02x25 - Option on a Wife

[bunniefuu]

[waves crashing]

[music]

New York theater openingsare usually off limits

for me because I'm aHollywood press agent.

Tonight. So everwas a family affair.

You see, my sister'shusband directed the play.

Then my sister and her husbandare my favorite married people.

-Here you are, Tommy.-Thank you.

My law. A toast

to a great new director.

Logan, canaan Cassandlook to your laurel?

[laugh] Here Tommy.

Thank you.

I've got one thingthat they haven't got.

I may sound corny, but it's true.

I could have neverdone it without matter.

Oh, you could, you could.

[laugh]

Believe me, it is true. She'sgiven me some of my best ideas.

Sister of yours is quite a gap.

Oh, wait a minute. I'vegot news for you. I know it.

Hey fellas, take iteasy. We don't know.

I've got more news for you.

You're being tappedfor Hollywood, Mike.

-Hollywood?-Yeah.

I talked to lose him or longdistance on the way over.

I read him your noticesand he wants you.

He told me to offeryou a year straight with

options. He'll talk salarylater, but it'll be good.

And he's got somefine properties too.

Hollywood?

Pictures?

You don't have to decide now.

Think about it.

Talk it over withyour older eagle here.

Good life, Mike. And don'tunderestimate the work either.

We don't mind. Work'sour middle name.

Right.

-Good night, sweetie.-Goodnight, Tommy.

Oh, you bearer of good news, you.

I don't want to influence you much.

But it would be niceall of us together again.

Yeah, sure would, wouldn't it?

We'll think about it.

No hurry. Just let meknow in the morning, yeah?

Yeah.

-Good night, sweetie.-Good night, Tommy.

Well, thanks, Tom.

Hollywood.

I've heard thishappening to people,

but I never thoughtit happened to us.

Would you like to go?

Well I

I think so. Yes, I think so. Because

we'd have a chance then for

the real home we'vealways talked about. Not

just two rooms and akitchenette like this, but

a real house with areal kitchen and a real

backyard and flowersand trees and everything.

Yeah.

Yeah I'd like to go that.

Is if you.

Madeleine, we've hadthree perfect years here.

I know.

But there is moreto living than just this.

I've got some ideas for pictures.

I bet you have, Mike. I betyou got some wonderful ideas.

[music]

Yes, mike's Hardwoodsuccess was Matty Still.

And no team ever exchangedBroadway New York for Vine

Street Hollywood with moreenthusiasm than they did.

[music]

Mike, look. Look up our own treeand it has blossoms on its smell.

-Nice.-Wonderful. And Tommy?

-Yeah. If you like orange black.-Oh, you.

Look, you can seethe ocean from here.

And on a clear dayyou can see Honolulu.

-Where's? The Catalina.-The Catalina?

That's what shesaid. And at night,

with all the citiesyour feet is like .

I know, a shimmeringcarpet of oriental splendor.

My dear sister, for two weeksbefore you got here I spent

all my waking hours withreal estate agents, remember?

-Yeah.-I sure hope

the rest of my books get here soon.

Oh, never mind, sweetie.I've got something to

fill up those nice bigholes for you. Look at that.

-Cooking for two.-That's right.

Madeline, you're not.

Yes, I am. Have youseen that beautiful

electric range out inour beautiful kitchen?

Mike, I just love this place.It's our first real home.

My little housewife.

I hate to break upthis touching scene, but

I think we better startfor the studio, Mike.

You're not supposed togo to work until next week.

I know, darling, butI should check him.

Oh.

Ah, yeah, listen.

When he be home?

Should be home aboutnoon. That we'll get in the car

and see if that Pacific isreally as blue as they say.

Oh, I love it. Goodbye, sweetie.

Bye.Bye tom.

Bye honey.

-Take care of him now.-Yeah.

[telephone ringing]

Hello.

Hello, darling. Throwsome things into a bag, will you?

We're leaving forthe Grand Canyon at .

The Grand Canyon?

I'll be home in a few minutes.I'll tell you about it then.

Okay, bye.

Grand Canyon.

[walking noise]

Hi, honey.Oh hi.

What do you thinkof this? I was in the

studio a half hour beforeI got an assignment.

How wonderful, mike.

Listen, what is all thisabout the Grand Canyon?

