.
00:48:43Oh, Brian, behave yourself.
00:48:44You're dancing.
00:48:45You're dancing.
00:48:45You're dancing.
00:48:58You know I am.
00:48:59There'll never be anyone else.
00:49:01Oh, don't be silly.
00:49:02You'll meet heaps of others.
00:49:05Perhaps.
00:49:05I shall wait for you forever.
00:49:10That's what you think now.
00:49:12In the years time, I shall be sending you a wedding present.
00:49:15Just because you're that kind of an idiot.
00:49:18It will be our wedding.
00:49:20No, it won't.
00:49:20I can't believe you mean it.
00:49:33Yes, I do.
00:49:35Something much greater has come into my life, Brian.
00:49:37You know what I mean.
00:49:39It's only in situations.
00:49:41No, I think it's been great for life.
00:49:43Well, let's go outside.
00:49:44This place is tight for me.
00:49:46I must talk to you, Anne.
00:49:48You don't know what she's doing to it.
00:49:50All right.
00:49:51Poor old darling.
00:49:53Does it hurt, Terri?
00:49:55You know the answer to that too.
00:50:06Oh, Brian, dear, and get me a glass of water.
00:50:10I've been thinking over about what you said.
00:50:12About you and Carrie.
00:50:13I think you're quite right.
00:50:14Oh, Margot, do you really?
00:50:16Yes, you can give him so much inspiration.
00:50:17Such a fresh arsehole.
00:50:19Oh, it's wonderful of you to look at it like that.
00:50:20You should go to him.
00:50:21He's all alone.
00:50:23He needs you.
00:50:24I know.
00:50:25You won't be disturbed.
00:50:26I told Carrie I would be late.
00:50:27You're a darling, Margot.
00:50:34I'll be a hero and finish this dance with me.
00:50:36I adore this tune.
00:50:38Yes, do, Brian.
00:50:39Pleasure.
00:50:40There's one thing about Brian.
00:50:41He dances it by me.
00:50:42He's more than you can save a Carrie.
00:50:43He's impossible.
00:50:59What the...
00:51:00Blazes.
00:51:01What are you...
00:51:02Why do you look at what you're doing?
00:51:03I haven't got eyes at the back of my head.
00:51:05You didn't hit me in the back of the head.
00:51:06You hit me on the...
00:51:07Why don't you look after your rotten sword?
00:51:08This isn't a sword, it's a saber.
00:51:10I don't care whether it's a nail file.
00:51:12Keep it to yourself.
00:51:13Well, you look after yourself.
00:51:14No, I want none of your cheek, understand?
00:51:16Why, you keep yourself away from me.
00:51:19You?
00:51:19You don't have to wear the rotten thing.
00:51:21That's your trouble.
00:51:22You've never carried a sword in your life.
00:51:25I doubt if you've even been a boy scout.
00:51:28What are you, anyway?
00:51:29I am the Duke of Wellington.
00:51:32Who are you?
00:51:34I am Napoleon.
00:51:36Oh, Napoleon, eh?
00:51:38I think we've met before.
00:51:42Really well.
00:51:43What a new.
00:51:45Are you sure it wasn't Charing Cross?
00:51:47Yes, I beg your pardon.
00:51:51Granted.
00:51:53I, I beg you.
00:51:56Gentlemen, control your simiters.
00:51:58Oh, oh, oh, dear.
00:52:02Thanks very much, Brian.
00:52:04That was sporting of you.
00:52:05But you danced beautifully.
00:52:06No, that's enough.
00:52:07Remember, I'm an old married woman.
00:52:09Not old.
00:52:10And not so very married at the moment.
00:52:11Eh, Brian?
00:52:12What a mess it is, isn't it?
00:52:13As you say, what a mess.
00:52:15Where's Anne?
00:52:16Oh, she's gone along to the bungalow.
00:52:18The bungalow?
00:52:35Anne.
00:52:37I couldn't stay there and think of you here alone.
00:52:40I had to come to you.
00:52:41It all seemed part of us.
00:52:42The music, the colours and the lights.
00:52:44It went to my brain.
00:52:46I grew restless and impatient.
00:52:47You know what rhythm does to one.
00:52:49It sort of intoxicates.
00:52:50If you had been there, it would have been so different.
00:52:53So wonderful.
00:52:58And now the night is all about us.
00:53:00And we're alone, together.
00:53:02Anne, Anne, behave yourself.
00:53:03But what can we do?
00:53:09Do you find her so very unattractive?
00:53:14Ah, Jove, no.
00:53:15Well, and you, you know you are not so bad yourself.
00:53:18Now, why don't you two get together and do a bit of flirting?
00:53:20Lady Broughty.
00:53:21Oh, mean it.
