The Chaperone

♪ ♪ CHAIRMAN: Ladies and gentlemen, Louise has recently been accepted to study dance in New York!

NORMA: She can't go without a chaperone.

I'd like to propose myself.

LOUISE: I think we're going to have a wonderful time.

NORMA: I know you're pretty and the boys like you, but I'm here to protect you.

(laughing) I have not said anything funny.

♪ ♪ I've come a long way to find my birth parents.

I want to know who I am.

You took such a risk.

JOSEPH: People can surprise you.

They certainly can.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (knocks on door) Louise, are you in there?

Can you open the door?

It's Norma Carlisle.

I know you never did anything I said 20 years ago, but I wish you'd open the door.

(ragtime music playing) My, my, they've put in quite an effort.

There's Lois and Jack.

Hello, Norma, Alan.

Lois.

Jack.

What are we doing here?

It's a good cause.

My corset's killing me.

Mm.

WOMAN: Where's Louise?

Getting ready-- she's first on.

I should go.

When does she leave for New York?

Tuesday, if she goes at all.

I thought it was all set.

So did I, but Leonard says she can't go without a chaperone, and I suppose she can't, but we haven't been able to find anyone.

Well, why don't you go?

Because I'm giving a talk in town next week, and a concert after that in Kansas City.

How could I?

It's a shame for her to miss the chance when she's so gifted.

You must be very proud.

I'm proud of her and she's proud of me.

Uh-oh, Leonard's glaring at me.

Martin, come on.

Can I watch from here, Mom?

No, you're coming with me.

Do I have to?

Yes, you have to.

"I'm proud of her and she's proud of me."

(laughs) MARTIN: Can I go home now?

CHAIRMAN: Ladies and gentlemen, in a moment, the program will begin.

Please take your seat.

(people talking in background) (ragtime music stops) Did I tell you Jack and I are joining the Klan?

What clan?

The Ku Klux Klan.

You can't be serious.

JACK: Why not?

You must have noticed what's been going on since the war.

What do you mean?

Laws, customs, morals-- everything's falling apart.

A decent woman can hardly walk down the street in broad daylight these days.

But the Klan?

Persecuting Negroes?

With wizards and bonfires and hoods with spooky eyeholes?

At least they're interested in standing up for purity.

Let's leave it for now, honey.

Hello, Alan.

Norma.

ALAN: Hello, Raymond.

You remember Miss Burton?

Oh, I remember Miss Burton.

Hello, Mrs.

Carlisle.

It's good of you to support this.

It's good of you.

CHAIRMAN: Ladies and gentlemen, tonight, we have a special treat.

You've all heard of Myra Brooks, the well-known Wichita pianist.

Well, this evening we have a double helping of talent, as she has generously consented to accompany her daughter Louise who has recently been accepted to study dance in New York!

Like thousands of others.

(audience applauds) (playing Robert Schumann's "Kinderszenen") (piece continues) (piece continues) (piece ends) (audience applauds) (band playing ragtime) You ready?

Yes, good to see you again.

Yes, yeah.

MYRA: I did not lose time!

LOUISE: Yes, Mother, whatever you say.

Just a moment.

LOUISE: Mother, I don't want to do this right now.

I just wanted to say well done.

I thought your performance was very exciting.

Exciting?

I assume you're not from Wichita.

Oh, no, I am, I am.

A woman from Wichita who believes in modern dance?

I may need a chair, Mrs.... Carlisle.

This is my husband, Mr.

Carlisle.

Yes, he would be.

I was just wondering, what you were saying earlier about looking for a chaperone to accompany your daughter to New York?

Yes?

Well, I'd like to propose myself.

ALAN: Honey, don't you think... I would, I'd like to go.

ALAN: Norma, dear... Here's my card.

You come and see us tomorrow.

Please come.

(band continues) (exhales)   (crickets chirping) Thank... (snapping) ...God!

(sighs) Don't you think we might have talked about it first?

Why?

I want to go.

You really want to go to New York City?

No, the other New York.

What about the boys?

They're not used to you gone.

They won't mind.

They're too busy to care what we do.

I hope you won't go digging around when you get there.

I'll do what I like.

I think I have the right, don't you?

By the way, what was Miss Burton doing with Raymond Walker?

How should I know?

Just thought you might, that's all.

(sighs) (light switches off) ♪ ♪ ♪ ♪ NORMA: We thought you were awfully good yesterday, both of you.

That piano belongs in a speakeasy.

I'm sorry about the mess.

Our girl hasn't come for some reason, and I've been upstairs writing all day.

(sighs): I expect you'd have cleaned up yourself.

I imagine you're pretty busy.

Oh, I'm up to my eyes.

I'm giving a talk on Wagner next week.

Oh, interesting.

(groans): The children leave everything everywhere.

(sighs) So.

You think you'd like to go to New York with Louise.

Only if it would suit you.

Oh, it'd suit me, don't worry about that!

In fact, I'm counting on you.

I had such a struggle getting Leonard to agree to her going at all, and then, when we couldn't find anyone to accompany her... It would have been such a waste.

I agree-- she's a real artist, anyone can see that.

And for Denishawn to take her on when she's only 16, there's the proof!

Denishawn?

It was founded by Ruth St.

Denis and Ted Shawn.

The most innovative dancers of our time.

You didn't see them when they came through here last June?

No.

You missed something.

Shawn and Martha Graham were the leads.

(Louise yelling upstairs) They were sensational.

LOUISE (upstairs): Put those down right now.

I told you-- Mother!

Shouldn't we investigate?

No need-- she'll come to us.

LOUISE: Mother!

Martin hit me!

It left a mark!

I cannot tolerate any more of his insolence and his violence!

Your brother's insolence and violence won't be your problem much longer.

Here's Mrs.

Carlisle, come to talk about your trip to New York.

Of course.

Hello, Mrs.

Carlisle.

I'm sorry about your arm, it looks sore.

She's never heard of Denishawn.

Never mind that.

What do you hope to do when we get to New York?

I don't know.

I like good theater.

(laughs) Well, that's something.

I think we're going to have a wonderful time.

♪ ♪ So I guess it's settled?

I guess it is.

♪ ♪ Okay.

(laughs) Of course I don't mind.

Why would I mind?

I think it's great.

Only your father was worried... You don't want to listen to Dad.

This is 1922-- hadn't you heard?

Things have changed.

Women vote now and do whatever they want.

Including take a trip to New York.

Hm.

♪ ♪ Give my regards to Lucy.

How is she?

Very well.

And that is all I have to say on the subject.

(laughs) Howard, you never told us what Dr.

Winslow said when he heard you'd got into medical school.

Oh, he was very decent about it.

I'm sure he was thrilled.

You know, I wanted to be a nurse when I was young.

Not a doctor?

Not in those days.

I wrote away for all these courses.

EARLE: But you didn't go through with it?

I was needed on the farm.

Thank you, Della.

Now, I'm trusting you to look after my boys.

All three of them?

(laughs) All three of them.

We ought to get going.

Don't worry, Mom, we'll be all right.