Well, Zimmer had a fightwith a director on a big biblical

epic with a capital E, and Iwas there, so he gave it to me.

A biblical epic?

Sweetie, don't they know thatyou're specialtiy is comedy?

-Or this is not the reason why.-Yeah, I guess not.

-Taxi waiting. Is the bag waiting?-Yeah almost I'll be right with you.

I've always been just dyingto see the Grand Canyon.

Madeline. It's going to be realrough where we're going, sweetheart.

You know no running water,no heat, sleeping in a tent.

All that sort of thing.

Oh, I'm just going tolove sleeping in a tent.

Sweetheart. Yeah,

Wives aren't included up.

Oh.

Oh.

I'm sorry. I must havemisunderstood you.

What you said we were going to.

I did, honey, but I met the company.

Oh.

I'm sorry. You're

going to find a lot of my thingspacked in that bag, I'm afraid.

-I love it.-Oh.

-Goodbye.-Yeah.

Darling will take good care of you?

Yeah. He's running out on your bike.

Yes, alright.

Don't worry. I'll work on my southladies while you're gone okay?

-I won't be gone.-Yeah.

-Bye.-Bye.

Mike's location Johntook longer than expected.

A full month longer.

But I showed Mattythe Hollywood high spots.

Including the BeverlyDerby and Polly Hammond.

Dowager Duchessof Bel Air.

Adamant.

Hii.

Tommy, get up.

Darling.

I'd heard you were coming out, butI'd no idea you were already here.

I'm just gettingsettled. How is paul?

-Busy as usual.-Oh.

Last week he finished writing KingLear. This week he's rewriting it.

Where does Shakespeare come in?

Oh, you'll get a screen credit.

Oh, I see.

I'm all right. Well, you mustcome to dinner there. Paul is

crazy to see Mike and hear allabout New York. How about tonight?

Oh, we can't. No,mike's away at a location.

A picture widow already?

What's the picture widow?

It's like a golf widowanymore. So. Right, Tommy?

No, I'm just a bachelor, so Iwouldn't know about widows

of any kind.

That wouldn't necessarily follow.

[laugh]

Darling, friday night shewas come with me to Rita

Newman's house. She'shaving the girls to dinner.

-A girl?-Hmm.

What about the boys?

Friday night?

Friday's flight night sis.

The boys always eat nearthe stadium on Friday night.

You plan to come with me, dear?

Well, no, I can't, Polly, becauseMike's getting home Friday

morning and we're going tohave a weekend at home alone.

That's nice workif you can get it.

Bye, darling. I can't keep thegirls waiting to see you soon.

[music]

One of the most beautifuland costly views in the

world has had from thetopmost hills in Bel Air.

Maddie had it.

She could afford it too.Because Mike was such

a big success withhis first location picture.

Zimmer assignedhim another right away.

Tommy, you should have warned me.

Sorry, sis. I guess Ijust didn't realize it.

No.

I feel so lost.

In New York, Mike andI were always together.

Working together, playingtogether, everything.

I was part of his life's then.

When I drop into thetheater, I was welcome.

They'd even ask myopinion on things. But here

wait a minute. Justdon't go overboard.

Everyone at the studiolikes you very much.

Oh, sure they like me.

But they like me in my place.

I got twos for you.

Around a studio, awife is about as popular

as a chorus girl'smother backstage.

But Mike doesn't work all the time.

No, no, he doesn'twork all the time.

When he isn't working, he'splaying tennis with Mr. Zimmer

or playing cards with Mr. Zimmer

or looking at film with Mr. Zimmer.

Say we do go to somebody'shouse. Do you know what happened?

No, what happened?

The boys go in one room,play cards, talk about films. The

girls go in another room,play cards, talk about clothes.

[car horn]

Could it be?

[door opening]

It is.

Tommy he's home.

Darling.

You're home for dinner?

It's the cook's night out. Hi,Tom. I came for the cookie.

What do you mean,it's cook's night out?

Didn't you tell herabout the snake preview?

Didn't get around.

What do you mean? Whatsnake preview? What? Where?

Tonight? Riverside.Oh.

We leave now. We'restopping away for dinner.

Oh, that sounds wonderful.

-I will get it.-Yeah.

Tommy, it's kind oflike an opening night.

Not quite.

Yeah.