00:53:22One or even both of them may come back.
00:53:24Well, let them catch you.
00:53:27Or even better, send Carrie a note.
00:53:29A note?
00:53:30Tell him to go right ahead with Anne.
00:53:32Acting on his own series, you found a new and violent passion of your own.
00:53:36It's a grand idea.
00:53:37Let's do it.
00:53:37I'm game if you are.
00:53:38Well, quick into the writing room.
00:53:40No time to waste.
00:53:41Ah, there you are, dear.
00:53:43They're just starting the contest.
00:53:44Oh, go ahead.
00:53:44I think they want us to just surprise you for some of them.
00:53:52Two large whiskies and sodas, spit.
00:53:57Twins?
00:53:59There's only one.
00:54:00Those Scottish splits are very, sir.
00:54:18I beg your pardon.
00:54:20What are you trucking at?
00:54:21I've got...
00:54:22You've got hiccups.
00:54:24That's what I've said.
00:54:26I say, bartender, this lady's got hiccups.
00:54:29What shall I do?
00:54:29Hold her breath and count nine.
00:54:32How can I hold her breath, stupid ass?
00:54:35Don't do it.
00:54:36I can't help it.
00:54:37Don't help it.
00:54:38Stop it.
00:54:39I can't do that either.
00:54:41Well, stand on your head for half an hour.
00:54:42Oh, shame.
00:54:45Hiccups, sir?
00:54:45No, thank you.
00:54:47You're doing your brethren, idiot.
00:54:49It's always a good cure for hiccups, sir.
00:54:51Oh, that's jolly good.
00:54:55Very clever.
00:54:56Here you are.
00:54:56It's half a crack.
00:54:57Go buy yourself a yacht.
00:54:59I see.
00:55:00A sudden shock and the hiccups are cured.
00:55:04I beg your pardon?
00:55:07Hiccups.
00:55:09Yes.
00:55:09Yes, I know.
00:55:10I've had them myself.
00:55:12But no more.
00:55:12Not me.
00:55:13No.
00:55:14No, I've found the perfect cure.
00:55:16No.
00:55:17Yes.
00:55:18And what's more, I'll cure you of your hiccups, fair lady.
00:55:21Oh, thank you very much.
00:55:23Oh, don't mention it.
00:55:24I cure my friends and they cure their friends.
00:55:26And the time I finish, there won't be a hiccup left.
00:55:28Oh, wonderful.
00:55:31What do I do?
00:55:32Oh, no, no, no.
00:55:32Trust in me.
00:55:34Now, guess how many of you give me a glass?
00:55:36An empty glass.
00:55:37Thank you very much.
00:55:38Now, now, I put this glass on the floor.
00:55:41Now, you bend down and look at that glass for ten minutes and your hiccups will be cured.
00:55:46Now, it's wonderful how quickly the cure works and it is permanent till this lady will never have hiccups again.
00:56:00Hiccups.
00:56:02I can tell you a perfect cure for those, Miss Brent.
00:56:04Oh, do tell me.
00:56:06Pick out the man you really love.
00:56:08No, no, really love.
00:56:10Tell him to put his arms round your neck.
00:56:12Hold your breath while he gives you a long, long kiss.
00:56:16Oh, no.
00:56:36Is that for me, madam?
00:56:37Yes.
00:56:37Will you take this note up to Mr. Merton at the bungalow at once, please?
00:56:39Yes, madam.
00:56:40Give me that note.
00:56:40I'll take it.
00:56:42Oh, major, why should you?
00:56:43At this moment, I want to make myself scarce.
00:56:46I walk to China on foot.
00:56:50Oh, marvel.
00:56:51Have you seen the major?
00:56:53Yes, he's gone to China.
00:56:54China?
00:56:55Oh, don't tease O'Brien.
00:56:56He's gone to the bungalow.
00:56:57Oh, thank you.
00:56:58The bungalow.
00:56:59Now, you'll find him.
00:57:02Oh, Brian, I hope this works.
00:57:04It'll be wonderful for both of us.
00:57:05I'm sure it will.
00:57:07Oh, pardon me.
00:57:08Have you seen the lady that fell off the end of this?
00:57:11Fell off the end of it?
00:57:13Yes, right in the middle.
00:57:14Oil.
00:57:15Oil.
00:57:18Huh.
00:57:19At six points.
00:57:21Ha-ha.
00:57:21Hooray, I'm rich.
00:57:23Ha-ha-ha.
00:57:23Hooray, hooray.
00:57:24Terry, please stop writing for a moment.
00:57:34My dear child, don't you see I'm working?
00:57:36I know.
00:57:37Can't we forget that for a while?
00:57:39Just think of each other.