♪ ♪ (people talking in background) CONDUCTOR: All aboard!

115 to Chicago, last call!

Just remember, you're a very lucky girl.

Talented, but lucky, too.

I know.

I never had a chance like this.

So you keep telling me.

Just in case you were wondering, if Mrs.

Carlisle wants to come home, you will come home with her.

Oh, but Daddy... You are not staying on alone in New York, so you can forget that right now.

I know we'll have a good time.

You hear that, Louise?

You'd better make sure Mrs.

Carlisle has a good time, or you are coming home.

ALAN: Very good.

Appreciate it.

Thank you.

I've checked both trunks.

They should be delivered the night you arrive.

Let me know if they aren't.

You should visit the galleries.

Maybe.

Don't waste your time with that other stuff, please.

I should get aboard.

I love you, you know.

I really do.

That's nice.

♪ ♪ GIRL: I'm going to Chicago!

MAN: Thank you.

WOMAN: Here we go.

LEONARD: I don't want to learn anything bad from Mrs.

Carlisle, you hear?

LOUISE: I hear.

You work hard.

With what they're charging, you'd better come back the best dancer in Wichita.

Don't be stupid-- I already am.

(Norma laughs) ♪ ♪ LOUISE: Goodbye, Wichita!

Wish I could say I'll miss you, but I don't think I will.

There are people here from Wichita.

I read that-- so did Mother.

You didn't like it?

"The House of Mirth" was better, but historical fiction bores me.

Oh?

All those ridiculous rules and manners-- it's just so tedious and fake.

It won the Pulitzer Prize.

She was the first woman novelist to get it.

So?

And that so-called hero-- he's in love, but just because she's divorced, he leaves her and marries a total dummy.

Oh, did I spoil it for you?

(sighs) He's handsome, Mr.

Carlisle.

Thank you.

Do you ever regret marrying him?

What?

My mother regrets marrying my dad.

Who told you that?

She did.

I'm sure she didn't mean it.

Yes, she did.

NORMAN: Excuse me, miss, would you like me to lower your window?

I don't mind.

Thank you, but we'll let you know if we want our window lowering.

(train whistle blows) How long before we get to Chicago?

CONDUCTOR: Next stop, Chicago Union Station.

Finish that now, Norma.

We're nearly there.

(knocks): Are you ready, girls?

This is where we get off.

Come on, girls, move along.

Norma, hurry up!

(gasps) Louise?

(people talking in background) Ma'am?

Table for one?

No, thank you, I'm... Norma, over here!

Would you care to join them?

I guess so.

(train jolts) (laughing) I'm terribly sorry, ma'am.

It was my fault.

Let me move along.

Please, sit down.

Thank you.

(laughing) You were sleeping and I was famished.

I had to eat something before we get to Chicago.

WAITER: Ma'am?

I'll have the lamb stew, please.

And a cup of coffee.

Lamb and coffee, how interesting.

(snorts in amusement) LOUISE: When I got here, the tables were all full, and these gentlemen were kind enough to offer me a seat.

Wasn't it nice of them?

Very nice.

This is Mr.

Ross.

This is his nephew, who's also Mr.

Ross.

So isn't that easy to remember?

Call me Joe.

And I'm Norman.

I'm Mrs.

Carlisle.

JOE: Are you from Wichita, too, Mrs.

Carlisle?

Since my marriage.

JOE: And before that?

I grew up on a farm outside McPherson.

Oh, I think you'll find New York a little different from Kansas.

I'm from New York originally.

JOE: Oh, well, then, you'll agree with me that they won't put up with Prohibition for very long.

I think the Temperance people have overreached themselves.

Prohibition is stupid.

I couldn't agree more.

NORMA: That's because you've never known different.

You've never seen a man drink up his wages and forget his family and his children.

JOE: So how old were you when you left New York for Kansas?

Young, I was quite young.

Well, then, you can't have known much different, either.

Kansas has been dry since 1881, and I don't think you're over 60.

(laughing) WAITER: The lamb stew for the lady.

Maybe not.

But I've talked to women who remember the bad old days, and I think there are plenty of wives in New York who'll be very glad of the change in the law.

Unless they need a drink.

(Joe and Norman laugh) (train whistle blows) CONDUCTOR: Knickerbocker Express, all aboard!

Why can't you just get on a train in Wichita and go straight through?

Because you can't.

(train cars shifting) But we don't change trains again before New York, so we can have a good rest.

As long as you don't have some rules that might prevent it.

Louise, I am not your enemy.

I have not come along to harass you.

I'm here to protect you.

What did you think back then, when we were having dinner?

That they were going to have their way with me in the dining car, under the table?

A girl your age does not dine with men she doesn't know.

Not without a chaperone.

Why not?

Because it isn't done.

Why not?

Because of the appearance of impropriety.

Let me put it to you plainly.

(clears throat) Men don't like candy that's been unwrapped.

What?

Well, maybe for a lark, but not for marriage.

The candy may still be clean, but if it's unwrapped, they don't know where it's been.

(laughs) Really?!

(laughing) Norma, you sound like some old Latin Mama.

Who in the world taught you that?

I have not said anything funny.

Have it your own way.

(train whistle blowing) What were your parents doing in New York?

You said they were farmers.

They were.

I didn't know them when I was in the city.

I was an orphan, and they adopted me.

Why did they come to New York?

Why didn't they just find a baby in Kansas?

Well... In those days, the Children's Aid Society used to send the orphans out on trains all over America.

People came to the stations and adopted us.

And you were just standing there?

Like a slave market?

Jesus.

Don't swear.

And it wasn't like a slave market.

The Kaufmanns were wonderful people.

They gave me a good home.

We didn't have much money.

We all had to work on the farm, but... They loved me and I loved them very much.

When did you leave the farm?

They died when I was quite young, but soon after, I met Mr.

Carlisle.

Are you happy?

What?

With Mr.

Carlisle.

Are you happy with Mr.

Carlisle?

Of course I am, I'm very happy.

You didn't look so happy.

You were kind of funny with him.

I don't know what you mean.

Well... If you don't want to talk about it... I'm very happy.

So you said.

(sighs) I'm putting the light out-- good night.

Good night.

♪ ♪ (woman singing in foreign language) (baby crying) (woman continues singing) ♪ ♪ I think I'm in love with New York already.

Don't be silly.

It's exactly as I'd imagined it.

I've known all my life that this is where I'm meant to be.

It seems very loud to me.

Loud and very crowded.

You wouldn't know we were on the same planet as Wichita.

We're not, thank God.

Hello, I want to go to Riverside Drive, please.

I don't know, lady.

I was looking for something more central, huh?

It's my last ride before I go home.

Please help us, Mr.

Driver.

We're new here in town, and we would be so grateful.

Sure, get in.

♪ ♪ Thank you very much.

Thank you.

♪ ♪ (laughs) ♪ ♪ NORMA: How did your father find this place?

LOUISE: I couldn't tell you.

(door closes) (light switch clicks) Oh.

It's not so bad-- I think it's nice.