Sure

honey when in Rome, do as the Romansdo it. I'll go on, get your code.

Yeah, alright. It won't be a minute.

Madeline.

Honey, I'm going Jim. That was Jim.

Seems he wants me and therider to put a riverside in his car.

Of course, I couldtry to get out of it.

Oh, no, no.

That's our edge business. Of course.

You go along with an nbr.

You come along with me, Maddie.

No, no, thanks, Tommy.

But thanks anyway.

what are you going to do?

Well, there are some just darlinglittle recipes I can work on.

Let me get some cigarettes.

[music]

By now, Maddie was anacknowledged hostess.

A sought after guest.

A beautiful home.

A very successful husband.

But success out here, like almosteverywhere else, devours people.

And she had nights when she knew it.

Those are the nightswithout invitations or guests.

[door closing]

Hi.

Hi, darling.

-You're home.-I'm sorry, I'm late..

That's alright.

Come on. Dinners already.

-I'll lay it-Oh, alright.

-One drink first.-Yeah, please.

Ah.

What a script.

Besides the Memeograph zimmer isgoing to read it over the weekend.

Oh, good.

There you are.

Thanks, honey. I'llget one for you too.

Oh.

I'll take you for the weekend.

Zimmer can have the script.

We're not just a minute.

If I do say so myself,it is worth reading.

But I'm sure.

It's an excellent script. It'sthe best job I've ever done.

I'm sure it is.

But why don't we just forgetthe script for a little while?

How can I forget it? It's my job.

Alright.

Mike, you're beginningto sound like a job.

And you're not?You're. You're yourself.

Oh, dear. Don't get socompletely involved in this

thing that you can't thinkof anything else besides.

Alright,alright,alright.

Madeline.

I'd like to go to SanFrancisco for breakfast.

-Really?-Why not?

Oh, I'd love it.

What are we waiting for?

I don't know.

Let's throw something into abag and catch the first flank. Okay?

[come on]

Oh, it's wonderful.

[telephone ringing]

Oh, I knew it.

Knew what?

That Zimmer.

Oh.

What are you going to do Mike?

It's elementry what do you want.

Can't answer thephone if I'm not here.

We've left already

-Come on.-Yeah.

So we turned right aroundand took the very next plane back.

Look, darling, Pauland I have been trying

to get to SanFrancisco for two years.

At least you did get asfar as the lobby of the Mark.

Oh yeah.

How did Zimmer know you were there?

Well, it seems that Mikevery casually mentioned once

that he'd like to take me toSan Francisco some weekend.

The big man's an elephantin more ways than one.

You know that hecalled every hotel in

San Francisco untilhe reached Mike.

I know. I've been through that bit.

Oh.

He was very nice about it at first.

Said he wanted Mike tocome back because they were

putting on a new finish andit was Mike's original idea.

Ah, huh.

But then when Mike became firmabout not returning until Tuesday

mr. Zimmer said that he had tocome back. Otherwise it would be

A breach of contract.

You've been through that too.

You know, Polly, last night wasthe first night when we were married

that we went to sleep withoutsaying good night to each other.

I woke up this morning, he was gone.

Look, dear, there are compensations.

This is for the weekend wedidn't go to San Francisco.

That's for the weekendwe didn't go skiing.

I had to wait hoursat Romanoffs and

finally have dinneralone for this one.

This.

This this is for being agood girl and not crying my

eyes out all the nights hewas tied up at the studio.

Oh, relax dear.

Then take your placeamong the picture widows

I can't.

You know the old saying ifyou can't lick them, join them.

I just can't tell you. I'm sorry.

Well, do you like can Ikeep the girls waiting?

Sorry.

Sure you won't change yourmind and join us for lunch?

I' am sure.

[door bell ringing]

Oh, excuse me.

[door opening]

Yes?

-Mrs. Elliot?-Yes.

I have a package for you.

Oh, thank you.

You're welcome, ma'am.

[door closing]

That's for messenger.

A secret admirer? No.

It's from Mike.

He feels as badly aboutnot saying goodnight as I do.

Oh, man isn't that beautiful?

Yeah, isn't it.

Well, bye dear.

[music]

Here.

[car horn]

Everybody. Here he is.

Polly.

Everybody. Come on.

And the minute he comesin, happy anniversary.

Alright.

Now.

Happy aniversary, Mike!