00:57:40Can't we forget there's such a thing as work?
00:57:43Love never calls by appointment, you know.
00:57:45I say, that's a line.
00:57:47And it fits.
00:57:48Excuse me a moment.
00:57:53Oh, why do I keep on breaking the points of my pencil?
00:57:56Ow.
00:57:56Terry, I've come here to you so that we could have this time together without interruption.
00:58:01Don't you understand, dear?
00:58:02We must discuss the future.
00:58:04Future?
00:58:05We're going to travel the same road together.
00:58:08Hand in hand.
00:58:09Two free souls.
00:58:11Pausing for a while to meet.
00:58:13And kiss.
00:58:14I say, that's splendid.
00:58:16Why, we'll have you writing stories soon.
00:58:19To meet and kiss.
00:58:24Is there anything in your life but writing?
00:58:27What do you mean?
00:58:27I have my house, my wife.
00:58:29Your wife?
00:58:31Oh, but what about me?
00:58:32I don't understand.
00:58:33Oh, but you must.
00:58:34I've thrown over everything for you.
00:58:36I've burned my boots.
00:58:37I can't go back now.
00:58:39You took me in your arms.
00:58:40Terry, you know I love you.
00:58:42I'd do anything for you.
00:58:44I've torn my life out by the roots just to give to you.
00:58:47My poor child, you don't know what you're saying.
00:58:49But it's all been so plain.
00:58:51You were inspired the moment we met.
00:58:53Your life here was unbearably dull.
00:58:55You showed that in your every movement you were longing for life, for love.
00:58:58Everything that life was denying you.
00:59:00I felt your love come to me from the very first.
00:59:03Terry, you must love me.
00:59:05You must.
00:59:05I should die of shame.
00:59:07But you're just a child.
00:59:08You don't know what you're saying.
00:59:10I was supposing my wife was to hear.
00:59:12Oh, don't worry about Margot.
00:59:13She understands.
00:59:14You mean you've told her?
00:59:15Everything.
00:59:18But there's nothing to tell.
00:59:20Yes, there is.
00:59:21We love each other.
00:59:22And she knows it.
00:59:23Oh, my poor Margot.
00:59:24But Terry, darling.
00:59:25She's glad.
00:59:26But you must be mere to suggest such a thing.
00:59:28Why, Margot's the last woman in the world
00:59:31accounting in such an imponderable and revoking way.
00:59:33But, Terry, your book's on marriage.
00:59:35You'll hear it.
00:59:37Don't tell me it's all a lie.
00:59:38Anne, Anne, you're so impressionable, so literal,
00:59:40you take too much for granted.
00:59:42You're frightened.
00:59:42Even you're afraid of convention.
00:59:44But it shan't beat us.
00:59:45I won't be parted from you.
00:59:46I will get you.
00:59:47Why, I couldn't bear to see the laughter in Margot's eyes.
00:59:51Hey, hey, hey.
00:59:54Watch this.
00:59:56Dearest Carrie,
01:00:00I know you will be the first to congratulate me.
01:00:03Brian and I have reached a perfect understanding and a...
01:00:06Margot!
01:00:07Here, you look after this child.
01:00:11You nasty old man!
01:00:17I assure you, madam,
01:00:18the whole thing was an accident.
01:00:20Here he comes.
01:00:26My job, it worked.
01:00:32Don't forget your part.
01:00:37Wise Merton.
01:00:38Oi, old Merton.
01:00:39Oi, old Merton.
01:00:40I'm in a hurry.
01:00:41Yes, sir, so am I.
01:00:42Let's go someplace and have one.
01:00:43You'll have to excuse me.
01:00:44I must be going.
01:00:45Oh, well, I can't really.
01:00:46No, it's impossible.
01:00:47Oh, nothing's impossible.
01:00:48Never say, Ty.
01:00:50I'll see you another time.
01:00:51Oh, no, Ty, Macdonald.
01:00:53Now, I want to tell you something, then.
01:00:55I'm going to see you.
01:00:56No, no, don't tell us over.
01:00:58I'm a bit tired.
01:00:59Yes, I've noticed it.
01:01:00Listen, now I'm tired.
01:01:02I want to tell you something.
01:01:03I've been the worst thing to say for years.
01:01:06So what is it?
01:01:06You're a novelist.
01:01:08And as a novelist, you're absolutely awful.
01:01:12Indeed?
01:01:13You're the most appalling type.
01:01:16But between you and me, old man,
01:01:18your books are unabotied.
01:01:20No other word for it.
01:01:22I'm beginning to think you're right.
01:01:33Lady Brogdon, have you seen Margot?
01:01:35Yes, I did see her a little while ago.
01:01:38And it was a very attractive young man.