Compared to what?

Do you mind sharing a room?

Better than the couch.

Do you want the first bath?

You have it.

Shall we go and see Times Square?

We could take the subway.

I'm afraid I'm a little tired.

Okay.

Well, is there anything you'd like me to get you?

(sighing): Louise, it's almost dark, and you have a class in the morning.

Not till 10:00-- I'll be fine.

I'm sorry, but you are not going out by yourself.

Fine, I'll stay in.

♪ ♪ (talking softly) ♪ ♪ Yep.

♪ ♪ This is it.

I feel kind of nervous.

Don't be.

I've seen you dance.

You have nothing to worry about.

You're very good, really.

I know, but "very good" isn't enough, not for what I want.

Well, you won't get any better standing here.

Good luck.

You'll be great.

♪ ♪ (cars passing in background) ♪ ♪ Sign in at this table, please, and then find a place for yourself on the floor.

And don't dawdle.

(bell over door jingles) ♪ ♪ (people talking in background) Would it be all right if I had something to eat?

As opposed to what?

(laughs) Have I seen you in here before?

No.

But I may be a regular, for a while, anyway.

I'm going to be in the city for a few weeks, and we're staying nearby.

Oh, where are you from?

Wichita, Kansas.

What about you?

New York.

Well, Westchester, but I'm studying law at Columbia, so I'm staying up in Morningside Heights.

At least until I graduate.

I guess we are both strangers.

In this part of the city, anyway.

I feel less of a stranger already.

Oh, that's good.

People like us, we got to stick together.

I'm Floyd Smithers.

Norma Carlisle.

(laughs) What, why are you smiling?

You remind me of my sons-- still with everything to play for.

(laughs) Do you think I could look at a menu?

Oh, sure, sorry.

And I wonder, could you tell me how to get to this address?

What do you need down on 15th Street?

Why?

Is it a bad area?

Well, if I were you, I would take a cab and hold on to your purse.

Oh, and take off your jewelry.

♪ ♪ RUTH: Welcome, all of you, to Denishawn.

I am Ruth St.

Denis.

Please call me Miss Ruth.

And this is my husband and partner, Ted Shawn.

By contrast, you may call me Papa Shawn.

(laughing) RUTH: From this moment, you are ambassadors for Denishawn.

And just in case there is any confusion, just because we are studying modern dance, there will be no lapse of standards.

Young women who are Denishawn students wear hats and gloves and never roll down their stockings.

Obviously, no drinking or smoking will be tolerated, on or off the premises.

LOUISE (mutters): Obviously.

Dance is a spiritual experience.

Dance is a visualization of divinity, a way for you to realize you are not in your bodies, your bodies are inside you.

Now, who is familiar with Debussy?

Me.

I am-- my mother plays him all the time.

Lucky you.

All of you, take one of these squares.

And form a ring.

Now... Turn.

(piano playing Debussy's Arabesque No.

1) That's it.

The scarf is the extension of your breath.

It rises and it falls.

Dynamics.

And tone!

And again.

And again.

(car horn beeps) Who thought that one up?

May I help you?

Oh, yes, may I speak to someone?

I used to live here as a child.

I'm afraid we have Mass now.

You could come back in an hour.

Couldn't I wait inside?

I've come such a long way.

Very well.

(girls singing in distance) GIRLS: ♪ Of holy charity ♪ Just wait here.

That was me once.

GIRLS: ♪ O God of loveliness ♪ ♪ O Lord of Heaven above ♪ ♪ How worthy to possess ♪ ♪ My heart's devoted love ♪ (music fading): ♪ So sweet Thy countenance ♪ ♪ So gracious to behold ♪ JOSEPH: Are you okay?

Oh, I'm fine, thank you.

I was being a little nosy.

Come and wait in here-- let me fetch you a chair.

Thank you.

(girls continue singing) Please.

You're very kind.

This room is so much smaller than I remember.

(laughs) All the chairs are so much smaller.

You were one of the orphans?

Yes, yes.

I suppose I was.

Was your placement good?

It was, Sister.

They were lovely people-- I was very fortunate.

Praise God-- that's nice to hear.

Are you still with the Church?

No, Sister.

I'm afraid they weren't Catholics, the people who took me.

What church do you attend now?

Presbyterian.

We got wise to what they were up to.

Now we send out our own trains.

Children still go out on trains?

Why?

Would you stop anyone sharing the advantages that you had?

No, of course not.

Right.

Now, what can I do for you?

(children playing outside) I want to learn about my birth parents, Sister.

Who and where I came from.

I'm afraid I can't help you with that.

I know you're disappointed, and I'm very sorry.

Why can't I look at the records?

Because they're confidential.

Why?

Because no good can come of it.

And anyway, the likelihood is your parents are dead.

How would it help if you knew their names?

Sister Dolores... I want to find out who I am.

You're a child of God.

You're you.

If they're dead, how would it help?

And if they're not, it could cause a bigger problem.

Besides, they won't want to be found.

How do you know that?

Do you have any idea what we're dealing with here a lot of the time?

Drugs, broken homes, adultery, assault.

Let it go.

When I was brought here, I wasn't a baby.

I was walking and healthy.

My mother must have known me, and I'd been cared for.

I remember a woman holding me and singing to me in a foreign language.

Then keep that memory for what it's worth.

I want to know who I am.

It's not unreasonable to want to know who you are.

You're married, Mrs.

Kaufmann.

Yes.

You look prosperous, as if your husband has given you a comfortable and privileged way of life.

Yes, I suppose he has.

NORMA (voiceover): You'll never believe it.

Apparently it's next Saturday, not today at all.

So I knocked on the door and... ALAN: Norma!

♪ ♪ (water splashing and dripping) I think I might cut my hair.

Make it different.

Huh.

Should we ask your mother?

She wouldn't care.

Can you see why I love New York?

(exhales): Maybe, in a way.

What's the matter?

Is it not what you expected?

I don't know what I expected.

(piano playing Chopin's Nocturne Op.

9, No.

1 ) Open your arms like a peacock's tail.

Smell the incense.

No, no!

Peggy, drop out.

Louise.

Take her place.

(piece continues) Was that a little unkind?

You tell me to search for the best.

She's the best.

(piano continues) As long as you're sure.

The girl's a star.

Look at her.

(piano continues) ♪ ♪ (people talking in background) (Louise laughing) FLOYD: That's it, that's better.

How about some whipped cream to go with that?

If you're offering.

Absolutely.

Hi, Floyd.

Oh, hello.

I've just got to get... I was on my way to fetch you.

They let us go early.

So I would just have got there and found the place empty?

I came back the usual way.

I'd have seen you.

Want some?

Better not.

Corset's tight enough as it is.

Why do you wear one?

I don't.

You will when you're older.

No, I won't.

You shouldn't be here without asking me.

Here you are.

Mmm.

How is that?

How's it going?

Summer job?

Is that enough?

Yes, thank you.

(giggles) ♪ ♪ We should go.

How much will it be?

Don't be silly.

