But Not for Me

Russ Ward is a veteran Broadway producer who has just returned to New York after a long absence. A circle of old acquaintances closes in around him (ex-wife Kathryn Ward, weary playwright Mac MacDonald, reporter Roy Morton, business manager Miles Atwood, and lawyer Charles Montgomery), each eager for a piece of him and the new project. The central topic is the play Give Me Your Hand, which many suspect is in trouble, though Russ insists it is on track for the Boston tryout.

Roy Morton questions the progress of Give Me Your Hand, hinting that trouble is behind the scenes. Russ denies the rumors and repeats that the Boston tryout is still on schedule. The interview sets up ongoing media scrutiny that haunts the production.

Russ and Mac argue over the premise of the show, specifically a middle aged man pursued by a 22 year old woman. They struggle to make the story land and find the right tonal balance. The back and forth reveals the pressure to refresh the project while keeping the core idea intact.

Kathryn reminds Russ of his age, a vulnerability he tries to hide by fudging the numbers. He dodges the topic, but the exchange underscores the ego and insecurities that threaten the production. The confrontation deepens the tension between past and present relationships around the show.

Ellie Brown, loyal secretary and secret admirer, tells Russ that it may be time to retire. Russ remains focused on the show, but his attitude signals a growing distance. The moment foreshadows the personal stakes behind the production.

Ellie proposes marriage to Russ, provoking a shift in the story direction. This prompts Mac to rewrite the script so the young woman is the pursuer of the man, changing the play’s dynamics. The team begins intensive work at Kathryn's Long Island mansion, leveraging her alimony to finance the creative push.

A rich backer named Bacos shows interest, but Miles Atwood asserts the show can be funded by an anonymous angel, making Bacos unnecessary. The secrecy around the financier adds tension and reshapes the push to get the show ready. The arrangement continues to evolve as the crew pushes toward Broadway.

Ellie reads the female lead and proves to be a perfect fit. Gordon Reynolds, a rising actor in Ellie’s class, wins the male lead and has carried a long time crush on Ellie. The casting cements a new romantic triangle around the production.

The Boston tryout yields mixed responses and sparks anxiety among the team. Russ remains confident that Broadway will redeem the show and deliver a hit. The team works through the night to salvage the project.

Ellie and Gordon wed, a development that startles Russ and unsettles the backstage dynamic. Gordon wants to give up theater and move to Butte, Montana, adding strain to their relationship and the show.

To manage the growing tension, Ellie performs a provocative gesture by joining Russ in his bed to prompt Gordon to confront the situation and demand an annulment. The moment threatens to derail the fragile balance among the trio.

Misunderstandings are resolved and the pace of the production stabilizes as new bonds form. The revelation that Kathryn financed the show as the anonymous angel quiets the fears about the money. The cast and crew plan a more sustainable path forward.

With the truth out and relationships adjusted, Russ envisions a second act together with Kathryn, hoping for a lasting partnership on and off the stage. The story closes on a note that the show and their love may migrate to a true sequel in the life of the company.