01:01:48Stop.
01:01:52Mr. Martin.
01:01:53Allow me to present you with the cup
01:01:55for the most original costume.
01:01:58Oh, thank you.
01:01:58But I'm looking for my wife.
01:02:00I want my wife.
01:02:01Excuse me, ladies.
01:02:02I can't pay attention.
01:02:03I can't pay attention.
01:02:03I can't pay attention.
01:02:04I can't pay attention.
01:02:04I can't pay attention.
01:02:06I can't pay attention.
01:02:07I can't pay attention.
01:02:08I can't pay attention.
01:02:09I can't pay attention.
01:02:10I can't pay attention.
01:02:12Darling.
01:02:17Brian.
01:02:18What the blade is the meaning of this?
01:02:20Oh, Carrie.
01:02:21What the devil do you mean?
01:02:22Don't you know this is my wife?
01:02:23Quite.
01:02:23But if I remember rightly,
01:02:24the phrase goes,
01:02:25marriage should not make any difference
01:02:27to the freedom of the individual.
01:02:28Margot, you'd better come home at once.
01:02:29Oh, but this is all against your parents.
01:02:31I don't care.
01:02:31I'm going to hang about, Carrie,
01:02:32and I'm blessed if I stand by
01:02:33and see you mauled about
01:02:34by a little whippersnapper like that,
01:02:35actually kissing him.
01:02:36Mrs. Merton,
01:02:37you played a detestable trick.
01:02:38Why?
01:02:39You invited me to stay here
01:02:40and arranged everything
01:02:40so that you could catch Brian.
01:02:42But what's Brian got to do with you?
01:02:43He was going to marry me.
01:02:45I was, but I'm not now.
01:02:46Here I say.
01:02:47What?
01:02:47Tie myself down to one woman
01:02:48with all my youth before me?
01:02:50Oh.
01:02:50On the world full of women?
01:02:52It's all your fault.
01:02:53You don't know anything about life
01:02:55or you wouldn't write
01:02:55those silly novels.
01:02:56What?
01:02:56Yes, silly, stupid trash.
01:02:58Now you know.
01:02:59Look here, I...
01:03:00Oh, darling.
01:03:01Come on.
01:03:01I think we'll go home.
01:03:02Well, did you hear
01:03:03what she said about my novel?
01:03:04Yes, but never mind.
01:03:08That wasn't a very nice thing
01:03:09to say to your hero.
01:03:10How dare you kiss her like that?
01:03:12You know, Anne,
01:03:13he's a very important person
01:03:14and you oughtn't
01:03:15to have been rude to him.
01:03:16I'm right on top of you.
01:03:17You're telling me
01:03:17I was the only girl
01:03:18in the world for you.
01:03:19Just imagine what would happen
01:03:21if all those women in there
01:03:22knew that you'd insulted
01:03:23Carrie Merton.
01:03:24Heaven knows how far
01:03:25you'd have gone
01:03:25if her husband
01:03:26hadn't have caught you.
01:03:27I'll never write another
01:03:28of those dribbling novels
01:03:29as long as I live.
01:03:30Oh, yes, you will, darling.
01:03:31They make the ladies
01:03:32happy and they.
01:03:33Buy me pretty frocks.
01:03:34Well, if they're all
01:03:35as pretty as that one,
01:03:36I'll write a thousand novels.
01:03:38There's one thing, though.
01:03:39My next heroine
01:03:40will be a wife.
01:03:46Come on, darling.
01:03:47Come on.
01:03:48You, the man
01:03:49in your arms?
01:03:50I'm ashamed of you.
01:03:51We'll make you
01:03:51into your hiccups.
01:03:53Oh, fiddlesticks.
01:03:55The Carrie Merton,
01:03:56the man who understands women,
01:03:58the man who tells the truth
01:03:59about love and marriage.
01:04:00You'll be a nice person
01:04:01for a girl to marry.
01:04:02The author of fires of impulse,
01:04:04the smasher of conventions.
01:04:05Why, your wife
01:04:06couldn't trust you
01:04:06out of her sight.
01:04:07Love is the beckoning hand.
01:04:09Follow it wherever
01:04:10it may lead you
01:04:10and you'll probably meet
01:04:11the first man
01:04:12in your life at breakfast.
01:04:13Brian, stop, please.
01:04:15I know I've been a fool,
01:04:17but you needn't rub it in.
01:04:18But I'm only agreeing with you.
01:04:20Well, don't.
01:04:21I know you'll beat me.
01:04:22Very well, I will.
01:04:24Oh, no, no, no, no.
01:04:25Brian, don't.
01:04:26Don't.
01:04:27Marry me first.
01:04:28Oh, no, no, no, no, no.