She's right-- no charge.

And do your employers know you give free food to pretty girls?

Don't worry about that.

I don't worry about anything.

Let's go.

FLOYD: Bye-bye, now!

(door opens, bell jingles) NORMA (voiceover): Do you often do that?

Get people to give you ice cream for nothing?

But it's not for nothing, is it?

I get the ice cream, and they get the pleasure of my company.

Well, I'm not sure I should encourage you.

You mean I'm getting fat?

No.

You're right.

They'll only pick a few of us to join the company, and they won't choose me if I'm fat.

Does your mother know you want to join the company?

Because she never mentioned it to me.

I thought it was just a course to learn dance.

Myra said you wouldn't like it.

To be escorting a professional coochie-coochie girl.

(chuckling) You should have more faith in yourself, Norma.

There are plenty of men out there who'd be delighted to give you some free ice cream.

You just have to ask.

Don't be ridiculous.

♪ ♪ GIRLS: ♪ Immaculate Mary, your praises we sing ♪ ♪ Who reigns now in Heaven with Jesus our King ♪ ♪ Ave, ave ♪ (Joseph twisting tool, hymn continues in distance) I'm sorry, the nuns have Mass every day at this time.

May I wait inside, like last time?

Sure.

Thank you.

In fact... I meant to thank you for being so thoughtful when I was last here.

And today, too, of course, offering me a chair again, I mean.

Sorry about the mess.

Your mess looks so interesting.

What is it?

Well, it was a wireless.

What happened?

Who knows?

Someone probably dropped it, and they threw it away.

So I thought I would try to mend it for the girls.

How nice of you.

So generous.

GIRLS: ♪ Ave Maria ♪ So why have you come back?

Oh, well, here's the thing.

I've come a long way from Kansas to find my records only to be told that I couldn't see them.

And... I started wondering if you possibly might be able to help me.

Are you trying to be seductive?

Certainly not, no.

If you want a favor, you don't need to throw yourself at me.

(exhales): You've misunderstood.

I was being nice.

(quickly): I was just asking nicely for something I need.

That's all.

You know what?

Come with me.

What?

Come, I'm taking you for a drink.

(exhales incredulously) Oh, not a real drink, just a cup of tea.

Why should I come with you?

Because you're upset.

Besides, it's a nice place.

I'm Joseph Schmidt.

I'm Norma.

I was Norma Kaufmann when I was here.

♪ ♪ You're right, this is a nice place.

I would buy you a proper drink if I could.

You look as if you need one.

No, thank you-- I believe in Prohibition.

(disappointed): Oh, you're in that camp?

I am.

I used to have a beer garden in Queens.

It was a good place.

People would come with their families... Anyway, this is not what I wanted to talk about.

I wanted you to understand why I can't help.

What does it matter if I understand or not?

It matters to me.

I don't hate the nuns, you know.

They're kind in their way.

There are worse places on Earth than the Home for Friendless Girls.

(chuckles softly) I hope so-- my daughter is there.

Your daughter?

I was interned during the war, as a German, down in Georgia.

By the time I got out, my wife was dead from influenza, and my daughter had been taken into care.

By the nuns?

By the nuns, yes, but I didn't find her for months.

When I did, I had no money, my business was gone, so they let me stay on to fix things.

It's not so bad, and at least I know Greta is safe.

So you won't help me because you can't risk losing your job.

Greta lost her mother.

And the nuns gave her the only security she has ever known.

Why don't you try writing?

I have-- they always turn me down.

(inhales) Please, it won't take long.

I find the file, I look inside, and that's it-- I'm gone.

You won't ever hear from me again.

I'll leave before they come out of Mass.

♪ ♪ JOSEPH: You must be out of here in 20 minutes.

I will lock the door, and you must knock when you are done.

I understand.

♪ ♪ If they come up, you'll be there till they go to bed.

(turning key in lock) It's better if you go in 20 minutes.

(door closes, locks) ♪ ♪ ♪ ♪ (person trying door) JOSEPH (through door): Is it locked?

I can get the key, if it's where I think it is.

NUN: Never mind, I'll come back later.

♪ ♪ (closes drawer) ♪ ♪ MARY O'DELL (voiceover): My name is Mary O'Dell.

I'm a friend of the birth mother of the girl named Norma, who was brought here... I have no intention of troubling Norma, but any information would bring her... I enclose a self-addressed envelope in case you're able to pass on any news.

With gratitude, Mrs.

Mary O'Dell.

♪ ♪ (knock on door) (turning key in lock) NORMA (whispering): I got it.

(Norma giggles) (door shuts, lock turning) You found what you wanted?

I have an address.

I have an actual name and an address in Massachusetts!

We should go outside.

(Norma giggling excitedly) You gave me a bad moment back there.

I gave you a bad moment?

I am so excited, and it's all because of you.

You've been so kind to me, and you had no reason.

You took such a risk.

Please, can I pay you for what you've done?

No.

Oh, please, I don't mean to be rude.

I just want to do something to show you how grateful I am.

I don't need anything.

How can you live here with the nuns-- is that allowed?

I don't.

Not exactly.

I have a room up there.

So there's really nothing I can do for you?

You can tell me who you are.

You know who I am.

No, I don't.

You may be Norma, but we both know you are not called Kaufmann now.

You don't tell me where you live.

All you trust me with is Kansas.

You don't miss much, do you?

I was called Kaufmann before I was married.

That's true.

I used it because I'd written so many times before in my other name, I thought they wouldn't see me.

So what will you do with the letter?

I'll write to the address, see what happens.

Who knows?

People can surprise you.

They certainly can.

You'll never believe it.

Apparently it's next Saturday, not today at all.

So I knocked... Oh, God.

(gasps) ♪ ♪ LOUISE: You're looking awfully chipper.

(chuckles): Did you have a good day?

Yes, I did.

Very good, as it happens.

I thought so.

Who are you writing to?

Mr.

Carlisle?

No, I'm writing to... an old friend.

Whom I'd like to see again.

Who just might be able to come to New York.

(pen scratching) What about you, was your day good?

Papa Shawn thinks I could be a star.

I heard him tell Miss Ruth.

And did she agree?

She agrees with whatever he says.

Mmm.

(inhales deeply) ♪ ♪ TED: Hold.

Right, left.

Right, hold.

We're going to add an arm.

(speaking in rhythm): Two, three, four, five, six, seven, eight, now the head, on four.

Stroke it with the feet and... You, Louise.

Show them.

(snaps) (piano playing "Revolutionary Étude" by Chopin) ("Revolutionary Étude" ends, others applaud) Try it again, like that.

We got lucky with that one.

Don't get too lucky, Ted.

(cars honking, birds chirping) We should get a move on-- we'll be late.

By the way, I found a church for Sunday.

Why would I want to go to church?

I thought you were religious.

Someone told me you always liked to go to Ed Vincent's class.

Who told you that?

I just heard it.

You heard it?

From whom?

From whom did you hear this tidbit, Norma, or aren't you going to tell me?

From Ed's wife, I think.

Effie and I are friends.