I'm sorry it wasn't he.

Oh, no.

Well, they're beautiful.

Where are they from?

-Mr. Zimmer.-It is the great man.

Sorry to hold your boyup on this occasion.

Happy anniversary.

Better like nexttime there's Zimmer.

Bottom and always the right word.

-So sorry.-Oh, thanks.

Paul, can we do dance.

[music]

Couldn't you please ask him if Ishould hold dinner any longer?

I'm sorry, Mrs.Elliot, the red light

just went on. Ihave to hang out.

Wait a minute.Please ask him to call

me just as soonas he can, will you?

Alright, I'll tell him.

[music]

Just got the master scene andshe's great, that's all. Real great.

I don't think I've ever runinto an actress quite like this.

It's a thrill, a real thrilljust to watch her perform.

That's good, dear, but areyou on your way home now?

Right after we get theclose ups. Everybody's

on fire and I don'twant to stop now.

Mike.

Couldn't the assistantdirector do the close ups?

For some scary reason?

Tonight's very important to me.

No, Maddie. No, he can't.

Please, Mike, please.

This is my job. Now,don't argue about it.

Alright, come whenever you're ready.

[music]

-Bye. Not on it.-Yeah.

Goodbye.Goodbye Paul.

[music]

[door closing]

Hi.

Hi.

Isn't that your wedding dress?

Happy anniversary.

Yesterday.

Oh.

I know you're hurt.

-I'm sorry, but I can't help.-I'm not hurt.

I'm very angry.

Look, I didn't stay away on purpose.

Think I enjoyed myself?

Yes I do.

Well, believe me, this hasbeen a rough night for me.

Has it really?

Mendeo.

It's not like you to makean issue over a party.

Not making an issue over the party.

The party is just a climax

Many many little things.

And it's a symbol ofsomething I held very precious.

Something I was fighting for.

Lost.

Madeline, it's inthe morning. I'm b*at.

I know you are, and I'mvery sorry that you are. But

I think this is veryimportant to both of us Mike.

must you go on with this?

Yes, I must. But don'tworry, it won't take very long.

Alright.

Alright.

go ahead.

You need to look so martyred.

You wouldn't have to putit with me much longer.

What?

-What are you talking about?-It's really very simple.

I know when I'm licked.

We got married.

Because we needed each other.

Because you and I, itwas the most important

thing in the worldfor us to be together.

But it's not that way anymore.We're not together anymore. Ever.

I can't reach you, Mike.

I've lost you to a job.

Just not making sense.

You know, it wasyour idea to come out.

I know it was. I know it.

And I know now how wrong I was.

You know, if it wasn'tso sad, it would be funny.

I talked you into coming out here.

Because I thoughtwe'd have a real home.

The kind of homethat, you know, you've

talked to me so manytimes about Mike.

The kind of home you had as a child.

With a real yard and real trees.

Good place to raise children.

Children.

Well, I know now theplace is not important.

Could be two rooms in a kitchenetteor one room in a basement.

any little spot where ahusband and wife can really live

together, really thinktogether, really be together.

That's home.

Not this.

If it were a womanyou were involved with, I

could handle it. I'dknow what to do. I'd fight.

But.

But I can't fight a whole industry.

I can't fight a way of life.

And I can't give in to it.

Because if I do, I lose myself.

As well as you.

So I'm going back to New York.

I don't think you'llmiss me. I don't think

you'll even know I'mgone. But I wanted to.

Mike.

Mike.

[crying]

[dialing number]

Information.

Will you please give me thetelephone number of United Airport?

[music]

Maybe Maddie expected Mike to stopher at the airport, but he didn't.

He couldn't. He had acontract, a picture to finish.

So she went back totheir New York apartment.

And composed a letterasking for her old job back.

[Typing]

[music]

Mike, Mike.

[crying]

When I woke up and found youwere gone, I nearly went crazy.

I was a pain to put you through that.

Oh, Mike can you ever forgive me?

Already did.

How long can you stay?

As long as you want me.

What about the picture?

It's finished and so am I

Mike.

The contract. What about that?

Tore it up and sentit back to Zimmer.

You know, I read itover very carefully.

There was absolutelynothing in that

contract that saidI had to stop living.

Oh.

Give up my wife for my own.

Oh, Mike.

[music]