Oh?

What else did little Effie Vincent have to say about it?

Nothing.

That you enjoyed Sunday school.

That's not gossip, Louise.

That's a nice thing for people to say.

Why are you upset?

I'm not upset.

We have to go, or we'll be late.

(people talking in background) (band warming up) Excuse me.

Norma, they need to get to their seats.

Oh, of course, I'm so sorry.

Oh, excuse me, won't you?

Excuse me.

(softly): I don't want any trouble, but aren't colored folks supposed to sit in the gallery?

Isn't that the law?

Honestly, Norma, this is New York, not Wichita.

I said I don't want to make trouble, but I don't want them to get into trouble, either.

They won't.

I wish I knew what kind of show this is.

Well, you're about to find out.

(band playing "I'm Just Wild About Harry") (audience cheering, laughing) ♪ Oh, I'm just wild about Harry ♪ ♪ And Harry's wild about me ♪ ♪ The heavenly blisses of his kisses ♪ ♪ Fill me with ecstasy ♪ ♪ He's sweet just like chocolate candy ♪ ♪ And just like honey from the bee ♪ ♪ Oh, I'm just wild about Harry ♪ ♪ And he's just wild about ♪ ♪ Cannot live without ♪ ♪ Harry's wild about me ♪ (song ends) NORMA: You're right, I do like New York.

At first, it seemed so loud and so crowded, but now, honestly, it'll be kind of dull to go back to Wichita.

(chuckles): Kind of?

(both chuckling) I'm sorry about how I was earlier with those people.

I know it's absurd.

I suppose it was the way I was brought up.

Then shake it off, Norma.

I don't intend to live the way I was brought up.

What do you want, Louise?

To be the best dancer in the world.

(both chuckling) You think that's ridiculous.

Not at all.

I like your big dreams.

I think sometimes my dreams have been too small.

Did you ever think of coming back to New York to get a job before you married?

Oh, no, I was much too young.

I was married when I was 16.

Wow.

How did you meet him?

Well, my parents died in an accident, and I thought I was going to lose the farm.

I was staying with a neighbor, and she hired a lawyer for me, and... That's how I met Mr.

Carlisle.

He was the lawyer?

You're an orphaned farm girl of 16, a big lawyer comes, takes one look at you, and proposes?

(both laugh) I guess.

You must have had something.

Yes, I had something.

Innocence.

I was a complete innocent.

I wish I could say the same.

Do you, really?

No.

Good.

(door opens, shuts) You have first turn in the bath.

(faucet squeaks, water running) I think you married too young.

I wouldn't be without my sons.

16.

When you're 16, you don't know what you think, and I wouldn't want a husband to teach me.

I had enough of that from my dad.

You sure know what you think about some things.

I wondered where I put it.

It was for my brother.

I wrote it when we first arrived.

I'm going to bed.

Good night, Louise.

You don't like to argue, do you?

I reckon when you shout, you hate yourself for a week after.

I don't believe it achieves much, to argue and shout.

(packing clothes): You're disgusting.

That was vile and revolting.

I suppose you know what it says in the Bible.

I do.

(closes drawer): In our home.

How could you that horrible man into our home?

I shouldn't have done that.

But he isn't horrible.

What?

Raymond is not horrible.

(gasps) (shattering) Relax, Norma!

When did it start?

At law school.

You mean, you were doing that with him before we even met?

I wanted to stop, I thought that I could.

You do not know how I tried.

You used me, all these years!

You needed a wife, you thought I was young enough and stupid enough and grateful enough not to make trouble!

This is why you never touch me!

♪ ♪ What do you want to do, Norma?

Me?

I'm not doing anything.

I'm going to Lois and Jack's.

When I get back, I want you gone, lock, stock, and barrel.

(birds chirping) ♪ ♪ JOSEPH: I didn't think I would see you again.

NORMA: Why not?

Because you got what you came to New York for.

Did they answer your letter yet?

Not yet.

What happens if they don't?

I suppose I'll go back to Wichita.

I hope they do.

I hope it all turns out like you want it to.

But you don't expect it will.

How pretty.

Would you like one?

Don't spend your money.

I want to.

How about a posy for your wife, huh?

Thank you.

Thank you.

That's very generous, thank you.

Nonsense.

I have something to celebrate.

Why?

What do you mean?

You told me you live in Wichita.

♪ ♪ (door opens, closes) LOUISE: Norma.

What are you doing here?

I thought I was coming for you at 10:00.

We finished earlier than they said we would.

Don't worry.

Two of the boys walked me home.

I hope it was two.

Norma, they chose me.

They only chose one student to join them, and it was me!

Join them-- for what?

To go to Philadelphia for a performance.

That's wonderful, congratulations.

You can come to the dress rehearsal, if you want.

Of course I want.

We must telegram your mother.

I almost forgot.

This was in the box downstairs.

It must have come in the last post.

It's from Haverhill, Massachusetts.

Really?

♪ ♪ (birds chirping) Mrs.

O'Dell?

Mary O'Dell?

I chose the Shakespeare statue as I thought we wouldn't get mixed up.

I was going to say Christopher Columbus, but then I realized there's one in the park and another at Columbus Circle.

You're my mother, aren't you?

You're not a friend of hers.

You're my mother.

(exhales) There's no point in denying it, is there?

(gasps) I don't know where to begin.

How long have you been married?

25 years.

He's a lawyer.

We have twin sons.

Oh!

Howard and Earle.

They look like fine young men.

You don't know what a comfort it is to see how well you've turned out.

I worried and worried.

I didn't even know if you'd survived.

Well, I did.

And what were they like?

The Kansas farmers who took you in?

Kind-- they gave me a happy home.

(sighs): Thank you for telling me that.

But...I want to hear about you.

You're married?

I guess it's not to my father.

No.

I was married at 21.

Had you at 18.

And my father?

(laughs) A boy I met at a dance.

(exhales): I didn't know anything.

Nothing.

The first time I bled, I thought I was dying.

And he took advantage of that?

Did he?

No, he was just as young and scared as I was.

The minute he heard I was pregnant, he took off.

What was his name?

Jack Murphy.

(blows) But if you want to search the great West for a Jack Murphy who came from Ireland by way of Boston, you got a lot of interviewing to do.

Where was I born?

St.

Anne's Night Mission in New York.

It's gone now.

And when did you leave me?

(sighs): You were six months old.

They told me to nurse you that long.

But I thought I was with you until I was three.

That's when I was taken to the orphanage.

They must have kept you at the mission.

But I remember a woman holding me and singing to me in some other language.

There were a lot of foreigners.

Mmm.

Some of them were barren, because of what they'd put themselves through.

They all wanted to hold you.

You left me with them, just as soon as you could.

♪ ♪ Oh.

♪ ♪ I don't expect you can stay long.

No, not long-- I have to get back.

♪ ♪ What happened next?

To you?

I went on with my life and back to Boston.

I told them that I left the job in New York.

So nobody knows about me.

No.

I told no one, so I could leave it behind.

Not even your husband?

No, oh, no.

♪ ♪ But we've been happy.

Our two sons are politicians, and our daughter just married into a very good family.

So I have brothers and a sister?

Half.

Half-brothers and a half-sister.

They don't know about you.

Nobody does.

And you're not going to tell them.

No.

Don't worry, I won't trouble you.

♪ ♪ I wouldn't have come to Ha-ver-hill unless I was invited, and it seems I'm not invited.

It's Hay-ver-ill.

Just so you know.

You don't say the second H. Well, now, I didn't know that.

I did not know that Ha-ver-hill is pronounced Hay-ver-ill, because until I found your letter, I had no idea that such a town, this town where my mother and my half-brothers and my half-sister live, I didn't know that such a town even existed!

(catching breath) ♪ ♪ I looked up this statue.

It was paid for by a benefit performance of "Julius Caesar," starring Edwin Booth and his brother, John Wilkes Booth.

How interesting.

The following year, John Wilkes Booth shot Lincoln.

I wish things could be different.

Now I have to go.

You don't want my address, do you?

You don't want to know how to get in touch with me?

(voice breaking): You don't want to meet your grandsons?

I'm very pleased to have seen you.

♪ ♪ WOMAN: Oh.

That's a pretty bird.

(baby fussing, woman shushing) WOMAN: You forgot your lovely flowers.

Keep them, I want you to.

("Liebestraum No.

3" by Franz Liszt playing) (piece continues) (piece continues) (breathing shakily) (piece continues) (piece concludes, Louise chuckles) TED: Wonderful, Louise.

(audience applauds) (crowd murmuring approval, chuckling) That was so wonderful.

Mrs.

Carlisle, may I have a word with you?

There's no need to worry.

Louise will only be away for one night, and I'll be responsible for her.

That's very kind.

But what I wanted to say is that, that if Louise does well, we may invite her to join the troupe.

My husband believes she shows great promise.

He is very much her champion.

But where would she live?

We have a boarding house for members of the company.

The men and women occupy separate floors, and there's a chaperone, naturally.

LOUISE: So you can probably go home.

You could leave tomorrow, if you like.

I think I should wait for Miss St.

Denis to make her decision.

Certainly, you should.

We will need time to consider.

And there is no decision yet.

(Ted and Louise laughing) Of course, she will need to prove that she can adhere to the moral as well as the aesthetic code of Denishawn.

Art is not tinsel.

Art is gold.

And it must be handled and delivered by the worthy.

I have every confidence in Louise.

Well, in the words of the prophet, we shall see.

So how long are you going to be in Philadelphia?

Just one night.

I think they're trying to get your attention.

Excuse me.

I'm sorry, sir... I should pack your overnight bag when we get home.

You'll be too flustered in the morning.

I won't be flustered.

No, you probably won't.

I would be, but you won't.

I keep telling you, you should be more sure of yourself.

I agree.

Are you okay?

You seem kind of down.

Everything's fine.

If you say so.

I'm going to go get some more cream.

Let him bring it.

I'll go.

♪ ♪ (door opens, bell jingles) (patrons talking in background) (softly): It's on 17th Street.

The Velvet Cat?

I don't know, I've heard that place was kind of rough.

Louise, stop bothering Floyd.

Oh, no, she's no bother, Mrs.

Carlisle.

What was that about?

Nothing.

It didn't sound like nothing.

When you've finished that, we'll go.

You go, I'll be up in a minute.

You will come with me now.

Why?

Because enough is enough, Louise.

Really, enough is enough.

Okay.

(dog barking) (dog barking in distance) Louise?

(light switch clicks) Louise?

Where are you?

♪ ♪ (pebble hits window, falls) (door opens) What's happened?

Have you ever heard of a club on 17th Street?

I think it's called the Velvet Cat.

(hesitantly): Yes.

(window cover unlatching, jazz music playing) (music playing more loudly) (people calling in background) (yelling): Do you see her?

(Louise laughing) There she is.

(laughing) Oh, Mrs.

Carlisle, thank God you're here.

What is going on?

If anything's happened to her, I swear to God... No, nothing's happened to her.

I just want to get her home.

(Louise laughing) Louise!

Ugh, Jesus.

Not her.

Get me out of here.

I can't manage her, not now.

JOSEPH: How about a little politeness?

She has come a long way to find you.

(exhales) Do you like that, Norma?

It's gin.

Gin is what it is.

You should try it.

Maybe you wouldn't be such a wound-up pain in the ass.

All right, that's enough.

We are going home.

Now.

Not so fast, you dirty Kraut.

Maybe the young lady doesn't want to leave.

(grunts): Easy!

MAN: All right, take it outside!

JOSEPH: Let's go!

Oh, so virile!

Who's this?

I'm going to take you both home.

FLOYD: Be careful, she's had a bit.

(angrily): Floyd, she can hardly stand.

I didn't know what to do.

I've never seen a girl drink that much.

I couldn't get her to come away.

(vomiting) (coughs and spits) (exhales) (sighing): That's amazing.

I feel so much better now.

(toilet flushing, lid closes) Look, Louise, I have to ask you something and you must answer me honestly.

Did Floyd take advantage of you?

No.

You understand what I'm saying?

You haven't been... Compromised?

He did not compromise me.

(sighing): Oh, Louise.

(mocking): Oh, Norma.

Please don't worry about me losing my virginity.

I didn't bring it to lose-- it's back in Kansas somewhere.

What?

I told you I wasn't an innocent.

But I never for one moment... I guess you ladies of Wichita don't know everything about my rides with Eddie Vincent.

Mr.

Vincent, your teacher?

Who drove you to Sunday school?

And so much more.

What are you saying?

He took photographs of me afterwards.

Louise... If this is true, if this horrible thing is true, then he must be reported.

Really?

Why?

(stammering) (whispering): I have to tell your mother.

(whispering): I think she knows.

She thought I might be able to use the pictures.

(shocked): Your mother?

They're not all like Marmee in "Little Women," you know.

I know.

Do you?

I wonder.

Being an orphan is such a big thing for you, but if you ask me, I think it gets you out of a whole lot of trouble.

(exhales) Anyway, let's not stir things up.

You're always saying that no one wants a girl when her candy's unwrapped.

Oh, please, forget about the candy.

I won't forget anything.

You poor child.

All the time I've been lecturing you, never knowing you were the victim of wicked abuse.

(crying): But that's the point.

I don't want to be a victim.

Not now, not ever.

♪ ♪ I must brush my teeth and I need to tinkle.

Can I have some privacy, please?

♪ ♪ (liquid pouring, dish clangs) I have breakfast for you in the other room.

(sighing): Why did you wake me?

Because if you're late today, Miss Ruth won't let you go to Philadelphia, and you won't be able to join the troupe.

Tell her I'm sick-- it's true.

She won't care.

And Papa Ted won't be able to protect you.

Okay.

So get up.

You mustn't put everything you want at risk.

(exhales): I'm not packed.

I'll pack.

(exhales) NORMA: Louise, I can't help worrying about what you told me last night.

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

Mr.

Vincent.

I can't overlook it.

One word and I'll deny everything, and so will Mother.

You'll just make yourself look crazy.

Are you planning to say anything to Miss Ruth?

Of course not-- why would I?

I don't want to ruin your career.

I don't have a career.

Maybe not yet, but you can have one.

You're good, Louise, you're very good.

No one can take that away from you.

Really?

Yes, really.

I know you're pretty and the boys like you, but you got more than that.

You got talent.

Talent gives you power.

People can try to stop you, but they can't take away your talent.

Nobody can do that.

Thank you.

You're welcome.

You better get in there.

Wish me luck.

Good luck.

Mrs.

Carlisle?

(evenly): Floyd.

Please, Mrs.

Carlisle.

I know you're sore, but I'm truly sorry, honest.

You shouldn't have had her sneak out like that.

Floyd... You're a nice young man, and I think you'll go far.

You're like me.

We're both kind of normal.

What we want from life is achievable.

I'm not sure Louise is like that.

I think about her all the time, Mrs.

Carlisle.

All the time.

She's the prettiest girl I've ever seen.

By far.

And she's kind of... She's fascinating.

You know what I mean?

I certainly do.

But if I were you, I should let her be a wonderful memory.

You'll be a lot happier that way, believe me.

I'll bet you're glad you're too old to mess with this stuff.

Right?

Sure you wouldn't like some coffee, Mrs.

Carlisle?

No, thank you, Betty.

You're very kind, but I won't be staying long.

Thank you, Betty.

(door closes) I hope you'll stay long enough to have a grown-up conversation.

NORMA: Is that why we're here?

So I won't shout and throw a glass vase?

I like to think so.

You know there isn't a judge in the county that won't give me a divorce.

And when he does, I'll not only be ruined, I'll probably be dead.

There are people in this town who would have me killed if they knew.

You should have thought of that a little earlier.

And how will you and the boys live when I've been murdered?

Then I'll cite your infidelity, and... you can support us.

Is it what you want?

"There's Norma Carlisle.

She's divorced, you know."

(typewriters clicking in background) What's Raymond planning to do?

He was talking about selling up, moving on.

But you don't want him to.

No, I don't.

(crying) (weeping): You wish I had died when the twins were born.

Then you could have played the sad widower with no one to get in your way.

I value our family, Norma.

You know that.

♪ ♪ (pebble hitting window, falls) (door opens) Where is she this time?

No, she's fine.

I think she's fine-- she's in Philadelphia.

I mean, I was in the neighborhood.

(locks door) ♪ ♪ Can I get you anything?

I don't think so, no, thank you.

So, what can I do for you?

Well... I hope you won't regret this.

I cannot think of anything in my entire life I will regret less than what we are about to do.

You honor me.

(laughs softly) You are too good for me.

I'm not too good for you.

I'm not even sure I'm good enough.

But kiss me.

♪ ♪ NORMA: Alan's not a bad person.

He's kind.

JOSEPH: But he's not a husband to you.

I had a cousin like that in Germany.

He was a good man, but one day, he was beaten half to death.

Your Alan is right to keep his secret.

I'm afraid so.

So how long will you stay with him?

Oh, I don't want a divorce.

Why not?

I did at first, but not now.

How would I explain it?

What would I say to the boys?

They're not boys anymore.

They're men.

Tell them you want to be happy.

That's not enough.

No?

No.

More than anything, I want them to be happy.

And they are happy.

I don't want to spoil that.

What a waste.

These marks are from what you wear?

From my corset, yes.

Why wear it?

It must be so tight.

You get used to it.

But why get used to it?

♪ ♪ NORMA: So?

Was it worth it?

LOUISE: It was fun.

But it's great to be home.

I mean, Philadelphia is fine, and God knows it's an improvement on Wichita, but I just wanted to be in New York.

Isn't that something?

To be so attached to a place that's still so new to me?

Maybe it's the right place for you.

There's no maybe about it.

When do you hear about the troupe?

I got it-- they've offered it.

When were you going to tell me?

(giggles) I'm so glad.

I was afraid you'd be disappointed.

Miss Ruth didn't seem too convinced.

No, but Papa Shawn was, and I knew he'd get his way.

I'm not so sure.

My guess is that when the chips are down, Miss Ruth St.

Denis runs that company.

She can't refuse him anything.

To quote Miss Ruth: "We'll see."

What's happened?

What do you mean?

I don't know, exactly.

You just seem different, as if something's changed.

When do you move in?

They'll have a room for me on Friday.

That soon?

Why wait when it's decided?

NORMA: Go and make your peace with him.

I suppose he hates me.

No, he doesn't.

And I think he deserves a proper apology.

Alone?

Alone.

But come straight back to the apartment.

♪ ♪ (knock at door) (sighs) (book drops on table) We really ought to cable your mother tonight.

You should never have shown me where your flat is.

(whispering): Come in, come in.

I left the home.

We were seen.

I needed to tell you-- I was worried you would go back there.

What will you do?

It's all right.

I have a friend in Brooklyn.

He is at work now, but we can go to his place later.

Come on, Greta, say hi.

NORMA: Hello, Greta.

JOSEPH: She's not usually so shy.

What can I get you?

We got toast.

And jam, do you like strawberry jam?

And oranges?

You'll like it.

(laughing): Good.

(closes refrigerator) NORMA: There you go.

Thank you.

JOSEPH: She'll eat it all, in case you come to take it away.

Oh, God, I remember that feeling.

Who told?

Sister Dolores saw us walking out of the gate this morning.

She fired me as soon as I got back.

But Greta hadn't done anything.

They offered to keep her, but I said no.

You were right.

Or she'd have been on that train.

How long can you stay with this friend in Brooklyn?

What will you do?

I'll find something.

I've ruined your life.

I pushed into your life and I ruined it.

What are you talking about?

Norma, you've given me my only memory worth keeping since before the war.

If I found something for you to do, a place where you could live, would you let me help you?

I have a young daughter.

I need all the help I can get.

(footsteps approaching, door opening) Louise!

(door closing) LOUISE: Who's the little girl?

You again.

Where are you going to carry me off to this time?

I don't think you met properly the other night.

This is my brother, Joseph.

Your brother?

NORMA: Joseph Schmidt, Louise Brooks.

JOSEPH: It's a pleasure to meet you.

And Greta is my niece.

Yes, she would be.

That's how it works.

We should be going.

My friend is gonna be home by the time we get there.

Fine.

We'll meet on Saturday.

(clears throat) At Grand Central Station.

At the ticket office, at 10:00.

Grand Central on Saturday.

At 10:00.

And you'd better bring everything with you.

We don't know how long you're going to be staying in Wichita.

♪ ♪ No, I guess we don't.

Well... Goodbye, Mr.

Brother.

I don't think we'll meet again.

Not in Kansas?

Least of all in Kansas.

Then goodbye, Miss Brooks.

♪ ♪ Well, you kept that pretty quiet.

Is this brother all tied up with that letter you were expecting from Haverhill?

Exactly.

Do tell.

I'd written to a friend of my mother's.

I came across a letter from her, so I wrote to her.

And?

And we met, and she told me how my mother died when I was born.

It seems my father went home to Germany with Joseph, but I was still a baby, so I was left with a cousin in New York.

Then she died.

And that's how I wound up in the orphanage.

Why didn't the friend prevent that?

Or at least write to your father?

(refrigerator closes firmly) She'd had children of her own and she lost contact with him.

Then Joseph reappeared?

(plates clatter) He contacted her a while ago when he returned to America.

He was trying to trace me, so naturally, they were pleased when I wrote.

Wow, that's quite a story.

Mm.

Oh, and by the way... It's "Hay-ver-ill," not "Ha-ver-hill."

You don't pronounce the second H. Well, what do you know?

♪ ♪ (Norma sighs) Wow.

I thought you were moving differently.

It's too hot-- it's hard to wear anything tight in the hot weather.

Well, I'm glad our trip has produced results.

I don't envy you going back to that town, God knows.

But I hope things work out for you, Norma.

I mean that.

Me, too.

I hope you get everything you want, Louise.

You deserve it.

By the way, you should have said he was your brother in the speakeasy.

Always say it straightaway, before anyone can ask a question.

♪ ♪ Horsefeathers.

(drawers clattering) (train whistle blowing) (train whistle blows) GRETA: Papa?

Where are we going?

We're going to my home in Kansas.

Which I hope will be your home, too.

And you'll meet your Uncle Alan and your cousins, Howard and Earle.

When will you tell him the truth?

About us?

As soon as we're alone, I guess.

What about the boys?

I won't tell the boys.

And you won't tell Greta, ever.

It feels so dishonest.

Of course it's dishonest.

In a better world, we would shout who we are from the rooftops.

But I can't wait for a better world, Joseph.

I'm living now and I want to be happy.

And if it doesn't work?

If it doesn't work... My dear brother will find a job elsewhere and leave town, and take his daughter with him.

But I think it will work.

Because I think we want it to work.

Suppose they repeal Prohibition.

Can I have a beer?

(laughing): All right, you can have a beer.

(laughs) (train whistle blows) (birds chirping) NORMA: He says not to worry about him.

At least his unit is nowhere near the front.

GRETA: What else does he say?

What can he say?

He's well, that's about it.

That won't tell us anything-- the censor inks it out.

Read it for yourself.

Let Greta see it.

Do you think he is well?

Do you think he'll come home safe?

I hope he will.

Why did he have to go when his brother's already fighting?

I don't understand it.

He's a doctor, they should be protected.

GRETA: I don't think he wanted to be protected.

Maybe not, but he has a wife and children to think about.

Lots of them have wives, lots of them have children.

I guess.

GIRL: Look, Mommy.

He'll be all right, you know.

I don't know, and nor do you.

GRETA: Tell her, Papa.

She'll believe you.

Well, I can't say what is going to happen, but both of your sons are very fine men.

You should be proud of them.

That's for sure.

By the way, I heard something this morning about your old pal.

I meant to tell you earlier.

Which old pal?

Louise Brooks.

She's back in Wichita.

I ran into her mother on my way here.

What?

When did she get here, Raymond?

A while ago, apparently.

Why haven't I heard about this?

GRETA: Maybe because you had enough on your plate looking after all of us.

ALAN: Ray, what time are you coming for me tomorrow?

RAYMOND: I'll pick you up around 3:00.

GRETA: Aren't you staying for dinner tonight?

RAYMOND: I will if you'll have me.

NORMA: I've only just been told she's back in town.

I'd have come earlier if I'd known.

She's been here for six months.

Wichita's a bigger town than it used to be.

Yes, Wichita is bigger, and Louise Brooks is smaller.

Did you hear about how Ruth St.

Denis got rid of her as soon as she could?

Paramount did the same.

Everything she touches flops.

She's up there.

You'll have to knock, but I doubt you'll get much out of her.

Thank you.

(knocks on door) Louise, are you in there?

Can you open the door?

It's Norma Carlisle.

I know you never did anything I said 20 years ago, but I wish you'd open the door.

LOUISE: What do you want?

I want to see you.

I only just heard you were here, I didn't know it before today.

How's your German, Norma?

You mean my brother?

Oh, he's done so well, and... No.

German, the language.

I wondered if you're familiar with the term Schadenfreude?

Pleasure in the misery of others.

We don't have an equivalent, but it's a useful word, especially in Wichita.

I have not come here to gloat.

You know me better than that.

Do I?

Maybe I do.

(hinges creak) I saw your mother downstairs.

She has such a wonderful collection of your posters.

Oh, yes.

Mother was a big fan of Louise Brooks the movie star.

She's less of a fan of Louise Brooks not the movie star.

You were so magical.

I was very proud to have known you.

I loved it when your movies came here.

Most of them were terrible.

Oh, no, I loved them.

"American Venus," "Social Celebrity," "A Girl In Every Port," so many... As for the German films, "Pandora's Box" haunted me for weeks.

Did it?

Don't make them nothing.

Don't you remember every shop girl, every office worker, they all copied you.

They copied your look, they copied your hair.

Do you know why?

You made them feel free.

You changed things, Louise, you did.

If you say so.

Why did you stop making films?

I stopped making films because I hated Hollywood and Hollywood hated me, that's all.

Why are you here?

Why have you come back?

Because I've reached the end of the road.

(pounds): I knew it.

I knew it, the moment I heard you were back in Wichita, I knew you'd given up.

That's why I've come.

Norma, look at me.

I'm 35 years old.

I'm broke, I have nowhere else to go.

Horsefeathers.

(laughing) Horsefeathers?

Whatever you want to call it, that's ridiculous!

You don't like your parents and why should you?

You don't like this house, you don't like this town.

Why come back?

Are you a homing pigeon for misery?

Just get on a train and go.

I'm too old.

I am, I'm all used up, Norma.

I'm not even me anymore.

Louise.

You taught me something once.

I taught you?

I just remember getting drunk and throwing up.

Well, that was part of it.

But I know you, Louise, or I knew you then.

And I'm certain you are not used up.

I'm certain there's still quite a bit of you left.

Now, I'm going to give you a hundred dollars.

No, no, you don't owe me anything, please...   You're wrong.

I owe you a lot more than a hundred dollars.

Pack your bags today.

Go down to the train station and buy a ticket for New York.

(snaps purse shut) Norma?

When you took off your corset that day, did you ever put it on again?

No, I never did.

Goodbye, Louise.

Good luck.

Don't come back.

♪ ♪ JOSEPH (voiceover): How was it?

NORMA (voiceover): All right, I think.

You're not sorry you went?

Absolutely not.

But you know Louise.

She has to do it her own way.

Let's go home.

Was Greta right?

Do you think you had too much on your plate, looking after us all?

No.

I had enough on my plate, but not too much.

Do we need anything for dinner?

I don't think so.

Oh, maybe we should pick up some butter, if Mr.

Taylor's still open.

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